#ouat analysis

[crime-wives]

when emma’s hurt by something, she pushes it down and away and pretends until she can’t anymore. she bends and bends and sometimes she can steady herself, pull herself back from the precipice. until she breaks, and all the hurt springs back and she’s an open wound. a lost girl who’s always running, always afraid. emma fears her pain will make her unlovable. that the people she loves will leave if they realize the breadth of the wounds she carries. emma is bruised knuckles and hard, lonely eyes and an indescribable ache.

regina is more obvious in her hurt. she’s angry. a storm. she wields her pain as a weapon. she is not afraid to be seen in her intensity. often, it’s a mask to cover to the grief she feels. her life has been a series of losses strung together with only her as a constant. love is often the source of her pain. she feels so much hurt because she has the capacity for so much love. beyond the anger is so much self loathing and hatred. anger is the easier of the two. she is rage and she is destruction, and if she can’t find someone to destroy, she destroys herself.

emma grew up angry, regina grew up sad. they both became what they needed to survive.

[killianxswan]

ouat writers really could not have been more serious about the crystal used in robin's sacrifice. they made it very clear that the victim will be dead. gone. obliterated. forever.

meanwhile killian defies all odds, walks out of hell, meets the god of all gods who is a certified captain swan shipmate™️, and is home in time for the post funeral pot luck at granny's.

[it-happened-once-in-a-meme]

Does Once Upon a Time Like Women? (Pros and Cons)

a response to @does-it-like-women's poll

The show likes women:

•in the way that it writes them as complex people (some of my favorite female characters, who I think are just as well-written as the men) and doesn't just make them a man's backstory (instead people like Regina or Ruby are the ones whose losses of partners influenced their stories) 👍

•Instead they get important storylines not centered around men (even Belle, whose presence is very entertwined with Rumplestiltstkin's, has an episode in which she saves the day far away from him)

•Their strengh and weekness is diverse: physical, social, knowledge or logic based, etc. 👌

•The female villains are allowed to do horrible things and be taken seriously instead of being reduced to mere bad girls innocent enough that all the male viewers don't feel threatened by them. 😈

The show dislikes them:

•when it comes to depicting not conventionally attractive ones (I have yet to see a recurring character on the show who isn't 👀)

•when it comes to highlighting the wrongness of something that happened to them or even romanticing it, for example not talking about the fact that Emma was a minor when she got together with adult Neal (nevermind that she was 18 when she gave birth)

•in the case of Belle: she can be an amazing intelligent character but her lines often seem more repetitive than those of others, often when she's currently together with Rumple

In total, Once Upon a Time sees women as people, acknowledging their complexities and giving them the screen time they deserve. It could've been more aware of some problematic things but at the end of the day it's one of my favorite shows, and I think that's partly due to the many wonderful female characters in it 🥰

Let me know your what you think :)

[themeepyfreak]

Rumple: Baelfire...

Neal: It's Neal!

At this point, of course Neal doesn't want to be Baelfire. To Neal, the name "Baelfire" has always been associated with misery and suffering. He was abandoned by his mother, father, and step-father (Hook) as Baelfire. As Baelfire, he was tortured for centuries in Neverland and never got his happy ending. It wasn't until he called himself Neal that he met Emma (the love of his life) and had 10 years of normality without the dangers of magic.

His staunch denial of the name "Baelfire" was another way for Neal to deny his past. For his entire life, Neal has been forced to move on from one trauma to another. He never allowed himself any time to grieve, evidenced by how fast he got over Tamara. While this may have helped Neal survive, this wasn't healthy in the long run.

Therefore, I always thought that this moment was foreshadowing future character development for Neal. I thought the show was going to force Neal to confront magic and his related trauma that he pushed aside, maybe through Emma's uncontrolled magic in s4. Only after some soulsearching will Neal finally accept not only magic but also acknowledge how much it hurt him as Baelfire. Only after some soulsearching will Neal finally get over his trauma and allow his father to call him Baelfire again without any resistance.

[swanqueensalad]

i’m not sure if you’ve already done something similar but i was wondering if you had any hc for regina’s relationship with clothes? i just feel like there’s so much to dig into with all her mother’s bullshit and how she was raised to value appearances, how performative a lot of her outfits were as the evil queen, the shift in how she dresses after the curse breaks, her and emma’s opposite approaches to how they dress themselves. idk i just feel like if anybody else would also have thoughts on this, it would be you

anon i am literally in love with you for sending me this ask. honestly why have i never done a post on this before!!! this is SO interesting to me!! clothing is definitely a hugely important part of regina's character and journey over the course of the show.

PSA: this turned into a literal play by play biography of regina's life through clothing. ur welcome. also this is totally unedited, we die like men

I think clothing means a lot of different things to Regina. I think she both revels in and resents the glitz and glamour, uses it as her shield, weaponry and armour but also it can be very vulnerable for her... it's a lot

and I agree that, unfortunately like many things with Regina, we have to start by tracking back to her childhood and how Cora raised her

Regina is a young noblewoman in the enchanted forest, and much of her 'value' to her family would lie in making an advantageous marriage. Layer on top of that Cora's absolute single minded determination for success, social climbing and for Regina to become queen one day and you just KNOW appearances were a huge deal when Regina was growing up (we see this threaded through canon too, in Cora magically changing Regina's clothes/hair/makeup for her)

to Cora, Regina's beauty was always a valuable tool she could use, but her brutal ambition would have led to absolute perfectionism.

After all, sweetheart, queens have to be perfect.

I think even when Regina was a very young child, a huge amount of weight was put onto her clothing and how she was presented.

I can imagine Cora choosing elaborate outfits for her infant daughter, dressing her up like a doll and making sure the ribbons in her hair matched exactly, being absolutely critical of everything to ensure her child was the best dressed, the most perfect

And I think this hugely impacted Regina's childhood. Cora would have allowed Regina very little freedom, partially because she was conditioning her to behave like a queen (or just like an obedient pawn for her to do whatever she wanted with) but also partially because Regina literally could not risk getting messy or dirty.

Image is everything, darling.

As child, Regina couldn't really play because she would ruin her dress, or her hair, or scuff her shoes. She had no choice but to occupy herself with the 'proper' pursuits that her mother approved of, because she physically couldn't do anything else. No running, tree climbing, flower picking etc for tiny Regina. Lots of sitting quietly and looking pretty, even as a child.

I can definitely see Cora showing Regina off from an early age, dressing her up like a doll, inviting other noblewomen for tea and dressing Regina better than any of their children, making her sit nicely and quietly.

If Regina were to be 'bad' and accidently dirty her dresses, mess up her hair etc. I think Cora would definitely punish her quite severely. because from day one, Cora was drilling into Regina that her appearance was one of the most valuable and worthwhile things about her. Queens have to be perfect.

And of course, little Regina doesn't want to be a queen, she just wants to go play in the meadow with the other children, but she wants to be a good girl more than anything, because mother hurts her when she's not.

As Regina grows older, I think Cora becomes far more critical of her appearance. A doll like, cute child is far easier to keep 'perfect' than an adolescent girl, and it's also all a huge control tactic for Cora to keep Regina affection starved and desperate to please her. So there would be backhanded comments, the constant pressure to be more beautiful. The feeling started to grow in Regina that she was pretty, just not pretty enough, never enough.

Ik I've talked about this before here (TW for EDs) but I headcanon Cora as absolutely fucking up a young Regina's body image and relationship with food too, controlling/restricting her diet. So I can imagine that dress fittings became a source of enormous stress and pain for an adolescent and teenage Regina.

In the enchanted forest, as a noble, all of Regina's clothes were likely hand made from expensive fabrics. Cora would spare no expense for making her daughter the most fashionable, beautiful, ideal young lady. So there was enormous pressure on Regina to 'wear the clothes well' and to keep them pristine. But these fittings would have been hell, because Cora definitely was stood in the corner, never ever asking Regina's opinions or how she feels in the clothes, but only ever criticizing the fit, asking if her corset could be laced tighter, and despairing over tiny mistakes.

Despite all this though, I do think a young Regina enjoyed clothing and fashion in a way. As much as her mother made it absolute hell, Regina really did like the few dresses she was allowed to have a say in and I think she always liked pretty things, she just wished she was allowed to like them on her own terms.

I think the white dress we see her wearing in a lot of her early EF flashbacks was one of her favourites because it's pretty but also simple and comfortable, something she would have chosen herself and just luckily happened to be considered suitable by her mother.

I've written about it in this fic but I also think Cora would have been actively sexualising Regina from a young age, trying to make her as appealing to suitors and other noblemen as possible to get more power and advantage. This would make Regina very uncomfortable, and I think at this point she really resented all this elaborate clothing and heavy jewelry.

There's also something really interesting in canon ouat costume design I want to discuss because I've never seen it discussed before: in 2x015 The Queen Is Dead, we get a glimpse of the fashions in Leopold's kingdom around the time Regina and Snow were about to meet for the first time. We see Queen Eva, clearly an empowered adult woman, wearing a tightly fitting deep red dress covered in jewels. Meanwhile the ten (ish?) year old Snow White wears a more appropriately girlish frock with puffy sleeves, a simple bodice and full skirts. Around this time, we mostly see Regina dressed in the latter style, implying she is still being dressed and presented more as a young lady/maiden than an adult. The blue dress Cora puts her in to meet King Leopold is a very similar design to Snow's, with full sleeves and skirt; her riding coats are also loose and puffy sleveed; the dress she wears at dinner when married to Leopold is full sleeved and skirted too; the white dress we see her in several times is the exception, but looser still than Eva's style.

I believe the earliest we see Regina in that adult style dress is in Fruit of the Poisonous Tree, when she's years into her marriage and about to kill her husband and seize power. This is a moment of empowerment for her shown through costume, and a clear shift she's gone from girl to woman, which is actually disgusting considering this is at the end of her marriage to the elderly king.

My point here is that I think throughout her marriage the world still saw Regina as a child to a degree, a poor replacement for Eva, and Regina was still very much a young woman, who did not feel any older or freer. Her marriage kept her trapped and unempowered, just like her mother had.

She always had to be beautiful and perfect, and this pressure was amped up even more as queen. I can see a newly married Regina trying so hard in the first few years to always be perfect, constructing elaborate outfits, hair and makeup just like Cora taught her, to try and be good enough for Leopold, to make him more kind to her, to make anyone at court notice her at all, but it never works. She is still only ever objectified or sidelined or both.

When she begins training with Rumple, we start to see Regina developing a new sense of style: she begins wearing darker colours, to mimic her mentor in a way. I think this is very indicative of her mental state, how easily influenced she was, how much she wanted to latch onto this one source of potential hope and power in her life.

But this was of course a transitional period, and I do think it's interesting that we see her in 1x11, seducing Sidney and killing her husband finally wearing one of the long, tight, elegant 'adult' dresses Eva wore as queen. This is when Regina really steps into her own power.

Once again to refer briefly to the same fic I think in the few years leading up to this (remember, as I love to remind everyone, her entire horrific marriage was probably around 8 years at least), Regina began to learn more of her seduction politics, and started to understand how she could manipulate the way men behaved towards her. She started to fully understand what her mother meant, how to choose a dress for the right situation, how to choose a neckline, a lipstick shade, a way of walking and talking.

I think this took her a while to stop feeling disgusted by. At some point, the rush of even this tiny way of grabbing power was exhilarating, long overdue. At some point, that stopped making her skin crawl.

Starting to wear darker colours was I think a way of rebelling against her past self. I really think throughout her reign as the 'evil queen', Regina had to loathe her younger, innocent self because that was the version of her that got hurt, used, raped, manipulated, brokenhearted. It was easier to hate that version of herself, to blame herself for being weak and stupid (Mother's voice in her head, always) than to fully feel the pain she was still in. So the pastels and whites of her youth were completely gone. She buried them, and the girl who loved them, as far as she could.

It also seems like pastels were commonplace in the Enchanted Forest based on every extra in every ballroom scene ever, and at this point Regina was so reliant on her attractiveness as a form of power that wearing dark colours and deep jewel tones was a way to ensure she always stood out, always caught the eye.

As her reign grew, I think the Evil Queen costumes grew more and more extravagant as a show of wealth and power to dazzle the commoners and intimidate all the nobles. Regina was showing them with her style choices that she was in a league of her own. And the more she leaned into it, the glitz and glamour, all the diamonds and makeup, the things she hated as a young girl, the safer she feels. The more hidden. The more superhuman.

The Evil Queen was a physical symbol as well as an idea of who Regina was. I think of it almost like how celebrities have public persona, sexualised and stylised, instantly recognisable and fastidiously designed. I think this made Regina, a physically small woman, much smaller than all the other older, male leaders and rulers, feel protected, confident and powerful.

(I think it's also a defense against the fact that as a very young girl Regina was sexualised by her own mother for a much older man, for his whole court I suppose. Regina has always been taught, through her mother's words and actions, that her beauty and attractiveness correlate to her worth, power and usefulness. And now she sort of enacts that on herself to keep herself safe. Because they can't sexualise her if she's sexualised herself first, they can't be using her if she's letting them and using their lust for her to her own ends. Her beauty keeps her safe. Queens have to be perfect, Regina.)

When we get to Storybrooke, I think it translates somewhat. In this world, political figures are the power symbols, and unfortunately in this world too, female politicians are more successful if they are polished and beautiful. Or so Regina would see it.

Queens have to be perfect, sweetheart.

She upkeeps the Evil Queen thing where she has a recognisable image, this polished perfect professional thing. Though this world is on a much smaller scale, Regina's mindset is not at all. She would never be seen out of the house without a perfect face of makeup, without perfectly done hair, manicured nails, the right outfit, the right shoes. Because queens have to be perfect. You can't show them a single crack in your armour.

It isn't all a chore though. I think Regina really does enjoy her own style, especially in Storybrooke as it is so different to anything Cora or Leopold would have had her wearing, and because it's part of a world she made for herself, there's more of a sense of independence and ownership of her own style. I think she has a really nice sense of routine in doing her makeup and hair, which is good for her too.

But still in Storybrooke, we see Regina using her attractiveness, using seduction as a often reached for tool in her arsenal.

And on the other hand we have Emma.

Now, this is a Regina post but the ask did specify and I do find it interesting and want to discuss, so I'll give a much briefer overview of my headcanons about Emma and her style.

Off the bat I'll say I consider 'Emma's style' as season 1 and 2 Emma. (I'm not going to analyse the straight-girl-style-ification of Emma Swan in the later seasons bc that's another story and also just Bad storytelling imo)

Skinny jeans, boots, tanks, plaid, leather jackets, beanies, baseball shirts. She's mostly casual, can be a bit edgy, a bit lesbian swagger, a bit teenage boy (at times). Sometimes she does a winged liner, sometimes nothing. And she dresses with nothing else in mind but what makes her feel confident and cool and herself.

Because Emma as a kid never really had the freedom to pick her own clothes. The homes got a lot of donations, and sometimes there were cool things she could grab a hold of if she managed to beat the older kids to it, but a lot of the time she was just in whatever hand me downs she could get. Not ideal for a young queer girl trying to work out her identity.

So when she started to establish a life for herself, the first time she buys her red leather jacket etc, these moments are really meaningful to Emma because it's more about being able to own her sense of self and stand on her own two feet in a stable way rather than just being about the clothes.

Which is so beautiful, because it just goes to show that once again Regina and Emma are complimentary opposites. Clothes were never important in Emma's life, so when she gets the chance, she just likes being able to wear whatever the fuck she wants, to never really worry about it, and to feel good. To Regina, clothes were always enormously important and so a great deal of thought and preparation goes into everything she wears.

I think it is interesting the way they interact in this case, because they are so different, and they both find the other one so hot, and I think they also both admire how different it is for the other.

Regina in denial would definitely consider Emma's casualness to be improper and lazy, but deep down, and eventually openly once they grow closer, she knows she admires her freedom and fearlessness.

Meanwhile Emma thinks Regina is the hottest woman on the planet (she's right) and appreciates how perfectly her gf puts outfits together, how good her makeup and skincare collection is.

But Emma can also see the other side of it for Regina too, is one of the few people (perhaps because of her own history with clothes) who can see the strain there. The control and obsession with her own appearance, the perfectionism.

And I think Emma is really good for her in that sense. Emma's own freedom and confidence is a good influence. Because gradually, as they get together and their relationship develops, Regina is able to let down a little more of that mask, bit by bit.

Letting Emma see her with wet hair, her natural curls straight out of the shower. Or in her robe with no makeup on in the mornings. And as they build their life together, Regina finds this immense relief in having someone who sees all of her in every state.

It's not as scary as it once seemed.

And Emma thinks Regina is just as beautiful in leggings and fresh faced as she is with makeup and an expensive dress. (Once again, she is right). This is groundbreaking to Regina, this idea that she can be loved and valued without upkeeping her definition of 'perfection'. That she could be enough as she is, for Emma.

That she is enough, as she is.

And of course, she doesn't always believe that. How can she, after the life she has lived? But she's working on it, and when these feelings of immense vulnerability and insecurity in herself arise, she is able to voice them to Emma (sometimes with a bit of struggle) and Emma holds space for her, listens without judgement, calls Cora a dumb bitch (sometimes) and assures Regina that she is the most beautiful person Emma's ever seen, but that her beauty is not why she fell in love with her, and it's not what makes her worthy.

And slowly, I think Regina starts to get back to finding more joy in fashion. More appreciation, in the way her younger self always wanted.

[fandom-fae]

i just realized something-

my current most favorite characters are pan from ouat and misa amane and like. they fit so well actually bc misa is actually very similarly loyal to light as felix is to pan, but the difference between pan and light is that pan actually appreciated and valued felix’s loyalty and like yeah felix’s loyalty to pan was his downfall directly, and misa’s loyalty to light was only indirectly her downfall but still.

like i’ve often thought that misa and pan would get along well but this realization opened a whole new can of worms tbh

and another thing- we don’t canonically know the reason why felix is so loyal to pan, but i’ve often seen the reason being headcanoned as pan having “saved” felix from a worse fate/life he had before neverland and this is such a good parallel as well to misa and light bc misa also views light as her savior because he killed her family’s killer

and then there’s the aspect of self-sacrifice from both misa and felix. misa’s is definitely giving up part of her lifespan in making the eye deal for light and felix’s is getting captured and then quite literally losing his heart to pan.

like felix and misa have so many similarities. it makes so so so much sense that i always ahd that feeling that she’d get along well with pan bc she is so similar to the literal person pan loves most in the world.

however, now that i’m thinking about it- misa could *not* fill felix’s role in pan’s story. she is very loyal and could be equally devoted to pan, and she would want to be useful- but where felix does exactly as told and never disagrees and doesn’t seem to expect anything in return, misa very much does demand things in return- for her it’s always been pretty transactional with light, like she will be loyal to him and let him use her as a pawn, but only if he pretends to be the boyfriend she wants. and then even outside of that, misa is a much more active person- even if she was shelved in some parts of the story, there were quite a few times when she took initiative and acted on her own to influence the plot. felix’s actions are not that independent; there are a few things that could be argued to be his choices, but i doubt that they weren’t influenced by pan at all. everything felix does always directly ties in to pan’s plans, he doesn’t disrupt them like misa disrupts light’s plans when she feels like it.

and then on top of that, felix and light would not mesh well at all. light is too cold for felix to project such savior thoughts onto him and light probably would not want another person to be so heavily devoted to him (he already didn’t want misa). however, light might’ve liked felix more than misa- felix didn’t ask for anything in return for his loyalty and he didn’t go out and do things he wasn’t “supposed to” ever. in that regard, felix reminds me more of mikami- but mikami wasn’t really loyal to light, he was loyal to kira (who just so happened to be light. if you know what i mean-) and also mikami still didn’t do everything as light wanted. felix never so much as even questioned pan, never had a shred of doubt. mikami did doubt kira and that’s (imo) a big part of why they failed (ofc i’m not trying to discredit near here, if it hadn’t been for him and mello, light couldn’t have been stopped)

anyway. another difference between light and pan: light was after his idealistic goals, pan was after immortality and power; yet it was light who had a god complex, not pan, even though pan’s goals are frankly much more like trying to become a god- especially since gods in ouat are exactly that: basically immortal and very powerful.

and then light was always so cynical and critical of everything and everyone around him (with very few exceptions like sayu), meanwhile pan was mostly just having fun and messing with people both just bc he can and to literally move his own plan forward.

they both strategized a lot and imo seeing a mind game between light and pan would’ve been incredibly interesting- even if light would’ve lost very quickly for many reasons (like obviously, pan has an advantage because he has magical powers and pan is very good at taunting people and pushing their buttons and light tends to make more mistakes when he's angry or getting cocky when someone challenges him).

also another aspect actually- light is at the start of death note just a high schooler, he's 17 and yet he always feels like he's above everyone around him and like he's smarter and more wise and stuff- meanwhile pan is hundreds of years old and used to be very well into adulthood before he came to neverland and became pan and embraced youth- he actually was older and did actually have more experience than most of the people he was up against- technically all of them since he’s obviously also older than rumple, but rumple and neal and hook were at least in a similar age range, but pan never actually showed any feelings of superiority because of that. he did get cocky and overconfident sometimes, just like light, but it was never about his age. isn’t that such an interesting parallel? the teen who feels more wise than everyone around him and the centuries old trickster who doesn’t even really acknowledge that his experience could be an advantage

and one last thing. their downfalls: light’s makes sense and it was because he was outsmarted in combination with one of his pawns making a mistake - pan’s was out of character because he was previously shown as much more capable than he suddenly acted whenever the heroes got the upper hand. (i’ll write a post on that soon, maybe on my sideblog but i’ll link it here when/if i do)

anyway i don’t know why i’m comparing characters from completely different franchises and genres with each other but yeah i’m done for now

[jackiestarsister]

OUAT Rewatch: Season 2

Possible spoilers for future seasons are noted in parentheses.

Episode 2x01 “Broken”

~ The first time I saw this episode, I did not realize that the opening scene was part of it, because it starts in such an ordinary, mundane setting outside of Storybrooke or the Enchanted Forest. It is only when the bird shows up with the Storybrooke postcard that it becomes clear that this is that story.

~ I’m quite confused about the timeline of Maleficent and Aurora’s relationship, given what they say about each other and what is shown in later seasons.

~ Although a tearful reunion might have been expected, Emma’s reaction to her parents makes complete sense. It’s weird and awkward because she has been carrying mixed feelings about her parents her whole life, and they’ve turned out to people she has already spent time with, and even considered friends/family.

~ Snow/Mary Margaret is right that they have lot to talk about, but she could have at least waited until they were alone before trying to initiate that catching-up conversation.

~ Dr. Frankenstein being the one to lead an angry mob is quite ironic!

~ Why/how does Gold have a selection of women’s clothing in his shop? Does he sell secondhand clothes too? That’s a funny scenario to imagine, if people come to his shop like it’s a boutique!

~ Mary Margaret improvising a blowtorch = badass!

~ Why does Regina play ignorant when Jefferson is mentioned?

~ How/when did Gold learn that the wraith was gone and Regina survived? Did anyone tell him?

~ Mary Margaret did the opposite of Gold when her child was being sucked into a portal to another world. He clung to the world he was comfortable in, whereas she leapt in to follow her daughter into the unknown.

~ While it is sad to see them separated from Emma and Snow/Mary Margaret, it is really nice to see David and Henry finally spend time together during this half of the season.

~ This episode is pretty confusing as far as the flashbacks/flashforwards go. Did the Land Without Magic storyline happen before the Enchanted Forest storyline?

Episode 2x02 “We Are Both”

~ Considering Emma and Snow/Mary Margaret have been kind of the main protagonists of the first season, it’s interesting to see an episode where they are absent for the most part.

~ Flashback Regina has a tree-shaped pendant, probably an homage to her apple trees!

~ Gold says that portals are outside his purview, but he knew how to get his hands on the looking-glass in this episode.

~ Gold uses “love” as a term of endearment before Hook ever does!

~ It looks like Henry has been prepared for a quick getaway for a while; or maybe he used the same method to sneak out on past occasions.

~ The cycle of a child becoming like the parent they hate is on full display in this episode. Regina stops Henry from running away the same way Cora stopped her from running away.

~ It’s amusing to see Sebastian Stan and Josh Dallas in scenes together, knowing they play very different types of characters in their respective Marvel movies!

~ I wonder what David would have done if he knew what Jefferson did to Mary Margaret and Emma last season.

~ I hope Ruby or some other townsperson eventually told Snow/Mary Margaret about David’s speech. She would have been so proud!

~ Where did Emma leave David’s sword after fighting Maleficent, and how did he get it back?

~ David and Henry sipping their drinks in unison is adorable, and the shot of them sitting together at the counter looks like Norman Rockwell's painting "The Runaway"!

~ Introducing present-day Cora at the end after seeing all the flashbacks is excellent. The audience spends the episode thinking that the flashback storyline was simply illustrating Regina’s past, but it was actually setting up for the future.

~ This is the first of three episodes that shows one of the main characters fighting a villain in the past, and then revealing that villain as a present contender at the end of the episode. First it’s Cora, then King George, then Hook.

Episode 2x03 “Lady of the Lake”

~ Parent-child relationships are a focal point of this show, but this episode really zones in on mothers: Snow most of all, as she gets to act as a mother to Emma for the first time; Ruth, as she meets her daughter-in-law and sacrifices for her family’s future; and Cora as she plots to reunite with her daughter.

~ Cora uses an apple idiom to describe Regina! It’s such an ordinary phrase, it’s easy to miss, but with Regina’s connection to apples, it is kind of hilarious!

~ King George using a potion to sterilize an enemy is really horrendous.

~ It’s beautiful to see that Ruth and Snow had a meaningful and positive relationship despite only having a short time to be together. Unlike in many other meet-the-parents stories, they love and respect each other right away. That really only makes sense given that one of them raised David and the other fell in love with him.

~ It’s amusing to see Snow White and Princess Aurora, two classic Disney princesses, fighting hand to hand!

~ Did the group camp for the night as they originally said they would, or did they press on to reach the castle that night?

~ Henry is kind of like Emma in this episode: he has been so used to operating alone that he continues to do so when he wants to check out Regina’s vault.

~ This is the first time Henry reveals the more selfish desire underlying his original goal of getting Emma to break the curse: he wants to be part of the fairy-tale world and be a hero.

~ A possible clue to my question about the other worlds’ religions: most of the Enchanted Forest characters say “gods” as an interjection, but Lancelot refers to “God in His mercy.” Of course, it would make sense for Camelot to be a Christian land, since the Knights of the Round Table famously seek the Holy Grail, which Lancelot alludes to during the wedding ceremony.

~ I hope Snow tells Emma at some point about how she’s indebted to Ruth and Lancelot for her life.

~ Snow and Charming’s music motif sounds so sad as Snow leaves the nursery!

~ Cora does what Rumplestiltskin does, bottling ingredients for magic to use in the future.

~ The final scene uses the same cinematography device twice, having a character watch other characters interact from a distance while sitting in a car.

~ Henry moves as though he has already done some sword-fighting!

Episode 2x04 “The Crocodile”

~ This may be the first episode in which Emma, Snow, and/or Regina are completely absent.

~ Evidence of Milah’s drawing ability can be seen throughout the episode. When Rumplestiltskin enters his family’s home, a drawing of a desert island can be seen pinned on a wooden beam. When they return, a sheaf of them can be seen on a table. It seems Milah had been daydreaming about her getaway for a while. (I initially wondered if she drew them, or if her pirate friends drew them for her.) Finally, near the end, a portrait of Baelfire is shown.

~ Killian Jones (not yet Hook)’s first scene is wonderfully understated. If you’re not actively looking for and watching him, he could be overlooked as an ordinary crowd extra; he only has a couple lines and doesn’t get any closeups.

~ Is Rumple trying to nurse Milah’s hangover when they talk at home? That would explain why she’s in bed and he’s making her a warm drink.

~ The way Milah talks, it sounds like she was thinking she, Rumple, and Baelfire could travel with the pirates, or at least get passage to another place to live. I wonder if Killian would have let Rumple and Baelfire come with her if she’d asked?

~ Prince Charming mining with the dwarves seems oddly fitting, like a rite of passage for him to be part of Snow’s adoptive family. But is his pickaxe magical like the dwarves'?

~ Ruby/Red Riding Hood bringing them meals is just perfect!

~ Rumple does the same thing in both storylines of this episode: he is looking for his love interest, who he thinks is in danger from another man, not knowing whether she left voluntarily or was kidnapped.

~ “A man unwilling to fight for what he wants deserves what he gets.” That’s almost like Killian’s thesis statement, a motto that he lives by. He fights hard for what he wants, whether it’s revenge or love. (Spoiler: I wonder if his thoughts on this change over the course of the series, as he ends up being a recipient of grace, receiving much better than he deserves.)

~ Killian’s devil-may-care attitude vanishes when he recognizes Rumple. He becomes dead serious when he realizes the danger he is in, and he tries to protect Milah by saying she died.

~ David and Gold’s conversation doesn’t make much sense, because David and Mary Margaret’s relationship didn’t work in Storybrooke. Rumple should have asked how Charming and Snow made it work.

~ Rumple foreshadows what he’ll later do to Milah when he says he wants Killian to feel as helpless as Rumple did when Killian took Milah.

~ Rumple seems to project his own regrets onto Milah: they both abandoned Baelfire in a sense.

~ Milah and Belle are very different in that Milah puts her own desires first and Belle puts others’ needs first. But they have one thing in common: they both want to see the world and have adventures. It seems odd, but could be a sign of learning, that Rumple does something to grant this wish for Belle by giving her the library.

~ Killian is shown to be a true scoundrel, given the way he treats Rumple; but his self-defining moments in the final scenes, as he becomes Captain Hook, are just awesome!

Episode 2x05 “The Doctor”

~ Although the present-day Enchanted Forest storyline doesn’t relate much to the rest of the episode, the first scene helps to establish the horror-genre tone.

~ (Spoiler:) Emma is the one who finds Hook! I guess finding people is still what she does, but it’s also fun foreshadowing if you know how things go for them later in the show!

~ Rumple really is like Palpatine and Snoke, urging his “apprentice” Regina to go further down the path of darkness on the pretense of training.

~ “So long as you live in your past, you’ll never find your future.” Not the most original line, but significant in a show that’s all about time and the relationship between past and future.

~ (Spoiler:) It’s not surprising that it takes Emma such a long time to trust Hook, considering their first-ever conversation was full of him lying, and even lying about not lying. Also, he talks about survival from the very beginning!

~ I’m surprised that Cora amassed so many hearts even before she became a queen. What reputation did she have before Regina sent her to Wonderland? Did people outside her family know about her and her abilities? I’m guessing those hearts were of people still living, since they were still pulsing, which would mean that she had a lot of people under her control.

~ If Jefferson had seen Cora’s heart collection, did he know, when he ended up in Wonderland, that she was the Queen of Hearts?

~ Rumplestiltskin, Dr. Frankenstein, and the Mad Hatter: three different varieties of insanity. They only share the screen for one scene, but I would have loved to see more!

Episode 2x06 “Tallahassee”

~ This is the first episode with flashbacks taking place in the Land Without Magic, and the first to show part of Emma’s past.

~ (Spoiler:) The way Neal first speaks to and looks at Emma kind of sounds and looks the way Hook would. I wonder how much of Hook’s personality or mannerisms might have rubbed off on Neal during their time together.

~ Emma basically does the same thing in both past and present timelines: trying to steal something with her love interest. Given how things went with Neal, it’s no wonder she doesn’t want to give Hook the chance to betray her.

~ Emma and Hook have to dress/equip each other before climbing up the beanstalk! He gives her jewelry/armor, and she gives him his prosthetic/weapon. Kind of intimate if you think about it.

~ The name “Henry” is visible among the keychains when Neal is talking to the cashier!

~ Neal likes the Apollo candy bars, just like Henry!

~ Bad dreams are discussed in both timelines: Emma teaches Neal about dreamcatchers, and Snow tells Aurora about David lighting a candle.

~ “You’d make a hell of a pirate.” Hook is more right than he knows: Emma kind of was a pirate in her old life.

~ Emma’s jacket in the flashbacks looks sort of like Snow’s old outfits.

~ It’s interesting to see Snow acting as a mother to Aurora since Emma is reluctant to let her fill that role for her.

~ How can August say that Neal was just “caught in the crossfire”? Does he think it mere coincidence that he and Emma met?

~ When August came to Storybrooke and found out Emma had a son, he must have known that it was Neal’s. So August knew, before anyone else did, that Baelfire, son of Rumplestiltskin, was Henry’s father.

~ The giants’ home couldn’t be very well-constructed if one giant could make the stones from the roof fall just by running.

Episode 2x07 “Child of the Moon”

~ “Once one controls something, one no longer need fear it.” A fitting quote for this episode, and very in-character for Gold.

~ It’s interesting that Gold does a favor for Henry, as if he has a special care or interest for him. Does he already suspect, at this point, that Henry is the boy prophesied to lead him to his son, and then be his undoing?

~ David says that it’s been “a few months” since Mary Margaret was framed for murder. That seems longer than what’s been shown or suggested: the last few episodes of Season 1 and the first few episodes of Season 2 only looked like a few days or weeks each.

~ Interesting stuff going on psychologically with Red/Ruby in this episode, and the werewolves in general. Not sure how much I agree with the way they describe it, but it sounds similar to the concept of “eating your shadow,” confronting and integrating the parts of yourself you don’t like.

~ (Spoiler:) Belle saying “I’m sort of an expert when it comes to rehabilitation” is funny, but not really true in terms of her overall relationship with Rumple, since he has ups and downs and she is still capable of being manipulated by him.

~ I don’t like Ruby’s emotionally-driven decisions. The last one especially, deciding to put herself in the mob’s way, doesn’t make sense because she could end up hurting them in wolf form.

~ This is a really emotional episode for David, and reveals a lot about his character—his bravery, his loyalty, his faith—but I feel like it didn’t go deep into his point of view.

~ As much as I love Red/Ruby’s friendship with Snow and Charming, I wonder if another character could have played David’s role in calling her back. That showed the kind of brave, selfless love that spouses, parents, or siblings show.

~ I wish the series showed Red and Granny reconciling after she finds out the truth about her mother.

Episode 2x08 “Into the Deep”

~ I think this is the first episode that does not have any flashbacks. I’m glad, because they aren’t really needed, since the action cuts between multiple parties in both realms in the present day.

~ I had forgotten about Cora controlling the dead with the hearts she’s taken. I’m surprised that wasn’t used more.

~ Looks like there are some autumnal decorations in Granny’s diner, suggesting that it could be sometime in the fall.

~ Do Belle and Gold ever have a proper, uninterrupted date? They didn’t even get a bite of their hamburgers before Regina showed up with a crisis!

~ Henry gets a scene with three of his grandparents: his two biological grandfathers, and his step-grandmother Regina.

~ “I was born to do this.” = a nod to Joan of Arc?

~ “Sometimes being a hero means knowing when not to run into the fire.” Sounds like a bit of Mufasa wisdom.

~ Aurora finally shows some backbone and integrity in this episode. Her scene with Cora is interesting; I hadn’t realized that she was thinking about starting a new life in Storybrooke.

~ The music during Hook’s scene with Aurora sounds noble, like he’s doing a good thing and genuinely hopeful of renewing his alliance with Emma. What I’m wondering is, had he already taken Aurora’s heart by that point?

~ I like Emma and Mary Margaret’s conversation about who is to blame for everything that has happened.

~ Cora’s bird companion and Regina’s laboratory setup both look like nods to Disney’s Snow White

~ Regina and Henry’s scene may be the first time we’ve seen them have an honest and positive conversation. It’s not exactly a bonding moment, but it’s a nice change!

~ Henry and David’s moment is lovely, and feels earned now that they’ve spent time together.

~ David’s journey to find the burning room could be symbolic of the journey to the subconscious.

~ It’s nice how Emma and Mary Margaret take turns encouraging each other.

~ (Spoiler:) “You must have a death wish” is a funny line to have addressed to Hook, considering how many times he’s going to die in the show!

~ Hook really is sleazy and slippery, kind of like Rumple—or, for a Marvel comparison, Loki. You’re never quite sure when he’s sincere and when he’s manipulative, or both at once.

~ That last scene with the princesses is intense! There’s a moment when it really seems like Snow is going to kill Mulan, and Emma is already shocked. How would things have played out if Aurora hadn’t arrived?

Episode 2x09 “Queen of Hearts”

~ It’s interesting to see Hook and Evil Queen Regina meet. They’re both characters who play up their attractiveness and try to use it to their advantage when they want to entice or intimidate.

~ Good on Regina for trying to continue her upward redemption arc! And boo to Rumple for trying to twist her motivation.

~ Apparently this is when Emma finds out that Rumple/Gold knew she was the Savior all along. Did she not get that when she talked with Regina and Gold about the creation of the Dark Curse in the Season 1 finale?

~ The scroll with Emma’s name fits with both Rumple’s descent into madness and his penchant for names.

~ Henry reads the storybook to David, just as Mary Margaret did for each of them when they were in comas!

~ Rumple has said that fairy magic doesn’t mix well with him, yet he harnesses the power of the fairy dust here.

~ Why would someone as smart and ruthless as Cora leave the princesses alive in the cell? They had no further usefulness to her. It’s the same thing that happens in superhero stories when the villain leaves the hero detained or on their way to death while they go off to complete their evil plot. The only possible explanation I can think of is that Hook may have requested that she let them live, and they would probably have died of starvation in the cell.

~ The way Regina’s theme plays, so light and gentle, over Henry’s lines twice in this episode is so sad.

~ If Regina didn’t want to have any weakness, why didn’t she just rip out her own heart, like Cora did?

~ Hook did a random act of kindness! And in the middle of a battle! Repairing the wrong that he did to Aurora! In spite of all his selfishness and switching sides, he still has a shred of compassion. Also, the way he saves the satchel from falling is like Flynn Rider in Tangled.

~ Not very subtle sexual imagery when Hook pins Emma down—not only in his words, but in the way he moves his weapons down over hers.

~ All the dwarves watch over David under the sleeping curse, the way they watched over Snow!

~ Gold says that Emma needed to find the scroll so everything could occur; but he didn’t seem to know she would be able to use it to get back to Storybrooke.

~ “Maybe one day, they’ll even invite you to dinner.” Emma does, in fact, invite Regina in the next episode; and (spoiler!) Season 6 ends with everyone having dinner together!

~ How did the Jolly Roger get through the portal? In fact, where has it been all this time? Was it inside Cora’s protective bubble, shielded against the curse? Did they restore the bean’s magic at Lake Nostos and then bring it to the ship to make the portal?

~ What happened to the enchanted compass? Do they ever use it again? (Spoiler: My headcanon is that Hook later got it and used it to find Emma in New York.)

Episode 2x10 “The Cricket Game”

~ The opening shots of Hook are just him acting fabulous and slightly Byronic.

~ There are swans near the docks when Hook and Cora disembark!

~ It’s odd to cut from a Charming family scene to a flashback of the Evil Queen. Usually at least the first flashback is related in some way to the present scene—either the same character is in them, or a common item or similar situation. It would have made more sense to cut between Mary Margaret in bed and Snow White running through the forest.

~ They reused the “Welcome home Mary Margaret” banner from Episode 1x19, and added “and Emma”! I’d like to know who among their friends was so practical.

~ Emma and Regina’s conversation feels very real, like divorced parents trying to get along for their child’s sake. Regina’s music theme sounds so sad and wistful at the end.

~ This is a question I had from the pilot episode: who are the nameless soldiers who sit with Snow, Charming, and their more iconic friends at the round table?

~ When she’s looking out her tower window, Regina’s theme sounds a little more like usual, but still sadder.

~ The door between the interrogation room and the mirror room remains ajar when David and Emma go through.

~ What did Rumplestiltskin receive in exchange for giving Snow a way to test Regina?

Episode 2x11 “The Outsider”

~ Why is this episode called “The Outsider”? To whom does that refer? Greg Mendel seems the most likely candidate, but he only shows up in the last seconds.

~ It’s pretty messed up that no one notices the death of the person Cora actually killed. When the local conscience/therapist dies, everyone takes notice, but when some random guy without a famous story dies, no one comments? Do they take him out of Archie’s grave after learning it was someone else?

~ Belle is present at Archie’s funeral, even though she didn’t know him as long as the others. She really must have gotten to know everyone in the short time she’s been out of the asylum.

~ Marco/Geppetto must feel so alone thinking that both Pinocchio and Jiminy are gone!

~ Belle wears brown, for the first time, in both storylines of this episode. Her outfit in Storybrooke is my favorite of them all.

~ I love the concepts behind Belle’s flashback adventure, but they’re not super well executed in terms of dialogue.

~ Belle reminds me a little of Desdemona in Othello: she has so much love and faith, she doesn’t seem capable of imagining what horrible things the man she loves might do.

~ Smee must have gone to Hook and told him about the way to cross the town line; but Hook must have been spying on Gold if he was able to find out about the shawl and where it was hidden.

~ It’s brief and only visible through the window, but Gold’s reaction to realizing the shawl is gone is to cover his mouth, just devastated.

~ The first thing Gold smashes is a model ship! Clever.

~ Belle carries the gun so casually as she searches for the Jolly Roger.

~ Belle is extremely book-smart, but not very street-smart, and she’s rather reckless when she tries to do things on her own. The safe, smart thing would have been to tell Gold her hunch, or at the latest, when she had found the ship. But I wonder if she kept it from him because she did not want him to confront Hook himself.

~ Did Hook see Archie leaving? Did he simply let him escape?

~ Emma finally shows a desire to be with her parents!

~ It’s strange that Belle isn’t more disturbed by Hook’s revelation that Rumple killed Milah.

~ “Why do you think anyone who’s gotten close to him has either run away or been killed?” It sounds as though Hook believes Baelfire ran away from Rumple.

~ “Your [heart] is rotten.” / “You’ve no idea.” Does that mean Hook believes his heart is more rotten than she thinks, or not as much?

~ Does Hook have an actual death wish? Twice, he tries to goad Gold into attacking him, knowing that he can’t defend himself against magic.

~ How did Hook get to the town line so quickly, if he was walking and Gold was driving?

Episode 2x12 “In the Name of the Brother”

~ Who called Emma and her parents to the scene of the accident? Are all three of them on night patrol?

~ Emma is very sensitive to Hook’s circumstances: she notices him after the accident, diagnoses his injury, and has the presence of mind to tell the hospital staff to hide him so Gold can’t get to him. When she sums up the situation to him, there’s a note of genuine concern in her voice.

~ “If I had to pick dead guy of the year, I’d pick you.” Foreshadowing on multiple fronts!

~ Emma and Hook give each other such nasty smirks!

~ Greg Mendel’s ringtone is Star Wars music! I guess that was allowed after Disney purchased Lucasfilm.

~ “We don’t let go of people.” Interesting line, especially for Frankenstein!

~ Cora snooping around Regina’s house is actually such a mom thing to do! Did she need to see a picture of Henry so she could impersonate him?

~ I did not notice until now that Henry’s bedroom is full of clocks!

~ Cora knows exactly what Regina has always wanted to hear from her. But she stops short of an apology for killing Daniel, and she doesn’t exactly apologize for forcing Regina into a loveless marriage, just says she shouldn’t have done it.

~ I laughed at Regina referring to “Emma and Henry and the two idiots”

~ Cora says they see Regina as a snake, but Cora is really the one acting like Satan, sowing doubt and convincing her that she can’t make things right with the others.

~ What became of Gerhardt Frankenstein? Did he die at some point before the Dark Curse?

~ That high tinkling music sounds eerily like “Rock-a-Bye Baby”

~ Even in hospital, Belle still wears yellow and blue!

~ Belle smashing the cup is heartbreaking! You can see how much that crushes Gold, like shattering his hope.

~ It’s odd that Ruby and Belle both have several scenes but don’t interact with each other in this episode. Ruby is later shown to be aware of Belle’s situation. Did she not try to check on her when she arrived?

~ Gold seems to be looking at Henry when he threatens to kill the whole family!

Episode 2x13 “Tiny”

~ Hook seems to be done being a “gentleman,” as he said he always is. Is it because he’s no longer with just women, as he was in the Enchanted Forest for a while? Does he start making innuendoes about Mary Margaret just to irritate David and Grumpy? Is that his way of making himself feel powerful?

~ How was Cora able to abduct Anton? Did he come down the beanstalk, or did she go up?

~ Hook seems to slip away when Anton attacks David. Did the others simply forget about him? Shouldn’t he be in either the hospital or the jail?

~ Ruby continues to play the role of delivery girl for the sick!

~ James is dressed like an attractive villain, similar to Hook: black clothes, low V neckline, necklace.

~ The Jack introduced in this episode seems to be a different character than the one Hook described to Emma when they went up the beanstalk.

~ Jack slayed the Jabberwock!

~ Emma really does act like a daughter, or daughter-in-law, toward Gold during the airport security scene. In that moment, he’s not a wizard or the local miser, he’s just an old man who needs reassurance.

~ Cora must have had the mushrooms to make Tiny small, and then big again, because she brought some from her time in Wonderland.

~ The way Emma and Henry look at each other after Gold leaves clearly says, “What are we going to do with him?”

~ Why is Tiny’s small size the one he now reverts to? Does it not wear off the way the growing mushroom does?

~ How did David manage to hold Anton’s weight? And how does Anton come up before him?

~ The dwarves seem to accept Tiny as one of them, with an axe and everything. So why didn’t he accompany them for the rest of the series? Did the actor lose interest, or did the writers not know how to include him?

~ The sound of the plane taking off is an effective way to show Gold’s increasing anxiety!

Episode 2x14 “Manhattan”

~ Milah is sewing Baelfire’s shawl in the first scene, and later he’s wrapped in it as a baby!

~ I appreciate that Hook is still moving like a man who was injured in a car accident.

~ Gold seems to think that Henry has already fulfilled his role as the boy who would lead him to his son, since Henry brought Emma to Storybrooke.

~ The Seer could have overheard the soldiers call the saddles “cows,” so it’s not much of a confirmation of her clairvoyance.

~ Neal and Snow both have lines, addressed to their significant others, about never having to see each other’s face again.

~ If Emma thought she could still bring Neal to Gold, how did she think she could keep him from meeting Henry? Did she think they could be introduced without them realizing the truth?

~ Why does Gold think who his son loves is pertinent information? Would he have used that against him?

~ Does Gold really think he could beat Emma in a physical fight? He’s shown that he can be brutal even without magic, but he still has a bad leg, and she’s much younger than him.

~ The fact that Neal came back to defend Emma, after spending his life hiding from his father, speaks to how much he cares about her.

~ Having the scene where Rumple meets his son right before the scene where Neal meets his son is brilliant.

~ The Greg Mendel scene should have been at the end. It feels like a random interruption in the midst of so much drama.

Episode 2x15 “The Queen is Dead”

~ How are they not suspicious of the package arriving on Snow’s birthday? Cora is one of the few people who would know that date.

~ Having Hook emerge from hiding and reclaim his hook is a great way to end the teaser!

~ Why couldn’t Regina and Cora just use magic to dig, instead of a shovel? And that conversation was way too convenient—were they trying to be overheard, so Snow would look for the dagger?

~ Emma, Henry, and Gold must have stayed somewhere in New York overnight and met up with Neal again the next day or two.

~ I’d forgotten how violent Hook and Emma are to each other: he pushes her aside to attack Gold, and she hits him in the head with a fire extinguisher. And she locks him up again, this time in a storage closet.

~ Why did Cora impersonate the Blue Fairy to talk to Snow White? Why did she want to give her that candle? What did she expect Snow to do? Did she want to darken Snow’s heart, or cause a particular person’s death?

~ Snow losing her mother as a child is even more tragic knowing that she was the one with her mother when she died.

~ King Leopold’s absence in this episode feels off—not that it mattered to the story, but that it’s out of character for him not to be present and involved at his wife’s death and funeral.

~ There might be an inconsistency about how much time passed between Queen Eva’s death and Snow’s first meeting with Regina. It wouldn’t make much sense for Cora to wait long to arrange the meeting after the queen’s death, but in Episode 1x18 King Leopold says it’s been years and that he’s searched the land for a new wife.

Episode 2x16 “The Miller’s Daughter”

~ Mary Margaret is holding an apple during her first scene. Why is that, when their family, in general, does not like apples, and she has a negative association with them due to Regina?

~ How and when did Regina and Cora tap Mary Margaret and David’s phones? Must have been after Emma gave Mary Margaret the news about Gold’s son, since they don’t know about that.

~ Regina says Henry would never forgive Cora; does she mean for killing Gold? But Regina doesn’t yet know that Gold is Henry’s grandfather.

~ Cora speaking to Regina about never bowing is first time she actually comes across somewhat sympathetic.

~ Past Cora adds a rose to her hair—a nice nod to her future as the Queen of Hearts!

~ This episode kind of ruins the timeline that was described in Episode 2x02. Prince Henry said that Cora knew Rumplestiltskin long before he met her, and it sounds as though Cora’s relationship with Rumplestiltskin lasted a fairly long time for him to teach her magic, to the point of her calling him “master,” and eventually meeting newborn Regina.

~ “You’re selling off your own flesh and blood” is a strange line to give Cora, who basically sold Regina into a loveless marriage for status and revenge (and did more, as season 3 reveals).

~ I like how the ridiculous boast about turning straw to gold comes about, starting as a jest in their verbal sparring.

~ The look that David gives Neal after being introduced!

~ I don’t like the way David talks to Mary Margaret, saying she has to “stay” pure of heart, as if she doesn’t get to choose for herself.

~ It’s nice to see that Henry is still optimistic and encouraging toward Emma, despite being angry and distant with her after finding out she lied to him.

~ Cutting from “You won’t let her get away” to Cora being trapped in the tower is pretty effective.

~ (Spoiler:) Cora questioning the “firstborn child” clause is more significant knowing that she had already given birth to her first child by now. Did she think Rumple would want Zelena?

~ Gold and Emma have a mentor-student moment, probably their first real one—and it ends with him praising her!

~ It’s cool to see Regina and Cora using magic in sync. But what did Emma, Neal, and David expect to accomplish against them with just swords?

~ Rumple encouraging Cora to use her bloodlust to fuel her magic explains a lot about her.

~ When he shows his face, you can see they did a good job of casting young Prince Henry; he does look very similar to the old man.

~ Cora and Rumple’s relationship is so twisted and toxic … and yet, it rings true because of their similar motivations. It’s completely based on their tendency toward darkness, a sharp contrast against his relationships with Milah and Belle.

~ How was Mary Margaret able to get into Regina’s vault? Does she not have any locks or protection, even after living in hiding there?

~ Emma’s theme music is played twice over Mary Margaret’s scenes; it sounds so eerie and ominous when she takes out Cora’s heart!

~ Interesting that Cora took to heart (no pun intended) the advice of the king she hated.

~ Rumple’s three greatest loves are on display in this episode to compare and contrast: his destructive love with Cora, his wounded relationship with Baelfire/Neal, and his pure love for Belle.

~ Emma and Neal both struggle—particularly in this season—with forgiving their long-lost parents for giving them up.

~ Neal and Rumple’s scene after the phone call is wonderfully realistic: there is still anger, but also love on both sides, and it’s as close to a reconciliation as they can expect to have at that point.

~ The worst thing Mary Margaret does in this episode isn’t using the candle; it’s tricking Regina into being the instrument of Cora’s death. That whole conversation in the vault, Mary Margaret manipulates Regina, weaponizing her desire for her mother’s love.

~ How powerful can protection spells be if Cora and Regina are able to break through them so easily?

~ Cora actually seems regretful when she says that any baby she has will not be Rumple’s.

~ Did no one in the royal court have any issue with Cora, a princess by marriage far down the line of succession, declaring that her daughter would one day be a queen?

~ Cora’s last moments are so tragic, because all at once she feels the love that she should have had all along for Regina, and she realizes that love “would have been enough.”

Episode 2x17 “Welcome to Storybrooke”

~ The orange car is such an appropriately vivid contrast against the dark title card!

~ This episode is a fascinating exploration of Regina’s psychology in both the past and present.

~ Did Mary Margaret give her students the exact same lesson about birds every day for 28 years?

~ Is Gold being genuine when he talks to Regina, asking her to give up her feud? Does he really care about her happiness or Mary Margaret’s life?

~ Regina’s reaction to Owen is so sweet—it’s probably the first time anyone has shown her unsolicited kindness.

~ When did Regina get Kurt’s phone number?

~ Regina tearing her mother’s clothes is powerful.

~ Gold and David, too, can apparently just walk right into the vault. But Gold makes more sense because his magic is so powerful.

~ Gold’s take on Cora and Regina’s different reasons for being dangerous is interesting. Which is more dangerous, being too led by your heart, or not letting your heart lead you at all?

~ Henry is acting in the role of a prophet again, calling everyone out and reminding them who they are (supposed to be).

~ Neal can understand exactly how Henry feels about his evil magic-wielding parent. Henry’s idea to get rid of magic is strikingly similar to Baelfire’s original goal to rid his father of his power.

~ “He’s your son!” In that moment, Neal realizes exactly what that means: Henry can be just as deceptive and conniving as he.

~ Greg Mendel crossing paths with Henry is more ironic when you know that Greg’s goal is to destroy magic, which is exactly what Henry is trying to do in that moment.

~ You can hear Greg’s phone camera go off as he picks up Henry’s bag. That must have been when he figured out Henry was Regina’s son.

~ Regina actually let Owen go in the end, rather than trying to use his father as leverage or have Graham restrain him. Maybe, on some level, she did care about him. At the very least, she realized she could not force him to love her—and she has the same realization about Henry in the present day.

~ Why was Storybrooke visible to Kurt and Owen at the beginning, but not later? Did Regina do something to change that, like a cloaking spell?

~ I know Regina had a lot on her mind in both episodes, but she must have wondered who Neal was and why he was so protective of Gold and Henry.

~ Mary Margaret’s bookcase has clocks lined up across it, like in Henry’s bedroom!

~ Gold’s advice to Mary Margaret is phrased in such a way that it sounds as though it hasn’t worked yet for him.

~ They did a good job of casting two actors for Greg/Owen. They have very similar faces.

Episode 2x18 “Selfless, Brave and True”

~ Neal wears his coat and scarf like Henry!

~ One minute Emma is bemoaning the fact that outsiders are coming to Storybrooke, as though Tamara is a threat; the next, she urges Neal to tell Tamara the truth about where he comes from.

~ Snow White listening to “Reputation” while doing archery … is one form of self-care.

~ Where did the abandoned trailer come from? Was it always there as part of the curse?

~ Neal and the Blue Fairy/Mother Superior don’t interact, but their scene with August/Pinocchio may have been the first time they saw each other since she gave him the magic bean.

~ The scenes that connect this episode with ones before and after don’t have much setup/payoff within the episode. For instance, Henry hasn’t been shown pulling away from Emma the last few episodes, but she decides to talk to him after seeing Geppetto/Marco and Pinocchio/August reconcile. And we don’t see any of Regina’s thought process prior to her conversations with Greg Mendel.

~ Greg and Tamara are each separately shown using their phones a lot—and there is one time Neal looks at his caller ID and says “It’s her,” like she’s labeled on Greg’s phone!

Episode 2x19 “Lacey”

~ Neal is so into his swordfight with Henry! He may not have much practice, but he really throws himself into being a dad when he finds out he is one.

~ At first, Gold seems to respond the same way everyone else does to Belle’s claim that she saw magic, like he’s gaslighting her; but he’s not. He acknowledges that she’s been through a lot and been under the influence of drugs, but he doesn’t say that what she saw wasn’t real, he just assures her that it will become clear when she remembers.

~ The flashbacks of this episode show just how horrible Rumplestiltskin was to Belle when she lived with him. That period of time was mostly glossed over in “Skin Deep.”

~ I don’t know what’s funnier: David making a pun of Dark One and Don Juan, or Gold’s claim that “Don Juan was nothing before he made his deal with me.”

~ It makes sense that the first thing Emma does after learning about the beans is to read Henry’s book. (Spoiler:) The sentiments she expresses in this episode are fleshed out more fully in the second half of Season 3, particularly in the season finale.

~ Gold wears a blue pocket hanky on his date! And while it’s painful to watch Lacey’s behavior, he is so adorably happy when she acts like the Belle he knew!

~ Rumple takes the Sheriff’s tongue so effortlessly. Was that a nod to the BBC Robin Hood episode, “Sheriff Got Your Tongue”? Can Rumple do that with any part of a person’s body? That’s terrifying.

~ I’m surprised Rumplestiltskin didn’t already know Robin Hood’s name.

~ Belle basically plays the angel on Rumplestiltskin’s shoulder. It’s heartbreaking to see Lacey become the devil on his shoulder.

~ “You are not the kind of man to leave a child fatherless.” Ooh!!! He has probably wanted to hear that for centuries.

~ David driving all the dwarves in the back of his truck is so familial!

~ Emma and Neal seem to do pretty well with co-parenting.

~ I wish we got to see Henry becoming friends with young August/Pinocchio!

~ Neal says one of Emma’s characteristics is, “You don’t stop till you find what you’re looking for.” What Emma is really looking for—now and throughout the series—is a happy ending, only she doesn’t know what that would look like. (Spoiler:) Perhaps it's intentional that the next scene brings back Hook!

Episode 3x20 “The Evil Queen”

~ Why are David and Mary Margaret talking about something so sensitive in a public place?

~ I knew that fisherman was … well, fishy, given the way the camera focused on him.

~ Funny that Emma bumps into Tamara, kind of like Tamara did Neal. Did Emma do it on purpose?

~ Regina seems to have such a warped perception of herself and her capacity for good or evil. Does she truly not recognize how she has earned the name “Evil Queen”? Does she really believe all her actions are justified? Does she truly think Snow is evil, after living with her for at least a decade?

~ Rumple was the one who caused King George’s kingdom to go bankrupt!?

~ I’m not a fan of when shows wipe characters’ memories so they can have interactions without any consequences. In this episode, it happens in a single scene!

~ Is Hook being sincere when he talks to Regina about Cora? Does he actually feel bad for her and want to help her win?

~ It’s interesting that Hook shows an understanding that revenge is an end, not a beginning, and that he’ll be empty without the pursuit of that goal. In that sense, he may be more mature than Regina, who has always put her revenge first and was angry that it did not satisfy her.

~ Did Hook ever meet Maleficent, or did he just piece together what Regina had said?

~ Did Regina saving Snow really have such a profound impact on her faith in people’s goodness? That’s rather ironic, and if true, Regina’s descent into evil should have shaken some of Snow’s faith, because it would have been an upending of her understanding of people in general and Regina in particular.

~ Emma and Henry doing a stakeout together is great to see, harkening back to Season 1. But she’s not setting a very good example for him by breaking into hotel rooms and teaching him how to give a warning signal.

~ This is the first time Henry has seen his parents argue, and you can see how awkward it is for him, but it’s also kind of sweet that he finally gets to experience that.

~ It’s significant for Henry to tell Emma that he believes her. For one thing, no one believed him about his fairy tale theory, so he knows the feeling. For another, he now trusts her not to lie to him again. (Spoiler:) Sharing that ice cream is the last peaceful, happy moment they have together for a long time.

~ Giving a stranger a weapon and the instruction to stay behind her isn’t really smart of Snow.

~ Such a strange interaction between Regina and Snow at the end … Regina leaves her alive, which is good, but how can she insist upon her own goodness when they’re standing in front of the village she slaughtered?

~ (Spoiler:) “The one thing I excel at is surviving.” Hook saw this as a characteristic of his all along!

~ Hook takes no pleasure in the way Greg and Tamara taunt Regina, and he actually looks kind of concerned at the end.

Episode 3x21 “Second Star to the Right”

~ Pulling in the story of the Darling family is a great way to transition to Neverland, which so far has been mentioned but not explored.

~ This show chooses odd moments to use title cards to establish time and/or place. There’s no need for “London, England” when they just showed Kensington Gardens and Big Ben.

~ It seems Baelfire/Neal began his thieving career at the Darlings’ house!

~ Wendy is one to talk about “unusual” names: there were hardly any Wendys before the publication of Peter Pan.

~ Odd to have Hook, the one-handed guy, be the one to restrain Regina. She may not be able to use magic, but she’s not afraid to use physical violence, as seen the time she hit Emma. Did he threaten her with his hook to make her comply?

~ Mrs. Darling deciding to take Baelfire in without even knowing his name … is fast, but fits with how the Darlings adopt the Lost Boys at the end of Peter Pan.

~ “Never underestimate the power of a guilty conscience.” Interesting words coming from Gold!

~ Mary Margaret’s emotional state must be really bad if she can summon a tear so easily.

~ Emma tells Tamara that Regina is missing, as if Tamara knows Regina, but as far as Emma is aware they haven’t met yet. She would only have been a name on Tamara’s list.

~ The music at the end of Emma and Neal’s scene is so pretty and sweet—such a contrast from the usual emotional tone of the show. The music usually evokes wistfulness or suspense.

~ Interesting that Greg and Tamara’s feelings about magic are similar to Baelfire/Neal’s, except that they want to destroy it while he just wants to stay away from it.

~ It’s nice to see that Baelfire/Neal got to be part of a decent family for a while. He’s experienced parental love in the past, but his time with Wendy, John and Michael is his first experience of sibling love, and he proves himself a wonderful big brother.

~ The way the lights go out is like when Tinker Bell arrives in stage productions of Peter Pan.

~ Wendy and Emma both experience losing Baelfire/Neal in this episode. But it’s different than when Rumplestiltskin lost him through a portal, because now Neal is urging them to let him go, sacrificing himself so no more families will be broken. Only he doesn’t see that they will be broken because he won’t be there.

~ Regina wakes up the same way she did in the flashback in the previous episode, startled by Snow/Mary Margaret pressing a compress to her face.

Episode 2x22 “And Straight On ‘til Morning”

~ This is the most Hook-centric episode so far. Up to this point, he’s been seen mostly through the eyes of other characters (Rumple, Belle, and Emma). In this episode, he has multiple people, at multiple points in time, asking him about who he is and what motivates him.

~ “Well aren’t you quite the hero?” Hook doesn’t know how true that will be!

~ Even with Lacey influencing him to do evil, Gold deciding to kill Henry makes no sense with Neal back in his life. Why would he inflict that pain on his son?

~ Hook says, “The things we do for our children,” so knowingly, like a father!

~ I love that Grumpy cares so much about Belle!

~ I wish we got to see Sneezy getting his memories back. His brothers must have missed him over the last several weeks, while they’ve been working in the fairy dust mines and beanfields.

~ There are soooo many layers to Hook and Baelfire’s conversation at the helm! Hook must be thinking and feeling so much—obviously calculating about his revenge, but also thinking about how Rumple and Milah both abandoned Bae in some sense, and how he had a hand in Milah’s actions.

~ Hook has to watch the Charmings’ family discussions twice, and you can tell he’s uncomfortable.

~ The idea of sending the wraith and the failsafe through portals to other dimensions actually isn’t all that selfless. They don’t know where they are sending those dangers. The wraith attacked Philip when they sent it through. They are basically passing their problems on to strangers.

~ Hook’s theme music sounds so sad and reflective when he’s contemplating his choice.

~ (Spoiler:) Was “I’ll track them down in Hell if I have to” foreshadowing the Underworld arc?!

~ Hook looks at Gold so icily when he realizes they’re going to be working together.

~ Once the six of them are on the Jolly Roger, the heroes and villains automatically congregate to opposite sides.

~ Hook’s expression when he says they’re going to Neverland = he knows better than any of the others what kinds of trials they’re in for.

~ Are they actually helping to steer the ship, or just hanging on to parts of it for the ride?

[jackiestarsister]

This is an amazingly gorgeous blend of poetry, meta, and fanfic.

A Soul of Fire

“Killian has struggled with darkness his whole life” Liam said. But that wasn’t quite right. Oh, it was a part of the struggle, of course. But merely one form Killian’s particular struggle took. Killian didn’t struggle with darkness; he struggled with the maelstrom of his own mind. What Liam and many others never understood, was that Killian felt things with his entire being, with a soul of fire. 

No one understood the depth of emotion lying behind every impetuous action, every sharp word, every brilliant smile. No one understood the fact that Killian simply felt more than they did. They criticized his lack of self-control without realizing that moderating the sparks in their minds was entirely incomparable to taming the firestorm in him. 

It was there from the beginning, this nature of his. But in the beginning it wasn’t a problem. Not with Brennan and Liam watching over him. But when Brennan left, when the brothers were left alone, when Killian’s mind raged with the wounds of abandonment, when they entered a life of servitude, then it became Killian’s personal struggle. Sailors with dead eyes and bowed backs don’t like young boys who spark and blaze with the passions of life. Liam begged Killian to control the fire that he knew he could not. He could not hold back the anger at injustice which put him into confrontation with the crew, he could not hold back the boldness that drew the Captain’s dark eye, and he could not hold back joys that transformed him in those rare moments of happiness borne from love of the sea and his brother. Good or bad, the fire raged inside him and flamed in blue eyes. 

Keep reading

[knight--error]

It's really, really funny how the OUAT writers clearly have noooo idea what to do with Hook when he's fully on the redemption train. Our man goes from interesting bad boy love interest to Wife Guy Number 3 in six seconds flat. Switching to a normal leather jacket does not help this.

It's especially funny because the writers pretty clearly killed off Neal to make way for Hook/Emma, but Neal himself would never have had this problem, because he has bonds and desires outside of Emma to keep him interesting—Henry and Rumple particularly, and even Hook himself. Also Neal just seems more capable of making friends than Hook, like in his mini-adventure with Belle.

They just really shot themselves in the foot here. Even if you want to stick with Captain Swan, keeping Neal alive only helps you, because it gives Hook another emotional connection. Poor Neal. You deserved better.

[shutupineedtothink]

Ok so my friend and I just recorded 4 HOURS of raw audio breaking down the OUAT pilot, season 1 finale, and discussing the show in general for our new podcast where we make each other watch episodes of our favorite shows and talk about them together. It’s exactly as fun as you would imagine. :)

But even after all that, I still have things I forgot to say or didn’t get to. So here’s a few of them:

1. “Evil” as addiction: the OUAT writers treat the concept of being evil like addiction/substance abuse which is really interesting and kind of a bold choice for a 2011 show about fairytales. Then within that structure they show basically the two choices you have when facing addiction: choose not to use and become a better, healed version of yourself (Regina) or keep using and stay stuck in your patterns and hurt everyone you love forever (Rumple). As a child of an alcoholic who has chosen the latter, I loved watching Regina’s journey in this context and while she stumbles a lot, she keeps striving to be good even though she gets the short end of the stick most of the time. And her North Star is always Henry, which I think is important to show that you don’t just change because you feel like it, there usually has to be the threat of something worse happening if you don’t change (in this case, losing Henry physically and emotionally).

2. Regina Mills might be the most psychologically complex and interesting character on prime time tv in the 2010s? Period??

3. I rambled a good bit in the podcast about the costumes and color symbolism but here’s a bit more for you: Once Regina is on team heroes she often wears some kind of red top (the hero’s color) with a black jacket/coat over it showing that she’s changed on the inside but she still *looks* like the evil queen on the outside and can now use that persona/power to her advantage instead of being consumed by it. By the end of S5 this contrasts with Emma who wears her signature red jacket but a black/white/gray sweater underneath, showing that she’s a little more of a mix of good and evil these days post-dark one. In a color sense, they’re almost mirror images of each other at this point, and it’s really cool.

4. I know a lot of people are really salty about how Emma’s light kind of dims toward S4, 5, 6, and I’m right there with you. Her character feels flatter, and honestly kind of depressed. Now idk if this was a real choice on the writers’/JMo’s part, if she was going through some stuff at this time and it just showed up in the character, or what. That said, it does track for me in a way, especially post-dark one. She should be kind of thrown off by everything that’s happened! She should be changed! I just wish they had done something with it instead of pretending it was normal. If Regina’s struggle with evil is analogous to addiction, why can’t Emma’s struggle with evil be analogous to depression? It would have been an interesting take. Somebody write the fic.

I could keep going but I’ll stop here for now. Stay tuned for the podcast!

[crime-wives]

sometimes i think about the fact that regina has literally held emma’s heart in her hands. the intimacy of soft fingers slipping under layers of skin and bone and blood and pulling out the muscle that keeps emma alive. cradled in the palm of her hand, glowing, still beating. regina having to be so gentle so as to not hurt her. and emma allowing regina to have that power over her. and then i think about the fact that regina’s fingers were bare and not gloved. the way she could feel every vein, every groove. the way she was not limited in her ability to see all of emma. something about the way regina handed the heart back to emma. placed it into the palm of her hand like an offering. look, i kept it safe for you, i love you, do you trust me?

[thebetterluthor]

Apologies for hi-jacking this post but it reminds me of how insane Emma was in season 3:

She lost her powers of light magic to save Hook, even though she had been told she was the only one capable of stopping Zelena from kidnapping/murdering a newborn baby and tearing apart... reality?

She was convinced everything would be fine even if she lost her powers because then she could just take Henry and... move back to New York?!

I'm just always astounded by how stupid most of the plots on that show were. Usually while watching it I'm too drawn in by the actors and the various gimmicks that are happening, to pay close attention to the plot and I guess it's a good thing because it's absolutely nonsensical.

How is the balance between Hook's life VS everyone else resolved like that?! Emma, that witch wants to steal and kill your newborn brother, the fuck are you doing???

Also, how will you move to New York with Henry, Emma, if Zelena goes back in time, makes Cora keep her, meaning Cora's secret is never revealed to Leopold, Leopold marries Cora instead of Eva, Snow White is never born, hence neither you nor Henry ever exist?????????

Honestly, the Charmings are absolutely moronic, Regina was 100% correct.

while i'm still disappointed that regina's burst of light magic in season 3 went nowhere (just wasted potential tbh), i do understand now why she was able to defeat zelena with it - the prophecy mentions "the purveyor of the strongest light magic" which, since emma's magic was removed, means that, by default, regina is the one with the strongest light magic

so, regardless of whether emma's magic had been removed or not, zelena would have still been defeated - prophecies, man!

[his-lost-one]

felix strikes me as the kind of character who just NEEDS to have someone to devote himself to. if it’s not pan, it’ll be someone else.

his self worth is tied to his usefulness and how can you be useful if you have no one who uses you?

i feel like a part of him knows that this will eventually lead to his demise, but even that small part doesn’t care. and overall, he needs it - it gives him a purpose, makes him feel like he’s doing something with himself.

why it’s pan that he idolises, we’ll never canonically know, but i don’t think it matters too much. i feel like felix could’ve latched onto anyone who treated him somewhat kindly at the start and who made him feel like he could be useful - it just happened to be pan.

i do also like the theory that pan saved felix at some point and felix feels like he owes him or like he has to repay that debt or whatever. i feel like that’s a good jumpstart for his devotion, but i don’t think i like to view it as the only reason. it all seems a lot more tragic to think that he’s a bit predisposed to that type of loyalty that ultimately caused his death. like it was inevitable, the only variable was at whose hands he’d have died

[it-happened-once-in-a-meme]

Once Upon a Time Analsis/Things I Noticed Masterlist

Does Once Upon a Time Like Women? (Pros and Cons)

[themeepyfreak]

Day 3: Love Languages

Neal/Bae: Physical Touch

Neal/Bae's love language is the easiest to parse out in canon because it's prevalent throughout. Ever since Bae was a baby, physical touch was how Rumple expressed his love to him. In every flashback scene with Rumple and Bae, Rumple has a hand on Bae, silently supporting and protecting him.

And the show writers use this nonverbal interaction to parallel Bae and Rumple's relationship as it becomes more strained. When Rumple becomes the Dark One, his touch becomes more possessive. This continues until Bae starts rejecting Rumple's touch (as he rejects the Dark One) when Rumple tries to reach out to him in "Nasty Habits" and "Manhattan". In both "The Return" and "Manhattan", Rumple's abandonment of Bae is described as Rumple letting go of Bae's hand- a very physical action. That's why the moment when Bae grabbed Rumple's hand in "The Miller's Daughter" is so impactful- because it is the first time that Bae wholeheartedly accepts his father's touch and affection in centuries, even if he is still angry. As season 3A progresses, Bae physically distances himself from his father in Neverland when he finds out about the prophecy and feels like he can't trust him in "Nasty Habits". However, once Bae forgives his father in "Save Henry", he enthusiastically hugs him. In season 3B, Bae and Rumple literally share a body due to Rumple's love for Bae- their physical closeness once again symbolizing their repaired relationship. When Bae dies in "Quiet Minds", his hand falls out of Rumple's, representing their permanent separation. Bae no longer needs Rumple's physical touch and affection because Bae's no longer there.

Using touch to portray affection and genuine care is a theme for Bae throughout his life. In "Second Star to the Right", Bae uses physical touch to comfort Wendy. And later in "Tallahassee", Bae is more physically affectionate with Emma the more that time passes and the closer that they become. Even as early as their first "date" in "There's No Place Like Home", Bae plays with Emma's glove when he's being vulnerable to feel closer to her physically without crossing her boundaries and touching her.

Bae's need for physical affection in "Tallahassee" (especially after being touch starved in Neverland for centuries) is complemented by Emma reciprocating that physical affection despite not being a touchy person. Emma starts out being standoffish in the beginning of "Tallahassee" and "There's No Place Like Home", drawing into herself and avoiding any physical touch. However, as time passes, she gets more comfortable with being physically affectionate and even initiates it, especially when Bae is upset. One canon example is when Emma grounds Bae with physical touch when Bae is agitated about the wanted poster. When Bae starts arguing against Emma going for the watches, she swings her arm around him which seems to calm him down to the idea more.

I headcanon that Emma and Bae did a lot of hand-holding and non-verbal communication throughout their relationship. I think that they had signals to each other to make sure the other person is alright (which would have helped during heists as well) to complement Emma's innate ability to read Bae. I think that Emma realized early on that the best way to comfort Bae after nightmares was physical touch (hugs, gentle kisses). I can also see Emma sidling up to Bae whenever she sensed that something was bothering him and just quietly grabbing his hand and lacing her fingers in between his to remind Bae that he's not alone and make him relax almost instantly.

Just like physical touch is used to display the progress in Bae and Rumple's relationship, it is also used to show the progress in Bae and Emma's relationship when they reunite.

Bae has a tendency to fidget with his scarf, especially when he is vulnerable around Emma, which I think is a self-soothing technique. He longs for her physical touch, but too much has happened between them for him to reach out to her, so he physically touches his scarf to comfort himself. It isn't until the penultimate episode of season 2 after he breaks up with Tamara that he finally reaches out to Emma, hugging her when she's about to fall through the portal. This continues in season 3A when he hugs her after getting out of the cage in "Ariel" and stays beside her to support her throughout.

Emma, on the other hand, tries to be standoffish around Bae but fails miserably- just like how she tries to deny her love for Bae but fails. Since they reunite, Emma is always pictured by Bae's side (which is seen in many stills from season 2B and 3A). Not to mention that other than Henry, Emma initiates physical contact (even if it is just casual) with Bae more than anyone else in canon in the earlier seasons. In season 2B, she physically pushes him in "The Miller's Daughter" when he stops to stare at the magical chalk barrier, and she physically grabs him to stop him from going after Henry when Henry confronts Regina in "Welcome to Storybrooke". In season 3A, Emma hugs Bae in Neverland after they get him out of the cage in "Ariel", Emma sidles next to Bae to hug him after his father dies (which encourages Henry to do the same) in "Going Home", and Emma's the one who initiates the hug with Bae at the town line when they are about to be separated yet again. When Bae dies in "Quiet Minds", Emma pulls Bae into her arms and lets Bae die being physically comforted by her- being loved. And lastly, when Emma reunites with Bae briefly in the underworld in "Souls of the Departed", Emma caresses Bae's face, showing that she still loves him even though he is dead.

This behavior especially stuck out to me because in the earlier seasons, the other person usually has to initiate physical contact for Emma to return it. But with Bae, she's a lot more liberal and initiative with physical touch, even when she "hates" him.

Finally, to cement how Bae associates physical touch with love and affection, Bae is very physically affectionate with Henry. From their first meeting, Bae mimics Henry's body language and leans in close to him when talking, showing his love and interest through nonverbal communication. As they get closer, Bae is always touching Henry- ruffling his hair, patting his shoulder, carrying him, hugging him, wrestling with him in the background of "The New Neverland", etc. And Henry returns it readily, appreciating physical affection just like his father does (though probably not as desperately as Bae seems to crave it). The blatant physical affection between Henry and Bae is what makes their relationship seem so close and loving, even if they had a limited time together.

[swanqueensalad]

A very long, sad deep dive on the Snow & Regina dynamic, post-everything, for anon

snow and regina are best friends. it's very weird. nobody really wants to use that phrase around regina lest she fireball them... snow really really wants to use that phrase all the time (this is their whole dynamic lol u don’t need to read the rest of the post)

i would say it happened naturally, but it really didn't. it happened with a lot of hard work, honesty, effort, dedication to being better from both of them, and then once all of that was done it was natural, it was sort of impossible to be any other way.

because snow and regina have known each other a long time. longer than most people in their family, in their town. and despite everything that happened after, all the tragedy and pain that the adults around them orchestrated, they were once two little girls that should have been friends. little snow idolised regina and looked up to her in every way, the beautiful kind hearted girl who saved her from a horse, and the instinctive bond between them was always there. there was a sisterly relationship there from the start, and i think for regina as a lonely girl with an awful family life, snow was sweet, and refreshing company to have, even if she got in the way sometimes (just like a little sister would).

and then of course everything comes crashing down, and it is snow's fault but it also isn't, because at the end of the day she was just a little girl mourning her own mother, who cora knew exactly how to manipulate.

but i think the reason regina never saw it this way was because she too was very young and sheltered and her worldview was totally limited by cora's abuse: when regina was snow's age, nothing she did would ever be excused by 'but i was a child'. at snow's age, she had to mind everything very carefully because to put one foot wrong was to be punished severely, held 100 percent accountable. i truly believe the reason regina never excused snow for her age is because she was never excused for hers, ever, even as a tiny child, and as a victim of such abuse in such a controlled environment it never would have occurred to her that that was wrong, or even abnormal.

(i believe a big part of regina and snow's relationship healing was regina's worldview shifting as she grew and changed and worked on healing herself, because as she reevaluted the things cora taught her, she can see the world and the past events in a whole new light. this is of course, a hard and complex process that regina is still working on, but ultimately she does come to realise snow was a child who meant no wrong, who only wanted to help, regardless of the outcome. which doesn't make it not her fault, necessarily, but it adds layers she could not accept before)

regina was married to king leopold for a long time. this is something i've spoken about before, but it's still something i think isn't so well understood, purely because the show didn't go into it that much (and i believe it didn't because it would have simply been too dark and uncomfortable for primetime abc. the writers knew the situation they had put themselves in and kept a distance). if snow was about 10 when regina and leopold married, and 18 when he died, that is 8 years. the better part of a decade. that is a long, long time, especially for a grieving, growing, traumatised girl like regina trapped in the most awful environment in which literally every powerful adult around her was brutally using her in one way or another, manipulating and preying on different parts of her trauma, grief and vulnerability. (while her brain was still developing and processing everything that had already happened and she had zero support system, zero outlet for any emotions. like, some of y'all do not understand how fucked up regina is.,, like, think about that. or don't if you don't wanna be sad forever)  

and all the while, the little girl who caused it all sees nothing wrong! no difference in their relationship, to her! except now she wants to call her mother. (even stepmother is bad enough from a girl no more than 8 years younger than you) and thinking about this stage of their relationship is agonizing to me. regina is at princess snow's beck and call, and this hurts because despite everything, she still feels some affection for her, that sisterly love did not die clean with daniel. the hatred and the blame and the fury just go along with it now, except she cannot express one bit of it. she has to smile and play dolls with her like everything is fine.

snow truly, for a few years at least, saw nothing wrong, or at least convinced herself nothing was wrong because her worldview as a well loved princess meant she could easily excuse any questionable things she picked up on. and this is something i think she definitely struggles with later, and even way into her healed post everything relationship with regina. (we talk a lot about regina's guilt and internally never feeling able to atone for it all, but god, snow feels so much guilt for everything regina went through. and i think at some point, they are able to talk about it. not in depth. not in detail. but with very few words, they both understand the depth of meaning and of immense shared pain. regina is not sure what she feels about forgiveness, but she knows she loves snow, and that snow has always loved her. she knows that now they are family, and their time together is lovely, and so she has acceptance at least, if not forgiveness).

i think the moment leopold is dead and snow is out on her own, she starts reconsidering everything. in the last few years she has questioned things a little more, but never let herself really go there, because she has never had to, and why would she when it is so painful? but alone, with her father dead and regina behaving so out of character (or is she, snow wonders), she can't help but look back without the rose tinted lens of her childhood. she remembers things. regina's silences and trembles at the breakfast table. the way she was ignored, sidelined, stared at. the dark circles under her eyes. all those times they had been playing, or walking, and regina seemed to be a million miles away, jolted back to earth only by snow's insistence.

more reluctantly, she thinks about her father and the way he treated her. the way he looked at her. the way he spoke to her (or didn't). spoke about her. the things he must have done. this is something snow still doesn't really process for a long time, because snow idolised her father, but eventually she cannot deny he must have hurt her.

and then there's that episode of season 1 where we get the dialogue 'she thinks i ruined her life' 'did you?' 'yes'. i think bandit snow, processing these things, dealing with a lot of new feelings of anger and pain, started putting two and two together. (but i don't think she fully confronts the real, most awful truth until years later, because she can't.)

i think ultimately the thing that hurts the most about all they went through when they were basically at war was that deep down, they still cared for each other. 'love never left the room' and all that. hatred and pain and fury existed too, overwhelmingly, overpoweringly so, but ultimately they grew up together. (it's just one of them grew up having to 'raise' the other). they still had  memories tined with warmth of horse riding together, walking together.

and so when they do start to heal, (as i believe snow always fiercely hoped they would, deep down), it's not so much that they have to create a relationship but to rebuild and unearth one that was already there, one that never should have been torn down like it was. of course it's tentative at first, but snow never once stopped having hope that one day regina would change and they would find their way back into each others lives. and once the trust is back, the feeling of family, of working together for the same goal and being willing to risk everything protecting each other because of circumstance...

once that's there, it's the other things that re emerge more softly and slowly.

the coffee at granny's. first, a little awkward, a little quiet without emma and david and henry to fill the gaps in conversation. but gradually, they realise they have a lot to talk about, a lot of shared opinions in ways that matter and vastly differing opinions in ways that don't, but are fun to debate.

the parenting advice. the stories regina has to share about henry as a little boy, the grandson whose first ten years snow only ever saw as a school teacher. the way regina helps her learn to care for neal. the passing on to him of henry's saved onesies and blankets.

the silly jokes that gradually start to form between them, against all odds.

the teaming up against david and emma when they suggest something particularly dumb.

the cooking together! snow is hopeless but enthusiastic, regina is skillful and finds it calming, so it becomes a thing.

the clinking wine glasses at family dinners.

the extreme competition on board game nights.

the hugs at the end of the day, which go from being stiff and quick and awkward with pain and memories caught up in every brush of the fingers, to warm and natural as anything.

the way snow is able to sit down with regina when she is caught up in her own thoughts and issues, and give her rational advice from a far more positive and balanced place than regina's brain allows her. the way she is able to hold regina's hand and support her. (it feels like making up for past tragedies. not nearly enough, but it's something.)

the way regina, equally, is able to keep snow grounded and bring her down to earth when she's panicking, the way she can simply and efficiently allow her to talk through her worries and daily struggles, give her space to ramble and talk and be, but also to give her to the point, no nonsense, blunt advice that snow needs and rarely gets anywhere else.

the way that somehow, strangely, against all odds, snow beings mothering regina a little, in a weird turnaround of events that feels more right and more balancing than anything else. the way she holds her hand, looks out for her, checks in with her, gives that kind of advice and reflection. because now it's regina who needs it, and snow who can provide it. because somehow, seamlessly, regina also became her daughter in law, and her relationship with emma is something that brings snow a deep sense of peace, gratitude, warmth. (now regina is truly family in the beautiful way she always was meant to be. now she knows regina and emma will both be cared for, loved, as they deserve. she knows someone will look after regina, someone will ground emma. they will laugh and cry and build a home and life together, a life not too dissimilar from the one with daniel that snow inadvertently stole from regina a long time ago)

i think they do speak about things that have transpired between them, sometimes, when it comes up and one or both of them feel they have to vocalise something. it's never in front of others, even david and emma. some things are entirely between the two of them, and nobody else will understand, or needs to.

they speak softly, respectfully, giving each other space and quiet validation. sometimes they cry, or get angry, but it's never really at each other and they both understand this now. sometimes they cry for the girls they were and what was taken from them both. sometimes one or both of them feels or thinks something they cannot speak or say to the other, and they both respect that.

i think they have both apologised. sincerely. and i think they don't need to go into any detail, really. they both just know.

but they are equals now, entirely. no more titles, no more real power dynamics, despite any maternal/caretaking instincts that snow might feel. they are the equals they were always supposed to be, and the people with the friendship the girls they once were would have wanted.

and they can laugh together. this is the thing that warms my heart most. just thinking of snow and regina laughing together, simply, over some very silly joke that isn't even that funny.