#it's all cause the only fully rendered character art piece of him is his child timeline form. his warlock form was only fully depicted in 3d

[kirbyddd]

lest we forget princess ruto was ripped in the original graphics

[sexypinkon]

Eden's Apple - Interpretation and ire in the works of Stuart Hahn

Medulla Art Gallery featured a talk with the Artist Stuart Hahn on Wednesday eight August twenty twenty-three. It started tentatively and ended boisterously with interviewer Natasha Ramnauth steering the conversation into territory raised by a guest about the carnivalesque. That was provoking enough, but there was a much more niggling issue that caught my attention as Mr Hahn spoke about his work.

As an avid admirer of his prolific collections over the decades I was alerted when yet again I heard him mention that he could not show nudity in public. At prior shows he had said those exact words to the audience.

Stuart Hahn - The Fall of Man

In Jamaica,the Laura Facey bronze sculpture Redemption Song is met with all the respect it deserves in a declared homophonic island. No one is deeming the public work indecent or homocentric. I found myself wondering why and how Mr Hahn has been dealing with this no man’s land quite literally for so many decades?

What does Mr Hahn have to be apologizing and hiding for? Is Stuart Hahn a maverick where nudity and male at that is concerned?

The short answer is no.

Stuart Hahn - The Fall of Man

He is preceded by the likes of Boscoe Holder and Hugh Stollmeyer. It is curious, but not fully necessary to know that those names represent men who were homosexual or bisexual. This is to be included only because of the fact that sexual history has been hard fought particularly in ultra religious spaces like Trinidad and Tobago.

Is Mr Hahn exploiting the form by showing explicit sexual acts? No.

In fact Mr Hahn only uses naked imagery in contexts where they are called for.

But instead of being caught up with his exceptional skills as a draftsman of the anatomy it is easy for the media to continue to hound his use of drawing what I can only call the subversive penis. Vaginas and breasts hold neutral ground.

Meanwhile it seems that the erect, semi-erect and inert penis causes great consternation.

We all reel daily as we read and hear of barbarically cruel murders. Yet, the penis in art is being ‘held’ as too unpalatable for sensitive constitutions.

Is there a connection between crime and the male body?

This may be an absurd question, but Mr Hahn’s work and legacy might hinge on the fact that a sense of being out of touch with the body is an important marker for all of us. An automatic fear or distaste to observe classical art in a caribbeanesque context narrows the lens.

Mr Hahn was born in Nevis of a St. Kittitian mother and Trinbagonian father. Of Caucasian heritage in a mostly brown land, a child of colonialism in San Fernando and a gay man in the Caribbean space during Black Power and Oil Money is dizzying enough. It makes one want to tear off one’s skin.

Nudity and the drawing of skin titillates. It is peeling back layers and finding oneself in private territory. Art has lauded nakedness for centuries, so, to now grapple on an island with what it means - is curious to me particularly when a few years ago Trinidad and Tobago was given the dubious honor of being in the top ten of users of porn sites in the world.

Stuart Hahn - The Murder of Abel

Mr Hahn’s Biblical, Classical Literature, Indian Mythology and local Folkloric pieces do far more than occasionally dabble in nudity. By focusing on the trite, everything that his work demonstrates gets shunted to the side. Mr Hahn’s work connects the complex past with the continuously confusing present. He shows great discipline when drawing and rendering the form with prisma color pencils and pen and ink when paint is so much faster - his almost religious penitence in lauding his characters with wings, togas and ropes of hair - yes there is homo eroticism in the work.

However, homo simply means man. I will not go down the prickly path of Adam and Eve not Adam and Steve. I also will not convince anyone of changing their sensitivities or sensibilities. I write to place Mr Hahn’s work where it needs to be. He is neither a pornographer nor a sensationalist.

That is so clear in societies great love of Derek Walcott's TiJean and his Brothers the children’s book and his innovative approach to the Black Madonna and Child way before it was fashionable to do so. As a white, Caribbean gay man making Art in Trinidad and Tobago and causing debate makes Stuart Hahn’s career an important marker in Art history - one that we all take for granted. We speak fluidly about Impressionism or Abstraction. But what of Stuart Hahn’s drawings? I suggest that as we look at Art in Trinidad and Tobago, we begin to observe what is before our very own eyes:that we respect and honor ours in the same way that we have finally given Pan the attention deserved.

[idreamtofmanderleyagain]

Morality-Focused Frameworks Of Discussion As Acts of Control

This is a post in response to a larger conversation I’ve been having with @eshusplayground. I have a perspective that I think would be really relevant to the conversation but I also don’t want to derail the specific focus of the following posts she’s been making recently.

(Trigger Warning For Abuse Discussion and Brief Mentions of Rape)

---

So I’m in the Hellraiser fandom. More specifically, I’m a Pinhead/Kirsty shipper.

For those of you that don’t know, Pinhead is a demonic torturer from hell who’s design is inspired by the BDSM community. Characters who open a magical puzzle box have unknowingly given themselves away to his violent underworld community of eternal torment and depravity. Hellraiser is a film about romantic and sexual horror, and there’s quite a lot in there about abuse and trauma. Kirsty is a traumatized person, and in my personal opinion, very likely a CSA victim.

And I ship these two characters together.

So the subject matter of my particular fandom is extremely intense and niche and complicated to navigate, although YMMV (I have no trouble with this franchise, but I cannot really handle GOT or American Horror Story, for example). After I grew interested in Hellraiser and integrated into it’s fandom, my perspectives about the way we have conversations about villainous characters started to have a major shift.

I often see people have these intense conversations (and arguments) about where a particular character exists on a moral scale, with the subtext (or outright text) that if they tip too far one way or another, they can be rendered unworthy of their own subgroup of fans within their own fandom. People who love those characters or find them shippable are then subject to moral judgements.

So how does one apply such logic to a psychosexual torture demon?

The answer is you can’t.

The frameworks people online use to have these discussions do not make any sense when talking about my fandom. Hellraiser is a dark horror fairytale presenting disturbing, surreal images and behaviors in order to discuss complex and difficult experiences and perspectives. The monsters within it, like Pinhead, are more metaphor than anything.

Now, my follower count is too low and my fandom is too niche for me to really be on the receiving end of a lot of the cruelty that manifests online about the moral validity of the fiction I enjoy. That said, between the anti-kink TERFS and the younger folks involved in purity culture on this site, I can imagine exactly what it would look like. You know what they would look like.

“You’re an Abuse Apologist!”

“You’re an Abuse Fetishist!”

“You’re reinforcing sexism!”

“he’s an irredeemable torturer, you’re probably okay with literal real world rape lmao uwu”

“This is bad kink representation and you’re complicit in the abuse real men do to women because you like this!”

Now, setting aside the fact that the canon lore context of Pinhead involves him having a human soul brainwashed by a monster god to become what he is, and is also in a roundabout sense “redeemed” in canon, I think most people utilizing this kind of framework would assume that I believe Pinhead can be redeemed in the way online Discourse (tm) means it, because that’s how we talk in fandom about the villains we really like.

I do not want to redeem Pinhead. I don’t think he even needs redeeming. I don’t even see value in that conversation at all. Redemption is not a concept that makes sense for what he is, or what he could become as a character. The framework of Pinhead as a Real-World-Equivalent Human Male Abuser who Cannot Be Redeemed From His Actions would inevitably dominate all conversation, regardless of the fact that it is inherently incorrect and detrimental to real, robust literary analysis of the narrative he exists within and how brilliantly it actually interacts with male on female abuse as a subject. By nature of it’s gross oversimplification and misrepresentation, It ruins the potential for greater, more nuanced and complex conversations.

And that’s the thing: my engagement with this particular story and it’s characters has a lot to do with the potential in the narrative to examine how trauma interacts with love, desire and gender politics. Hellraiser has a very unique way of exploring that kind of subject through a storytelling aesthetic that appeals to me (horror/fairytale, gothic romance, etc).

This is about to get personal, so strap the fuck in.

I am the victim of gendered abuse, in that I had an emotionally abusive step father and sexism was absolutely a factor in why that manifested the way it did. I am also a second hand victim of gendered abuse, in that my biological father was a serial stalker and rapist, and other male abusers (or just self-centered family members) caused severe emotional destabilization in my childhood. I grew up viewing adult men as unstable, selfish children. My family endured a lot, and I came to resent the men in my mother’ life for not taking on the role of protector and nurturer when she needed them most. I had discovered the great lie of traditional masculinity: in the face of real crisis, grown men were not protectors. They did not hold together the domestic space. They abused or faltered and abandoned us. This was a repeated pattern among several men in different roles. I was often left picking up all the pieces, taking on roles as a child that these men could not. I had to have strength they did not.

My experience of desire for romantic intimacy with men and men in roles of stable, nurturing authority now inherently involves a jumbled emotional soup of fear, pain, and a deep longing that comes from a place of feminine vulnerability, a desire to be taken care of instead of being the caretaker.

The narrative of Hellraiser pushes a lot of buttons for me. It speaks to my own trauma experiences in a very specific way. In an effort to further that conversation, I’m trying to create a piece of art (a fic) inspired by the deeply personal feelings this film gives me.

For me, Pinhead represents the Jungian shadow masculine, a simultaneous mix of fear and desire, the potential for suffering and pleasure, and everything in between. These experiences are inherently intertwined for me. And Kirsty’s experiences mirror many of my own.

In other words, in order for me to get out of Hellraiser what I get out of Hellraiser, Pinhead has to be exactly what he is, and everything that he is. Which includes monstrosity. Which includes the potential for change. His place in the narrative must fully, truly embody this conversation I need to have with masculinity, which inherently involves painful, scary things.

Anybody demanding that I either denounce my interest in him as morally offensive because he’s a monster in the full sense of the word (and not just the aesthetic one like what is currently trending in Monster Boyfriend fandom), or force a traditional redemption arc upon him as if he were a real life human person who must repent for his real life sins, are essentially saying that I am not allowed to engage with this work of fiction in a way that is transformative for me. And that’s very unfortunate, because honestly, I think my perspective is so much more dynamic and has so much more to offer.

This is not just about basic catharsis. This is not even a power fantasy about emotionally transforming a powerful (white) dude, or “bad boy” fantasies, both standard arguments for villain stanning that feels like it has never truly represented me or the complexity of my experiences and interests. This is a full-on conversation and act of self expression I want to have through art about the experience of fear and trauma when dealing with men as a woman who desires men.

And I don’t think a person has to be traumatized in order to want to engage with this type of fiction. I want to be clear that my experience is not a justification for my interest (I do not need to justify myself), it is an example of a perspective that gets erased by the framework of these conversations.

To me, the framework of moral validity for enjoying fictional villains and monsters and whatever you please feels incredibly stifling to the complex, dynamic ideas and analysis that I want to engage in, because I, and many people I know, are consistently pressured to structure their thoughts with this framework as the only acceptable baseline of discussion. This is so ubiquitous that when people I’ve known have tried to engage in ways that diverge from that framework, the responses they get are outright confused or direct the conversation right back to the original framework they tried to avoid. Complex conversation gets steamrolled.

Somewhere in the conversation we were all having about acknowledging and discussing abuse and oppression, and acknowledging troubling patterns in media which reinforce the normalization of abuse and opression, some people decided that there was a very serious moral discussion to be had regarding the mere act of liking things which involve dark subject matter and complex, or even monstrous characters. They now argue that there are very clear cut, simple moral frameworks for A) telling stories and B) enjoying stories, and most importantly, that this moral framework is a valid justification for the social treatment and silencing of certain people.

A framework, by the way, which I think is actually not functionally a framework, because like the toxic American fundamentalist christian groups it’s thinking is structured from, it does not account for the vastly diverse moral landscape within it’s own space. There is no objectively consistent body of knowledge anybody is working from, because morals are derived from the human experience, which is inherently subjective.

Interestingly, no where does this have more of an impact than with marginalized people, and people like me, who want to express something deeper and more meaningful in the conversation about abuse and oppression than what this framework really offers us. To be honest, The more I see this kind of conversation making the rounds, the clearer it becomes that it’s a means of control and power game playing. It’s not about morality, but about how morality can be leveraged in order to silence truly diverse and nuanced perspectives and uphold people’s sense of self-comfort. It is a means of supplanting more convenient and easily digestible understandings of these highly complex subjects that require more intensive, thoughtful engagement, especially when it gets challenging. This kind of rhetoric absolves people of making room for complex and diverse experiences, and reinforces an (at face-value) easy to follow set of moral rules of how we are all allowed to think and feel.

The implication of all of this is that if we all adhere to the One True (alleged) Moral Framework of Fandom Engagement, then we will somehow come out on the other side with all the Good People having a Great Time having Squeaky Clean Fun. And I don’t think I should have to tell you at this point how stifling and disturbing the implications of that kind of mentality really are.

 Quite frankly, I think a lot of us are very tired of constantly speaking on other people’s terms.

[mbtizone]

Regina Mills/The Evil Queen (Once Upon a Time): ENFJ

Dominant Extroverted Feeling [Fe]: Regina doesn’t cast the curse for control – she does it because she wants to see everybody suffering. She wants to revel in watching everybody from the Enchanted Forest be cut off from their loved ones and miserable. Seeing Snow and Charming separated from one another is tremendously satisfying for her. Prior to Snow White’s betrayal, Regina was kind, selfless, and good. She immediately springs into action to save a young Snow White when she loses control of her horse. However, losing her true love caused her to seek vengeance and she can’t be happy until she destroys everybody’s happiness. Once she begins to rehabilitate herself, she is capable of generosity, love, and sacrifice. When Marion returns, she is willing to step aside to let Robin be with her again. Then, after Robin chooses Regina, she makes another sacrificial move when the ice curse resurfaces in Marian, and Regina tells Robin he has to leave town with her (an act that will never allow them to return). She’s again wiling to lay down her life to save Storybrooke from being destroyed. Regina can easily fake her feelings and manipulate those around her. For years after Snow White got Daniel killed, she played the part of the loving stepmother, even though she despised Snow. Regina began studying the dark arts because she thought she could use magic to bring Daniel back. She struggles in the beginning, though. Regina is opposed to killing a unicorn and doesn’t show up for her lesson because she doesn’t want her future to be so dark. Regina was forced into a loveless marriage by her mother, who is only concerned with power. Regina wants love and being forced to wed someone she doesn’t care for is very difficult for her to deal with. Regina doesn’t initially try to rule as the Evil Queen… she wants them to like her. Regina tries to gain favor with the villagers by convincing them that she’s the one who loves them, not Snow White. However, Regina eventually comes to the realization that the people will never love her. They’ll only ever fear her, and so she embraces this and becomes the Evil Queen in order to punish her kingdom for not accepting her. Regina tries to ruin the budding relationship between Emma and Henry by having Emma come by to talk when she knew Henry would be arriving shortly. She manipulated Emma into calling Henry’s fairytale fixation “crazy” so Henry would overhear. She knew that this would make him very upset with Emma and hoped that this would keep him from wanting to see her. She manipulates the Genie and plays on his feelings for her. Regina confides in him that she acquired Agrabahn vipers to bite her so she can escape her loveless marriage by dying, allowing her suffering to end once and for all…

Auxiliary Introverted Intuition [Ni]: … but the Genie suggests using them against the King instead, so Regina can live. When the Genie carries out the mission, Regina informs him that the vipers have been found and the Genie is being blamed for the Leopold’s murder. Regina knew that if she could get the Genie to fall for her, she could manipulate him by telling him about her “plan” and she was certain that he would offer to kill the king in her place. She even used Agrabahn vipers to do it, so they would be traced back to the Genie’s homeland, thus implicating him and not Regina. She knows how to play on people’s feelings and is good at nudging people to do her bidding in a way that makes it seem like their idea instead of hers. She knows how to maneuver people like game pieces. For a long time, Regina’s only concern is seeking revenge on Snow White. Everything she does is part of her plan to ruin Snow’s life, the way Snow ruined hers. She doesn’t care what it takes or how long it takes. She kills her own father because the curse she plans to cast requires her to kill the thing she loves most. She stops at nothing to make her vision a reality, because she convinces herself that vengeance is the only way she’ll get her happy ending (Fe-Ni). Regina is extremely good at predicting what moves her opponent will make and striking preemptively. Regina thinks in the long-term and isn’t satisfied to just kill Snow White. That would just turn her into a martyr for the people to adore. She would much prefer to turn the people against her, which will allow them to see that Regina should be their queen, not Snow. Regina always knows exactly what she needs to do in order to get what she wants, and she always has backup plans. She keeps David and Mary Margaret apart by keeping David in the coma. When Mary Margaret manages to wake him up, she inserts false memories of his “marriage” to Kathryn. When David can’t stay away from Mary Margaret and begins seeing her behind Kathryn’s back, she has Kathryn kidnapped and makes it look as though she’d been murdered. Then, Regina frames Mary Margaret for the crime, separating her from David once again when Mary Margaret is imprisoned for the murder. Regina has very good intuition, which often leads her to accurate assumptions, even though there hasn’t been any real physical evidence of her claims, such as her immediately sensing Graham’s attraction to Emma. She also realizes that her mother used magic to make Snow’s horse behave wildly, knowing that Regina would step in to save her, thus gaining the affection of the king.

Tertiary Extroverted Sensing [Se]: Sometimes, Regina can be reckless and impulsive. When Regina suspects that her mother is trying to interfere in her life to encourage Regina to have a child just so Cora can have an heir (which she would then use to seize Regina’s power), Regina handles the perceived threat by swallowing a potion that rendered her barren. Although Cora cautions her against doing this, Regina does it anyway, because the pain it will cause Cora is “worth it” (Fe-Se). She is often quick to kill, ripping out hearts like weeds in a garden. She doesn’t bat an eye at slaughtering entire villages of people. When she happens upon a wedding that didn’t receive official permission for the ceremony, she rips out the groom’s heart because it is the anniversary of Daniel’s death and if she can’t have her happy ending, why should anyone else (Fe-Se)? Regina is usually good at improvising in the moment, and is able to modify her plans as she goes along. She enjoys her status, her power, and has an appreciation for the finer things in life. She had a fondness for riding horses (and was criticized for not riding like a “lady” by her mother). Regina is opportunistic and uses what is available to her to achieve her goals. She needs the satchel from inside the Blind Witch’s home – so she kidnaps the woodcutter and tells his children that she’ll help them find their father if they retrieve it for her.

Inferior Introverted Thinking [Ti]: When Regina is younger, it is difficult for her to put her feelings aside. She doesn’t understand her mother’s wickedness and is incapable of being so detached. Regina doesn’t care about what’s logical or what puts her in the best position politically. She just want to be happy and in love. Once she begins to embrace her dark side, Regina becomes quite good at finding the most rational resolution to her problems. She can analyze most situations with ease, which allows her to pinpoint solutions, which are often creative. Regina often uses her various observations to terrorize the people around her. She’s good at noticing logical flaws and using them to her advantage in arguments (“I will not listen to childcare lectures from a man who put his daughter in a box and shipped her to Maine.”)

Note: Deciding between ENTJ and ENFJ for Regina is difficult. I could probably construct a valid argument for ENTJ, and it’s absolutely possible that I could change my mind on this down the road. If you strictly look at her behavior after becoming the Evil Queen, it’s easy to write her off as an ENTJ. I think enneagram plays a big part in this. She’s a 2, who spends a lot of time disintegrating to 8. I fully get the ENTJ arguments. She only tries to be good for Henry’s sake… because she cares about him and doesn’t want him to see her as “evil.” That sounds pretty Fi to me. She only throws herself into learning dark magic to bring Daniel back. She doesn’t learn for the sake of knowledge, she wants to put it to practical use, which is definitely associated with Te. However, if you look at her from before she gave into her darker urges, there was no trace of Te there. Bleh. I could have this argument with myself all day, and the ENFJ/ENTJ decision was one of the toughest I’ve had to make for a character. For now, I’m standing by ENFJ, but I reserve the right to switch positions on this in the future. I’ll have to watch again at some point and see if my decision holds up.

Enneagram: 2w3 6w5 8w9 So/Sx

Quotes:

Evil Queen: Oh, I haven’t come here to ruin anything. On the contrary, dear, I’ve come to give you a gift. Snow White: We want nothing from you. Evil Queen: But you shall have it! My gift to you is this happy, happy day. But tomorrow, my real work begins. You’ve made your vows, now I make mine. Soon, everything you love, everything all of you love, will be taken from you. Forever. And out of your suffering, will rise my victory. I shall destroy your happiness, if it is the last thing I do.

Evil Queen: Oh, don’t worry dear. In a few moments, you won’t remember you knew him, let alone loved him. Snow White: Why did you do this? Evil Queen: Because this is my happy ending. Evil Queen: The child? Guard: Gone. It was in the wardrobe, and then it was gone. It’s nowhere to be found. Evil Queen: Where is she? Snow White: She got away… You’re going to lose. I know that now. Good will always win. Evil Queen: We’ll see about that. Snow White: Where are we going? Evil Queen: Somewhere horrible. Absolutely horrible. A place where the only happy ending will be mine.

Evil Queen: The only comfort for me is Snow White’s suffering.

Evil Queen: Love is weakness, Maleficent. I thought you knew that? Maleficent: If you’re going to kill me, kill me! Evil Queen: Why would I do that? You’re my only friend.

Evil Queen: Who among us is tired of losing? That’s why I called you here. To put an end to our misery. Today, we claim victory and move to a new, better realm. A place where we can finally win. Blind Witch: And we’ll be happy? Evil Queen: I guarantee it. But first, I need something from you. A lock of hair from those with the darkest souls. You must trust me. Because if you don’t, there are other ways.

Evil Queen: I’m not sure I should say. I’m conflicted. Henry I: How bad is it? Maybe I can help. Evil Queen: I have to cut out the heart of the thing I love most. Henry I: Me? Evil Queen: Daddy, I don’t know what to do. Henry I: My dear, please. You don’t have to do this. Evil Queen: I have to do something. Henry I: Then move past this. I know this may sound self-serving, but you don’t need to enact the curse. Evil Queen: But I can’t keep living like this. What Snow did to me, what she took from me? It’s eating me alive, Daddy. Her very existence mocks me. She must be punished. Henry I: But, if the price is a hole that will never be filled, why do it? Stop worrying about Snow White and start over. We can have a new life. Evil Queen: But what kind of life? All I’ve worked for, all I’ve built, would be gone. My power will disappear. They already think I’m nothing. Henry I: Power is seductive. But so is love. You can have that again. Evil Queen: I just want to be happy. Henry I: You can be. Of this I’m sure. But I believe, given the chance, we can find happiness. Together. But the choice is yours. Evil Queen: I think you’re right. I can be happy… Just not here. [The Evil Queen kills her father.] Evil Queen: I’m sorry…

Snow White: Goodbye, father. Evil Queen: I’m so sorry, Snow. Snow White: I loved him so much. Evil Queen: So did I. The loss I feel for my husband must be nothing compared to the loss you feel for your father. (Snow sobs.) If there is anything I can do, please let me know. I may only be your mother trough marriage, but I’m here for you dear. Truly and forever.

Tinker Bell: Why did you lie?! Because I’ve been over it a million times, and that spell worked! You never went in. It’s the only explanation. Why couldn’t you just go through that door and meet your soul mate?! Was being happy such a terrible fate? Regina: Yes. Yes, it was. You’re right. I never went in. I was afraid. I didn’t… You said I could let go of the anger that was weighing me down. And suddenly, it feel like without it, I would just… float away. That anger was all I had. What would I be without it? Tinker Bell: Happy. Regina: Weak. Tinker Bell: And look what good it did you. That “strength” you gained, ’cause I’m holding your heart in my hand, and I’m not hearing one reason not to squeeze it into ash. All right, you want a reason? Here you go. You think I was afraid? You think I did the wrong thing? Well, fairy, right now you’re making the same choice. I picked revenge over hope, and you’re holding the result. A small, hard, dark heart. If you make the same choice I did, then what you’re looking at is your own future.

Regina: I’m saying we can’t just send Marion into an unknown world. Someone has to go with her – you and Roland. And once you do go… you can never come back.

Regina: Maybe you should be less concerned with hats, and more concerned with taking care of my son. David: Oh, because you took such great care of him. Regina: I will not listen to childcare lectures from a man who put his daughter in a box and shipped her to Maine.

Regina: Daddy, you don’t know what Mother’s doing to me. It’s like she’s turning me into her. I have to get away. Henry: Get away? But tomorrow’s the wedding, child. Regina: I don’t want to marry the king. I’ve told you that. Henry: Are you certain it isn’t just cold feet? Regina: Daddy, this is not cold feet. This, this is… this is insanity! I’m angry all the time. She’s making me crazy. Henry: She wants to give you everything she never got for herself. Regina: I don’t want her life! I want a life of my own.

Regina: You know what else isn’t in your best interest? Having everyone know the Enchanted Forest still exists. Knowing that you and I are keeping that little secret. You’re up to something. And it doesn’t involve going back home.

Evil Queen: You carry very little. Belle: I don’t want to be slowed down. Evil Queen: Mm. You’re running from someone. The question is, master or lover? Oh. Master and lover. Belle: I might take a rest. You—you go on ahead. Evil Queen: So, if I’m right, you love your employer, but you’re leaving him. Belle: I might love him. I mean, I could, except… something evil has taken root in him. Evil Queen: Sounds like a curse to me, and all curses can be broken. A kiss born of true love would do it. (Belle stops. The Queen laughs and they continue walking.) Oh, child, no. I would never suggest a young woman to kiss a man who held her captive. What kind of message is that? Belle: Right. Evil Queen: Besides, if he loves you, he would’ve let you go. And if he doesn’t love you, well then, the kiss won’t even. Belle: Well, he did let me go. Evil Queen: Yes, but no kiss happened. Belle: And a kiss—a kiss is enough? He’d be a man again? Evil Queen: An ordinary man. True love’s kiss will break any curse.

Regina: You knew the King was travelling through our land, didn’t you? That steed with Snow on it… didn’t go wild on its own. Did it? Cora:: I have no idea what you’re saying. [Regina just smiles knowingly and walks off] Regina: [under her breath] I should’ve let her die on that horse!

Regina: The trial starts tomorrow, and it won’t be a long one. And you’ll be sent out of Storybrooke for good, and I will never have to see you again. Oh, I want to enjoy this while I still can.

Regina: What good’s a new life if you don’t have anyone to share it with?

Regina: You can have all the friends you want come over anytime, and you can show them everything in your book. Henry Mills: No one’s gonna want to come over here. They’re scared of you. Regina: You can make them not be scared. You can make them love you. Henry Mills: I don’t want that. I don’t want to be you.

Regina: I don’t know how to love very well. I wasn’t capable of it for a very long time. But I know, I remember… that if you hold on to someone too hard, that doesn’t make them love you. I’m sorry I lied to you, that I made you feel like I didn’t know who you are. But I want you to be here because you want to be here, not because I forced you. And not because of magic. I want to redeem myself.

[Regina has detected a black spot in Mary Margaret’s heart] Regina: Once you blacken your heart, it only grows darker… and darker. Trust me, I know. Mary Margaret: So crush it. Do it! Crush it! Get it over with. Regina: And put you out of your misery? I don’t need to destroy you, you’re doing it to yourself. And along the way, you’ll bring down that perfect little family you fought so hard to reunite. And then Henry will be mine. Mary Margaret: [in tears] Please kill me. Please, just kill me. Regina: You see, I can have everything… [she puts Mary Margaret’s heart back in place] Thanks to you. Now get off my porch!

Neal: Even if we can find Pan, he was powerful before. With Henry’s heart, I-I don’t know if we can hurt him. Regina: Yes, we can. Look. [she points at the bloody sword in Emma’s hand] You nicked him. If he can bleed, we can hurt him. And if we can hurt him, we can kill him. And we will.

Regina: I could’ve killed her, but I didn’t. Mr. Gold: Yeah, you did much worse than that. You kept her alive, so you could kill her when it suited you – a fate worse than death.

Regina: A good witch covers her tracks, but a better one can uncover them.

Regina: Slowing the device… It’s going to require all of the strength I have. Emma: You’re not coming with us, are you? When you said good-bye to Henry, you were… saying good-bye. Regina: He knows I love him, doesn’t he? Emma: Regina, no. There has gotta be another way! Regina: You were right, you know. Everything that’s happening, it’s my fault. I created this device. It’s only fitting that it takes my life. Emma: What am I supposed to tell Henry? Regina: Tell him that in the end, it wasn’t too late for me to do the right thing. Emma: Regina, please… Regina: Everyone looks at me as the Evil Queen, including my son. Let me die as Regina. [Emma begins to exit, but then turns around for one final plea.] Emma: Regina— [Regina ignores her, and has already begun slowing the trigger.]

Regina: What are you doing here? Henry Mills: You were willing to die to save us. That makes you a hero. And now we’re gonna be heroes.

Regina: All this has reminded me of something oh so very important: how grateful I am to have Henry. Because not having someone… well… that’s the worst curse imaginable.

Regina Mills/The Evil Queen (Once Upon a Time): ENFJ was originally published on MBTI Zone