#wendy being an adult

[thisisntneverlandanymore]

Wendy's gaze followed her direction to the horizon, a furrow of her brow denoting a mixture of concern and awe. There was a lot to unpack in the explanations that Kaban was offering, some of which she had to digest a moment before she could fully grasp it.

"Goodness," Considering her words carefully, she drew another sip of her tea, "So you live here without a mother currently? That must be quite difficult..." Though, in truth, there was some part of her who felt an aura of deja vu, of memories of playing mother to lost boys and a sassy fairy. It brought a smile to her lips still.

"Is it a relief that you do have someone you know around here, but you do seem quite young to be out here all on your own. There's nothing dangerous here to worry about?" She felt as though she was sounding much like her own mother these days. Lowering the cup of tea, she offered a kind smile. "Apologies, I don't mean to be so probing, it just seems like such a unique living situation."

"Wendy-san then it's very nice to meet you." Kaban replied with a smile as she poured herself another cup of tea from the pot she had out. She might have to make more next time if Wendy was going to be joining her again while she was here.

"Yeah, I was born over there someplace." Kaban pointed to a ridge off in the distance that like everything else in sight was just grass and the occasional tree no sign of human habitation in sight.

"I'm actually searching for Mirai-san, she was the previous park guide and is sort of my mother I think..." Kaban knew that was a strange way to phrase it but she was born in kind of an odd way.

"Ah but honestly Serval-chan is kind of my family too. She's my best friend and we travel around the park together having adventures a lot so I consider her family." Kaban adds with a smile hoping that Wendy didn't think she was too lonely being the only human around here.

[asexual-squidward]

Another entry in ‘are the allos okay’ (/‘I’m too asexual for this’)

Apparently there’s a semi-common interpretation that Captain Hook is a coming-of-age attraction thing for Wendy and that there’s a Freudian thing about him looking like her father.

When I always thought the subtext of the Hook-Mr Darling doubling was just a symbol of Wendy (and Peter as a symbol of eternal childhood) battling her Father’s insistence that she grow up too fast.

Hook is the antagonistic force trying to take Wendy’s childhood, rather than Wendy becoming an adult naturally.

TL;DR Just because you have the hots for Hook doesn’t mean you have to project it onto Wendy.

[babisawyer]

I would assume that misty is going to kill and eat showtunes so I want to forgive her for everything, but since it seems like she just became showtunes 2.0 I simply cannot.

[nothingunrealistic]

DEGIULIO: All our kids are gonna end up in second-tier schools.

CHUCK: Not Eva. She’s going to Yale.

—————

CHUCK: How was it?

WENDY: Fine, after your father got done browbeating Kevin over his handshake.

CHUCK: He could probably use it.

WENDY: Right, because the tensile strength of his grip alone will dictate his outcome in life.

CHUCK: You’d be surprised.

—————

Senior gives Kevin a present.

SENIOR: Happy birthday, Kevin.

KEVIN: Thanks, Grandpa.

Senior, Wendy, Chuck, and Eva watch Kevin pick at the wrapping paper.

SENIOR: It’s a fucking slinky. Now leave us alone and make some fun out of that with your hands and some hardwood stairs, huh?

Kevin and Eva head upstairs.

SENIOR: If he’s still playing with it tomorrow, put all of your energies into the girl.

—————

WENDY: Kevin’s gonna be applying to colleges soon. And if you can’t get him into Yale, we’re gonna need them to jam him into —

CHUCK: Don’t say Cornell.

1x09 where the f*ck is donnie? // 3x03 a generation too late // 4x09 american champion // 6x07 napoleon’s hat

[nov4-rocket5]

Jeez some of these details like Wendy's mom being dead and Waddles potentially dying are depressing.

The Dipper one especially. That recontextualizes so much about how him and Mabel acted around the end of the series.

No wonder Dip latched onto authority figures so much and wanted to stay with Ford. He was afraid that when he came home, his parents would be divorced.

But where Dipper looked for replacement parents in other adult figures in an attempt to find stability, Mabel clung to whatever stability/reliable family she already had, Dipper. Mable wasn't looking for replacement parents because Dipper essentially filled that role for her, a dependable, reliable family member who would always be there to get her out of trouble. But Mabel couldn't be that person for Dipper in return, so Dipper looked elsewhere for that stability and found it in Ford.

So when the possibility of Dipper not going home came up, Mabel panicked because she would be losing that stability and would return to fighting parents without anyone to depend on.

Mabel handing over the rift makes a lot more sense now. Endless Summer for her equals Endless Stability.

[ficauthor]

Well... I gotta say weirdmageddon certainly lives up to its name.

[peacerisendove]

It really is the chance mentions spark old ideas back to life.

Now I'm thinking about an old Alternate Universe Peter Pan idea I had back in 2019.

[fairytailsideblog]

(via Gridllr)

I know that in fairy tail canon every guild member lives alone regardless of age, but since I hate the idea of children living alone when perfectly capable adults could take them in, I'm picking and choosing where fairy tail members live as I see fit.

Carla and Wendy live with Erza now because I say so.

[poobit]

i have many thoughts on how Mouthwashing handles the themes of abuse and the symbolism around it especially as a survivor ... im not gnna hold back so -

first of all i think since its clear the point Jimmy is dismissive of Anya´s personhood and his perception is warped towards what he does as a Captain rather than what he does as a man, it makes sense she doesnt get her own labyrinth or such , i cant argue around that because its realistic he´s so male focused he cant even bother to truly think about what he did to her, i would love it if Wrong Organ decides to do a side story vignette of her own perspective and view in the future if the game proves its successful enough for side content like that.

Assault is something usually not handled with subtlety in games, i think what struck me the most was how real the dialogue of her coping and suicidal ideations and how Curly responded to it felt , the dancing around the subject, the deflection, the "whats next" of the ever impending consequence of pregnancy, how Anya pleads for help from the person she trusts but nonetheless a man unequipped and too emotionally attached to the abuser to be able to confront him, its so real, Curly´s lack of initiative is something Jimmy fully takes advantage of the moment things dont go his way, he turns everyone against him even as a helpless body on a bed because he needed to be in control of the situation, thats what abusers do.

A more sensationalistic game would have easily played Anya´s helplessness and assault for shock for sure, because it would be easy, she is the archetypical victim trope, shes modeled in Wendy Torrance likeness from The Shining, shes meek and unsure of herself and Jimmy shoots her down from the very beginning to make her feel unqualified and cornered, but the furthest the games goes is making Jimmy terror towards the pregnancy and the baby as a boogeyman that crawls and tramples over him. No sights of bleeding legs or her crying or screaming and much less present objectification of her body (which is something that i always think the horror genre has such a struggle not grabbing onto, sexuality is mostly always played up in assault stories especially if the victim is an adult woman), she remains a fully clothed figure and maintains the agency to her own demise, away from Jimmy and beside Curly, which is tragic and obviously still a symptom of horror´s proclivity to back female characters into corners of self inflicted punishment, but the alternative would have been that sooner or later, Jimmy would have killed her.

Its clear to me that the game used Curly´s state as a way to put a barrier between Jimmy and Anya, we dont objectify Anya, but we objectify Curly, Anya doesnt just feel pained and unable to handle Curly´s medication because shes in a sensitive state, her comments about his noises and such draws a line between her trauma and her perception of things as Her fault, she cant handle hearing his struggles and cries trying to swallow a pill because it reminds her of her own helplessness, so she leaves the task to Jimmy, someone who has no qualms in forcing someone down, the emphasis of every treatment as a repetitive process and the sound design is all very poignant and for me, a great way to handle assault as a metaphor, Curly did not consent to being in this position, it is very much still Jimmy´s fault and the fact that Jimmy is basically keeping him alive against his will even to the last moment of the game says everything, Jimmy doesnt love Curly the same way he doesnt love Anya.

The horses are not lost on me, i think horses as animals are often seen as "viril" symbols, strong and often volatile, they can be often hard to mount but when one does the rider and animal are seen as this one all powerful entity, like centaurs, which also carry symbolism of assaulters mind you, so while maybe not intentional on the dev´s part i think it still points to the Horse as a symbol still important in the game, the only spoken audio lines of dialog come from the Pony Express mascot Polle itself, and they are the first to actually confront Jimmy´s self centered line of thought and over-focusing on Curly, if the Tulpar is akin to a beast of a burden then Jimmy beat the dead horse way long ago.

All in this to say that Mouthwashing was a really good experience and i really hope the dev team is interested on expanding a bit more on it because i trust their vision.

[talekinesis]

Stan's a child hoarder and an impulsive adopter, you cannot change my mind

He collects new family because of what he lost, growing up

Soos, Wendy, Mabel, Dipper, Mabel's friends, and I'm even willing to say Gideon to an extent

Like when Gideon was being tickled by the twins, but Stan just thought he had worked himself up too much, sure he was weirded out, but he seemed to soften up a little bit

"I think this whole rivalry is getting to you. Come on, you'll get me one of these days,"

It wasn't a lot, but it was something, and I'll latch onto that

Also I think it would be cute if Pacifica started coming by the Shack more and Stan just thought, "Yeah she's part of the Pines Pack now," and just started including her in his random bullshit

Man is everybody's Grunkle

And Pacifica goes along with it because this is the closest thing she has to a good adult figure in her life so she holds on to it

Imagine teen Pacifica working at the Shack. Soos is her boss, and she gets along with Melody. Her parents have probably cut her off but it doesn't hurt as much as she thought it would, since she realized she hadn't ever really emotionally bonded with them, and now she doesnt have to live up to their standards. Now she spends her time with the Pines Family.

I am going to draw teen Pacifica in a more 'adventure/ monster hunter,' aesthetic since that's a lot of her life now, because I said so

Imagine Pacifica leaning on the porch talking to a gnome during her break on a slow day like, "You know once my break is over, I have to chase you off, right?" And he's like, "Yeah, work, I get it." She checks her watch, grabs the broom, and just goes, "Alright, back on the clock.. GET! GET!"

[picturejasper20]

Gravity Falls is a coming of age series at is core about growing up but also mainly about how we grow up.

This is represented through the Pines twins protagonist duo: Dipper and Mabel. These two characters have what could be consider almost opposite approaches when it comes to realizing that they are getting older and their problems and world are changing as well.

For Dipper, we constanly see him trying to rush to adulthood. He usually tries to hide things that could be considered childish or foolish to enjoy such as it is the case of disco girl or going trick and treat with his own sister. ( "Dipper vs. Manliness" and "Summerween"). He often tries to pretend to be older and lie about his age to get the approval of older teenagers, like trying to go to teen parties. ("The Inconveniencing"-"Summerween").

Dipper thinks that he is as mature as a young adult, and in some ways he is, but in other ways this line of thinking makes do very foolish, reckless and even dangerous things- the opposite of being immature. This mainly shows when it comes to his crush on Wendy, someone who is clearly older than him and out of his league. A good part of his arc in Season 1 is about how he tries to impress Wendy without still fully understanding that he is still a kid and he is too young for her.

From what has been touched on the ¨Book of Bill¨, this behaviour may come from Dipper seeing an ugly argument from his parents that he wasn't supposed to listen to and this left a clear impact on him to the point he often has nightmares about it at night. Maybe he came to the conclusion that he has to ¨mature¨ and be more independent since he know there is something bad going on between his parents. However, it takes him time to understand that he can't become an adult overnight and is something is going to take him some years before doing so.

On the other side of the spectrum we have Mabel. In contrast to her brother Dipper, Mabel mostly has her mind occupied with things that have to do more of her age: Reading magazines and books, boy bands, playing with animals like it is the case with Waddles, ect. She isn't in a rush to be a grown up and chooses to live more in the present.

That's not to say that she doesn't have her own moments of insecurities like feeling she isn't as intelligent as Dipper ("Little Dipper") or trying to pretend to be an adult ("Boss Mabel"). Still, she doesn't seem she has this same necessity to hang out with the older teenagers or hide her interests as much as Dipper does. She is has less issus with acting silly or ¨childish¨ in front of others.

Mabel's main problem would be she wants to avoid growing up or remain in this more childhood state. While it doesn't get the same exploration as Dipper- at least not more until later in the show- Mabel is afraid of growing up and the problems that can come with it. In "Summerween" is where we see parts of this idea of wishing to be a child longer, explaining to Dipper that that was the main reason she wanted for the two of them to go treat and trick together.

What really hits Mabel is when she gets this really bad impression of what is like to be a teenager in "Dipper and Mabel vs. the Future". She gets very scared of growing up and what could happen to her. She wants things to remain the same and for the summer to last longer. This desire- along with other factors that made her feel like her world was crashing down around her- she got tricked by Bill possessing Blendin and telling her that he was going to ¨grant¨ her wish in exchange of Stanford's interdimensional rift device.

This makes her being trapped in fantasy world where she ¨never has to grow up¨. Everything is cute and smiles, bad things don't happen and she doesn't have to worry about any serious changes... But she realizes that this world is fake and that at some point she has to grow up and that things can't always stay the same.

Part of me wonders, that in spite of not having seen that terrible argument that Dipper did, Mabel is aware that something is going on with her parents and tries her best to ignore it. I think she may be scared things changing in her family after the summer ends- maybe more fights or one of her parents leaving- this gives some hindsight to some of her issues in the show.

By the end of the show and Dipper and Mabel's character arcs we have two important lessons about growing up: One is that things are constanly changing and growing older is inevitable but we don't have to rush it and maturity comes with time and learning about new things in live. It is important to live in the present while also realizing that there are going to be changes from time to time, from good to bad, but that doesn't mean it will be the end of the world if it happens. That is just part of life.

[ebbpettier]

i should clarify that i'm specifically thinking about the heart wrenching realization (this young boy and his shorn head and the bitter way he views the world, and magic, and simon) that simon had none of this. and that for all that the humdrum was a horrifying all-consuming maw ready to devour all of magickal creation to fill a hole in his starving cosmic scar of a body that would have never been filled, he's just a child.

AU where the humdrum gets pinocchio'd into a real boy (small young simon) and SOMEONE'S gotta raise him, so ... ruth. (originalsimon has complicated feelings by this child that may essentially be his son but is mostly his little brother who almost destroyed the magickal world)

[skencil-mcmooney]

One more look into the ReverseFalls Mystery Shack crew before I add in Grunkles and then move onto Gideon and Pacifica!

And some thoughts on the gang:

Wendy is the Mystery Shack’s devoted Handyman! She gets her hands dirty no problem, and keeps that Soos geekiness, just with more Outdoorsy topics. She prefers working outside, and Stan, liking his floors clean, prefers her out there too. She suggested he “Invest in a doormat.” What is he? Made of money??

Soos spends most of his time reading comics (and manga-) around the register, asking him to do anything usually ends up with Wendy taking it after little convincing.. He’s an expert in niche media topics and being an overall chill dude the Pines find themselves getting into trouble with. As a responsible adult, he makes sure the kids brains are rotting with only the finest arcade games. As god intended.

Mabel takes care of all the doves used in her and Dipper’s shows, no one is sure when the Quail showed up, but the little diva added a drama to the coop that ruffled feathers.. And Mabel is invested.

Dipper holds onto Journal 2, annotated back to front with a scary neatness for a 12 year old. He likes the attention and fans their summer shows bring in, but he can’t help but feel he and his sister are getting too old for their cute twin shtick.

[uno-san]

Can i request a continuation of your first fic? Stan eventually admitting the Mr. Mystery who sent the flowers wasn’t a secret admirer but infact Mr. Mystery himself?

First of all, I am so honored to have a request for a continuation! Truly one of the highest compliments. And reading back on comments before, I should have made a second part long ago! I had so much fun writing this and thanks to all who have read my work. Part 1 can be found here. There's a small recap written in this part though so reading it isn't required :) Enjoy! Mr. Pines, Part 2 (Stanley Pines x Reader)

Nearing the end of summer was always a melancholic event. In which the busiest season of the year would descend back down to hell and allow the workload to dwindle off to a manageable amount at the Mystery Shack yet leave you with a sense of grief at another amazing summer gone. It wasn’t like that before.

Ever since becoming a full-fledged adult with a life and responsibilities, the seasons and months had a way of blending together as one week after the next you were simply looking forward to the next paycheck. It was torture. Arguably not a way of living at all.

Keyword being before.

Sure, you could do without the new occupational hazard of being killed by a mecha-suit made out of feral gnomes, mind-wiping cultists, and God knows what else. Yet despite all the life-threatening danger, you’ve never been more alive! Everyday holds the potential for a new adventure and memories to make with the friends that you never thought you had.

That was the sadness about summer ending, however. Soos would remain at the shack but your other dependable co-worker, Wendy, would be off focusing on school. The same for Dipper and Mabel, who would leave Gravity Falls and Mr. Pines- Ah.

Stanley. 

You were in the middle of sweeping the trampled wood floors of the Mystery Shack when the name made you stop in your tracks. It always did. Worse yet, it’d have you chew the inside of your cheek to stop them from heating up. It made you feel juvenile. Quickly your eyes swept across the shop and back as if you chanted his name three times. When there was no puff of smoke you let out a sigh of relief.

It was the start of summer where your more challenging trails began. That being Stanley Pines, the older man who was the owner of the Mystery Shack and your boss, who had given you permission to call him by his first name. Having done so, naturally, on a day where a secret admirer, or, ‘Mr. Mystery’ (Whom Stanley says he’ll sue for stealing his title) sent you a beautiful arrangement of flowers. God, you can still remember what a pain it was to lug the large vase back home. It was a wonder how Wendy was able to do it all herself without having a car to help.

To add to the confusion already surrounding that day when Stan hadn’t confessed to being the culprit, you were disappointed. Your shoulders slumped when Wendy had reasoned it had to be someone else. Instead of wanting to know who this secret admirer was you were instead interested in knowing when in the hell you developed a crush on the graying con man that was your boss. Not that there were tons of eligible bachelors in Gravity Falls but then they’d be in your age range! Or ones with no criminal record, strong arms, jokes, a handsome face that could draw you in at any moment to share a sweet kiss with-

Fingers snap in front of your face. The sharp sound caused you to jump in response and fumble with the broom to prevent it from falling.

“Hey, kid!”

Stanley’s hoarse voice rang out from beside you; your shoulders tensed while your newfound grip on the broom handle could have splintered it. He must have noticed the panic in your face as he quickly raised his hands as if to show he wasn’t armed.

“Oh, Mr. Stans, I-”

“Huh? I…don’t know if, what-” The perplexed expression he made killed you in a thousand ways before his head shook out the unnecessary thoughts, “NEVERMIND ALL THAT. Forget it. I just wanted to ask ya to get started on restocking the bumper sticker display, alright? Last time to peddle the stuff out while we have the most out-of-town folk. Can ya do that?”

You nod, “Of course! I’ll get started on it straight away, S-Stan.”

The smile you offered didn’t appear to reassure him any as he lingered a moment. His hands were firmly planted on his hips while he actually leaned down to inspect you. Drawing close enough into your space that you had to nearly arch your spine not to bump into the man. Under his gaze all you could do was swallow the thick lump of nervousness that always choked you when Stanley was near.

Suddenly he blinked. As if Stan had just realized how the distance between your two had closed without his notice. Awkwardly Stanley stepped back and coughed into his hand. Your overactive imagination could have sworn his cheeks were tinged pink, “Just, ah…checking to see ya didn’t have a heat stroke or nothing. You don’t, so, start drinking water before you start freaking out the tourists. Got it, kid?”

He didn’t wait for an answer. Instead stomping off to wrangle some poor soul into buying poorly-produced and expensive merchandise. You watched him from where you stood still, now overcome with a flurry of emotions from that blundered interaction. If a Gnome Mech wasn’t going to kill you then Stanley Pines sure as hell was.

With a shake of your head you did your best to gain control of yourself once more while the day threatened to drag on. On the way to the storage room you passed by Wendy. Who, as always, was laid back. She nodded towards you. You returned it without reveling in the silent approval of a teenager before you disappeared in the backroom to grab the needed box. Luckily it was light and allowed you to grab another heftier box full of other items that were in need of refilling and maintenance. It didn’t hurt to put a bit more effort into your job, after all.

Returning to the main room in front of the counter you could finally begin your work. It was almost therapeutic. Nobody bothering you. No immediate death threats or wild twins to wrangle in. Just you and a box of bumper stickers being neatly tucked away into different stacks.

You would have started humming to yourself if something hadn’t felt…off.

Something behind you had begun to radiate heat. Breathing down your neck and causing a nervous drop of sweat to run down your forehead. Slowly you began to turn around until a hot breath suddenly blew across your face, your eyes meeting with another pair with barely a head turn.

“OH, JESUS!”

The shock of it had you bring your arm back to slap the stack of bumper stickers across the cheek of someone not all too unfamiliar. Who you now recognized as Thompson yelped at the contact and went to quickly shield his face with a previously unnoticed bouquet of roses, “Dude, duuuuuuude, stop!” He cried out while his eyes were skewered shut with pain, “I’m sorry, I’m sorry!”

“I- What-” You dropped the merchandise in your hand as if they alone had somehow enticed you to assault a poor teenager, “No, I mean…Shit. I’m sorry, I guess?” In the midst of your guilt it was hard to pin the blame on anyone, “What in the actual hell were you doing-”

“What in the actual hell- HECK is going on over here?” Stanley’s voice cut through the confusion. His heavy footsteps nearly rattled the walls of the Mystery Shack as he came to inspect the commotion. Stanley’s eyes fell onto the scattered merchandise that caused his frown to be deeper set, eyebrows furrowed in a conflicting mix of emotions. 

“Alright, there better be a good explanation for all this racket. You’re distracting the customers- WHAT IS THAT?” His eyes grew impossibly wide as he gestured wildly to the bouquet.

You opened your mouth to reply before the bell attached to the front door rang to grab your attention. Stepping through was Lee, the taller blonde teen that you’ve seen attached to Wendy’s friend group, miraculously holding a bundle of roses in hand.

“He’s lying to you!” Lee shouted and clutched at his heart in either a romantic gesture or a heart attack, “I’m the one who bought it for you, not HE!”

“Lee,” Thompson began to what you could only describe as stage-whisper in his friend’s direction, “I didn’t get to my part yet, I got frickin hit!” His hand moved to reveal the slightly pink mark on his cheek.

Lee lost his composure, “Aw, really? Bro, that’s fucking hilarious. But like…c’mon, bro, you gotta do your part before Nate gets here.”

“Wait, Nate?” Your confusion deepened as they ignored you in favor of having a whispered back and forth, with Lee pushing Thompson forward who nearly collided into you with the shove. The look you gave him was of someone afraid of a bomb about to go off.

Thompson wiped the sweat off his brow before offering his flowers with the same hand, “I like, fricken LIKE you, dude! Just love your whole deal,” He confessed with cheeks as hot as the son while he practically had to spit the words out. His heavy breathing began to pick up. Opening his palm you noticed that there was smudged ink on it that he was now trying to read, “T-That’s why I bought you the flowers-”

“WHAAAAAAAT???” Stanley suddenly roared to life while his hands tightened into fists. In a tantrum similar to a child he marched up, glowing down at poor Thompson who’d gone stark white.

“He’s lying to you! I’m the one who bought it for you, not HE!” Lee repeated. Stepping forward he cast a concerned glance towards the statue that was once his friend to present his own bundle of flowers to you.

The pollen made you want to sneeze. Impressively Lee managed to ignore Stanley to continue addressing you, “It’s true, I’m Mr. Mystery. And it’s even truer that I’m into older, uh…” He looked you up and down, “Into older individuals.”

Your brows drew closer together in concern, “How old do you think I am?”

Lee bit his lip and raised his brows in what he must have thought was a seductive look, “Old enough, bro.”

Thankfully you didn’t have to respond to that as Stanley’s hand shot forward to grab at Lee’s flowers, tossing them to the ground as if he was spiking a football and causing petals to fly everywhere. Lee stared at his hand in shock before having his attention drawn to Stanley who had the both of them in his sights and looking ready to strike.

“I’m not going to take any kinda lying in my house! Neither you or dweebus here bought ���em any flowers. You two dorks don’t have the kind of cash for that sorta gesture anyway!”

“Uh, we totally could,” Lee said in an offended tone, “Flowers are like, 8 bucks at the grocery store.”

“The ones delivered weren’t from no grocery store, it was a specialized boutique!” “How’d you know that? Huh?”

“Gardening. Is. My. HOBBY.” Stanley passionately replied through gritted teeth.

“No, it’s not.” Wendy answered, bored.

This was starting to give you a headache in more ways than one. Especially in the sense that the few customers in the shop were beginning to stare you down, no doubt finding this whole spectacle the biggest mystery of the day. It made you want to shrink away and disappear into nothing! Sure, you were just lamenting the end to an exciting summer but this wasn’t the type of bang you wanted it to go out on!

Turning towards Wendy you had prayed she would be of help to wrangle in her friends while Stanley and Lee argued in the background. To your disappointment Wendy was hardly paying attention. To both you and her actual job while she busily texted on her phone. You waved your hand out in front of her.

“Please, a little help?” You were nearly begging, “Think maybe all your friends hit their heads at the same time or something. I don’t even know how they knew about the whole flower thing- WHAT, THOMPSON?”

The nervous teen had managed to shuffle past his friend and your boss. Apparently he had given up reading his hand to instead have his phone pulled out. His eyes would flicker between you and the screen before he tried shoving his remaining flowers back into your face again as opposed to your conveniently open hands.

“Shall I compare thee to a summer’s day? Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May-”

“NO. No. No, no, no, noooo!” Like a sheep being surrounded by wolves you staggered back. Your growing panic is now drawing the attention of Stan and Lee who managed to stop arguing long enough to see you turn tail and run, “I’m going home until whatever this is blows over!”

What you expected to be an awkward exit quickly turned to a horror show as Lee and Thompson actually pursued you.

“W-Wait! We didn’t get to the part about how there’s soooo many other bachelors after you!” One of them yelled.

“Yeah, and that waiting too long to snatch you up will result in losing your love fooooreeevveeer,” The other, for whatever reason, said this more towards Stan. “WHAT ARE YOU TALKING ABOUT?” You shouted off behind you while carefully dodging between both aisles and customers alike.

Seeing as you had two stalkers on your tale Stanley raised a fist, “Hey! No harassing my, uh- favorite employee! Wendy, get my crossbow!”

“No.”

If they started arguing or not after that was none of your concern as you were apparently in a struggle for your life. If your heart wasn’t going to give out on you yet then the embarrassment would definitely get you by the time you get home. God, this was all starting to feel like a fever dream. Or maybe you DID die this summer and now you were in some sick limbo?

Whatever this was, it was clearly because of one thing. The incident with the flowers you received a couple months back, to be exact. After that day there had been no further gifts. How was it connected? Especially to Wendy’s friends of all people who you had the pleasure of not interacting with much at all this summer.

Perhaps they had been the ones to send the flowers in the first place? Attempting to draw you in further with a date to pull a prank on you. Trying to film your reaction for a video that they’d laugh about for ages to come and torment you with.

But no. That couldn’t be it.

Humiliation was certainly what they were achieving right now but if that had been the goal they would have pushed for it when the flowers had first been delivered. Give you a way to contact this ‘Mr. Mystery’. But they hadn’t. So what was the point of now?

You supposed this could haunt you later instead seeing as you had two hot pursuers on your tail. Both Lee and Thompson were still flinging compliments your way while Stanley struggled to catch up between having to clean up any spills along the way as well. Whenever you were able to catch a glance of him you’d shoot an apologetic look that he’d wave off.

It was another minute of dodging the two before you were able to loop your way back around to the front of the Mystery Shack, towards the parking lot and where your car was. To safety. A part of you was even willing to mow down a rowdy teen if you had too! But fate had other plans. The door swung open and you skidded to a halt; nearly crashing into the poor unsuspecting soul who-

It was Nate.

He saw you and grinned, slowly raising a damn bouquet of roses, “Heeeeey, just who I wanted to see! Wanna take a guess at who your secret admirer is? Hint, it’s me!”

Oh, come the fuck on.

Nate must have noticed a deranged look in your eye seeing as he took an awkward step back he clearly hadn’t planned on. From behind you could hear the heavy thudding of feet as Lee and Thompson had finally caught up. Great. You looked both ways. They had an expectant expression on their faces that you couldn’t make sense of.

“Alright, alright, break it up you hormonal goblins. Get BACK, I say!”

Stanley’s voice was like the calm in the storm. It gave you something to focus and center yourself on. You hadn’t even noticed him stepping closer to you before it was too late. Two strong hands clamped around the delicate curve of your waist while thick fingers tickled into your skin. The grasp had a shiver run up your spine. Then what started as a tender embrace quickly became a vice when you were lifted off of your feet.

You actually squeaked. In a display of strength you thought only adrenaline could achieve Stanley had hoisted you above his head and out of reach from your ‘admirers’. Like the tallest kid playing ‘keep away’ in the schoolyard. From below you could see the three teen’s jaws drop at the display while a nearby customer asked if this was part of the tour.

Stan must have heard it since a blush came to his cheeks a moment after yet he refused to release you, “We’ll, uh…just go for now. Break time and whatnot…WENDY, MAN THE STORE!” He shouted while beginning to push his way back towards the employee area of the shack. It wasn't until he was passing staring customers he coughed out a reluctant, “Stop watching and we’ll have a ‘buy two, get one full price’ sale.”

That disappeared the crowd quickly who were now buzzing with excitement at the prospect of a deal. Stanley began to walk you back. With no eyes on the two of you, Stan cautiously began to lower you down. Not to your feet, however. Instead you were brought back into his chest where you had more cushion to lay against. Despite the summer heat his body warmth only drew you in. Not to even get started on how hot your face already was from blushing for the last few minutes!

Stanley meanwhile had his eyes glued to the path ahead. Afraid that taking one glance in your direction would make him regret coming to your rescue at all and depriving himself the chance of seeing you blush longer. Though it was certainly a motivator to have a couple of guys flinging compliments your way so freely as well. God. Wasn’t he too old to be getting into a pissing contest with teens at this point?

Too old in general. Both with having a silly school crush on his employee and also trying to lug you around as if he was twenty years younger. Stan made it look easy but his back pain would be coming back with a vengeance tomorrow!

With your hand resting against his chest though it was hard to deny it was worth it.

Having led you towards the back office Stanley stepped in and used his back foot to kick the door shut behind you two, blocking the light from the shop to leave you in near darkness if it wasn’t for the rare ray of light peering from behind the closed blinds. Without the stark lighting the office was almost calming in contrast. That, or you loved hearing Stanley’s steady breathing more than you realized or the soft beating of his heart if you concentrated on your hand long enough.

Stan moved for the desk. It was crowded with various papers and trinkets he’d keep around to distract himself. At first you had thought he had been in search of something in particular until his hands shifted, with one suddenly slipping just under your butt to keep you hoisted up while the now free one began to clear a space for you.

Your entire posture stiffened once consumed with the realization that your boss was, to put it crudely, grabbing your ass. In spite of how rough they looked, his hands were tender. Mindful. Which judging from his expression you doubted he noticed where he placed his hand at all while tidying up his desk. You were grateful for the distraction. That way he couldn’t see the conflict in your eyes on whether you liked the contact or not after the day you had.

“Here we go…” His rumbling voice brought you back from the brink of a new meltdown as he settled you down onto the hard surface of the desk with your legs dangling over the edge. Yet his hands didn’t leave. Instead they attached back to around your waist with a feather light touch, as if the first hint of disapproval at the contact would knock them back. You showed no such sign, so they stayed.

“You, ah…all good, then?” Stanley seemed to have trouble meeting your eye, “From the dorks. I mean, they hang around Wendy all the time and get into shit, yeah, but they’re not dangerous or nothing. But if they had hurt ya-”

“I’m fine, Stanley,” You said with a soft and assuring tone, “Traumatized, maybe, but…Thank you for saving me.”

He nearly buckled at the ice-melting smile you gave him. For just a moment his fingers tapped against your skin as if they had been tempted to clasp around you tighter. They didn’t. Instead Stanley appeared to realize how close the two of you had gotten and shuffled out of the way, taking his body heat with him as he turned his back towards you to instead fixate his attention elsewhere in the room. Anywhere but you.

Stanley nodded after what seemed an eternity, “No problem. Besides, it’d be bad for the brand to have so many ‘Mr. Mystery’ running around! It’s protected IP!”

At that you found yourself chuckling, “Is this your way of saying you’re tired of hearing about the flowers?” Not that you’d blame him considering what a hot topic it was when it had first happened.

First, Mabel couldn't ignore any degree of romantic gesture without her wanting to be involved with it. Second, this was a small town with nothing to do on the good days. Toby Determined even tried to get an interview (How word got out was beyond you) and Stanley again had to come to your rescue by chasing him off with a broom. With today’s incident you began to worry that this would be a monthly chore for Stanley.

At the suggestion of Stanley getting irritated about anything involving you nearly made him jump to correct that assumption, “NO, I could listen to it aaaall day! Just not going to just stand around and let a couple of liars waltz in to take credit for it.” He said, “I mean, c’mon, they really think those flowers were from the grocery store? Please, I- whoever has way more class than that!”

You giggled at that, which was nice considering how embarrassed you were earlier. But Stan always did put you at ease with all the jokes or lax attitude he’d have to offer no matter the situation. What others found frustrating you found endearing.

“For all the class that he has, you’d think he’d have come forward by now, don’t you think?”

He gave you a look, “What do you mean?”

“Just that it’s been all summer since it’s happened. Not a word since,” You shrug and take your turn to stare somewhere else, “Sorry. I don’t mean to sound demanding or anything. But you gotta admit it’s rude to leave someone on edge like that, you know? Just makes me think they lost interest or something.”

Stanley didn’t reply. After seemingly going out of his way to avoid looking at you, you were all he could stare at now. His lips were drawn in a tight frown that settled unnaturally on his face. You were so used to his smiles. Now your boss had an odd expression of contemplation. The way his darkened eyes bore into you made you squirm where you sat, anxiously squeezing your legs together to try and keep your blush at bay.

It was an achievement that you were able to hold a normal conversation with him at all. After the shocking realization that you were disappointed that Stanley never took credit for the original gift, your time at the Mystery Shack had gotten far more difficult outside of the daily threat to your life. Especially when Mabel was like a bloodhound when it came to romance. And when there wasn’t any to be found you could be damn sure that she’d create your own, one way or the other. She was a menace.

“Kid, listen, I-”

“I guess I should-”

Your words quickly amalgamated until the two of you stopped to give the other an apologetic glance. Then silence again. Each prompting the other to continue their dialogue with a vague hand gesture. Both of your hesitancy grew with conflicted gazes.

“I-”

“I-” Stanley slapped his hand over his face to muffle his groan, “Oh, goddammit.”

You flinched at the frustration in his words, “Sorry, sorry! I was just trying to say I should go back to work if they’re all gone.”

Preparing to hop off of the desk you were instead met with Stanley’s large hands suddenly pinning yours to the desk before you could push off. His fingers nearly interlaced with yours. They were trembling. He was towering over you again to the point you had to arch your back to make room for him. Seeing this he released one of your hands to instead place his on the small of your back, supporting your posture.

Stanley’s face was now inches from yours. What little light that came into the room reflected off of his glasses and obscured his eyes. Could he have been taking in your flushed face and wide eyes? Or perhaps he was taking notice of your parted lips. You hoped it was that.

“I…I wasn’t swearing at ya. Just frustrated that I’m not being as smooth as I wanna be,” Stanley spoke in a tone far softer than you’ve ever experienced. With his voice rumbling in his chest it was like a soothing purr. He then swallowed what must have been a lump in his throat, “Listen, it was…It was me who-”

You captured him in a kiss. It was neither passionate or loving, but something new. It was potential. In this instance it was the best kiss you’ve ever had with chapped lips. Intended to be a quick peck you could still feel Stanley’s hands grasp you tighter as his entire posture grew stiff.

A second passes and you pull back, “I’m sorry, I should have let you finish,” You laughed, both at your overexcitement and his stunned expression, “I’ve been waiting to hear you say it. Keep going, please.”

Stanley didn’t respond right away as he instead simply stared at you. It was blatantly obvious when the reality of the situation began to hit him as his signature grin stretched across his face. How could an old man be so cute?

“So, uh-” He cleared his throat, “Guess I was saying that I’m the Mr. Mystery. Both at work and as your secret admirer, though I guess not that secret if you knew…Anyways I really like ya! You’ve got spunk, looks, smarts. I mean, how was I not supposed to send any sorta flowers- You get the point!”

This time he drew you in for a kiss. His was more brash and needy as if you’d change your mind at the last second. Using his grip on you he brought you closer until your bodies were pressed against each other and he slotted between your legs to fit. So intimately close yet born from the innocent need of wanting to be near you. This kiss lasted as long as you had air in your lungs.

The both of you parted from the kiss with a dopey smile.

“I didn’t necessarily know, by the way…” You mention after catching your breath, “Just realized how much I wanted it to be you after Wendy suggested it had been sent by someone else.”

Stan hummed in amusement while his hand began to rub up and down the curve of your back, “That so? Guess all that was just your way of getting to confess, eh? Gotta admit, that’s unexpected. But sneaky. I like it!”

“What?” You tilted your head in question, “You mean what happened with all of her friends? I was just starting to think that was you.”

He shook his head. The sweet mood was paused as the both of you had a confused look while playing the strange events over in your head. Stanley snapped you out of it by giving you a squeeze; with it a reminder of your new flourishing relationship with your boss Stanley Pines. You looked back up to see his grin return and a new twinkle in his eye.

“Ehh, we can figure that out some other time, toots,” He said with a wave of his hand to push the thoughts away, “Besides, we probably have a few minutes to uh, make up for lost time, if you get what I mean.” Stanley wiggled his eyebrows at you and made you giggle.

“Depends. Does this count as my break, Stanley?”

“It absolutely does.”

“What? C’mooooon, man.”

__ Outside of the Mystery Shack, hidden amongst the trees and brush, was the sharp glare of the sun reflecting off of glass. Binoculars, to be exact. Behind them being a young girl who wore a thick sweater in spite of the heat. She was biting down on her tongue in concentration as she scanned the building from one window to the next. Where could they be?

From beside her the bushes began to rustle. The noise attracted her attention and she turned in time to capture the magnified image of Wendy’s growing teen pimples as she stepped out from the woods. Mabel chose not to comment on this.

“Status report!” Mabel said in a tone far too commanding for a young girl like her to have. Regardless of this Wendy saluted.

“Mission happened, I guess,” Wendy gave a half-assed thumbs up, “The boys kind of went crazy in there so we didn’t get the romantic confession you dreamed of exactly. But they’re alone, at least?”

“Why, they went crazy under my order, lieutenant! Their goal was to be crazy in love,” She emphasized her words with a dramatic close of her first brought close to her chest, “And nooooow I’m trying to see the romantic confession but they have the blinds closed! Could you imagine trying to hide your love?! It’s inconvenient!!”

As if paranoid something would happen without her watchful eye Mabel returned to her vigilant duty of watching a closed window. Wendy meanwhile had her gaze darted away a moment as if struggling to find what to say. Eventually she rubbed the back of her neck and coughed to get her young friend’s attention,

“You know, it’s…probably a good thing the window is closed if your plan did work, Mabel. I don’t think you’d want to see what you think you’d be seeing.”

“What do you mean?”

“They’re prooobably swapping spit right now, Mabel.”

Instantly the binoculars clattered against the hard ground as Mabel nearly convulsed, “Eew, ew, EW! And that’s too much of a picture for Mabel!” Quickly she climbed out of her hiding spot in the bushes to begin following Wendy who was laughing, “I gotta go wash out my mind’s eye now!” "That's probably for the best. Let's just trust them to move that last step themselves, alright, cupid?"

Both girls were laughing now as they returned to the Mystery Shack while patting each other on the back for a job well-done.

[filmmakerdreamst]

P.J.Hogan's 'Peter Pan' is still an underrated masterpiece 20 years later

Peter Pan is a live-action fantasy adventure film directed by P. J. Hogan that reimagines the classic story of Peter and Wendy. The screenplay was written by P. J. Hogan and Michael Goldenberg and was released in cinemas in December 2003. The screenplay is based on the 1904 play Peter Pan, or The Boy Who Wouldn’t Grow Upand the classic novel Peter Pan by J.M.Barrie, which was originally published under the title Peter and Wendy.

The film tells the story of a young Edwardian girl, Wendy Darling (Rachel Hurd-Wood) and her two younger brothers John and Michael. On the night she is told she must grow up, a wild, fairy-like boy called Peter Pan (Jeremy Sumpter) flies into her room with his high-maintenance fairy Tinkerbell. When he learns that she tells stories, he whisks Wendy and her two brothers away to a magical Island called Neverland — where you supposedly don’t “grow up” — so that she can mother his henchmen, the Lost Boys. There she fights pirates led by the evil Captain Hook (Jason Isaacs), meets mermaids, dances with fairies, falls in love and grows up.

I have strong family connections tied to Peter and Wendy and J.M.Barrie. My great, great uncle Nico was one of the sons of Sylvia Llewelyn Davies'. He and his other brothers "the Lost Boys" were adopted by J.M.Barrie; which ultimately inspired him to write Peter Pan. Nico’s daughter Laura — my cousin — who I met for the first time a few years ago, told me that she was flown to Australia for the filming of P.J. Hogan’s Peter Pan because she was J.M.Barrie’s goddaughter. She told me that she was thrilled with the cast, especially Jason Isaacs, who played Captain Hook and Mr Darling. She also mentioned that Jeremy Sumpter, who played Peter Pan, was a lovely boy. However, she said she was very surprised and sad that the film wasn’t a big success as she really liked what they did with the story. I have loved the fairytale of Peter Pan from a young age, and learning that I am literally part of the family that inspired the story was very exciting and I’ve only begun to internalise it more as I’ve grown older.

When I was in my mid-twenties, I was diagnosed with a high level of Autism. One of my main symptoms was labelled “ageless”, which in simple terms means that one half of me is still a child that I can’t mentally leave behind. I can’t do many things that most adults can do, such as pay bills, drive a car, look after my own well being etc. I flap my hands when I get excited. I bounce. I sometimes speak in a baby voice. I overcommit to things I enjoy. I admit that it was hard to come to terms with the diagnosis when I first received it. But over time, I’ve come to believe that the two can coexist in a healthy way. I believe that I am an adult who is able to develop and grow while still carrying the child within me, and that this is not seen as a bad thing. I think Peter and Wendy can be seen as a reflection of that.

I was first introduced to P.J. Hogan’s Peter Pan a few years after it was released (I was maybe nine or ten years old), and I absolutely loved it. It wasn’t only one of my favourite film adaptations, but one of my favourite movies of all time. What surprised me most about the film at that age was how dark and gruesome it was, and full of this underlying sexual tension that I hadn’t expected at all from Peter Pan. Even today, this film still has a special place in my heart. It is made with so much passion and love for the original text that I can automatically put myself back into the story. After watching the film again as an adult, I almost immediately opened my copy of Peter and Wendy and started reading. I would even go so far as to say that I prefer the film to the book. However, part of me wishes that the age rating had been set much higher, as the dark and gruesome moments were some of the strongest parts of the film adaptation. This is possibly why some critics and viewers had difficulty categorising the film at the time.

However, I often consider P.J.Hogan’s Peter Pan to be the same equivalent as Joe Wright’s Pride and Prejudice. (which came out a few years later in 2005, starring Keira Knightley and Matthew Macfadyen). The film moves at the same dreamlike pace. It is light, dark, colourful and deeply romantic.

I also often prefer P.J.Hogan’s Peter Pan to the 1953 Disney Animation of the same name, even though it’s the version I grew up with and liked. I find it much less straightforward and innocent. Also, the 2003 film is much closer to the original source material, which I loved reading as a teenager, and to J.M.Barrie’s original vision. The film manages to reflect the same intellectual subtext and depth of the novel while retaining the whimsy and magic.

Magical Realism

Peter Pan was a perfect blend of fantasy and realism. A lot of media these days focus too much on “realism” and make their sets and CGI look bland and washed out. It’s a common myth these days that no one likes whimsy anymore; it’s somehow seen as too childish. As a result, much of the magic of fantasy is lost. But in this Peter Pan, a lot of colour was used in the set design and cinematography. Everything was so brightly and colourfully lit. Most fantasy films these days, including the new live-action adaptation of Peter Pan and Wendy on Disney+, are all so gloomy and dark. You almost have to light up the screen to make out the actors’ facial expressions or what’s happening in the scene. But this film understands that a viewer who watches fantasy wants to be swept away, but also wants a certain amount of believability. Although the film contained a good amount of darkness, it did not shy away from being cartoonish either (which I think was partly inspired by the Disney animation), i.e. characters blushing or bouncing on the clouds.

The design of Neverland was breathtaking. I think the CGI, although criticised by some, made the island and creatures look more dreamy and fairytale-like. It was a good combination of CGI for the landscapes and real backdrops for the jungle, so there was enough magic and believability to transport the viewer into the story. A bright colour palette was used for the landscapes, while down-to-earth colours such as browns and greens were used on the ground, such as in ��The Lost Boys Hide” under the tree, to give a sense of realism. The costume department also reflected this, from the majestic reds and blacks of the pirates, to the earthly colours of blue and red for the Native Americans, to the natural greens and browns of the Lost boys. I noticed that the colours in Neverland were used as a contrast to the Edwardian London back home, which is realistic but dull compared to the island.

One aspect I liked was that the lighting on Neverland always changed depending on the mood of the scene- unlike the naturalistic lighting on Earth. It was almost as if the island was a living being. For example, when there was a fight on the ship, the lighting was red. When Peter took Wendy to the mermaids, who were scary and frightening, the lighting was dark and blue. This created a surrealistic atmosphere, almost like a fever dream or a kind of nightmare.

Sometimes the environment changed depending on Peter Pan’s mood in the respective scene. I particularly liked how Peter Pan influenced the weather on Neverland. Just his mere presence when he flew to the island changed the entire atmosphere in an instant. His feelings also determined whether it was summer or winter. In other words, its suggested in the film that the longer he has been there, the more the island has become a part of him, so that he can no longer leave it. It’s almost as if the island has transformed him into a magical being.

The exuberant musical score by James Newton Howard: I’ll never forget that. I think that was one of the first movies I saw where I actively noticed the music because it was so brilliant. Even today, the “Flying” soundtrack still gives me goosebumps. It perfectly encapsulates the whimsy, joy and imagination of Peter and Wendy. I loved that there were always different variations. One of my favourite pieces from the movie is ‘Fairy Dance’, which starts off cheerfully and moves up and down depending on the characters’ conflict/what they’re saying in the scene.

Cast

The cast of this film adaptation was magnificent. The look of all the actors not only matched the book description, but also the mood, especially with the Darling family. One of the standouts was Olivia Williams as Mrs Darling. She captured the gentleness of the character perfectly. I also loved the new addition of Aunt Millicent, played by Lynn Redgrave. She fitted into the story so well that I was surprised not to find her in the novel. She had the perfect amount of ridiculousness and hilarity that suited J.M.Barrie’s style.

One particular member of the cast we can probably all agree on that was perfect, was Jason Isaacs, who played both Wendy’s father Mr Darling and Captain Hook. He was certainly a star in this film for sure. I just can not think of anyone who could play him better, especially in a live-action film adaptation. He was particularly good in the role of Captain Hook. When I first saw the film as a child, I did not know that Captain Hook and Mr Darling were played by the same person until my dad pointed it out to me because he was so good. I loved how they portrayed Wendy’s dad as shy and reserved, as opposed to Captain Hook who was flamboyant and sinister. Mirror versions of each other in different realities — that’s a common theme throughout the film. As Captain Hook, Jason Isaacs perfectly captured the essence of viciousness, deviousness and brutality that was necessary for the character. But also the deep loneliness and frustration behind it all. I have seen a quote that was supposedly cut from the film (and never should have been) that provides so much context for his hatred of Peter Pan:

“Imagine a lion in a cage and into that cage flies a butterfly. If the lion was free, it would pay no heed to such creature. But the lion is not free…and so the butterfly drives him slowly insane.” — Captain Hook

They did a really good job of showing how Peter Pan and Captain Hook are mirror images of each other. Peter Pan is a child who secretly wants to be an adult, while Captain Hook is an adult who secretly wants to be a child. Both fight each other for different reasons, but the goal is the same. For example, there is a great scene towards the end where Captain Hook uses his wits to defeat Peter in a fight. Here it becomes clear that there is deep symbolism for the inevitability of adulthood and the loss of childhood. Jason Isaacs really showed off his acting talent here. I liked that he wasn’t portrayed as a “dumb villain”, which he easily could have been.

There were also some great performances among the adults. Most notable was Richard Briers as the ‘pirate’’ Smee. But the child actors, especially the lost boys, really held the movie together. Their solid performances made it so believable that the island was ruled by children. I loved Theodore Chester as Slightly. He was very charming and funny in that role.

Another member of the cast I thought was brilliant was Carsen Grey, an indigenous actress of Haida descent, who played Princess Tiger Lily. I liked that they let her speak her ancestral language, Mohican, in this film. Although this film came out in the early 2000s, it is the only version of Peter and Wendy in which Native Americans are neither erased nor white-washed even though the representation is far from great. Considering how they’re treated in the novel, it’s perhaps for the best overall that they limited some of their scenes. However, I liked how firey she was in this adaptation and not the damsel in distress she was portrayed as in the Disney animation. I think it was a wise decision to cut the infatuation she had with Peter Pan, as it was really just one line in the book that would have added unnecessary drama, and all in all, it would have fallen short if all the female characters were jealous of each other.

They also downplayed Tinkerbell’s jealousy in this regard, portraying it more as her trying to protect Peter Pan’s youth from romantic advances, as hinted at in the novel, and also being sad that Wendy is attracting all of Peter Pan’s attention. Ludivine Sagnier has, in my opinion, succeeded well in making Tinkerbell equally repulsive and endearing, as befits the character.

Wendy Darling

Rachel Hurd-Wood was the perfect cast for the role of Wendy Darling.I was actually surprised to learn that this was her first film role ever, because she was a natural. She effortlessly possessed the same caring nature and charm that makes Wendy so endearing. She is exactly how I imagine the character when I read the story. When people talk about Peter and Wendy, they always mention Tinkerbell, Pan or Hook, but personally I am always drawn to Wendy. She is the real heroine of the story. After all, she was the main reason for Peter to bring her and her brothers to Neverland.

What always amazes me about Wendy’s role in the story is the fact that Wendy literally doesn’t spend much time being a “child” in the time she spends in Neverland. When she’s not escaping death at the hands of mermaids or pirates, she acts as a mother to the ‘lost boys’ and her brothers. She asks herself what she really wants from life. In comparison, she was allowed to behave more like a child at home in Edwardian London. Neverland is not a place where you never grow up. It’s the place where she chooses to grow up. Many people have described Neverland as a manifestation of Wendy’s subconscious as a result of trauma, and I’ve never found that to be more true in this adaptation.

One of the reasons why I think P.J. Hogan’s Peter Pan is the best adaptation of the novel is the fact that the film revolves around Wendy’s coming of age. I loved that they expanded on her love of storytelling and also gave her a tomboyish streak. Instead of just being on the sidelines, she’s able to get involved and fight pirates while retaining many of her feminine traits such as her maternal instincts and romantic feelings for Peter. She makes mistakes and sometimes gets dragged into things she knows she shouldn’t do. But in the end, she triumphs.

In many film adaptations of Peter and Wendy that I have seen, Wendy is either only present in passing or not at all. Characters like Peter Pan, Captain Hook and Tinkerbell always take centre stage, which I think is a strange decision as they are part of Wendy’s story and not the other way around. Peter Pan is meant to metaphorically represent the childhood she does not want to give up (which is why the character is always played by a woman in the original play, as he is a mirror image of Wendy). And Captain Hook (J.M.Barrie also wanted him to be played by the same actor as Mr Darling) represents the dark side of her father, or rather what she imagines adulthood to be. This is particularly emphasised in this film adaptation because he is an important factor in her being told to grow up. The father, the concept of adulthood, and Peter Pan, her childhood, are at constant war with each other.

“You’re not supposed to be like Peter, who kept every good and bad aspect of being a child and can’t tell right from wrong. You’re not supposed to be Hook, either. He let go of everything childish and loving about him and became bitter and evil..You’re supposed to fall in the middle, to hold onto the things about childhood that make it beautiful — the wonder, the imagination, the innocence — while still growing up and learning morality and responsibility. You’re not supposed to be Hook. You’re not supposed to be Peter Pan. You’re supposed to be Wendy Darling.” — @maybe-this-time

The 2023 film Peter Pan and Wendy took a different approach, by making Wendy a kind of powerhouse who always saved the day and outshone Peter Pan overall. In my opinion, the 2003 film adaptation emphasised very well that Wendy really is the yin and yang. She's allowed to be romantic, be rescued by others and at the same time determine her own destiny and stand up for herself. Because that’s what her journey in the adaptation is all about. She is pressured by all the adults in her life to grow up. She allows herself to be seduced with the prospect of an eternal childhood by Peter Pan. Then she realises that it is not self-fulfilling. She is tempted by Captain Hook with the concept of adulthood. And finally, she finds a balance between these two extremes on her own terms. By the end of the film, Wendy has made her peace with growing up while still remaining a child at heart. That requires a certain mental strength that we should all strive for.

Peter Pan and Wendy Darling

In most adaptations of Peter and Wendy, such as Hook and Syfy’s Neverland, the focus is on the title character Peter. In the more recent film adaptation Peter Pan and Wendy, the focus is on Wendy. This film adaptation of Peter and Wendy, on the other hand, sticks more closely to the original source material, as the story focuses on Peter and Wendy’s relationship. This is perhaps the reason why I always hesitate when I watch other adaptations, because these two characters are supposed to go together. It’s definitely a relationship that can be portrayed in all sorts of ways because they are symbolically the same person.

Although there is no romance between Peter and Wendy in either the original novel or the play, Wendy quickly develops romantic feelings for Peter which, as a prepubescent child, he does not consciously reciprocate as he has no concept of love other than that of a mother’s. Although Peter cares deeply for her, he ultimately only longs for her to be the maternal figure that is missing in his life. One could go into the symbolism that Peter and Wendy are one and the same, and that this is an expression of Wendy learning to love herself. But in a literal sense, J.M.Barrie had unintentionally created this very strong potential between the two characters. And I personally feel if your'e going to make an adaptation of Peter and Wendy that potential needs to be explored in some way, even if it’s not necessarily romantic.

Hogan recognised this potential and developed the romantic elements, e.g. ‘the “thimble” from the novel, into a very real and tangible plot. In other adaptations, Peter and Wendy’s relationship is rather one-sided. But in P.J. Hogan’s film adaptation, however, it is not at all. Over the course of the film, Peter and Wendy fall deeply in love with each other.

Rachel Hurd-Wood and Jeremy Sumpter had a remarkable on-screen chemistry for young actors, which helped give the adaptation its own identity. Whenever they interacted on screen as Peter and Wendy, it was — like the glittering pixie dust of Tinkerbell — simply magical. The off-screen chemistry between the two definitely helped make the romance so believable as well. When I was younger, I didn’t like romantic subplots in family films. I personally found that they clogged up the main plot because the “romance” tended to be very one-dimensional- but Peter and Wendy in the 2003 film version were simply enchanting.

In the original novel, J.M.Barrie alludes to the possibility of a romance between the two. In the film adaptation, they go all out. Their love story was written so beautifully and profoundly, while staying true to the original text and J.M.Barrie’s themes. This made the conflict hinted at in the novel of “staying in Neverland with Peter or growing up on Earth with Wendy” even more poignant and relevant, because in reality there was only ever one option. They couldn’t find a way to have both. That made the ending even more “heartbreaking” for me as a child, because even though they had the chance to be happy together, she couldn’t give up on growing up to stay. And he couldn’t give up being a child to leave, even though it was a natural progression for him.

Peter Pan

Jeremy Sumpter delivered a fantastic performance as Peter Pan. Not only did he perfectly match the illustrations, but he also managed to perfectly capture the essence of the charismatic, mischievous little boy from the novel. What’s more, of all the versions I have seen so far, he is by far the most accurate, right down to the clothes made of skeleton leaves, the dirty fingernails, the feral mannerisms, the traumatised soul behind the charm and the downright creepy insinuations. By today’s standards, you could almost take Peter Pan for a grown man who consciously decides not to behave like this.

However, when I watch the film again as an adult, I can now understand why he has reservations about growing up in Edwardian England and would rather remain a “child” in Neverland forever. As Peter says in the film, “Would they send me to school? And then to an office?” I feel like most of us today have so many choices as we get older, but back then it was much more limited. The choices were very restricted in that “heterosexist” environment. You could only be a certain thing, and it was much harder to hold on to the pleasures of life. I can now also understand the initial reactions of Michael and John to Peter: He must have seemed scandalous to people at the time. His bright colours, his inappropriate clothing and his behaviour are repulsive to the boys, but Wendy is immediately fascinated and attracted.  I think it was a deliberate choice that he is the only character with an American accent to set him apart from the rest of the cast; to emphasise the wildness of the character and his non-conformity to the people of Edwardian London.

Another small aspect I liked was the suggestion that the Lost Boys, although they lived with Peter and obeyed his commands, lived in constant fear of him and did not worship him as in other adaptations. (A fear that is justified as Peter tries to kill them more than once in the film). What the 2003 film adaptation captured perfectly about Peter's character was: how terrible of a person he really is. Peter Pan is a hero when he goes on adventures and fights pirates. You could argue — via the quote “Leave Hook to me” (which Peter says to her in the film) — that Peter is Wendy’s split self who can fight her father (Captain Hook) for her, just like antibodies do with germs when we can’t handle them ourselves.

However, when it comes to understanding emotions, caring about others, even his henchmen, the Lost Boys, and doing anything that inconveniences him, Peter Pan is possibly as bad as Captain Hook. This makes Wendy’s decision to leave him all the more powerful. Although she was initially seduced by his adventurous life, she soon realises that his “life” of joy and adventure is not fulfilling at all. Because in reality, there is no real joy. There is no real adventure. In reality, his life is empty because it is not earned. In addition, she realises that she is gradually losing her memory of the outside world, including her parents - a sign that she is “slowly awakening from the dream”. This leads Wendy to realise that she wants more than what he can give her in Neverland (e.g. romantic love) and decides to leave. Being alive means feeling, accepting and growing. However, as long as Peter remains a boy, he can never truly be alive. Peter Pan conveyed this important message, whereas earlier film adaptations, including the Disney animation, did not.

One of the reasons why good adaptations of Peter and Wendy are so hard to come by, especially in this day and age, is not only because they adapt a performative story that exists in layers of subtext. They also work with a protagonist who doesn’t change. Who doesn’t develop in any way, neither negatively nor positively. Not even just physically, but also mentally. (Even Eli from Let the Right One In, the child vampire, changes in the course of the story). At the end of day, Peter Pan is ultimately there to serve someone else’s story. It works in a fairy tale format. But it doesn’t usually translate very well to the screen because it often leads to one-dimensional storytelling. Even if it seems so natural, it doesn’t come naturally.

However, this adaptation allows Peter Pan to grow. The writers expanded on the small aspect from the book, which is the moment when Wendy enters Peter’s life; he begins to feel emotions. Not just love. But anger. Fear. Sadness. Pain. Disgust. And above all: self-awareness. Almost like a version of puberty in condensed time, as if the change suddenly caught up with his body. When Wendy brings this up, Peter immediately rejects it out of fear. I think most of us can all relate to this when we were in the midst of growing into a young adult. We experience feelings that are scary and new, that we can’t yet fully understand or even want to. For Peter Pan, falling in love is exactly what he is afraid of: growing up and no longer being a child. This adds to an interesting conflict that arises between the two when she asks him to leave with her.

“The thing about Peter Pan is, he’s a coward. Had the chance of a lifetime and he bottled it. Just fucked off back to Neverland. All alone, forever he was, by his own hand. Poor old Wendy, she had to grow old without him.” — Skins, 6x07 “Alo”

In the original novel, the reason Wendy can’t take Peter Pan with her (apart from the fact that he refuses to grow up) is the same reason Lyra in His Dark Materials can’t take Pan — the animal manifestation of her soul — on the boat to the land of the dead. She has to split in order to grow up and leave a part of herself behind. She can’t keep both in order to move on. But that does not mean I always agree with the ending either. In which Peter remains a child and takes Wendy’s future descendants to Neverland and back to look after him. It leaves an icky aftertaste, but at least it fits in with the story J.M. Barrie wanted to tell.

Even though the adaptation conveys the same message, that Peter Pan is the manifestation of Wendy’s youth, even to the end. In this version of Peter Pan, that is no longer the case. By the end of the film, the way he holds himself is different. The way he looks wistfully through the open window and solemnly says, “To live would be an awfully big adventure,” : a sign of self-awareness, while Wendy happily reunites with her family. So much so that Tinkerbell has to pull him by the hair to stop him from joining them and reconsidering his decision. Peter is now old enough to know that he loves Wendy. Maybe he’s also mature enough to know what he’s missing, but he knows he can’t have her the way he wants, so he does the most selfless thing he’s ever done in the whole film by letting her go.

There is no such conflict at the end of the 1953 Disney animated film. Peter Pan is described by Wendy as “wonderful”. In reality, everyone else gets their happy ending, except him, because he deliberately chooses not to. Peter Pan very much turns himself into a tragic figure because he is afraid of the most natural thing in the world. He is afraid of life. And I feel like this version of the story knew that and expressed it strongly, which makes me conflicted now as an adult. I’ve seen endings like this before, where two people fall in love but do not end up together because they grow apart or they are both interested in different things, and it’s very important to reach those points in different ways. It very much reflects real life and is also reminiscent of first love. How that love never really fades. It reminds you of simple times, even when you’ve grown up and moved on. That a part of you is still at that age when you look back on it. These endings happen because people grow — which Peter Pan does not.

“Peter in the books lives in oblivious tragedy. He may suspect that he’s not fully happy, but he tends to forget about it… yet this Peter doesn’t… Wendy leaving him and growing up to be a wife of another man is his unhappy thought…It’s the loss of innocence since Peter could not forget this…It’s the process of growing up…all but confirms that Peter’s character arc in the film is one of accepting the fact he too must grow up to be happy.” —  @rex-shadao

And I think that’s the real reason why his character is both the strongest and the weakest part of the adaptation. The writers didn’t make it clear enough that Peter Pan forgets in their version of the character. In the novel, Peter Pan forgets everything automatically, which is why he can exist in this limbo of childhood and not go mad. However, as mentioned earlier, this version of Peter Pan is old enough to remember and, more importantly, to feel. Even though he is the closest to J.M. Barrie’s original vision, unlike his counterpart in the book, he is capable of evolving. That’s why the ending sometimes feels strange to me as an adult.

It was hard to say why I had a strange feeling at first, but I realised that a lot of my mixed feelings stemmed from having seen the film adaptation fresh after reading the novel. Since Peter Pan fully reciprocates Wendy’s love in this version, he ends up being a different character than in the book, which is why I now disagree with them keeping the original ending instead of having him grow up with Wendy. It would symbolise that childhood can co-exist with adulthood, that you don’t have to leave a part of yourself behind. That you can be your true and complete self if you find the balance between the two extremes.

The original ending still works however, in all its bittersweetness. I know what it means and understand what it stands for. Wendy basically says goodbye to her childhood and promises never to forget it. There’s a reason it made such an impression on me when I was younger. It could just be because I’m trying to pick up all the pieces of my broken heart from the floor. But personally, as an adult, I just find it weaker compared to the novel. Sometimes I like to imagine an ending to this version of the story where Peter Pan comes back, having quickly realised that he has outgrown Neverland, but doesn’t meet Wendy again until they are both much older, at a time when Wendy is coming to terms with womanhood and the idea of marriage. Or she even meets his real earth counterpart (if we were to delve into the psychology of Neverland being Wendy’s dream). And their relationship is subjected to the natural test of time and growth.

Peter Pan is an almost perfect adaptation. It matches the humour, the tone and the vision of J.M.Barrie. But I can certainly understand why the film didn’t do so well at the box office. In the month it was released, there was an unfair amount of competition, namely the film Lord of the Rings — The Return of the King. And as an adult, I can now understand why it’s not the film people think of or remember when it comes to Peter Pan adaptations. And it’s not just because it doesn’t fit the elfish, jolly trickster persona that Disney has created.

The film adaptation suffers more from what it doesn’t do — such as maintaining a stable tone and consistent editing — than from what it does. It’s one of those films that would have benefited from being much longer. That way, the inconsistent tone and some of the rushed parts of the adaptation would be much more balanced. It feels like it was missing an extra twenty minutes. For example, the film is narrated by an older version of Wendy, but without the deleted ending where it becomes properly clear that it’s her telling the story to tie everything together, the ending feels a little abrupt. Say what you will about Tim Burton’s adaptation of the Series of Unfortunate Events, but the audience could see where the film’s narration was coming from the whole time. I think if they knew the alternate ending wasn’t going to work (that scene is a classic example of something working well in the novel but not in the film), they should have removed the narrator altogether with the deleted ending and adjusted the film accordingly. They should have extended some scenes so that parts of the film weren’t rushed, such as the introduction, and the story would have been left more up to interpretation as there was no voiceover throughout.

Despite its weaknesses, P.J.Hogan’s Peter Pan is still an underrated masterpiece 20 years later. It is an irresistible film that captivates and warms the heart. The film adaptation has certainly stood the test of time, staying true to the original while adding its own flavour to the story. It is full of magic, wonder and heart. It was clearly made by people who loved the origins of the story and explored where they came from, while also digging deep into the text to reshape the character arcs in a fresh and meaningful way. They succeed in capturing J.M.Barrie’s original message, which is that growing up is a natural progression of life, but that doesn’t mean leaving childhood behind entirely. That it is important to maintain a healthy balance between the two: Taking responsibility while appreciating the joys of life. From the vibrant colour palette to the goosebump-inducing music to the solid performances and gorgeous chemistry between Jeremy Sumpter and Rachel Hurd-Wood, my love for this adaptation will never end, no matter how old I am.

[bubblez-bubble]

TIME OUT!

So I've been seeing a lot of posts about how the guild members were complete assholes to Natsu when he first joined because he couldn't read or write despite being taught by Igneel. And a bunch of these posts talking about how hurt and even traumatized he could be because of it.

This is something everyone keeps talking about, but you know what no one's been talking about?

The fact that this happened because he was failed by the adults around him.

Lemme explain.

But first...

SPOILER WARNING FOR THE ALVEREZ ARC!

Anyway

It's pretty well known that when Natsu joined Fairy Tail, he was picked on by Mira and other members for not being able to read the flyer for the job he was trying to take. Despite already being taught how to read and write, Natsu couldn't explain why he couldn't read the flyer, prompting Erza to step in and reteach him so the guild would stop making fun of him.

Well, during the Alverez arc, we meet Anna Heartfilia, one of Lucy's ancestors and the dragon slayers teacher. Initially, she was the one in charge of teaching the dragon slayers to read, write, and adapt to society.

When all of the dragon slayers finally meet Anna for the first time since they passed through the gate, they all recognize her as "Ms. Anna" but have no idea how they know her, she's just familiar.

Anna then explains to Wendy, the first dragon slayer to meet and recognize her, that when they passed through the eclipse gate, it may have altered/clouded some of the children's memories.

She then explains that as a result, none of the dragon slayers remember growing up together or being taught by her, including how to READ AND WRITE.

Natsu couldn't explain this as a child because he never knew he even passed through the gate until this revelation. He was so frustrated because he knew he knew how to read and write, but for a reason he couldn't explain or come up with, he suddenly forgot how.

Anna then goes on to explain that by the time she found each of the children, they were safe and living their own lives and felt no need to interfere. However, if she had, perhaps Makrov would have better been able to understand the kind of care and understanding Natsu needed and he could have been spared from most of the guilds taunting.

But instead, she chose to leave it be without explaining anything to the person taking care of the boy SHE was supposed to be taking care of and as a result, he was taunted and made fun of simply because Anna felt "it wasn't necessary to interfere" and instead of stopping everyone from being mean to a poor already fragile Natsu, Makrov just sat back and watched as if he thought leaving this to him would help him build character when in all reality Natsu was just a scared and confused little boy who couldn't understand why he lost his ability to read and write properly, and the only one willing to help him fix it was Erza.

Natsu was bullied by his own guildmates as a child because THE ADULTS IN HIS LIFE FAILED HIM.

If Anna had come forth with this information about the eclipse gate to Makrov when she found Natsu, him being bullied by Mira and everyone else could have been avoided.

Instead, however, it seemed that everyone thought what was best for Natsu was to let him figure it out and deal with the backlash. The only one who took the time to understand Natsu needed help and a proper education instead of being ridiculed for not having one despite claiming to have one was Erza. Who at the time was also a child.

None of the adults in Natsus life stepped in under the impression it was what was best for Natsu. However, another child could see clear as day that that wasn't the answer.

Anna even admitted that SHE KNEW there was a chance the dragon slayers could lose their memories after passing through the gate and STILL FAILED TO COME FORWARD WITH THAT INFORMATION UNTIL ALMOST 2 DECADES LATER.

Anna explains this was because she thought the children deserved "normal" lives and that just showing up out of the blue to take them away from the life they had built on their own was unfair. However, this doesn't excuse her negligence in explaining to the dragon slayers new care takers the sitituation and the possible side effects of passing through the gate.

And Makrov, even believing it might have built character, as the adult still should have stepped in when Natsu was clearly in distress while being bullied.

Natsu had lost his memories and was failed by the adults around him who were supposed to make him feel safe and loved. None of it was his fault but he was mocked and ridiculed for something the adults should have weighed in on.

The adults should have communicated with each other and Natsu about his feelings of isolation and feeling at the bottom of the barrel. Instead, he was just left scared, confused, and left to fend for himself.

Which this could be why he's so bad at communicating his feelings now. Because the adults around him never taught him to do so, leaving Lucy the only one to understand him as she also grew up where her feelings and voice went unheard.

What's more, when Natsu was trying to communicate his frustration about being confused, Mira simply mocked him, calling him out for crying and calling him a baby, even going so far as to talk to him in a baby-like voice and standing straight up to make herself seem bigger to make Natsu feel even weaker while she mocked him for having feelings.

HE WAS KICKED WHILE HE WAS ALREADY DOWN AND NONE OF THE ADULTS DID A DAMN THING ABOUT IT.

So he stopped talking about his feelings since he was made to feel weak for having them and no one seemed to care.

Natsu tried his best and was a verbal punching bag for it.

And he deserved better.

Thanks for coming to my Ted talk.