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cdyssey · 6 years ago

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Once Rewatch: Snow Falls, 1x03

“You’re a... girl?!”

“Woman.”

And then she clocks David upside the face with a big rock.

Now this is start of a beautiful pair. :’)

Omg, I’d forgotten that MM had gone on a date with Whale.

Talk about awkward.

Hm, I also think I’ll do some Whale analysis here as well. He’s arrogant, misogynistic, and kind of spineless when it comes to dealing with forces more powerful than himself. I think this is a great interpretation of source material, lol.

Bc if we’re being honest here, Victor Frankenstein is a whiny college dropout, a prototypical incel who probably passed biology but severely failed ethics.

I’m not crying—there’s just some Snowing in my eye.

On a related note, Isham’s swelling score is particularly powerful here; he amps up the suspense perfectly.

I love Once’s retcon of the name Prince Charming; it works so much better as an ironic moniker.

Snow: “True love? It doesn’t exist. It’s all arranged marriages and business transactions.” (1) So in my writeup on the pilot, I wrote something to the effect that Snow is less vulnerable to optimism than David is, that she’s long been disillusioned about the possibility for happy endings. I think this quote backs that sentiment up quite nicely. (2) I know A&E probably haven’t figured out the logistics of Regina and Leopold by this point, but even still, this quote very well applies to their farce of a marriage. (Snow’s cognition and/or ignorance of this is such a rich place to explore in fic.)

Emma (talking about Regina): Where does she think you are anyway?

Henry: Playing Whack-a-Mole.

Emma: And she bought that?

Henry: She wants to believe it, so she does.

This exchange is funny but also purty revealing, even if Henry doesn’t quite know it. Regina desperately wants things between them to return back to normal, so when Henry tells her that he’s off doing something normal, that he’s returning to his old habits of playing games and having fun and not becoming Storybooke’s new junior sleuth, she’s more than ready to take his word at face value.

Side-by-side, Ginny and Jared look so much alike, and I love that. <3 They also share a buoyant, youthful kind of energy when they play off each other. So I hereby headcanon that Snow and Henry, post-uh-everything, are always going out on mini-adventures together. With their combined imaginations and mutual penchants for curiosity, this grandmother-grandson can make even the most mundane of grocery runs into something like a hunt for buried treasure.

Regina: “Now you’re lying to me?” A simple question which cues us in on lying being a v. new trait that has surfaced in Henry. The psychology of it is pretty logical. She lied to him, and now he’s reciprocating the favor, both of them unable to trust each other at this point.

So Regina says that she found David lying on the side of the road somewhere and that she brought him to the hospital. Whale supports this statement and claims that she saved his life by this act. Assuming that this is true, then I’m reminded of that popular meta which essentially proposed that the Evil Queen rarely, if ever, made a move that would deeply or permanently harm Snow. Theoretically, Regina could have left him on the side of the road to die, could have dealt Snow an irreparable amount of damage without so much as lifting a finger... but she didn’t. #SnowQueen

“Enjoy my shirt... because that’s all you’re getting.” SJKhdsha.

I like to think that Emma kept the shirt, and every once and while, she pulls it on just so she can mock a v. embarrassed Regina. “Hey, Regina, what was it you said to me again? You know, back when you wore a lot of dark eyeliner and had a giant stick up your—” “Oh, shut up, Miss Swan.”

Lolol, I love how Storybrooke’s hospital is apparently bordered by the woods. That’s some reaaaaally safe architectural planning there.

Snow wants to go somewhere “isolated, where she can never get hurt,” and in the context of the entire show, I hurt to fully comprehend that Snow’s young life was a hellhole. Her parents were killed, she’s forced out of her kingdom and into exile by a vengeful witch, and now, as a bandit, her existence, for all its flux, is constantly defined by paranoia and fear and cynicism and... well... guilt.

In the grand scheme of things, I think we sometimes forget about Snow.

How much she’s endured.

How much she’s suffered.

Snow: She blames me for ruining her life.

David: Did you?

Snow: [Pausing, thinking, her voice hard and wistful.] Yes.

This is a great beat because it further emphasizes that this isn’t your Disneyfied version of Snow White and the Evil Queen.

There’s no such thing as black and white morality in the world of Once Upon A Time.

The Evil Queen wasn’t always evil.

Snow White was not always as pure as the color of her name.

It’s complicated.

They both are.

MM: “Henry told me that you were from a similar situation to his own?” Honestly, beyond the fact that they were both adopted, I don’t think comparing Henry and Emma’s situations is exactly... apt. Emma bounced around from foster home to foster home and had to deal with the fact that she was ‘abandoned’ by her parents. Henry was given up by Emma to receive his best possible chance at life, and accordingly, he grew up in a mansion with a—as we’ll come to find out—loving mother.

But, lol, that’s not the point the show’s trying to make here. Point is, Emma is a lost kid, and she’s trying so hard to make sure that Henry doesn’t end up being one as well. Plus, it’s heartbreakingly ironic that the very person she’s been trying to find is standing right next to her.

Oh, Kathryn, you have a v. painful arc coming up.

You know, had I been in the OUAT fandom when Ginny and Josh announced that they were together, that would have been the end of me.

The chemistry between these two is incomparable.

Like, I know it’s for the aesthetic™, but this bag is so impractical for the life Snow lives, lololol.

Had to include these iconic lines.

Regina: We’ll talk about your insubordination later. Do you know what insubordination means?

Henry: [Shakes his head.]

Regina: It means you’re grounded.

Good God—Kathryn’s fake backstory is so intricate and moving. (Also, I love Anastasia Griffith. She really portrays the duality of Abigail/Kathryn well.)

“Because all of this has reminded me of something, oh, so very important... how grateful I am to have Henry.”

“Because not having somebody... well, that’s the worst curse imaginable.”

Lana Parrilla has no right giving such a nuanced performance of what should have been a one-dimension villain.

But that’s why we love her.

Over the course of the seasons, we learned that the curse backfired on Regina. Sure, everyone was miserable, but so was she... and at least her victims weren’t even cognizant of the fact that they were cursed. Heck, in that sense, they had it better than she did.

So in exacting her perfect revenge, Regina only deepened the void inside of her, drove herself to an emptiness like no other she has felt before.

By the time Greg and Owen showed up, it was nearly unbearable.

And then... she adopted Henry.

And suddenly, she wasn’t alone anymore.

Without Henry, her life is but a void, an emptiness, a nothingness of her own design, and right now, Emma Swan is a perceived threat to the tenuous solace she has carved out for herself these past ten years.

What Regina doesn’t understand is that she’s the real threat.

She’s the one who is ultimately pushing Henry away.

Okay, y’all aren’t allowed to make eye-contact anymore. 😭

:’)

I think I can safely say that “Snow Falls” is one of the most tightly written and acted episodes in the series. On an architectural level, the dialogue parallels were especially poignant, and the sentimental moments were well chosen. For instance, concluding the episode on this sweet, tender moment between Emma and Mary Margaret is an expert choice that ameliorates the Snowing pathos we’re currently feeling. Theatrically, it’s the little nuances that make “Snow Falls” so great: JMO’s uncomfortable vulnerability as Emma talks about her history with MM, the mutual attractions of Snow and David that surface in meaningful glances expertly affected by Ginny and Josh, the softnesses Lana and Anastasia imbue their hardened characters with.

Just really wonderful stuff all around.

#sorry I was late with this one #work... is... exhausting #i really want to try to write tomorrow #watching fairytales #reginianwrites #s: ouat #once upon a time

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thejakeformerlyknownasprince · 7 years ago

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Will you do your fave book? Or if you already did it, the next fave? And so on...

Short opinion: I am constantly torn between wishing that The Beginning was twice its actual length and being in awe that Applegate manages to cram so much into a sparse 156 pages.

Long opinion:

As I mentioned here, #54 is actually my favorite book in the series. I’m probably the only fandalite on the planet for whom that is true, but I am a complete and utter sucker for tragedy. And this is tragedy in its purest form. Tragedy is frustratingly hard to find in contemporary American stories, because it offers no happiness or culmination at the end. Bad guys don’t always get punished; good guys don’t ever get medals from princesses or happy retirements into the sunset or reunions with lost loved ones; the very notions of “bad” and “good” get irreversibly complicated. A tragedy is the story of well-intentioned and deeply sympathetic protagonist(s) coming to a bad end that is at least partially one’s own fault, at least partially the fault of random Shit Happens, and entirely coherent and fitting with the tiny cascade of random events that led to the fall of a lightning-struck tower.

The purpose of comedy (i.e. stories with happy endings) is easy entertainment. The purpose of tragedy is to inspire fear and horror through making the audience wonder whether it is possible for each of them to meet a similar end. With the arguable exception of Cassie, every one of the Animorphs gets his or her own tragedy in the end. This series is a war epic about the costs of violence. It was never going to have a happy ending.

Rachel’s loss, in the opening moments, is the most obvious character culmination of the series. She has been struggling for months if not years to define herself outside of the war, attacked on all sides (her best friend, her boyfriend, her cousin and field commander, her own mother) for the very role that they all nonetheless demand that she perform in order to keep them all safe, not only from the yeerks but from themselves. Rachel has been the team’s first and last line of defense since the EGS tower battle (#7), and has all-but taken on the title of trash collector since becoming the one to handle David (#22). Killing Tom is her final act of protecting her found family; completing the suicide run is her final ability to use her comfort with violence to do something good. She might have done and even become terrible things, but she ultimately succeeds in turning that terror against an even greater evil in her last moments of life.

Arguably the next domino to fall is Tobias. I’m with Cates: his is the ending I find the least satisfying, because it devalues his friendship-cum-familyhood with Ax. However, I also can’t say that Applegate didn’t set that ending up. As early as #13 Tobias shows worrying signs of codependency with Rachel; as early as #3 he proves willing to retreat into his hawk side when the going gets tough. The scene where “Ken and Barbie” disturb his self-imposed exile through their simple reminder of humanity suggests that Tobias’s retreat isn’t nearly as complete as he’d like it to be, but then he’s never been able to escape being human no matter how hard he tries (see: #3, #33, #43, #49).

Part of what I find so fascinating about Jake’s character arc (fascinating enough that I wrote a goddamn novel or two on the subject) is how much his family story starts complicating this hyper-normative idea of married-parents-two-kids-fenced-backyard-golden-retriever-nice-neighborhood-white-upper-middle-class familyhood starting right in the first book, and how it only makes things worse once the war is over. Jake’s family continues to look “perfect” (i.e. normative) from the moment he first gets home and joins his brother and parents (and resident yeerk) for a home-cooked dinner in #1 all the way up until the alien inside his mom is firing a dracon beam at him from the front seat of her minivan, putting the first scar on the otherwise flawless siding on the facade of their two-story McMansion in #49. So it’s only natural that Jake’s first thought on committing fratricide in the immediate aftermath of mass murder is to wonder “how would [he] explain this to [his] parents,” and it makes a fair amount of sense that he basically tries to retreat back to that safe haven he (unlike all of his friends) has before the war begins (#54). But Jake can’t go home; home isn’t there for him to retreat to anymore. His desire to retreat back to his childhood home borders on pathological, since in many ways he’s older than his parents have ever been, and he’s gone beyond the point where he could ever hope to give his burdens back to them.

And then there are three. And then two.

There are two details about Ax’s role in the final book that I find really fascinating. The first is that line (which I quote all the time, because I find it so revelatory) where Cassie describes herself and Marco as “the only two real survivors” of the war (#54). Why isn’t Ax included in the list of “survivors” along with Cassie and Marco, even though he’s alive and (physically) well at the time? My guess would be the hints that he is, in his own way, just as addicted to risk and violence as Rachel ever was. He doesn’t know how to survive without the war, which leaves him “looking for trouble” in his “boredom”—right up until he recklessly stumbles upon enough “trouble” to get his entire crew killed (#54). That chapter also contains the other fascinating detail: it’s labeled “Aximili,” not “Ax” the way his chapters are in all the Megamorphs books. Ax has at least partially given up on the identity he fought so hard to forge throughout the entire book series. He has retreated back into being what his society expects him to be: a leader, a warrior, and an andalite who does not concern himself much with alien cultures. He continues playing that role, apparently indifferent to what is happening with Tobias and the others on Earth, right up to his death.

Quick side note: I find it so cool (by which I mean excruciatingly painful) that each of the Animorphs gets what they wanted in the first books in the series—and that those dreams prove to be so hollow once achieved. Rachel gets eternal glory, and the ultimate thrill ride along the way (#2). Ax surpasses Elfangor in reputation and respect (#8). Jake fulfills his daydreams of being treated as a superhero (#2), and of going home to his family (#1). Marco gets to be not only “an entire episode of Stupid Pet Tricks” but quite possibly the most famous person alive (#2). Tobias escapes his life and manages once and for all to “fly free” (#3). Cassie finds a non-violent way to change the world (#4); she even gets to be a horse for a while along the way (#29). And it’s nothing like any of them thought it would be. None of their childhood dreams have much feasibility or even appeal by the time they are some of the weariest, most mature and worn-out adults of their generation. Only Cassie manages to find satisfaction in getting everything she ever wanted.

Only Cassie… because Marco’s not quite a “survivor” either. He brags about his fame and materialism, sure—but then we’ve never been able to trust Marco’s narration. (See: the amount of time he spends obfuscating and/or lying to the reader in #30, #25, #15, and #35.) If you ask Marco outright, everything’s fine and it always has been. But then Marco describes Jake and Tobias showing up with an offer of a suicide mission as “everything around me turned translucent, like it was all fake… an old reality emerged from beneath the illusion” (#54). Even before that scene, it’s striking just how much time Marco spends obsessing over Jake. Marco freely admits to Cassie that he acquired an eagle morph for the specific purpose of following Jake around to spy on him, spends almost half the alleged description of his own life talking about how poorly Jake is functioning, and actually talks Jake into leading his crazy suicide mission for Jake’s own sake. What Marco doesn’t mention—and what we can assume from Jake’s own narration doesn’t happen—is him actually picking up the phone to call Jake and ask him if he wants to talk. The flash and glam and seven cars and heated pool and personal butler are yet more misdirection; Marco’s not okay. He’s just telling us about all the ways Jake’s not okay because that’s safer than admitting his own vulnerability. Jake says “Marco, you were bored out of your mind” and Marco unhesitatingly agrees (#54). Marco spends so much time trying to convince everyone of how very happy he is with materialism and Hollywood glam that he fools Cassie, he fools Tobias, he all but fools himself… but he never fools Jake. Which is why he has to keep Jake at arm’s length, no matter how much his guilt at doing so might eat him up as he’s sitting around watching Jake watching Rachel’s grave in the middle of the night.

And then there’s Cassie. Cassie who I’ve compared to an anti-Susan Pevensie, Cassie who finds a man who treats her right and uses power for good without resorting to violence. Marco, who was the last to join the war effort, might have eventually been able to find equilibrium if he’d been willing to get a haircut and get a real job (X). Cassie, who is unafraid to work on her own and leave her team when something needs doing and they can’t help her (#19, #29, #43, #44), is already living a new normal. Jake is right when he says that Cassie’s “a one-woman army,” and he’s right that she’s “the soldier who has fought her war and moved on.” The two Animorphs with the least “addiction” to the war emerge from the other side the most intact (#22). Cassie’s never going to be the same person she was, but she understands that. She doesn’t try to hide from the past, she doesn’t try to retreat into it; she picks herself up and figures out a way to live on her own. She shows that there’s hope for life after war, but also that there’s no returning to childhood. She lives, and keeps on living, even after two (maybe three, maybe five) of her fellow Animorphs have been eaten alive by the war. Because right from the start, Cassie has been comfortable with leaving her team behind—and in the end, she leaves her team behind, and she can’t save a single goddamn one of them.

It’s not a happy ending. It’s not a comforting ending. It’s not the kind of ending that suggests people get what they deserve and deserve what they get. It doesn’t offer the comfortable reassurance that the right ends will justify any means. It’s the kind of ending that gets in your head, burrows down deep, reads through your memories, and won’t leave you alone.

Don’t get me wrong: I love these characters. They were my heroes and my idols and my ink-and-paper friends throughout my childhood. They’ve taught me as much as a lot of real people I’ve known in my life, and there’s a part of me that does want them to live happily ever after. But if they did, they would lose a lot of the realness that makes them so precious and so painful to love in the first place.

#asks #answers #animorphs reviews #54 #the beginning #animorphs spoilers #unculturedmamoswine #jake berenson #rachel berenson #tobias fangor #aximili-esgarrouth-isthill #wouldn't it be nice if cassie and marco had last names #i didn't even mention that moment with alloran #or that other moment with menderash #or that other other moment with erek...

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mbtizone · 7 years ago

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Henry Mills (Once Upon a Time): ENFP

Dominant Extroverted Intuition [Ne]: It isn’t necessary for Henry to see to believe. He can see beyond what’s physically in front of him. He knows that everyone in Storybrooke is a fairytale character, cursed to forget who they were, just by reading the book Mary Margaret gave him. To Henry, believing in something makes it true. He has an active imagination and his brain makes connections with ease. If Frankenstein is in Storybrooke, but not in the book, then that means the curse went to other lands, so who knows who else could be in the town? Henry can usually determine which fairytale character a Storybrooke resident is very quickly. Ashley is a maid and she has a stepmother and stepsisters? She’s clearly Cinderella! Archie is Jiminy Cricket because he helps people see right and wrong and acts as a conscience, which would make Marco Geppetto because he’s Archie’s best friend. When Archie asks Henry’s fairytale theory is so important to him, Henry tells him that this can’t be all there is. The alternative is too horrible to even consider. When David wakes up with amnesia, Henry realizes that it’s because the curse hasn’t taken effect on him yet. Regina’s fake life for Prince Charming hasn’t kicked in yet, so he’s a blank slate. He’s quickly able to figure out that Graham is the Huntsman. He was raised by wolves, so that explains why he keeps seeing one! And kissing Emma gave him flashes because they’re connected. If Graham hadn’t spared Snow White, Emma never would’ve been born. Ava and Nicholas are brother and sister who are lost and have no parents… Hansel and Gretel, obviously. He makes these leaps quickly and effortlessly. Henry thinks quickly on his feet and can improvise in the moment – he distracts Mr. Gold by looking for a present for Mary Margaret to allow August to sneak into the shop. Henry likes trying new things. He’s excited to learn how to sword fight and ride a horse.

Auxiliary Introverted Feeling [Fi]: Moral gray areas don’t compute with Henry. You’re good or you’re evil. He insists that good will win, no matter what Regina tries to do. Even though Regina has killed people and cursed the entire town, executing her is wrong. Heroes don’t run! They stay and fight. He is steadfast in his beliefs. When Regina suggests that Henry can make the other children love him, Henry is adamantly against that. He doesn’t want to force anyone to be his friend! He doesn’t want to become Regina. If someone fails to live up to Henry’s expectations of them, he can be very hard on them and reluctant to forgive. He values honesty and expects that from Emma, so learning that she lied to him about his father hurt. When he’s upset or angry with someone, Henry tends to shut them out rather than talk to them. He jumps out the window and sits on the fire escape when he learns the truth about his father. When he overhears Emma’s conversation with Regina, he runs from the room and deals with his emotions privately. He also storms off when Archie tries to tell him that his beliefs are just delusions. Henry is typically only hurt emotionally when someone he respects or admires puts him down. It doesn’t matter if Regina tries to convince him otherwise, but when Archie and Emma imply that he’s crazy, it hurts. Even though the people around him try to get him to live in reality, he refuses to listen. Henry knows that the book is real, so he won’t abandon his mission. He will fight for the truth and show it to everyone. Henry refuses to allow anyone to shatter his faith.

Tertiary Extroverted Thinking [Te]: Henry enjoys making plans and carrying them out. He is able to take action to do what needs to be done – even if he has to steal a credit card, hop on a bus to Boston, track Emma down, and bring her to Storybrooke. When there are no signs of forced entry in Emma and Mary Margaret’s apartment, Henry swipes his mom’s set of keys in order to prove she was able to get inside to plant the evidence to incriminate Mary Margaret. Henry’s book is his Bible and everything in there is fact that cannot be disputed (no matter how hard Emma and Regina may try). He creates blueprints for his plan to turn Mary Margaret and David’s room into an armory to defend themselves against Regina. Henry understands that it’s important to support his claims with concrete evidence and risks his safety in order to get it for Archie and Emma. He doesn’t care what it takes – he’s determined to get her the proof she needs. His conviction is so strong that he forces her to believe in the most logical way he can think of – by eating the poisoned apple turnover that Regina had intended for Emma. Henry can be blunt and direct at times. When Regina tells him she wants to transfer him out of Mary Margaret’s class, he asks her point blank if it’s because Regina framed her for Kathryn’s murder. Henry wants to get “John Doe” to wake up from his coma and remember who he is, and he knows the best way to do that is to get Mary Margaret in there to read to him about their former life together (Ne-Te).

Inferior Introverted Sensing [Si]: Even though Henry is usually open to possibilities, past experience does influence his outlook on certain things. You can’t break a deal with Mr. Gold. Nobody’s ever done it before! After Regina crushes Graham’s heart, Henry briefly decides to put an end to Operation Cobra. Good always loses and continuing on this path can get you killed. Look at what happened to Graham! We need to stop before anyone else suffers the same fate. Nicholas and Ava’s dad has to be in Storybrooke because nobody ever comes or goes. If people leave, bad things happen! August’s presence in Storybrooke is unsettling for Henry because there are no outsiders there. When he is taken to Neverland, he knows that his family will come from him because they always find each other! He knows that Emma gave him up to give him his best chance because that’s why Emma’s parents gave her up. Henry has a sentimental streak and wants to feel connected to his past and where he comes from. When Henry interrogates Emma about his biological father, he asks if she has something of his because Henry wants a memento. In the lie that Emma tells Henry about his father, she mentions pumpkin pie, which Henry remembers, as he brings her a slice of it later on. When Henry’s book goes missing, he has to write down everything he remembers from it before he forgets. Henry uses what he learns in the book to guide his judgments in current situations. In the book, things always seem bleak right before a triumph, so that will apply to us, too! The hero never believes at first, so Henry is willing to wait. All heroes hit rock bottom before rising up and fighting back!

Enneagram: 7w6 9w1 4w5 Sx/So

Quotes:

Henry: They’re not fairy tales. They’re true. Every story in this book actually happened. Emma: Just because you believe something, doesn’t make it true. Henry: That’s exactly what makes it true. You should know more than anyone. Henry: Please don’t take me back there. Emma: I have to. I’m sure your parents are worried sick about you. Henry: I don’t have parents. Just a mom and she’s evil. Emma: Evil? That’s a bit extreme, isn’t it? Henry: She is. She doesn’t love me. She only pretends to. Emma: Kid… I’m sure that’s not true.

Henry: I was hoping that when I brought you back, things would change here. That the final battle would begin. Emma: I’m not fighting any battles, kid. Henry: Yes, you are. Because it’s your destiny. You’re going to bring back the happy endings. Emma: Can you cut it with the book crap. Henry: You don’t have to be hostile. I know you like me – I can tell. You’re just pushing me away because I make you feel guilty. It’s okay. I know why you gave me away. You wanted to give me my best chance. Emma: How do you know that? Henry: Because it’s the same reason Snow White gave you away.

Henry: I don’t want to talk to you. Archie: Miss Swan, if she knew you were here- Emma: To hell with her. Henry, there is one simple reason I stayed here. You. I wanted to get to know you. Henry: You think I’m crazy. Emma: No, I think the curse is crazy. And it is. But, that doesn’t mean that it isn’t true. It is a lot to ask anyone to believe in, but there are a lot of crazy things in this world. So what do I know. Maybe it is true. Henry: But you told my mom. Emma: What she needed to hear. What I do know, is that if the curse is real, the only way to break it is by tricking the Evil Queen into thinking that we are non-believers. Cause that way, she’s not on to us. Isn’t that what Operation Cobra was all about? Throwing her off the trail? Henry: Brilliant!

Henry: I found your father – Prince Charming. Emma: Henry… Henry: He’s in the hospital, in a coma. See the scar? He has one, too. Emma: So? Lots of people have scars. Henry: In the same place? Don’t you see what this means? The curse is keeping them apart with the coma. Now they’re stuck without each other. We have to tell Miss Blanchard we found her Prince Charming. Emma: Okay, kid. Telling someone their soulmate is in a coma is probably not helpful. Not having a happy ending is painful enough, but giving someone unrealistic hope is far worse. Henry: But what if I’m right? We know who they are. Now they have to know. Emma: And how do you intend to make that happen? Henry: By reminding him. We have to get her to read their story to John Doe. Then, maybe, he’ll remember who he is.

Henry: You’re the one who woke him up. You’re the last one he saw. He wants to find you! Mary Margaret: Henry, it’s not about me. I just… I think he’s lost and confused. He’s been in a coma a long time. Henry: But he loves you! You need to stop chasing him, and let him find you.

Henry: Don’t believe them. You’re the one he was looking for. Mary Margaret: Henry… Henry: He was going to the Troll Bridge. It’s like the end of the story. Mary Margaret: Henry, he was going there because it’s the last thing I read to him. Henry: No, it’s because you belong together.

Ruby: Oh, um, she’s got a stepmom and two stepsisters that she doesn’t talk to. Henry: Wait. Stepmom, stepsisters, and she’s a maid?

Henry: You can’t make her double cross Gold. No one’s ever broken a deal with him.

Henry: You weren’t always a cricket. Archie: I weren’t always- Oh, right. Because, um… Because you think I’m Jiminy Cricket. Why… Why do you… Why do you think that, Henry? Henry: It’s just because of who you are. Archie: And what am I? Henry: You’re a conscience. You help people see right from wrong. Archie: so, all the crickets in Storybrooke – they were once people, too? Henry: There aren’t any crickets here. Listen. Archie: Maybe it isn’t light enough. Henry: There’s never been crickets here. You’ve just never noticed. Archie: So, you think that’s proof that there’s a curse? Henry: Yes, but I know it’s not enough. I’m looking for more. Archie: So, Henry, look. I asked you this once before and you said you’d think about it. Why do you think it’s so important that this is real? Henry: It… It just is.

Henry: Are you recruiting Geppetto for Operation Cobra? Archie: You think Marco’s Geppetto? Henry: Sure. He’s Jiminy Cricket’s best friend and Marco’s yours. Archie: Henry… Henry, look. W-We really need to talk about this, okay? Henry: I know you’re not convinced, but I know where I can get proof. (Henry unzips his backpack and shows Archie what’s in it.) Archie: What is this? Flashlight? Candy bars? Oh, wait, Henry. Henry, you do not want to go down there. Henry: Emma’s here and stuff’s happening. I have to look at it. Archie: Henry, Henry. Stop. Stop. There is no proof. Look, all of this – all of this – is a delusion. Do you know what a delusion is? Henry: I… I think so. Archie: It’s something that’s not real. And… And not healthy. And I thought that you’d outgrow this, but Henry, you know… Now it’s turned into a psychosis. Do you know what a psychosis is? Th-that’s when you can longer tell what’s real and if that continues, then… Then I have to lock you away. Henry, look. This has to stop for your own good. You got to wake up. This nonsense must end. [Henry storms out of Archie’s office.]

Henry: I think you can be him. I think you can be a good person. I mean, you’re Jiminy Cricket. Archie: Henry. Henry, Jiminy Cricket was a… He was a cricket, okay? And he was a conscience. And… And I hardly think that’s me. Henry: But before he was that, he was a guy who took a long time to figure out the right thing to do. Archie: That kind of sounds like me. Henry: Now it’s harder for you because of the curse. To hear the voice inside of you. To be who you want to be.

Archie: Hey, can I ask you again? Henry: Ask what? Archie: Why do you think it’s so important that your…your fairy tale theory is true? Henry: I don’t know. Archie: Give it a shot. Henry: Cause this can’t be all there is. Archie: I understand.

Henry: You know why he doesn’t remember? The curse isn’t working on him yet. Emma: Henry, David has amnesia. Henry: Well, it’s preventing the curse from replacing his fairy tale story with fake memories. Emma: Right. Because everyone here has fake stories that prevent them from remembering who they really are. Henry: Right. And now’s our chance to help him. We just have to get him to remember that he’s- Emma: He’s Prince Charming. Henry: We just have to jog his memory by getting him and Miss Blanchard together. Emma: Didn’t we just try that? Henry: And it woke him up.

Henry: When did your flashes begin? Graham: Uh, right after I kissed Emma. Henry: You kissed my mom? What did you see? Graham: A wolf. I saw that I had a knife in my hand and I was with Mary Margaret. Henry: Were you about to hurt her? Graham: Yes! How do you know that? Henry: Because Mary Margaret is Snow White. Which makes you the Huntsman. Graham: So, you really think that I could be another person. Henry: Makes total sense. You were raised by wolves – that’s why you keep seeing one. It’s your friend – your guide. It’s trying to help you. Graham: I’m remembering this because I kissed your mother? H-How is that possible? Henry: Well, you two do have a special connection. She owes you her life. Graham: Why? Henry: Snow White’s her mother and you spared her. If you hadn’t, my mom wouldn’t have been born. Graham: Wh-What happened after I spared Snow White? Henry: The Queen took your heart. She ripped it out. It’s kind of her thing. She never wanted you to be able to feel again.

Henry: Thanks. Emma: Oh, come on! What’s up? You’ve been ducking me for weeks. Henry: I think we should stop Cobra stuff for a while. You don’t play with the curse. Look what happened to Graham. Emma: Henry, I told you they did an autopsy. It was totally natural causes. Henry: Okay, whatever. You don’t believe – good. That should keep you from messing with it. And getting killed. Emma: You’re worried about me? Henry: She killed Graham because he was good – and you’re good. Emma: Henry… Henry: Good loses – good always loses. Because good has to play fair – evil doesn’t. She’s evil. This is probably best. I don’t want to upset her anymore.

Henry: This is what I’ve been trying to tell you – good can’t be evil, because good doesn’t do this kind of thing. My mom plays dirty – that’s why you can’t beat her. Ever. Emma: I have a new ally. Mr. Gold said he’s going to help. Henry: Mr. Gold? He’s even worse than she is. You already owe him one favour. You don’t want to owe him any more. Don’t do this.

Henry: You stood up to Mr. Gold. It’s pretty amazing. Emma: Well, he did something illegal. Henry: That’s what heroes do – expose stuff like that. I shouldn’t have given up on Operation Cobra.

Henry: I know who they are. They’re brother and sister, lost, no parents – Hansel and Gretel. Emma: Anything in there about the dad? Henry: Just that he abandoned them. Emma: Great. Sounds like a familiar story. Whoever this guy is, he could be in Laos by now. Henry: No, he’s here. Emma: Just how do you know that? Henry: Cause no one leaves Storybrooke. No one comes here, no one goes. It’s just the way it is. Emma: I came here. Henry: Because you’re special. You’re the first stranger here – ever.

Henry: Do you have anything of his? Something you can remember him by. Something I could see. Emma: I… I don’t. Henry, I’m sorry. I got to go. I may know how to find this guy.

August: Whatcha working on? Henry: Uh, no time to talk. I got to write it all down before I forget. August: Yeah, I hate it when great ideas slip away from me. Henry: They’re not my ideas. They’re stories from a book that I lost. August: Must be a hell of a book. What’s it about? Henry: Stuff. August: Sounds exciting. Henry: You seem awfully interested in me and my book. August: No, I’m just being neighbourly. Henry: What are you doing in Storybrooke? August: I’m a writer. Henry: You can write anywhere. What are you really doing here? August: Stuff. Good luck with the stories.

August: I don’t think that hot chocolate’s going to drink itself. You’re upset about your teacher, aren’t ya? Henry: She didn’t do it. Why can’t anyone see that? August: Because most people just see what’s right in front of them. And I don’t think you’re going to find the answers you want at the bottom of that mug. Henry: Then where? August: That a book in your bag? You know I’m a writer. So, I’m partial to finding my answers in the literary form. Henry: It’s just a book. August: Is it? Henry: Yeah. August: I think we both know that that’s not the case. Can I get a water, please? Henry: What do you know about it? August: I know it’s a book of stories. Henry: Aren’t all books? August: Stories…that really happened. Henry: You think my book is real? August: As real as I am. Henry: How do you know? August: Well, let’s just say that, uh, I’m a believer. And I want to help others see the light. That, my friend, is why I’m here. Henry: But I already believe. August: Oh, I’m not here for you, buddy. I’m here for Emma. Henry: So, you want to get her to believe? Why don’t you just tell her? August: Well, there are some people – like you and me – we can go on faith. But others – like Emma – they need proof. Henry: Last time I tried to find proof, I got trapped in a sinkhole.

Henry: I have proof. [He holds up the ring of skeleton keys.] This is how my mom got into your apartment. This is how she framed Miss Blanchard. Emma: Did you steal these from her office? Henry: Yeah. The book said they could open any door. Emma: There’s no way they’ll even fit in the lock. Henry: We have to try. [Henry tries to open the door with multiple keys, but is unsuccessful.] Emma: See? What did I tell you? Come on, Henry. I know you want to think the answer to everything is in Operation Cobra- Henry: It is! Emma: But, sometimes the real world needs to come first. Henry: Just try one more. Please. Emma: Okay, one more. But then we’re done. Henry: You do it. This one. Emma: Okay. [Emma takes the keys from Henry and tries the key he picked out. The door unlocks.] Henry: Do you believe now?

Henry: Who else knows that we hide the book at the Sheriff’s station? Emma: No one. Why? Henry: Someone changed it. There’s a new story in it. Emma: Why would someone add a new story? Henry: To tell something we need to know about the curse. Emma: And what would that be? Henry: I don’t know. The story isn’t finished. Emma: Why would someone go to so much trouble to add a new story, and then not bother finishing it? Henry: That’s what’s weird. The story’s about Pinocchio. Everyone knows how that ends. Emma: Well, maybe that’s why it was left out. Henry: Or, maybe, there’s more to it.

Henry: What are you doing here? Regina: You forgot your lunchbox. Henry: Thanks? Regina: Henry, it’s time for a change. I think it’s time to transfer you to a new class with a new teacher. Henry: Why do you want me out of Miss Blanchard’s class? Is it because you framed her? Regina: Henry! Do you really think I’m capable of doing something so horrible? Henry: Of course. You’re the Evil Queen. Regina: Enough. Those fairy tales are not real. Miss Blanchard should never have given you that book. She should be grateful I’m not trying to get her fired. Henry: Go ahead and try. It won’t work. No matter what you do, Snow White will have her happy ending. She and Prince Charming will be together. The curse will end. Good will win. And I’m not transferring classes.

Henry: Is that all your stuff? Emma: All I need. Henry: Wait. You want to go now? We’re leaving now? Emma: Uh-huh. I’m getting you out of here. Away from all this. Away from her. Henry: No, no. Stop the car! You can’t leave Storybrooke. You have to break the curse. Emma: No, I don’t. I have to help you. Henry: But you’re a hero – you can’t run. You have to help everybody. Emma: Henry, I know it’s hard for you to see it, but I’m doing what’s best for you. That’s what you wanted when you brought me to Storybrooke. Henry: But the curse… You’re the only chance to bring back the happy endings. Emma: Henry… [Henry reaches over and grabs the steering wheel.] Emma: Henry! [Henry causes the car to veer off the road and into a ditch.] Emma: Henry! What were you doing? You could’ve gotten us killed! Henry: Please! Please, don’t make me go! We can’t go! Everything’s here… Me, your parents, your family. Please, Emma. They need you. Your family needs you.

Henry: You’re just scared. This happens to all heroes. It’s just the low moment before you fight back.

Henry: You can’t eat that. It’s poison. Emma: What? Henry: Don’t you see? The deal… It was all a trick to get you to eat that, to get rid of the saviour. Emma: Henry, come on. Why would she do that when I just told her I was going to go? Henry: Because as long as you’re alive, you’re a threat to the curse. Emma: Henry, you’ve got to stop thinking like this. Henry: But it’s the truth! And you leaving isn’t going to change that. Emma: I’ll prove it to you. Henry: No! [Henry grabs the turnover from Emma.] Emma: Henry… What are you doing? Henry: I’m sorry it had to come to this. You may not believe in the curse… Or in me. But I believe in you. [He takes a bite of the turnover. Nothing happens.] Emma: See? You want to have some ice cream with that? And then we can go back to talking about… [Henry suddenly collapses.] Emma: Henry? Henry? Henry!

Archie: There you are. Come with me. I need your help. Dr. Whale’s whipped everyone into a frenzy. They’re going to Regina’s house. They’re going to kill her! Leroy: Great, let’s watch. Archie: No. No, we cannot stoop to her level. No matter who she is or what she’s done, killing her is wrong. Henry: He’s right. Please. She’s still my mom.

Henry: You’ll find another way. In the book, things always look worse right before there’s good news.

Henry: You ruined lives. You sent away Mary Margaret and Emma. Regina: That was an accident. Henry: The way you treated me wasn’t an accident. You made it so no one believed me. You made me feel like I was crazy. Regina: But that’s all going to change, now. Henry, you can know all the secrets. You can live in a house with magic. Look what I could do. Henry: No one’s going to want to come over here. They’re scared of you. Regina: You can make them not be scared. You can make them love you. Henry: I don’t want that. I don’t want to be you.

David: You sure you’re okay to do this, kid? Henry: I was born to do this. I’m done reading about heroes. I want to be one. David: Well, sometimes being one is knowing when not to run into the fire. Henry: I’ll be okay. Mr. Gold: Look, whatever he faces in there, will be far less dangerous than what he’ll face if we fail. Henry: I can do this.

David: It’s going to be alright. Henry: How do you know? David: Well… How did you know Emma would save you after you ate the turnover? Henry: I… I believed in her.

Henry: Mom, what are you doing? Regina: We can’t let Cora come through the portal. You have no idea what she would do to us. Henry: Emma and Mary Margaret are going to defeat her. They’re the ones that are going to come through. Mr. Gold: Henry, your mother’s right. It’s going to be Cora. Henry: No. It won’t. Good always defeats evil. You should know that more than anyone.

Henry: You can’t! Stop it! You can’t! You’re going to kill them! Please! No! They’re going to make it through! We have to turn it off! You’re going to kill them! [Henry manages to break free from Regina’s grasp, but she quickly pulls him back.] Regina: Henry! What are you doing? Henry: Emma and Mary Margaret are going to come through. I know it. You said you wanted to change – to be better. This is how. You want me to have faith in you? Have faith in me.

Emma: You plotting your escape from Shawshank, kid? Henry: No, they’re blueprints. I had some ideas for what to do if David and Mary Margaret move out. Look. Emma: You want to make Mary Margaret’s room an armory? Henry: Yeah. You know, for weapons and stuff. To protect us – from Regina. Emma: She’s not going to hurt you. I’m not going to let her. Henry: She hurt Archie. What if she wants to take me back? Emma: That’s not going to happen.

Henry: Frankenstein isn’t in here. It’s not even a fairy tale. That means it comes from another land with different stories. Emma: Eat. I really want to go to bed. Henry: If the curse went to places with other stories, then who knows who else is in this town?

Emma: You good, kid? Henry: You kidding? A trip with you, first plane ride, and we’re going on a quest like in the book. The only thing that could make this day better is more frosting.

Henry: So, that’s him. Emma: Yeah. Henry: Why didn’t you tell me? Emma: Because I never thought I would see him again. I never wanted to. Henry: Why not? Emma: He was a thief, Henry. A liar, a bad guy, and he… He broke my heart. Henry: I could have taken it, you know. The truth. Emma: I know. He was just a part of my life I wanted to forget. That’s why I didn’t tell you. I was thinking of me, not you. Henry: I thought you were different, but you’re just like her. Regina. She always lied to me, too.

Henry: Emma, Neal wanted to show me the museum. Do you think we can go back to the apartment and get my camera? Neal: Yeah, well, I… Kids like culture, right? Emma: Sure. Yeah, that’s fine. You like the New York pizza? Henry: Yeah. It’s delicious, cheesy, and doesn’t lie.

Henry: I’m not getting the pen for Cruella. I’m getting it for me. I just watched my mom become the Dark One. I watched Hook die, and I couldn’t do anything. The Apprentice: You are the Author. As such, you should use the quill only to record the stories, not create them. Henry: I don’t care about the stupid stories anymore. I’m sick of sitting on the sidelines. I want to be a hero. I want to help my mom, even if it means helping Cruella.

Henry: You can give up on yourself, but I’m not gonna give up on you. And I’m not gonna go away just because you told me to! I belong here, and I’m going to come back everyday because this is my house too! And I miss my room!

Henry: Nice try, but you can’t Darth Vader me. I’ll never join you.

Henry: Don’t worry. My family is coming to rescue me, and you could come with us. Boy: You really think you’re the first boy to believe their family’s actually coming for them? Henry: My family’s different. We always find each other.

Henry: See? If you believe, anything is possible.

Mary Margaret: No. It can’t end this way. He was supposed to get a second chance. Neal: What happened? Emma: Someone killed him to stop him from telling us something. He used his last dying breath to warn us. I will not let that be in vain. Henry: Brave… truthful… and unselfish. Brave, truthful, and unselfish. Don’t you see what this means? That’s what Pinocchio was supposed to be. There’s still hope. We need The Blue Fairy.

Henry: Are you going back out? Emma: I got to, yeah. You remember Leroy, right? He’s going fishing with some buddies today. You want to go? Henry: Yeah, I’ll go. Because I love fishing. Not, because I believe you. Emma: What? Henry: You know you’re not fooling me, right? Something’s up. Emma: I’m working a case. You know how I get focused. Henry: No, it’s more than that. It’s this town. All these old friends you’ve never mentioned and people whispering around me all the time. There’s something that you’re not telling me. Emma: It’s a dirty business being a bail bonds person. I don’t want to soil your sweet head. Henry: You’re not getting off that easy. If you can’t tell me the truth, then I wanna to go home. Back to New York.

Henry Mills (Once Upon a Time): ENFP was originally published on MBTI Zone

#7w6 9w1 4w5 #Henry Mills #Once Upon a Time #OUAT #Sx/So #ENFP #mbti #mbti types #mbti personality types #fictionalcharactermbti #fictionmbti #tv mbti #enneagram #enneagram 7 #Type 7 #enneatypes #enneagram type

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agl03 · 8 years ago

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Okay I'm totally going to need you to convince me how this is going to be okay because right now I actually feel pretty sick. I don't see how they have enough time once they leave the framework for Fitz to deal with this trauma. Fitz has killed a woman now, even if he wasn't aware he was doing it. And if he tortures Daisy, I just don't think I can watch that. To come out and have their happy engagement would be wrong and rushed. When do they get to heal? Where is the payoff???

Hi Anon! And anyone else who needs this…

Its Going to be Okay!

This story isn’t supposed to be happy or fun, we are in a reality built by a crazy, evil book influenced, programmed by the questionable Dr. Radcliffe, and obsessed with becoming a real girl AIDA here. She has twisted each and every single character. Fitz and May more than anyone else.

I’m just going to run down my major points here. I hope it helps. Again I am not ashamed to say that I am still enjoying this arc. Its uncomfortable and frustrating as all get out. But it has me rooting SO HARD for Fitzsimmons right now. For the entire team right now.

Fitz partly a distraction:

We all know that something the writers do is the fake out. They have us looking at and focused on one thing so we literally don’t see the truck that is coming at us from left field. Season 2 for example. When Real Shield made their move it looked like they were our big bad of the season, that would be the arc. When in fact it was Jaiying and the Inhumans that were the bigger threat. So right now they have the fandom so wrapped up in Fitz….that we are ‘missing’ that thing over in left field about to hit us. A betrayal is coming guys and its going to hurt.

Fitz has been brainwashed:

This is not our Fitz. Period. Iain said at Wondercon that they were two different people. Two different characters. Radcliffe said when talking to him, he talked about our Fitz as a different person, because he was. We saw over and over throughout the episode AIDA manipulate him. I see things like taking his hand, asking for him to protect her, of vocalizing they are trying to take him from her as the triggers. You know how we know he’s been brainwashed…how down right TERRIFIED AIDA was of Radcliffe talking to him. That Jemma was taken out of the picture even before she could be a factor in his life. That AIDA boasted that she had manipulated this world and those in it to meet her needs and wants. Yes, she fixed a regret but each regret built on her fantasy.

With Fitz this goes well beyond fixing a regret. I still believe that initially making him the son his father wanted was just step one in AIDA’s process. AIDA took him as her own.

Everyone is Dark:

We’re not done yet here guys. We have more oh please no moment coming with everyone coming. And yes, Fitz is one of the most drastically different and one they are making sure to highlight but I am uncomfortable with everyone.

Coulson: Yes he’s breaking thanks to Tahiti but he still let Hydra take off with one of his own students. The big reason I think we have Coulson back is he is getting that “you did make a difference/Shield needs you arc here”. Mace is not the leader that Shield needs…he wasn’t in the real world and he won’t be here.

Mace: I am really worried about this version of Mace. While he is doing the right thing I’m afraid he’s going to do some things in that quest that aren’t good. Not to mention that he is a massive threat to the lives of May and Fitz. He will kill either one of them given a chance. He almost reminds me of Jaiying a little here with the “One of us” comment from the promo especially makes me thing of this.

Mack: He will do ANYTHING to protect his daughter (and low key worried how he found the Resistance so easily here guys). He sold out Daisy. But what was very interesting was his view on Inhumans. When we first met Mack he was ‘against’ them for lack of a better word. It was work with Daisy, Coulson, and Shield that helped him change his mind and become one of their greatest protectors.

May: Has been twisted as much as Fitz has. She has been in there the longest. Gone through the most ‘reboots’ of the Framework. It was her team that beat up Daisy. It was her that manipulated Mack using Hope. She is number 3 in Hydra and is a huge threat to her own team as well as a target.

Ward: So leery of Ward. I really fear Jemma will be who he betrays again. And its also interesting he could have gotten a shot on Madame Hydra there…#1….instead aimed for Fitz Hydras #2. Just saying guys…our master manipulators might be at work again here. For him if it comes down to giving up Jemma to save Skye…he’s going to give up Jemma to save Skye. Just as Mack gave up Daisy to save Hope.

They are their own worst enemies:

AIDA is likely the worst villain they have gone up against, a horrid culmination of everyone they have faced before. She isn’t dumb she built this world for HER. She is using loopholes to her advantage. Otherwise I firmly feel that everyone but Fitz would already be dead. So since she had to keep them alive she manipulated (even bragged to Radcliffe that she’d done it) those regrets for her gain.

She also has been in everyone’s heads. She’s been around the team before. She knows they are the biggest threat to her when they are working together as a team. So she either split them up or turned them on each other.

She has also made them each others dragons. It is clear now AIDA is in Madame Hydra. She knows right where Mace and the Playground is but allows the Resistance to continue because it feeds into the manipulation. Especially with Fitz, its another thing he has to protect her from.

I discussed in my meta last night that AIDA seems to be trying to make it so the team won’t ‘want’ to save Fitz (more lies, more manipulation). Here he’s The Doctor, Mace won’t bat and eye if he can kill him Isn’t going to give Jemma the resources she needs to get him alive. AIDA has painted Jemma as the villain. Leaving Jemma pretty much alone now in trying to save him (oh look another parallel). She has Coulson for now but I’m betting he will be pulled away too soon by saving Daisy or getting to May.

She took Fitz as her own:

A lot of what AIDA has done was to build this world how she wanted. To get who and what she wanted, and she wanted Fitz. Someone who would love and protect her. Made her happy. Her interaction with Radcliffe very telling. We said that Fitz treating her like a person would come back…and boy has it ever. She also wanted someone that loved and protected her like Fitz did with Jemma…so she took Jemma’s place. May too, she’s ‘rewarded’ May with a high position because I believe May respected her, liked her, called her brave.

But in taking Fitz in so many ways we really do have an epic love story set up here. Jemma is going to have to fight to get him back. I feel like part of that whole spectacle on the island with Agnes was for show. That AIDA knew Jemma was there set up that whole thing with Agnes so Fitz would see it. Try to shake Jemma, make her think that he was too far gone,. It also took away the little support Jemma had found. Leaving her alone in trying to save him. AIDA is scared as heck of Jemma and her saving him.

AIDA also doesn’t have him fully yet. Fitz says he would cross the universe for her but he HAS done it for Jemma.

Fitz is in there:

In the horror of feels that was last night we saw Fitz peeking through more than once. And every single time we saw it it was because Jemma was in the mix either in person or in a picture. And only with Jemma, May, Daisy, and Radcliffe had no effect (though Radcliffe planted seeds, very important seeds).

Aside for Coulson who is aided by Tahiti we haven’t seen anyone else ‘break through” at all.

May: Came into contact with Fitz, Daisy, and Mack…nothing.

Mace: Came into contact with Jemma, Mack, and Coulson…nothing.

Mack: Came into contact with Daisy, May, Mace, and Coulson…nothing.

Engagement is Endgame:

When we look back at interviews from Loeb, Jed, and Mo they have been hinting at this arc all season. And they have been setting up an engagement for Fitzsimmons all season too.

“This young man as you have never seen him before” that was what Leob said at SDCC and also where we first heard the ‘reward’ talk. And we have seen them pay off everything so far. And coupled with the timing of Jed’s quote in EW, engagement coming up in 15, hints all season, and getting their middle names. I think once they are out they aren’t going to risk it again.

“It could happen. If they ever get back together, that’s something that could happen in their future.”

And I’m sorry to say this but this is TV, A drama at that, we have to jump through all sorts of hoops to get this kind of pay off. That is part of why we are now tearing our hair out and crying until Jemma gets him back. And when she does the pay off will be worth it. Look at what we got after Hogface.

The Fallout:

AOS has never ‘dealt’ with trauma and recovery very well. Even Daisy’s recovery a victim of the Ghost Rider Arc. It is often done over hiatus or “off camera. Now we have a situation where its the whole cast that will have things to deal with. So yes, we will miss seeing it but because we don’t see it doesn’t mean it won’t happen.

We can also have the healing ‘begin’ in the Framework, especially for Fitz as he helps get everyone out or plays a part in stopping AIDA once as for all.

Sorry that was a lot but I hope it helps. Just remember its always Darkest before the Dawn and our Sunrise is coming guys.

#aos spoilers #aos meta #fitzsimmons #leo fitz #Jemma simmons #hang in there guys

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recentanimenews · 6 years ago

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Bookshelf Briefs 3/4/19

ACCA 13-Territory Inspection Department, Vol. 6 | By Natsume Ono | Yen Press – And so, ACCA ends as it began, with endless discussions between relatively stoic middle-aged people. This is pretty much the definition of Natsume Ono’s career, so no complaints here. Things work out. Being the leader of a revolution is the last thing that Jean wants, and it’s amusing to see how he’s theoretically promised something to every single territory without actually promising anything. Moreover, ACCA manages to threaten the new ruler without actually removing him, and there are hints that he’ll be nicer—to Jean’s sister if no one else. Six volumes seems like the exact length for this series, and I’m happy to have read it, even when it was intensely talky. – Sean Gaffney

The Ancient Magus’ Bride, Vol. 10 | By Kore Yamazaki | Seven Seas – It’s a new direction for The Ancient Magus’ Bride, as Chise is off to attend the alchemist college. The alchemists want to study Chise in hopes of creating an artificial sleigh beggy substitute and in return she gets to audit classes for free. I liked that her primary goal is learning how to help people without sacrificing herself (with the side goal of thus keeping Elias from undertaking any more the-ends-justify-the-means efforts to save her) and also potentially find cures for the two curses now afflicting her arm. Many new characters are introduced, Chise is reminded that she’s “really bad at dealing with people and school,” and the church realizes that Elias’ observer has been lax and prepares to send out someone different. I’m enjoying this arc so far and remain very glad I got caught up on this series when I did! – Michelle Smith

Anonymous Noise, Vol. 13 | By Ryoko Fukuyama | VIZ Media – Yuzu’s back and just in time for In No Hurry to participate in the Tokyo Sailing concert series. The only problem is that Nino is “catastrophically terrible” in rehearsals, which she attributes to having nothing left to yearn for now that she and Momo have finally gotten together. A lot of angst ensues, culminating in a performance where Nino seems unconcerned that she’s damaging her voice, convincing the two main guys in her life that she’s planning on giving up singing. Yuzu seems poised to try to reign her in by joining her on vocals—this would be a huge development—buuuuut then we end the main story to make way for a bonus story that is fine, I guess (it does have a cute cat), but not what I wanted to be reading. This series is still occasionally infuriating, but I guess I’m hooked now. – Michelle Smith

Barakamon, Vol. 17 | By Satsuki Yoshino | Yen Press – Hiroshi’s absence is felt here, mostly as he does NOT call home all the time or immediately return. Hilariously, Handa tries to fix things by dying his hair blond and doing incredibly bad Hiroshi impressions. The bulk of the humor in this book, though, comes from the arrival of a two-person documentary team, here to videotape the countryside but not really prepared for the sheer presence of most of the cast, (and also having tremendous trouble not flirting shamelessly with each other, something everyone picks up on). Barakamon is wrapping up next volume, and that seems about right—this volume seems to be dragging things out a bit, and most of the main plot points have been wrapped up. – Sean Gaffney

Gabriel Dropout, Vol. 6 | By Ukami |Yen Press – The last half of this volume of Gabriel Dropout deals with the school trip, and has some good laughs, including two times where I literally laughed out loud (both involve Gabriel). Which is good, because that’s the main reason anyone is reading this series. The characters are not really here to develop, even as we introduce more of them. Another human girl gets a spotlight here, trying to make friends with Mei despite her being a devil and also really shy. Raphiel gets to snark, Vignette gets to overplan, Satanichia gets to do her “evil ojou” impersonation… everything is present and correct. Should you still read this series? Yes. It’s funny. It’s not deep, but I always smile at the end of it. – Sean Gaffney

Hatsu*Haru, Vol. 5 | By Shizuki Fujisawa | Yen Press – If a direct confession doesn’t work, well, try the forceful kiss again, I guess? Really, a lot of Hatsu*Haru revolves around how bad Kai is at being a cool shoujo lead, and I don’t expect this to end well for him. Meanwhile, Riko’s crush is finally married, so she can theoretically move on—though most of this volume is about how moving on is hard. And in a blow to my shipper heart, Ayumi and Takaya are faking a relationship in order to try to get Kai and Riko together… but don’t actually seem to have any sublimated feelings for each other. Darn. Ah well, the manga is still young. Till then, please enjoy teens being really emotional and awkward about romance. – Sean Gaffney

In/Spectre, Vol. 9 | By Kyo Shirodaira and Chashiba Katase | Kodansha Comics – Again we get two stories in this volume, one shorter and one long. The short one shows us Kotoko in high school, being asked to join a mystery club that’s about to be dissolved and in her spare time figuring out that the club is more about a forbidden romance than any actual mystery, though I was amused at “spoiling” a mystery that isn’t a spoiler in the first place. The longer story is more serious, about a young woman with a deadly past that… is not being brought up by the media, and about Kotoko and Kuro solving the mystery and also revealing a lot to us about lucky cat statues. There’s less of Kotoko being silly and horny in this one, but the stories are fun. – Sean Gaffney

NE NE NE | By Shizuku Totono and Daisuke Hagiwara | Yen Press – The opening scene of NE NE NE shows the wedding between Koyuki and Shin, an arranged marriage in which the groom is twenty years older than his teenaged wife. While this premise certainly had the potential to enter into somewhat questionable territory, the manga is actually quite charming and sweet. I’m not sure that I was ever entirely convinced by the difference in Koyuki and Shin’s ages based on how they were portrayed as individuals, but I did enjoy seeing their relationship naturally deepen over the course of the volume. Of the two leads Shin is the more fully-developed character—he at least gets a backstory while almost nothing is known about Koyuki beyond the fact that she desperately wants to be a good wife. But even so, they’re adorable, both together and on their own. With an additional dash of humor and magic, NE NE NE is a delight. – Ash Brown

Ran and the Gray World, Vol. 2 | By Aki Irie | VIZ Media – The opening chapter of this volume pissed me off righteously, as it involves teen-version Ran hanging out with Otaro the creeper and telling him, “You’d better not touch me” only for him to immediately glomp her. Actual quote from my notes: “THIS FUCKER DOES NOT LISTEN AT ALL. I WANT TO KICK HIM INTO THE SUN.” He promises he’s got “lots more” in store for her, but thankfully her new magic teacher arrives and the story moves on to deadly magical insects (one comes thiiiiiis close to killing Otaro but, sadly, he survives), magical training, and classmates who have crushes on Jin and Ran. I vastly prefer Ran’s age-appropriate love interest, Hibi, and sincerely hope having a friend her own age inspires her to stay away from Otaro. At least Jin is on to his womanizing ways. – Michelle Smith

Ran and the Gray World, Vol. 2 | By Aki Irie | Viz Media – The good news is that all the reasons that I enjoyed the first volume are here again. Ran is a delight, I also like her brother (and his maybe relationship with a new girl whose looks and personality remind me of Hinata Hyuuga), the bug subplot is creepy but also drives the story forward well, and the art is absolutely gorgeous. The bad news is that the main thing I didn’t like about the fist volume is also here: Otaro, the sleazy older guy from the first volume, is back and still trying to get into Ran’s pants. Even if she weren’t really a young girl using magical shoes, he’d still be the absolute worst, something the manga artist knows—they show him being reprehensible. Maybe he’ll die in the next book? Nah, I’m not that lucky. – Sean Gaffney

Tales of Wedding Rings, Vol. 5 | By Maybe | Yen Press – I was prepared to meet the fifth Ring Princess in this book, which we do (she’s on the cover, in case you hadn’t guessed). It’s the rest of the book that took me by surprise. Things go very bad very fast, and all of our main harem end up being shunted back to Earth in order to save them from the encroaching doom. This is… annoying given that Satou and the Ring Princesses’ sole purpose is to save the world from encroaching doom. It does mean we get to see cute things like shopping for clothes and going to libraries. It’s also fortuitous, as the fifth princess was on Earth all along. Will we be headed back next volume? And will Satou ever manage to go all the way with Hime? Honestly, I suspect no, but this is still fun to read. – Sean Gaffney

By: Ash Brown

#Anime #News #Manga Bookshelf

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acahill2-blog · 7 years ago

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Asher’s Creative Process

Asher’s creative process is somewhat inconsistent throughout the novel. Sometimes Asher is aware of what he is creating, sometimes he isn’t. Sometimes he has a planned idea of what he’s making, sometimes that idea comes to life after he starts. Sometimes he makes several drafts, sometimes his work is one-and-done. One consistency is that when Asher is painting or drawing, he is completely consumed. Just thinking about drawing or painting leaves him unable to even hear people around him. There is no multitasking for Asher Lev. After drawing the Rebbe in his Chumash, Asher had a serious meeting in the mashpia’s office. During this meeting, Asher was completely unable to stay with the conversation, and unable to fake it.

The mashpia was saying something about Vienna but I would not listen. The darkness was gone from the street and I could see the trees beneath the lashing rain. The rain moved in waterfalls across the asphalt. The curbs were flooded with rushing streams of water. Oh, if I could paint this, I thought. Ribbono Shel Olom, if I could paint this world, this clean world of rain and patterns of glass, and trees on my street, and people beneath the trees. I would even paint and draw pain and suffering if I could paint and draw the other, too. I would paint the rain as tears and I would paint the rain as waters of purification (pp. 134 - 135).

I think this type of absolute focus is really interesting in the context of creativity. Today we have a million things crossing our minds at once - how much more productive would we be and how much higher would the quality of our ideas be if we really eliminate distractions? Our innovation groups have so far been meeting for just 20 minutes per week. With such a small window, we need to absolutely maximize our focus, and we certainly aren’t. I’ve seen members, myself included, take a quick glance at their email, read a text message or periodically zone out thinking about lunch, other classes or whatever else. It used to be that multitasking was a skill, but now it seems more of a challenge to stop multitasking. While Asher employs this laser focus involuntarily, we can still learn something from his process of intense undisturbed thinking and try to be more aware of the distractions we allow to hinder our productivity and creative thinking.

Interlude: Flow

I think Asher’s ability to completely block out distractions when thinking about and carrying out a project is an example something we haven’t yet talked about in class but something I am really interesting in: flow. Flow is characterized by hyperfocus and an increase in positive energy. I was a strong basketball player in high school and played for two years on Wellesley’s varsity squad. There are times that I remember being shocked after games when my dad told me that someone had yelled something or screamed in a silent gym during my foul shot because I never heard it. Similarly, we had announcers at our games that narrated into the gym speakers who had scored, fouled, etc. Despite scoring 800 points in high school, I could never tell you after a game if there had been an announcer there or not. Apart from this hyperfocus, I would describe my experience of flow as feeling like I was in an alternate universe or dream where I had complete control over the situation, where my reaction time was faster than everyone else’s and I had no knowledge of a world beyond the court, almost like a video game. Interestingly, I only ever felt flow in games, never in practice or doing drills on my own, so I think there may be an intensity factor at play. These days, I’ve been trying to reach this feeling of flow in my running, but haven’t been able to yet. I wonder if running is not a dynamic enough activity to exercise creativity, if there aren’t enough moving parts or junctures to make decisions. I also wonder if to achieve flow you need to have extensive experience performing the activity. I had been playing for over eight years before I began to feel flow in basketball games. Similarly, Asher had been drawing for many years when he began to experience this all-consuming creative process.

It impressed me throughout this novel how Asher seemed to paint entire canvases in one go. Of course, Asher is telling this story by looking back in time and recalling his experiences, so it’s possible that more drafts happened that were not included in his recounting of events. Nevertheless, when the different drafts of a piece were described, it stuck out. One of Asher’s first truly creative works, the portrait of Rivkeh that used cigarette ashes for shading, was the product of several successive failed drafts. Other times, Asher’s drafting process wasn’t so linear. In these cases, the idea of an incubation period where ideas are given time not just to be tweaked but to transform and generate entirely new ideas, comes to mind. Shortly before his painting of Brooklyn Crucifixion I, which was really just a draft of Brooklyn Crucifixion II, Asher began to build and experiment with some of the themes that these eventual masterpieces would stand on.

… I drew the Pietà from memory, and discovered that the woman supporting the twisted arm of the crucified Jesus bore a faint resemblance to my mother. I stared at the drawing in horror, and destroyed it (pp. 314).

It’s difficult not to make the connection here to one of Asher’s main inspirations, Picasso, who described his masterpieces as a “sum of destructions”. This word, “destructions”, always sticks out to me in how violent it makes the drafting process sound. Why were Asher and Picasso so angered by a miscalculated attempt? Jacob Kahn would say it is because both artists drew on their true emotions. As Asher closed in on his ability to convey the anguish of his mother, he also became more sensitive about his work. Leading up to his final show, Asher, for what seemed like the first time, became anxious about other people’s perceptions of him and his work, especially his family. According to Kahn, this was the price he would have to pay to be a great artist, to escape the easier route of becoming a mere “whore” to the art world.

Interlude: Asher’s use of the Muse

Historically, many creatives have been known to have a muse or person who is the source of their creative inspiration. I think Asher had at least two muses, his mother being one. Since he was a little boy, Asher always drew his mother. As he grew older and his relationship with Aryeh became more and more strained, Asher grew closer to Rivkeh. In his teenage years, he developed a special sensitivity to Rivkeh’s pain. By the end of the book, Asher seemed to feel her longing and anguish deeply within himself. While there are a lot of places one could take this in terms of the novel’s literary themes, in the context of creativity, it suggests something of the importance of emotion in creative work. Big C creativity, it seems, must be a product of passion.

Asher’s other muse, in a different sense, was his mythic ancestor. He often saw and portrayed this ancestor, his father’s great great grandfather, as a towering, demonic character. In my eyes, this character, too, represented several of Potok’s literary themes, one being the dichotomy and clash of good vs. evil. Asher’s gift was often said to be a gift from the Other Side, and his pursuit of art a continuous dance with the devil. On his first meeting with Jacob Kahn, Kahn told him, “There is something demonic about such a gift, Asher Lev. Demonic or devine, I do not know which” (pp. 263). This dichotomy often reminds me of the Spider Man quote, “With great power comes great responsibility”. People with power or a gift or fame have influence over others, and this influence must be executed with caution. Some of the world’s most evil people are also the most intelligent, like the Unabomber, for example. A similar “dark side” exists in the creativity field. Malevolent creatives use their gifts in a way that is intentionally harmful. By the end of the book, Asher was certainly a malevolent creative in the eyes of his Brooklyn community. To them, there was no other explanation for his actions than his intention to hurt his community, which led to his being asked to leave. This brings up a problematic question of who gets to determines what malevolent creativity and benevolent creativity is. Throughout history, our ideas of what is good and bad have evolved drastically and different values, temporal contexts and cultures largely determine these characterizations. Like other instances where we make value judgments, the judgment of malevolent creativity must be taken with a grain of salt.

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firstumcschenectady · 8 years ago

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“Who Do We Feed First?” based on Acts 2:42-47 and Mark 7:24-30

There are times when I find it invigorating to engage in a robust debate. One of the joys of my childhood was being able to score points in verbal battles with my brother, and if I don't pay attention, I can still engage in conversation as a competitive sport.

On the basis of enjoying the capacity to play and sometimes WIN, if the opportunity presented itself, I would choose not to debate Jesus. He doesn't lose much. The gospels consistently describe him winning, scoring match points before his opponents have even started to play.

Today's gospel is one of the exceptions. I cannot yet say it definitively, but I believe the only people who ever score points on Jesus in competitive debate are women. Consequently, very few who beat Jesus are women. This is one of the stories where the woman is said to have won. Jesus himself declares that she has bested him, and gives her a prize for having done so.

Even so, this is one of the most uncomfortable stories in the gospels. Jesus is … well... um... super mean to this woman. He calls her and her people dogs! That is, he disparages their very humanity, and says that it is of less value than the humanity of his people.

I could tell you that the Jesus seminar doesn't think this story actually happened. Luckily that's true, but unfortunately it still requires us to consider why the early Christian community included it. We could tell ourselves that Jesus expressed explicit prejudice simply to show us that it was bad, but that doesn't truly fit the story. The story says he healed the woman's child because she beat him in oral combat, NOT because he realized her people were of equal value.

So, how do we deal with this horribly insulting, even racist, Jesus? We still have a few options left to us. The story does say that Jesus left Galilee to be in the land of the Gentiles and entered a house in secret. It would be reasonable to conclude that he was getting away for a bit of a reprieve, perhaps because he was tired and needed to catch his breath. Tired, burned out people often don't operate as their best selves. And being accosted in this home where he was trying to hide and regain his energy might have brought out the worst in him. I don't think this entirely explains the story, but I do point it out anyway for two reasons: 1. Because when we're tired we really do make mistakes and I urge you to get rest as an act of faithfulness to God's call on your life to be your best self and 2. Because when we're tired we really do make mistakes and some gentleness with ourselves is called for when those mistakes happen. Human beings in human bodies can't push on indefinitely through exhaustion.

Another pieces of the puzzle comes from a scholar who doesn't think it makes a lot of sense for the early Christian church to have remembered such a hostile response from Jesus UNLESS it reflects a larger reality. Gerd Theissen looked for a socio-economic explanation and discovered, “Upper Galilee exported produce through the coastal cities. The cities, in turn, depended on these regions for food. In periods of crisis or food shortage, the populace of the hinterlands may have resented producing goods for wealthy cities.”1 This idea continues, “Those who produced the food, Jewish peasant farmers, see their work consumed by others.”2 In this case, ethnic and religious differences are compounded by economic inequalities. Jesus might simply be suggesting that his people have a right to eat the food they produce.

It stands in interesting contrast to the food sharing on Acts 2, doesn't it? Jesus talking about the inappropriateness of sharing the food with the dogs contrasts with the people sharing all things in common, breaking bread together, and eating with glad and generous hearts?

Or does it?

This beautiful passage of the joy and communal support in the early church does not extend to ALL people. It extends WITHIN the community, not beyond it. I'm not saying that's wrong, I'm just saying that it is limited. Supporting the community of faith is not the same thing as supporting all of God's people. Supporting the community of faith, with firm boundaries around who that means, can actually look a lot like Jesus's response to the Syrophoenician woman in this story! Jesus, too, was advocating keeping resources within the family of faith.

The first summer I was on staff at Sky Lake the summer curriculum included Romans 12, which we tended to read from “The Message.” which I adored. I quoted it once in a secular setting and one of my high school friends asked if I was intentionally excluding her. It said:

9-10 Love from the center of who you are; don’t fake it. Run for dear life from evil; hold on for dear life to good. Be good friends who love deeply; practice playing second fiddle.

11-13 Don’t burn out; keep yourselves fueled and aflame. Be alert servants of the Master, cheerfully expectant. Don’t quit in hard times; pray all the harder. Help needy Christians; be inventive in hospitality.

Until she questioned me I hadn't heard “help needy CHRISTIANS” at all, but once she pointed it out, I squirmed a little bit every time I read it. I wondered if I was allowed to change it so that the command said, “Help needy people” and wondered why it wasn't written that way to begin with.

I think that human nature includes a tendency toward thinking in terms of groups, and defining “us” that excludes “them.” It happens too commonly not to be part of our nature, and I suspect that it happens for decent evolutionary reasons! In order to thrive, humans need each other, but we're finite in time and space. So we can't bond with everyone! I'm thinking our species developed this way: Close bonds form the basis of units, and units expand until they maximize the relationship with resources in an area, and then other groups are established further away, right? Then, because resources on earth aren't allocated with equal distribution, there are still some things that each group ends up competing with other groups. That would have helped establish the boundaries between the groups!

So, it isn't bad, and it is likely part of our nature, but it isn't the end goal either! The Syrophoenician woman reminds us of this. She was, in multiple ways, an outsider to the groups Jesus belonged to, and yet she came to him with a need. Her needed extended past her group identity!

The Syrophoenician woman is presented as the paradigm of committed parent! She crosses boundaries, takes insults, and argues with all her power in order to gain the care her child needs. She shouldn't have entered that house by laws of both communities. Her community would have preferred if she had refrained from “bowing down” at the feet of a Jewish teacher. She let him call her, her family, and her community DOGS and responded within his metaphor. She found a way to respond, without accepting his premise, without dismissing his premise, and while staying ON POINT. She kept asking for what her daughter needed, and requested that even if Jesus didn't see her as a fellow human being, he could still extend his power to help her!!!

And Jesus complements her! Going back to the idea that the city of Tyre was part of a problem within an economic system that was extracting wealth from the Galilean farmers – it is as if she points out that the Galilean farmers DO deserve to eat, but that Tyre is hungry too. She doesn't argue his premise, but she reminds him that hunger is universal.

While on our honeymoon, Kevin and I took some tours of the Tenement Museum in the Lower East Side of Manhattan. It became clear quickly that many immigrant families survived ONLY because of the support of community – in that case communities based on their countries of origin. This is one of the ways that groups defining clear boundaries can be good – it lead to life not death. But then again, I'm sure it left some people unable to access any help.

In the days of overcrowding on the Lower East Side, the barriers that divided people were real. Resources were limited. In the days of food shortages in Galilee and Tyre, the barriers that divided people were real. Resources were limited. In the eras of needing access to limited water for our ancient ancestors, the barriers that divided people were real. Resources were limited.

There are good reasons to establish groups and boundaries. Those reasons apply today, and we see this sort of thinking ALL OVER the place today. However, in some ways, reality has changed! Technology has made it possible to grow enough food for everyone to be fed – well. At the moment we have enough clean water for all to drink (if we don't waste it). It may always have been true that if groups worked together there would have been enough, I don't know, but today it is FOR SURE. The world has produced enough for everyone.

And yet, maybe more than ever, people are trying to draw firm lines between those who get access to resources and those who don't, those we are worthy, and those who aren't, those who should become more wealthy and those who should become more impoverished, those who get to access health care and those who don't, … and so on.

I'm told one of my predecessors in this pulpit, J. Edward Carothers, talked about the purpose of church being “to establish and maintain connections of mutual support in an ever widening circle of concern.” I think that's the essence of the meaning of the kindom, the primary teaching of Jesus. As it has been described to me, the kindom is the Reign of God that will occur when EVERYONE treats EVERYONE else as kin. That is, everyone is IN the group and there is only one group and we are all working together for each other's good. That's how (at their best) kin treat each other, and that's an expression of the desire of God for the world.

So, who do we feed first? The children? The dogs? The Christians? The Jews?

Our church? Our city? Our country? Our race? Our class? Our political allies?

Or perhaps, whoever is most hungry?

Because if we all work together, there is enough for everyone! And once we remember that, we can distribute based on needs rather than fears. Holy God, may that day come SOON. Amen

1 R. Alan Culpepper, “Luke” in Leadner Keck, ed. , The New Interpreter's Bible (Nashville: Abingdon Press: 1995) 610.

2 Culpepper, 610

Rev. Sara E. Baron

First United Methodist Church of Schenectady

603 State St. Schenectady, NY 12305

Pronouns: she/her/hers

http://fumcschenectady.org/

https://www.facebook.com/FUMCSchenectady

May 7, 2017

#Thinking Church #Progressive Chrisitianity #Subversive Women of the Bible #Ever Widening Circles of Concern #J Edward Carothers #FUMC Schenectady #UMC #Schenectady #Rev Sara E Baron #Syrophoneian Woman #Beyond Tribes #Kindom #Who is Most Hungry?

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