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Also from the recent Hot Seat:
Will there be an engagement in the last few episodes of season 5?
KITSIS: Nope.
[adrotate group="5"]"That’s how you know you’ve really got a home. When you leave it, there’s this feeling that you can’t shake. You just miss it." Neal Cassidy
Also, from the most recent Hot Seat:
Could Emma have just put half her heart in Hook’s corpse after he died to revive him?
ADAM HOROWITZ: No.
"That’s how you know you’ve really got a home. When you leave it, there’s this feeling that you can’t shake. You just miss it." Neal Cassidy
Happy B-Day, @WR!
"That’s how you know you’ve really got a home. When you leave it, there’s this feeling that you can’t shake. You just miss it." Neal Cassidy
2) Are they trying to tell me that Hook comes back at Robin’s funeral? Like right after? His reunion with Emma literally happens in front of Robin’s grave? I mean. Am I reading the pictures wrong? Please tell me if I am before I properly react.
I’m going to say you’re reading them correctly; moreover, it almost looks like Hook gets resurrected as a result of Robin’s death in a life-for-a-life trade.
"That’s how you know you’ve really got a home. When you leave it, there’s this feeling that you can’t shake. You just miss it." Neal Cassidy
All of these duos/ships men started out “villains” that were really just “misunderstood bad boys” that could be “fixed” or “changed” by having women loving them. I just also wonder what kind of messages that is, intentionally or not, communicated with these stories, when considering the similar and/or different paths they have taken or are taking.
It’s not a message I am comfortable with, personally. Women aren’t saints and we aren’t the way to redemption for men, which more or less takes away our importance as individuals and agency with our own ambitions, struggles, joys and woes that has nothing to do with men, be they our fathers, brothers, husbands, or lovers. But, most people ’round this joint will tell you, I tend to see everything heavily skewed threw a feminist lens. The other flip of this is that women on this show are redeemed via childbirth. Babies are apparently magical for women. It’s all we need to feel whole and be “complete.”
THIS! So many times this. Though, @RG, I also share your feminist soapbox so I will readily admit to a particular perspective on these two tropes. To answer@sierraleone ‘s original question, which I think is really pertinent, about “what kind of message that is” — well, it’s a tried and true one. It’s been around the block at least a few times: say, from the original B&B fairytale to Jane Eyre to something like The Breakfast Club to Twilight, to 50 shades of gray, to you name it. The broader question is why the heck is it appealing? And to whom? Or is it just the case that we have a reactionary, misogynist, aging group of entertainment professionals (lets call it Hollywood culture) trying to peddle a message that no longer rings true with the current moment/audience, but said professionals are too set in their ways to pay attention? I mean, it looks like by and large (this here fan community notwithstanding), it is appealing to people. Which is kinda mind-boggling.
While I agree with a lot of what has been written here, I have to stand up for my beloved Jane Eyre, which is nowhere in the same league as those other lesser pieces of media (I dare not call them art)! It was a groundbreaking novel when it was written (by a woman no less) which challenged the rigid class and gender conventions of Victorian England. In may ways, Jane Eyre could be said to be the first proto-feminist novel ever written in that not only did Jane consider herself to be the equal of Mr. Rochester, but he likewise considered her to be his equal — something profound and almost unheard of in the 1840s. Moreover, Jane Eyre never sought to reform Rochester; in fact, she outright rejected his plea for her to be his savior when she said he must trust in God to save him instead. Without giving too much away for those who haven’t read it (please do so), Jane and Rochester don’t reconcile until after he’s undergone an inner transformation and reckoning due to immense suffering.
"That’s how you know you’ve really got a home. When you leave it, there’s this feeling that you can’t shake. You just miss it." Neal Cassidy
Anyone else get the sinking feeling they’re killing off Robin because Regina and Zelena have now reconciled? Robin cannot very well continue to be a presence since the reminder of what Zelena did to him would always be a strain on Regina’s relationships with Robin and Zelena. Just last episode, Regina insisted Robin hand over his baby girl to the woman who raped him. *sigh*
"That’s how you know you’ve really got a home. When you leave it, there’s this feeling that you can’t shake. You just miss it." Neal Cassidy
Plus Rumple’s line “dark and light all depends on your point of view” seems like it could hint at something. At the moment we’re viewing Hades as the villain as “dark” and that his brother is “light” but what if it’s the other way around.
That’s interesting. It reminds me a bit of Peter Pan being the villain of that tale, as Hook said. While Hook was also a Lost Boy-murdering pirate, Pan was way worse (aka “a bloody demon”). So it wouldn’t be the first time the writers changed a so-called “hero” into a villain. Zeus being the “big bad” of Olympus would actually be very in line with the kind of “twist” that the writers of OUAT usually go for (e.g. King Arthur really being the power-hungry, unjust ruler of Camelot).
"That’s how you know you’ve really got a home. When you leave it, there’s this feeling that you can’t shake. You just miss it." Neal Cassidy
[quote quote=322743]Dedicating a season to saving Hook and then killing Robin – a good man and father of two young children – in just one episode (poof) is close to being a mockery storywise[/quote]
Sadly, the Greek gods were known to be capricious and cruel, so saving Hook only to kill Robin fits that bill.
"That’s how you know you’ve really got a home. When you leave it, there’s this feeling that you can’t shake. You just miss it." Neal Cassidy
I suddenly have this image of S6 ending (with a promised S7) with someone casting the Dark Curse and reverting everyone back to S1 status and someone (not Emma?) having to break the curse all over again (the twist is that this time, Regina is cursed as well and Rumple has his memories and once the curse breaks in 7A, the final battle happens with everyone vs Rumple)
*twitch*
"That’s how you know you’ve really got a home. When you leave it, there’s this feeling that you can’t shake. You just miss it." Neal Cassidy
The idea of sacrificial love doesn’t hold up for me. Hades hasn’t sacrificed anything of importance.
I strongly agree with this, because I don’t think Hades really gave up anything of real value when he tore up that contract. Rather, Hades got exactly what he wanted when Zelena broke his curse: his ticket out of the UW. While I do think true love has something to do with putting another person’s needs before one’s own, I also think the presentation of what true love looks like on this show has sadly been watered down and warped to the point where it’s no longer recognizable. You know there’s something amiss when Nimue is heralded by Emma as being the “true love” of Merlin after Nimue’s spirit convinced Hook to murder Merlin in order to enact the dark curse. The notion of what true love even looks like is drastically cheapened, if not entirely ruined, as a result.
I also think it’s rather absurd that Hook’s dad could be woken up from a sleeping curse by a nurse he’d never even met before he was cursed. Really? He fell in “true love” with the nurse while he was in a comma (and his consciousness was elsewhere in the burning red room from S2, if we’re going to be consistent, which I know the snow isn’t). Likewise, it’s equally absurd that characters like Zelena and Hades or Ruby and Dorothy shared TLK after having only shared a handful of conversations, ever. True love at first sight? What? I know “love at first sight” is a trope that exists in traditional fairytales, but it never really used to on OUAT. Prior to S5, TLK actually meant something (e.g. Snow and Charming or Emma and Henry). There used to be high stakes involved and well-developed, meaningful reasons shown and explored why these characters really love one another. But now, whatever it means to share TLK really no longer carries much, if any, real meaning.
"That’s how you know you’ve really got a home. When you leave it, there’s this feeling that you can’t shake. You just miss it." Neal Cassidy
