#I’ve also always loved the dynamics between red riding hood and the big bad wolf

[giosprey]

AU (?)

Red Riding Hood first met Death a long time ago, when she entered the wood. Little she knew about the true nature of him, but what surprised the wolf wasn’t the fact that she wasn’t scared, but that she could see him even though she wasn’t supposed to… at least, not at that moment.

That day will completely upset her life.

Years have passed, Red is now in her 20s.

The Wolf not only finds out that she has become a wanted outlaw, but that she’s also sentenced to death.

[idreamtofmanderleyagain]

Five years ago, the women on this site who treated me like trash over loving Labyrinth and shipping Jareth/Sarah were almost always obliviously consuming Radfem propaganda, or were out and out Radfems/Terfs themselves.

They were the types of people who casually threw the word “pedophile” around against grown women who shipped an adult Sarah with Jareth, aka literally one of the most popular ships for women in fandom for 30 years.

Pretty much invariably, these women had serious sex-negative anxieties, which included a severe paranoia about any and all kink and fetish, and porn in general. I saw a lot of shocking, fear-mongering propaganda surrounding sexual expression. Pretty much invariably, their method of approach involved immediate personal shock-value attacks on anyone they perceived to be “bad.”

Today, you can look at the way some people react to other popular so-called “problematic” ships and recognize the same toxic, fear-mongering rhetoric coming from women who consider themselves regular, trans-inclusive feminists. Sometimes it even manifests in the words of very well-meaning people (including myself here), who feel the need to talk about specific issues that pertain to their own experiences of trauma and oppression.

The people who shit on Labyrinth often seem to not really be able to comprehend that the Goblin King, like the film itself, is canonically a representation of a teen girl’s psyche, a soup of fears and anxieties and desires and dreams. He’s not a literal human adult preying on a literal child, and to read the film that way seriously undermines the entire point of the film. 

When I (and people of many fandoms) say “This is fiction, calm down,” I’m not just saying it’s not real so it cant hurt you and you can’t criticize me. I’m trying to call attention to what fiction actually is - artistic representations of feelings and experiences. The Goblin King is Sarah’s fiction. Therefore, he can be anything she or any woman who identifies with her wants him to be, including her lover when she’s grown and ready for such a thing.

I once took an alarming dive into Beetlejuice fandom to see what content was there (the cartoon was a favorite when I was little). Chillingly, what you’ll find is an extremely wounded fanbase, with a sharp divide between the older women who had long been shipping BJ/Lydia because of their love for the cartoon series (and whom were previously the vast majority of the Beetlejuice fandom), and a massive amount of young people riding the wave of the musical fad who had decided that the entire old school Beetlejuice fandom was populated by literal pedophiles. 

I saw death threats. Suicide baiting. Constant, constant toxic discourse. It did not matter how the BJ/Lydia fandom dealt with any particular issues that would exist in their ship, in fact I’m certain that the people abusing them cared very little to even consider if they were trying to handle it at all. The only thing that mattered was that they were disgusting subhuman scum asking for abuse. If you have at any time reblogged recent Beetlejuice fan art or content from fans of the musical, you have more than likely been engaging positively with the content of someone participating in toxic fandom behavior.

Nobody is really sticking up for them, either, as far as I saw. It’s really hard to imagine how painful it must be to have such a large group of people explode into into your relatively private fandom space to tell you that you are evil, vile, and deserve constant abuse, and also you are no longer allowed into the fandom space to engage in it’s content. But I think there’s something very alarming indeed about this happening specifically to the BJ fandom, and I’ll explain why. 

The pop-culture characterization of Beetlejuice, which is heavily influenced by the cartoon series to be clear, has always in my mind been a vaguely ageless being who matches with the psychological maturity of whatever age Lydia is supposed to be. He’s more or less like an imaginary friend, a manifestation of Lydia’s psyche. In fact, I would argue that i think most of us who grew up with the cartoon or it’s subsequent merchandizing before the musical ever existed probably internalized the idea as BJ and Lydia as this ageless, salt-and-pepper-shaker couple beloved by the goth community, similar to Gomez and Morticia. In each version of canon he may be a creepy ghost in the literal sense, but any adult who is capable of identifying literary tropes (even just subconciously) would read cartoon!BJ as an artistic representation of a socially awkward outcast girl’s inner world. Lydia’s darker dispositions and interests, which alienate her from most others, are freely accepted and embraced by her spooky magical friend. BJ/Lydia in the cartoon were depicted as best friends, but to my memory there was always an underlying sense that they had secret feelings for each other, which I identified easily even as a small child. In fact, their dynamic and behavior perfectly reflected the psychological development of the show’s target demographic. They are best friends who get into adventures and learning experiences together, who have delicate feelings for each other but lack any true adult romantic/sexual understanding to acknowledge those feelings, let alone pursue them.

Though I haven’t seen the Musical yet, I’ve read the wiki and I would argue that it embodies this exact same concept even more so for it’s own version of the characters, in that Beetlejuice specifically exists to help Lydia process her mother’s death.

This is not a complicated thing to recognize and comprehend whatsoever. In fact, it looks downright blatant. It’s also a clear indicator of what BJ/Lydia means to the women who have long loved it. It was a story about a spooky wierd girl being loved and accepted and understood for who she was, and it gave them a sense of solidarity. It makes perfect sense why those women would stick with those characters, and create a safe little space for themselves to and imagine their beloved characters growing and having adult lives and experiencing adult drama, in just the same ways that the women of the Labyrinth fandom do. That’s all these women were doing. And now, they can’t do it without facing intense verbal violence. That safe space is poisoned now.

Having grown up with the cartoon as one of my favorites and been around goth subculture stuff for decades, I was actually shocked and squicked at the original Beetlejuice film’s narrative once I actually saw it, because it was extremely divorced from what these two characters had evolved into for goth subculture and what they meant to me. It’s not telling the same story, and is in fact about the Maitland's specifically. In pretty much exactly the same way two different versions of Little Red Riding Hood can be extremely different from each other, the film is a different animal. While I imagine that the film version has been at the heart of a lot of this confused fear-mongering around all other versions of the characters, I would no more judge different adaptations of these characters any more than I would condemn a version of Little Red in which Red and the Wolf are best friends or lovers just because the very first iteration of LRRH was about protecting yourself from predators.

I would even argue that the people who have engaged in Anti-shipper behavior over BJ/Lydia are in intense denial over the fact that BJ being interested in Lydia, either as blatant predatory behavior a la the film or on a peer level as in the cartoon (and musical?) is an inextricable part of canon. Beetlejuice was always attracted to Lydia, and it was not always cute or amusing. Beetlejuice was not always a beloved buddy character, an in fact was originally written as a gross scumbag. That’s just what he was. Even people engaging with him now by writing OC girlfriends for him (as stand-ins for the salt-and-pepper-shaker space Lydia used to take up, because obviously that was part of the core fun of the characters), or just loving him as a character, are erasing parts of his character’s history in order to do so. They are actively refusing to be held responsible for being fans of new version of him despite the fact that he engaged in overt predatory behavior in the original film. In fact, I would venture to say that they are actively erasing the fact that Musical Beetliejuice tried to marry a teenager and as far as I’m aware, seemed to like the idea (because he’s probably a fucking figment of her imagination but go off I guess). The only reason they can have a version of this character who could be perceived as “buddy” material is because...the cartoon had an impact on our pop cultural perception of what the character and his dynamic with Lydia is. 

We can have a version of the Big Bad Wolf who’s a creepy monster. We can have a version who’s sweet and lovable. We can have a version that lives in the middle. We can have a version who’s a hybrid between Red and the Wolf (a la Ruby in OUAT). All of these things can exist in the same world, and can even be loved for different reasons by the same people.

I’ve been using Beetlejuice as an example here because it’s kind of perfect for my overall point regarding the toxic ideologies in fandom right now across many different spaces, including ones for progressive and queer media, and how much so many people don’t recognize how deeply they’ve been radicalized into literalist and sex-negative radfem rhetoric, to the point where we aren’t allowed to have difficult, messy explorations of imperfect, flawed humans, and that art is never going to be 100% pure and without flaw in it’s ability to convey what it wants to convey.

This includes the rhetoric I’ve seen across the board, from She-Ra to A:TLA to Star Wars to Lovecraft Country. We don’t talk about the inherent malleable, subjective, or charmingly imperfect nature of fiction any more. Transformation and reclamation are myths in this space. Everything is in rigid categories. It is seemingly very difficult for some of these people to engage with anything that is not able to be clearly labeled as one thing or another (see the inherent transphobic and biphobic elements of the most intense rhetoric). They destroy anything they cannot filter through their ideology. When women act in a way that breaks from their narrative of womanhood (like...not having a vagina), then those women must be condemned instead of understood. Anything that challenges them or makes them uncomfortable is a mortal sin. There is an extraordinary level of both hypocrisy and repressive denial that is underlying the behavior I’m seeing now. Much like toxic Christian conservatism, these people often are discovered engaging in the same behaviors and interests that they condemn behind closed doors (or just out of sheer cognitive dissonance). As an example, one of the people who talked shit to me about Labyrinth was a huge fan of Kill La Kill, which to my knowledge was an anime about a teenage girl in like, superpowered lingere (hence why I stayed the fuck away from that shit myself). Indeed, they even allow themselves plenty of leeway for behavior far worse than they condemn others for, and create support systems for the worst of their own abusers. 

Quite frankly, I’m tired. Instead of talking about theoretical problematic shit, we need to start talking about quantifiable harm. Because as far as I can tell, the most real, immediate, and quantifiable harm done because of anybody’s favorite ships or pieces of media seems to consistently be the kind that’s done to the people who experience verbal violence and abuse and manipulation and suicide baiting and death threats from the people who have a problem.

[littlemisssquiggles]

I have always imagined that the character of the big bad wolf would be like Garou is in One Punch Man. Someone dissatisfied with the justice system and proclaims himself as a monster (in the case of RWBY this would be replaced by a Grimm or a hunter of hunters). Someone who is the opposite of Ruby's ideals.

Hello again Los. Well to be honest I’m not too familiar with the character of Garou from One Punch Man. I’ve only watched through the first season of One Punch Man and I don’t remember seeing his character in the first season. So if he’s a new character from the second season of the series (or from the manga) then I don’t really know him enough as a character to gage an opinion about him and compare him to Ruby or even Marrow from RWBY.Technically, Marrow is the probably the closest to a Big Bad Wolf character aswe might get in RWBY for the most part (not unless he has a younger brother around Ruby’s age who happens to be bigger than him in size). 

Well I’m not sure if you’ve read my Lil Red Headcanon about Ruby’s Big Bad Boyfriend, both the first part and the second since that pretty much summarizes my idea of what I pictured as a big bad wolf character to oppose Ruby.

I was more drawn to the idea of Ruby meeting a character inspired by the wolf from Little Red Riding Hood to portray a sort of potential love interest character for Ruby for a while. Someone who starts off very antagonistic towards Ruby in until she learns his true nature and genuinely starts to warm up to him for that. The two even start dating out of their mutual interest in one another (providing Ruby Rose her first experience being in a relationship with a romantic interest) however after a while, the Wolf takes notice of Ruby’s close bond with Oscar, pegging it to be more than what it seems and eventually he sort of aids Ruby in realizing her true feelings for Oscar.

That while the little red rose may like the Gentle Giant Wolf, she was truly in love withthe Little Prince and he was the one she was destined to be with—or somethingalong those lines.

That was my concept for the most part.Hence why you might’ve probably seen me tease the thought of shipping Ruby andMarrow as a sort of Big Bad crack ship to conjure a Ruby-inspired love triangle topossibly spark more revelation towards Rosegarden. 

I would’ve had a strongerinclination to leaning towards this consideration if it weren’t for the factthat, thus far, Marrow and Ruby’s interactions have been mostly respectful; if you can call it that since it’s so scarce.  

While they’ve been more or less friendly with one another these part fewepisodes (in spite of Marrow’s good boy ‘tsundere’ attitude towards initiallymeeting the hero team), that’s pretty much been their relationship. Nothing butfriendly and courteous. And since the last episode shined a hard light on howthe Ace Ops approach their working relationships in general, I hardly doubtwe’ll get anything more than that between Ruby and Marrow.

Speaking of; am I the only one who found it more than a little odd how the Aces mentioned that their bond is nothing more than work-related? I get that they’re all soldiers trained in the military and that this is probably part of their culture as part of the job as huntsmen in the military, still I couldn’t help but feel weirded out to hear them say that they are nothing more than colleagues to one another?

They’re not even friends off the battlefield. While this isn’t an issue, I found what the Aces said kind of contradicting with how they acted with one another. It almost felt like I was watching two versions of the Aces.

Like the Aces we met in V7CH2-3 don’t match up to the Aces in V7CH4 and it felt like the sharp turn of a switch. If the Aces were all hardboiled soldiers trained and that was the attitude they adopted mostly from since their first interaction with our heroes, I’d understand. However…I didn’t really get that vibe?

I dunno the attitude of Aces in CH4 came like such a hard slap in the face which I guess fit whatever reaction the Writers were going for since JNR_RWBY’s reaction mimicked my own.

I guess…R.I.P my Bunny Bites and Elm and Vine Ace Ops pairings. Then again, nothing wrong in still liking both ships as ships. I dunno, I still wanna believe that Harriet and Marrow might secretly have a thing for one another or at least I wanna believe that Harriet secretly thinks Marrow is kind of cute; fora rookie. I know she’s the one that basically told the team about the Acesreally see their relationship; still…it’s worth it even as a headcanon for oneof my favourite Ace Ops ships.

Beyond that, I’m especially still holding out for Elm and Vine too. That ship, I’m praying is canon. I still call bullshit on what Harriet told JNR_RWBY about ‘nevermixing business with personal’ and that the Aces aren’t ‘that cordial off the battlefield’. Lies. I’ll bet money if Elm and Vine are involved romantically off field but their relationship is a secret to their colleagues. I even wish to toss in thetheory of Elm and Vine wanting to get married but are nervous about how theirmarriage might affect their work dynamic and the one they’ve built with theirgroup since, as Harriet said—they’re NOT supposed to mix the two.

I know Elm chimed with Harriet when she reacted, almost disgustedly to Ruby implying that her teammates are her ‘friends’.However, Elm was also suspiciously in the same frame as Ren and Nora who are on a team, and they’re also a couple. Supposedly? She….also did this sort of…fake smile that made me go “I dunno. I don’t think Elm 100% buys into what Harriet is saying.”  

Like I said, lies. That’s my theory.

Harriet might abide by that way of thinking but…I don’t believe that all of the Aces think this way. I’m definitely vouching for the theory that Elm and Vine are secretly in a relationship; with the talk of marriage being on the table; but are skeptical about going forward with it given their job and duty to it with their team. That’s my headcanon.

But I dunno, this is just what I’m thinking. I’m sorry but this squiggle meister is still calling BS on:

“Perfect complementary teamwork. I want to have my friends’ backs just like that.”

“Friends?”

“This isn’t the school yard, kid.”

“But I mean…when you go through so much with someone, it kind of changes things, doesn’t it?”

“We get along well enough, sure. I count on them to keep me alive. They do the same. But that’s the job. We don’t confuse the two.”

To quote, Invader Zim, YOU’RE LYING! I also wished that this line from the Aces came before CH4. It would’ve probably helped make sense of Ren’s weird attitude towards Nora in CH3. 

Hearing what Harriet said about “never mixing business with pleasure” could’ve been a nice rationale to justify him not reciprocating Nora’s complement. Because in CH3, he was seen acting all aloof with Nora but in CH4, here we have him acting like normally does with Nora as he comically scoops her up and carries her away like cardboard cutout in easily one of the jokiest moments from the episodes. It definitely got a giggle of me.  

I dunno. I could be wrong but I guess we’ll see how things will go as episodes move forward.

~LittleMissSquiggles (2019)

[theonceoverthinker]

OUAT 2X07 - Child of the Moon

...Do I seriously have nothing better to do than just sit around writing long ass reviews for a show that already ended?

...Well then, I suppose ANITA LIFE!

Shut up, you love them. Now go under the cut for some actually semi-intelligent thoughts!

Press Release

Ruby’s fear about turning into a wolf during the first curse-free Storybrooke full moon is confirmed when one of the town’s residents is viciously murdered, and Ruby is the prime suspect; Decker - aka King George - threatens to expose David as a shepherd, not a prince, and not fit to run the town as sheriff; and Leroy stumbles upon some treasure in the Storybrooke mine that could help bring Mary Margaret and Emma back into our world. Meanwhile, in the fairytale land that was, Red Riding Hood finds a kindred spirit in Anita (Annabeth Gish), a charismatic and mysterious leader of a pack of humans who, like Red, turn out to be wolves.

General Thoughts - Characters/Stories/Themes and Their Effectiveness

Past

Red’s journey in this episode is so well put together. The insecurities established in “Red-Handed” and then re-established here about her half-wolf identity acts as a great source of conflict. You can see how that sense of fear is decreased as Red spends more time with the wolfpack, and after establishing that bond, gets tested against an equally powerful bond with Snow. This is a great conflict because it’s entirely character based and expands on what we already know about Red.

Present

Not all segments need a message to work, but their needs to be some level of growth, and while it does happen to Ruby, it’s only through being given information and a pep talk that she’s able to reaffirm her control over her wolf form. While I genuinely liked this segment for it’s plot, characters, pacing, and the broader story, I feel like Ruby was somewhat sidelined in her own episode because what is reinforced is never gleamed through her own experiences or anything that she learns about herself. It’s David who investigates the mystery and he and Belle who never give up hope while Ruby largely defaults to regarding the situation as her fault until David gives her the evidence to contradict that. While I commend Ruby for being a realist and very mature about her situation, I wish that there had been a moment where she attempted for her own happiness (Think like a “Let It Go” moment) or if there was a moment that she noticed that called her murder into doubt.

Insights - Stream of Consciousness

-Those mine crystals look so bad! XD

-You better not be driving after drinking that beer, David! You’ve got a kid in the car!

-I’ll take those 38 lasagnas!

-Ruby is so amazingly mature. She understands her capabilities, but takes into account risks as to protect others.

-Snow is one hell of a fighter!

-Also, I can’t help but feel like that’s the first time Snow ever saw her wanted poster (This is before she met David). Look at that amazing frustration and sadness in her eyes as she’s seen how Regina has scarred her reputation. And that’s all before she and Red even converse about it moments later. Great acting, Ginny!

-I can’t get over how great Red’s costume is. It’s perfectly balanced between being something that gels with the classic fairytale while still looking like something a young adult would wear.

-Stranger stalking Red: You might want to get your eyes checked for jaundice! XD

-”Wh-wh-what are you doing here? Where’s David?” Damn, that hurt just watching it. I can’t even imagine how Regina must feel hearing Henry all but reject her comfort. :(

-”He got an emergency call this morning and asked me to look after you.” Good job, David! That was very good pushing aside your hatred of Regina for Henry’s sake!

-I just realized that Ruby is essentially Elsa in this episode! XD

-Ruby is fucking tough as nails! We’ve got to get her into a Street Fighter movie or something!

-I really want to know more about Quinn! The actor played him very well and he has this air to himself of both a vagabound and someone with something a bit deeper to him. Like, he’s an octave down from Killian on the drama-meter.

-”Is this some kind of trick?” Red, don’t follow the man into the scary basement until he answers that very important question! Didn’t Granny teach you stranger danger?!

-I want to live in an underground castle! Holy shit! I’d have all the space I want, stay cool, AND avoid other people! Hell to the fucking yeah!

-”I’m your mother.” My season 4 vibes and her later attitude are compelling me to say “I don’t care.”

-”It’s Billy’s truck.” “Who do you call to tow a tow truck.” It’s my personal headcanon that Billy’s truck is Mater from Cars. XD

-”I certainly never cared what would happen to them after they woke up...until now.” I love that look Henry gives Regina as she says this. It’s such a subtle Regal Believer moment.

-”Sometimes in sleep.” Why do I feel like that line was specifically put there for ass covering?

-”Once one controls something, one no longer need fear it.” Another instance of a villainous character (Though not in this episode!) giving the moral of the episode! That said, I wish it was said to Ruby herself, but I’m not peeved about that. Also, Rumple’s posture is incredibly comforting as he crouches to Henry’s level and gives him the necklace for free, giving some nice pre-confirmed Grandpa Gold feels.

-Charming! Good job calling out your cursed self for his shittiness!

-It may just be the result of my recent foray into the MCU, but I am getting some crazy Ego vibes odd of Anita.

-”That thing. That she-wolf.” George, you are the WORST.

-”Protecting your friend instead of everyone else.” He literally has her locked in a jail cell! It’s not like he’s forcing her to roam free!

-That was a great display of a Gopro camera on a wolf!

-I like how the montage was unclear about the exact amount of time it took between Red’s entrance into the castle and that latest transformation.

-George, you have the tiniest fucking group possible for this rebellion! How successful do you really think you’re going to be?

-I like the visual cue that the wolf gang sleeps like a pack.

-”Of course not.” I love how Snow clearly doesn’t believe that Red’s pack will hurt her, but still wants to be supportive of Red.

-”David see the good in you.” Ummm, what about you, Belle? Girl, you know I love you, but you already know all about Ruby’s goodness! She took you in!

-”I’m sort of an expert when it comes to rehabilitation.” Ummm, I’d say you’re getting there, but expert is a little too much.

-”I need to pay for all I’ve done.” Umm, Ruby. Your old village couldn’t kill you. What makes you this the D-List Storybrooke mob will do any better?

-I don’t know why, but I find it so funny that King George’s cursed name is “Spencer.” I think it just makes me think of iCarly.

-”May you always run free below the moon’s pale light.” This is a really well written line and I wish we could’ve heard it again outside of this episode.

-I like how in the D-List Storybrooke mob, only one person had the common sensibility to bring a fucking flashlight!

-Granny! You could’ve killed someone! That was a big Michael Bay-worthy explosion! I can only hope you sensed that that building was abandoned beforehand otherwise you’d have a body count!

-So someone in the D-List Storybrooke mob calls out “we’re not sheep,” and I’m just laughing because they followed George on a fucking dime!

-So I love how this is more or less David’s arc in “White Out” as well! XD

-George is so fucking confident about that hat, like there aren’t at least a couple of other magical items in this town! XD

-Also, how the hell did he get the hat?

-Red’s monologue in the final leg of the flashback has me thinking: What happened when Red and Granny reunited after the events of this flashback? There must’ve been some serious resentment on Red’s part and I wish we got to see how that resolved itself.

-Ruby, not that that run isn’t well earned, but you owe Belle on hell of an apology!

-Snow, your clothes are so clean right now! Did you find a laundromat in the Enchanted Forest?

Arcs - How are These Storylines Progressing?

Storybrooke getting Snow and Emma back - We gain one method of communicating with the EF and lose a way of getting there. I find that this arc is pretty good so far. The steps feel appropriately paced and I enjoy that the arc actually has a dead end. It makes for opportunities to use more characters (Ruby, King George, and Jefferson) and given them growth while allowing for the plot to feel more like a journey.

Rumple’s Redemption - I pointed this out in “Insights,” but Rumple’s more comforting attitude towards Henry, especially since neither knows they’re related yet, is a good follow-up step to the redemption that Rumple’s attempting for himself that was established in “Broken.”

Favorite Dynamic

Red and Snow - Red and Snow’s friendship has always been this nice delight, and in this episode, there’s a marvelous setup and payoff to it. Snow is beyond supportive to Red, understanding her and yet still fighting for a future where they can be happy and safe together. Like, she risks traveling by Regina’s bloodthirsty men for Red and is willing to give the wolfpack the benefit of the doubt for her! And even whe Red opts to stay with the wolfpack, Snow is nothing but understanding and gives a very in-character reason as to why! Honestly, I’m borderline shipping these two because they’re so good together!

Writer

Last season’s human home runs (Ian and Andrew) are at it again. The writing for this episode is largely great, using very rich dialogue and a good theme of taking control of your own life to deliver two well put together segments.

Rating

10/10. This is a legitimately great episode. It’s entertaining, and our mains are in fine form. The lore of the OUAT world is used well, as it contributes to the story in the past segment and not just the plot (An important distinction). While I take a small issue with a less impactful Ruby in the present, it simply doesn’t take away from the incredible storytelling that goes on elsewhere throughout both segments.

Flip My Ship - Home of All Things “Shippy Goodness”

Billy/Ruby - While I never thought much of them in “The Price of Gold,” their bit of flirting is absolutely heartwarming and Ruby’s grief following Billy’s death is so sad.

Red Beauty - These two! These fucking two! Belle and Ruby are just the two most supportive beans in the world! Also, “think of it as girl’s night.” Am I the only one thinking about how chains and whips can be quite exciting, especially when one’s hungry like the wolf?!

()()()()()()()()()

Sorry if this review was a little simplistic. Sometimes, there’s not a lot to say about an episode other than “this was good,” and I didn’t just want to say that a million times, but next time I’ll make like that episode’s title and see how “Into the Deep” I can go! For now, thank you for reading and to the fine folks at @watchingfairytales for putting this project together and giving my reviews a home on their page!

Season 2 Tally (67/220)

Writer Tally for Season 2:

Adam Horowitz and Edward Kitsis: (20/60)

Jane Espenson (17/50)

Andrew Chambliss and Ian Goldberg (20/50)

David Goodman (10/30)

Robert Hull (10/30)

Christine Boylan (7/30)

Tags: ouat, once upon a time, watching fairytales, ouat episode code, ouat rewatch, jenna watches ouat, ships mentioned

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