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"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
Phoenix was always associated with Henry, and by extension, his parents. *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
*sigh* I just cannot even put in to words things I’m feeling. This is just like Dreamcather all over gain.
Phoenix. Swanfire. Firebird
They just keep drudging up old memories of what this show used to be in its hey day, only to pull the carpet out from beneath us again.
I just….yeah. *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
*sigh* I just cannot even put in to words things I’m feeling.
This is like Dreamcather all all over gain.Phoneix. Swanfire. Firebird
I just….yeah. *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
I think in the beginning it wanted to be a reflection on gender.
I agree that the show certainly was meant to be a new take on the traditional 1950’s Disney version of Snow White (which portrayed Snow as more of a flat, cookie-cutter princess character). By contrast, in season one Emma Swan informed Graham that one doesn’t have to dress a woman as a man to give her authority. Snow White corrected Charming for calling her a girl, insisting that no, she was a woman, before she knocked him out cold with a rock. Regina had authority over everyone in the town, with the possible exception of Mr. Gold, but really she was suffering from mommy issues. There were so many rich and complex interactions between the generations of Snow and Regina, not to mention Emma and Snow. Then there was a totally new dynamic of Emma and Regina both vying for the title of mother in Henry’s life. Slowly, that unique dynamic has played out to the point now where Regina and Emma basically co-parent their son together.
What happens over time is that those characters and their interesting twists in traditional gender roles became less complicated. They became rather one note. Regina, Snow and Emma all became “mother” in the most basic sense–when they needed redeemed or humanized, they have their child inserted into the scene
I think motherhood used to be a prominent theme that the show took in an interesting new direction. After all, both Emma and Regina have shared true love’s kiss only with their son. That says something about the significance of the maternal bond on this show, and how parental love can be the strongest of all. Sadly, as RG wrote, motherhood only gets promoted when it’s convenient to do so now. Rarely do Emma and Regina interact with Henry anymore (Dreamcatcher was a rare exception). Hardly does one ever see Emma and Snow ever even talk anymore. David and Snow may as well have played no part in trying to save Emma from the dark one curse. Now, Snow, Regina, Robin and David just up and left their infants and toddlers in SB to go to Hell. So, yeah, the unique angle that the show had about the importance of love between children and parents went up in smoke.
I don’t know if we can call it specific gender ideology because they change it with the passing seasons. I also can’t remove what A and E (and the actors) have said about the characters in questions. It often doesn’t match how I’m reading the OUAT text–or how a lot of people are reading the text. So that’s another factor. A and E continually say that Emma is a strong woman, but to me she lost that status around season 4B.
Totally concur.
I stopped believing the writers do anything on purpose a long time ago. I don’t think they are being purposefully polarizing because they don’t realize it is polarizing.
I tend to disagree here. Just because the writers don’t respond to valid criticism online, it doesn’t mean they’re unaware of the issues in their own characterization. For instance, back in Skin Deep, Regina had a line to the effect of “I would never suggest a woman kiss a man who held her captive. What kind of message is that?” Jane Espenson can be quite sly, because clearly, she is aware of Stockholm Syndrome being something that isn’t good to promote to women, and yet…you see how it goes.
I’m open to the possibility the writers are aware that certain characters can be quite polarizing (e.g. Hook, Rumple). The writers then seem to insert snarky comment (usually from Regina and more recently Zelena) which seems to be a stand in for the more critical fans. Yet, the writers then proceed to include these controversial characters in romantic scenes with fan favorites. So it’s almost like the writers are trying to have their cake and eat it too by appeasing some shipping fans while also walking the tight-rope of inserting snarky zingers.
"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
Based on Hanry’s expression in picture #5, I think they’re using it to talk to Neal (the Ale?).
Yeah…could be. I think MRJ is putting in a guest appearance in this episode. If Henry gets to actually have a heart-to-heart with his dad then it’ll be water works from me.
"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 bet Josh Dallas is having more fun playing his character’s evil twin than he’s had in a long time playing Charming.
"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
So Peter Pan has assumed his son’s role as pawn shop owner of Stroybrooke-on-Elm-Street, Cora has taken over her daughter’s role as mayor, and David’s twin brother, James, is probably sheriff of this ghost town. Ok, credit where credit’s due; it’s inventive and a nice twist on the S1 version of SB. But if Cora’s mayor, then what does that make Hades– governor?
"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
So here’s my question, and maybe it should be booted into its own thread, I don’t know: but is OUAT written in such a way as to be purposefully be polarizing in its representations of gender? Does it have an identifiable gender politics?
Yes, this seems like a topic worthy of its own thread, since it would require us to analyze not just Emma, but really most of the primary and even secondary characters. A quick search didn’t really reveal a thread already dedicated to this topic, so it seems like a good idea. Wanna start one?
"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
