Once upon a Time Rewatch 2.22, "And Straight on 'til Morning"

Read the previous entry in the series here.
Read the next entry in the series soon.

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2.22, "And Straight on 'til Morning"

Written by Edward Kitsis and Adam Horowitz
Directed by Dean White

Synopsis

The final episode of the season opens with a focus on a tall ship sailing, one soon revealed to be Hook's Jolly Roger, aboard which Smee encourages Hook's revenge and reports that Baelfire sleeps but will be well. They confer about his origin, Smee voicing fears that Hook allays. Shortly after, the pair confer with Baelfire, who explains his arrival in Neverland and bristles at Hook before announcing his name--which Hook recognizes. The captain welcomes him to the crew.

Are you not entertained?
Image taken from the episode, used for commentary.

Following the title card, the episode continues with Henry swinging under Granny's watchful eye. Gold approaches, plotting his grandson's death and working magically to that end. He is stopped in his machinations by the arrival of Mary Margaret, David, and Emma and their challenge of him. Emma moves to Henry, and Mary Margaret imparts news: Baelfire is gone, shot by Tamara and taken by a portal to an unknown place. Gold is staggered by the news, and he refuses to help David and Mary Margaret in his sorrow at his son's loss, staggering off.

Beneath Storybrooke, Hook accompanies Greg and Tamara as they proceed along their orders and retrieve one of the dwarves' pickaxes to use the artifact stolen from Regina, which will undo Storybrooke. Hook challenges them, and they activate the artifact, which begins to unmake the town, allowing the original forest to reclaim the area. Regina returns to herself in company with Emma, Mary Margaret, David, and Henry as the destruction begins. Hook arrives shortly after and is punched and threatened by David in short order; Regina offers to hinder the destruction as the rest prepare to effect evacuation from Storybrooke. Regina offers a sincere apology to Henry.

Near Neverland, the Jolly Roger receives a delegation, Smee encouraging Hook to surrender Baelfire thereto. Hook refuses, citing Baelfire's utility as the delegation boards. The delegation, consisting of Lost Boys, demands the surrender of the boy, searching the ship for him. They do not find him, and they leave with dire warnings for Hook and his crew. Baelfire takes the demonstration to heart.

Gold confronts the dwarves in his shop as they note having found a remedy for their brother's malady. Grumpy offers a dose of the remedy to Gold for Belle as he heads off. Other preparations for the evacuation continue, with David and Hook moving to confront Greg and Tamara.

What arrr you thinking?
Image taken from the episode, used for commentary.

Aboard the Jolly Roger, Hook works with Baelfire. He takes the opportunity to learn more about the boy and his circumstances. He relates a sad backstory and gets confirmation that Baelfire is the son of the Dark One in exchange--and learns of the dagger, to boot.

David and Hook confer as they proceed against Greg and Tamara. Melee and pursuit begin, with Hook securing a bean as Greg and Tamara flee. Meanwhile, Emma and Regina proceed to the active artifact. Regina purposes to remain behind as the rest of the town flees; Emma attempts to dissuade her from her self-sacrifice, unsuccessfully. Gold and Lacey face their own ends soddenly, and Gold doses her with the remedy Grumpy gave him; it restores Belle to herself, and the two reconcile tearfully.

Discussion of options ensues, with Mary Margaret suggesting removing the artifact and Emma rejecting the idea as overly risky. Emma is overruled, and she overrules Hook's attempt to escape, in turn. He challenges her about her motives, and she asserts a desire to save Henry from losing another family member, Baelfire already having fallen. The news of Baelfire's loss stuns Hook.

Smee challenges Hook regarding Baelfire. Baelfire challenges Hook regarding Milah and learns the truth of her death. Baelfire demands to be taken back to the Darlings; Hook notes the impossibility, and Baelfire turns away from him in teenage angst.

The attempt to send the artifact away is made, despite Regina's objections, and Emma finds that the bean upon which they had relied is absent, Hook having palmed the object and returned to the Jolly Roger to make good his escape. Near Neverland, Baelfire makes to depart the Jolly Roger, Hook attempting to dissuade him from going. He does not succeed, so he turns Balefire over to the Lost Boys, albeit with some regret--that afflicts him as he makes to leave Storybrooke.

Ooh. Pretty colors.
Image taken from the episode, used for commentary.

Regina's containment efforts begin to falter, and tearful goodbyes begin to be said. Regina apologizes again, and Emma realized she can assist, moving to do so. The combined efforts appear to succeed, with reforestation withdrawing--though Henry disappears, taken by Greg and Tamara, who note Henry's greater importance as they abscond with him. Chase is joined, and Greg and Tamara open a portal, taking Henry with them. Means to follow are discussed, and the return of the Jolly Roger betokens hope; combined efforts promise to be enough. Gold charges Belle with instructions as to how to protect the town in what he expects to be his terminal absence.

Baelfire finds himself on the shores of the Enchanted Forest. And Henry, as it happens, is in Neverland, where his father had been taken before--and Peter Pan awaits.

Discussion

As the final episode of the season, the present episode does not bring in much, if anything, new; it would hardly be narratively appropriate to do so. But I do note the interesting refusal of the series to allow a self-sacrifice by one of the major characters; Regina had a chance at redemption by remaining in place to ensure the rest could flee, a gesture that would resonate with modern viewership no less than with medieval readership regarding a similar thing, John 15:13 being a common point of reference. For the earlier, Christianity would be taken as a given (if not always accurately so, as others can attest more fully than I), and self-sacrifice is at the heart of Christian ideology; for Regina to act in such a way would be an eminently fitting gesture. And for the latter, self-sacrifice remains lauded, as lists of honors and awards, both civilian and military, attest.

Admittedly, production reasons--described by TV Tropes as "Status Quo is God"--suggest why the gesture would be refused; it's hard to keep a character in place who is dead, after all, and resurrecting a character after a sacrifice cheapens the sacrifice (comic books might learn such lessons usefully), while disposing of a popular character is likely to have adverse effects on ratings. Still, it's a strange thing to consider from not only a perspective of medievalist interpretation, but also from a perspective of "this is a Christian nation, founded on Christian principles" so often voiced about the United States (albeit not accurately and with a decidedly slanted interpretation of Christianity, as recent events amply demonstrate), whose population can be presumed to be the primary audience of the series.

But that's an argument for another place and time, one far more emphatic and immediate than my commentaries here can ever be.

As a reminder, there will be a break before I take up Season 3. Gotta make sure I'm ready for #Kzoo2022--and then I'll need a rest!

Once upon a Time Rewatch 2.21, "Second Star to the Right"

Read the previous entry in the series here.
Read the next entry in the series here.

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2.21, "Second Star to the Right"

Written by Andrew Chambliss and Ian Goldberg
Directed by Ralph Hemecker

Synopsis

At least the signage is good.
Image taken from the episode, used for commentary.

After a recapitulation of series events, the episode follows the adolescent Baelfire after his separation from his father, a portal opened by a magic bean depositing him alone outside Kensington Gardens. The episode continues to follow Baelfire faring poorly in London six months later, sneaking into an open window to steal bread, where he is swiftly confronted by a girl and her dog; the girl offers him the bread and introduces herself as Wendy Darling.

Baelfire wakes in Storybrooke to find Tamara getting ready to train. She leaves him sleeping. Meanwhile, Gold and Lacey accost Whale until interdicted by Baelfire; Gold dismisses Lacey in favor of talking with his son. The exchange goes poorly for both of them, though worse for Gold. Seemingly at the same time, Emma and David enter Regina's office under arms in search of the magic beans, clearing the room and finding that it has been burgled. The search continues, Emma voicing her theory about Tamara and sending Mary Margaret and David to talk to Gold.

Tamara puts in at the town's docks, joining Greg as Hook restrains Regina. Tamara reports the magic beans, and the two exult in their success. After an exchange with Hook, Regina is subjected to torture by Greg.

In Victorian London, Baelfire is living in the walls of the Darling home, aided by Wendy until her parents confront her. Wendy's mother determines to take him in, despite her father's objection. In Storybrooke, Emma again searches Tamara's room, finding evidence that she has been lying to Baelfire. And back in Victorian London, Baelfire settles into the Darling household, where he is bidden watch for a strange shadow with the children--one possessed of magic. Baelfire warns the children against the magic, citing his experience, and they agree to remain apart from the shadow.

Are we suddenly in grad school?
Image taken from the episode, used for commentary.

David and Mary Margaret call on Gold for assistance with Regina, David calling in an owed favor to compel the assistance. He completes a working that facilitates a connection between Mary Margaret and Regina, and he dismisses the pair. Lacey reenters, having overheard the conversation, and she challenges Gold over his abilities. Mary Margaret uses the tool Gold provided, linking her perception to Regina's amid the latter's torture.

They really pack these in...
Image taken from the episode, used for commentary.

In Victorian London, Baelfire sees Wendy looking out at the shadow again, despite her promise. Baelfire warns Wendy again, and she refuses, taken up with the thrills offered by Neverland and departing thence. In Storybrooke, Emma and Baelfire search out Tamara and Regina, finding the former on the beach. Tense conversations ensue, and Emma's search continues. Tamara, however, repairs to where Greg is torturing Regina, and she and Greg note their intent to destroy magic in the world, noting their previous successes and their group's. Mary Margaret, having lost her link to Regina, reports what information she can--which is not much amid the pain. The smell of sardines she notes, however, gives away the location of Regina's confinement--which happens to be near where Emma is walking, coincidentally, and Emma summons aid to her location.

Baelfire wakes in Victorian London as Wendy returns to the Darling house. She reports her experiences in Neverland, noting her reasons for return: the shadow wants a boy, and will be taking one of Wendy's brothers. She admits the correctness of Baelfire's warning, and he purposes to protect her.

In Storybrooke, Gold prepares another working, demonstrating for Lacey. She grows greedy for what his power can provide, and he notes the possibility of his own undoing. She encourages him to eliminate the threat to him. Meanwhile, Emma and Baelfire move ahead of assistance to search for Regina, encountering David and Mary Margaret. The search continues, observed via camera by Tamara; she prompts exfiltration, which Greg refuses in favor of finding his father. Tamara departs, and Greg proceeds; Regina reports having killed Kurt long since.

Dark, man. Dark.
Image taken from the episode, used for commentary.

In Victorian London, Baelfire arranges matters with the Darling children to hinder the advance of the shadow. They secure the room as best they can and wait for it to come--which wait is brief. The shadow comes, and Baelfire interposes himself between it and its target, sacrificing himself for the Darling family. The shadow takes him swiftly aloft above London and thence to Neverland.

In Storybrooke, Greg tortures Regina into unconsciousness. Greg flees, and David and Mary Margaret make to secure her, biding Emma interdict Greg. Tamara reveals herself then, entering via heavy pipe, and confronts Baelfire with the truth. She shoots him, and melee ensues. Tamara deploys one of the stolen magic beans, creating a portal and using the distraction of it to cover her escape. Emma and Baelfire admit their love for each other, and Baelfire sacrifices himself to preserve Emma.

Elsewhere, the fled Greg digs in the woods for his father's remains, finding evidence of his death. The Mother Superior heals Regina, and Emma returns to report events; her parents attempt to comfort her. In Neverland, Baelfire struggles against the shadow, falling from its grasp into the dark ocean and eluding its search--whereupon he is rescued by the crew of the Jolly Roger. And Tamara joins Greg in the woods, holding the crystal that Regina had meant to use to destroy Storybrooke--which they now intend to use for that purpose.

Discussion

As in the previous season, and as in previous series, the end of the season (the present episode is its penultimate episode) admits of less new medievalism, being focused on drawing a storyline to a close. Given the nature of serial television, of course, it is setting up for the next major story-arc (this is a rewatch, after all), but it is not introducing much new material even with that; it is clear that the series will be going into Peter Pan, but that was already an option with the initial appearance of Captain Hook, so that's hardly new.

A bit of a note: after wrapping up the season and addressing the coming International Congress on Medieval Studies, I'll be taking a bit of a break. Just so you know.

Once upon a Time Rewatch 2.20, "The Evil Queen"

Read the previous entry in the series here.
Read the next entry in the series here.

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2.20, "The Evil Queen"

Written by Jane Espenson and Christine Boylan
Directed by Gwyneth Horder-Payton

Synopsis

After a recapitulation of series events, the episode begins with a bound Hook being confronted by Greg and Tamara in the ruined clock tower in Storybrooke. He refuses, citing the death of Rumpelstiltskin--and he is shown that Rumpelstiltskin yet lives. The demonstration convinces him to aid in recovering Kurt in exchange for assistance in killing Rumpelstiltskin.

Where's Wat Tyler when you need him?
Image taken from the episode, used for commentary.

The episode pivots to a scene in the Enchanted Forest during which Regina leads a small party to investigate a cottage where Snow White had been hiding. The villagers are gathered and pressed for information, but none is forthcoming, prompting an execution order.

In Storybrooke, conversation about returning to the Enchanted Forest between David and Mary Margaret ensues. Regina, disguised, overhears the conversation and proceeds on her own path. In the Enchanted Forest of the past, she confers with Rumpelstiltskin about her failure to elicit cooperation from the peasantry regarding Snow White, and he makes Machiavellian comments regarding her reign that she contests with little success. She asks for further magical assistance from Rumpelstiltskin, plotting revenge; he agrees to assist her in exchange for cutting trade with George's kingdom. The deal is concluded, and Regina, disguised, proceeds upon her plan to find and kill Snow White.

In Storybrooke, Regina meets with Henry confusing him. She shows Henry the magic beans she has purloined. She works to suborn Henry to her against the plan to leave her behind when they return to the Enchanted Forest. She overplays her hand, however, and Henry balks at the idea, resisting until Regina ensorcels him to wipe his memory.

Things seem remarkably regular, uniform...
Image taken from the episode, used for commentary.

Disguised as a peasant, Regina stalks through a local market. Amid doing so, she overhears talk lambasting the queen and rails at it. She is taken prisoner by local authorities, forgetting the constraints of her disguise.

In Storybrooke, Hook meets Regina in her office. He asks her for sanctuary, noting Greg and Tamara's plans and trying to argue for another arrangement of his own. She notes the presence of magic beans and her own plan to abscond with Henry--which will also defeat Rumpelstiltskin.

Hell of a cheat sheet.
Image taken from the episode, used for commentary.

Emma runs into Tamara at Granny's, noting a strange list as she helps her pick up dropped goods. They confer briefly, awkwardly, and Emma realizes Tamara's deceit--and Tamara, Emma's understanding. She reports her suspicions to Mary Margaret, who tries to allay her concerns. Henry overhears and plots to assist in investigating Tamara. And Regina and Hook proceed into the caverns beneath Storybrooke's library.

In the Enchanted Forest, Regina faces summary execution and calls out to Rumpelstiltskin for aid. She is saved by an attack from Snow White and flees from town with her.

Regina and Hook proceed, Hook musing on revenge. As he does, he displays a token that Regina's mother had given him; she demands it back from him, and he obliges her. In the event, it mutes her magical abilities, perilous as they move to confront Maleficent and she uses Hook as bait for her as she reconstitutes herself from ash and dust. Melee ensues, going poorly for Hook. Regina, meanwhile, retrieves another bit of magical apparatus.

In the Enchanted Forest, Snow White attends the still-disguised Regina. Conversation alludes to other adventures on Snow White's part, and Snow White rehearses her story with Regina. In Storybrooke, Henry and Emma confer about how to proceed investigating Tamara. Henry talks about travel to the Enchanted Forest, longing for the life that might be available there. They snoop, Emma finding a loose floorboard before being warned off by Henry as Neal approaches. Neal realizes Emma is snooping about and he confronts her about Tamara. They investigate the floorboard, finding nothing, and Emma reluctantly withdraws.

Remarkably tidy deaths, these.
Image taken from the episode, used for commentary.

In the Enchanted Forest, Regina rises to find Snow White preparing to evacuate against the approach of Regina's own patrols. She accompanies Snow White into the woods and presses her about her relationship with the queen, and Snow White opines on it. Regina is somewhat taken aback, and her ruse begins to falter. They come upon the massacred village, and Snow White's heart is soured against Regina; Regina's ruse is broken, and she flees.

In Storybrooke, Regina returns from her expedition to find Hook waiting for her, to her surprise. He confronts her with Tamara and Greg, and she finds her magic has been muted. Meanwhile, Emma and Henry confer about their hindering, and David takes Leroy and Mary Margaret to investigate the bean field. They find it burned and despoiled.

Regina confronts Rumpelstiltskin for the removal of the spell he placed upon her. She accepts his Machiavellian ideas, and he restores her to herself. And as the evil queen, she faces Greg and Tamara, who take her captive.

Discussion

One brief note of interest: There is an extra in the episode played by a man credited as Hrothgar Mathews. Þæt wæs god freólsman!

There is a common conception that medieval rulership was absolute and monolithic. As with many common conceptions, it is incorrect. Even a fairly broad overview of medieval theories of rulership indicates as much, noting that even in the highest and holiest instances of medieval rulership, there was an understanding that bad rulership could rightly be overthrown. While what counted as "bad" might very from place to place and time to time, the fact that such justifications were seen even in relation to the pinnacles of governance is...telling. And it is seen, indeed, even in such commonplace medieval/ist works as those treating Robin Hood and the wars of dynastic succession that constitute and inform so much; how many would rise up against a system they see as working well for them?

Consequently, the attention the present episode pays to the unrest against Regina's reign in the Enchanted Forest--surprisingly more so than against her governance of Storybrooke, which takes place in an explicitly election-driven dynamic--while seeming at first blush to run counter to "medieval" thought in favor of pandering to a predominantly American audience, accords more closely with reported medieval understandings than is typically supposed. That it is intentionally so is doubtful; there's enough the series gets wrong, as has been noted repeatedly, that makes clear "correctness" is not a major concern (with some justification, of course). But even an unintentional act has effects, and what we do without thinking about it says quite a bit about us as we approach the world.

Once upon a Time Rewatch 2.19, "Lacey"

Read the previous entry in the series here.
Read the next entry in the series here.

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2.19, "Lacey"

Written by Edward Kitsis and Adam Horowitz
Directed by Milan Cheylov

Synopsis

Not all it's cracked up to be, really...
Image taken from the episode, used for commentary.

Following a recap of series events, the episode begins with a celebration of Henry's birthday, Gold offering him a gift of any single object from his shop. He selects a magic wand, the functions of which Gold demonstrates--by transforming the boy into ceramics and shattering him. It is revealed to be a dream, from which Gold starts awake.

After the title card, the episode shifts to Baelfire and Henry playing as Gold looks on. Regina joins him, and Gold notes to her that his son is Henry's father--making them family, a machination of fate. Regina prophecies his failure with his descendants.

Gold calls on the amnesiac Belle, and the two confer. She accepts that her past, unremembered self had a relationship with Gold, and she recalls having been healed. She also asks him for help in recalling herself to herself--which help he agrees to provide, as it will help him, as well.

The episode pivots to Belle's captivity with Rumpelstiltskin in the Enchanted Forest. Rumplestiltskin rebukes her for her weeping and its distractions from his work, and their conversation is interrupted by sounds of a break-in in progress. Rumplestiltskin proceeds to intercept the burglar. When the episode pivots back, Belle is making ready to leave the hospital where she has convalesced. Regina calls on her and presents Belle a matchbook that carries a spell with feigned memories.

Ooh! A map!
Image taken from the episode, used for commentary.

Meanwhile, Greg and Tamara continue to plot. He notes no success in finding his father, though he reaffirms his faith in his father's presence. She notes being ready to retrieve a package that evening.

David and Mary Margaret drive Emma to a hidden field, one cloaked and bearing a crop of nascent magic beans, tended by Anton. Emma intuits their purpose with the beans, railing at their intent to return to their native realm even as they invite her to return with them in the hopes of a happy ending.

Gold finds Belle has left her hospital room and stumbles upon the matchbook Regina had planted. He follows its clue to a disreputable establishment and finds Belle under the identity of Lacey--that with which Regina has enchanted her via the matchbook. The episode pivots to Rumpelstiltskin tormenting the thief that had breached his residence as Belle cleans. As he takes a break from his efforts, Belle calls on his victim, tending to him and releasing him to flee. The episode pivots back to Gold confronting Regina for her workings on Belle. She coldly dismisses him from her office.

Gold calls on David, asking for help with Belle. Reluctantly, he offers advice for reawakening her actual--not curse-borne--identity: "Show her the man she fell in love with." The episode pivots to the Enchanted Forest, where Rumpelstiltskin prepares to resume "work" and finds the prisoner escaped--with Belle's admitted assistance. She challenges him, and he notes that she had been gulled, vowing vengeance and compelling her to accompany him in its pursuit.

The episode moves to Gold's pursuit of Belle, showing his inept courtship. David encourages him in his efforts, which yield some success. Elsewhere, Regina confronts Emma as the latter reads, a tense exchange ensuing. And after, the arranged date between Gold and "Lacey" commences, awkwardly, and the episode pivots to Rumpelstiltskin's pursuit of the thief, during which he and Belle confer. A confrontation with local authority ensues, revealing that Rumpelstiltskin's quarry is Robin Hood. After a brief pivot back to the date, from which "Lacey" has fled for an assignation, pursuit continues, where Robin heals Marian of a malady with the wand stolen from Rumpelstiltskin. The revelation that Marian is pregnant stays Rumpelstiltskin's hand, about which Belle lauds him. And in Storybrooke, Gold finds that "Lacey" rejects him.

In the night, Regina follows the trail of David, Anton, and the dwarves back to their hidden field, finding the work on which they have been engaged and delighting in the possibilities thereof. Gold returns to his old ways, and "Lacey" happens upon him engaged in them, finding him all the more compelling therefore. Baelfire returns Henry to Emma, and she asks him about returning to the Enchanted Forest. And Tamara makes good on her promise of delivery--of Hook.

Discussion

While scenes from a dream are often regarded as variants on the deus ex machina, they are, as has been noted previously (here, here, here, here, here, here, and here, if not also elsewhere) staples of medieval literature. Dream of the Rood is one example, of course, and Pearl another, with Arthurian literature offering any number of others. Dream vision is not original to medieval literatures, perhaps; JA Cuddon remarks that while it is "extremely popular in the Middle Ages," it has its precursors in Cicero and Macrobius's remarks on the same. Even so, it is pervasive in that time, so that it is ripe for taking up by a medievalist property such as the present series--which does, as repeatedly noted and observed, make use of the device, to greater and lesser degrees.

The episode also introduces the Robin Hood mythos into the series. There is no shortage of material discussing such, of course, with accessible entries here and here, among others. Some more reactionary types might well decry the presentation of people of color amid such stories, believing as they do in the myth of the monochrome Middle Ages and hoping that their presentations of such beliefs might somehow justify their execrable ideologies and their even more contemptible attempts to impose those ideologies on the world they inhabit. They are, of course, in error, severally, and should be decried and rebuked for those errors as often as can be done. And it is the case that, even among concerns of "accuracy," it muse be remembered that the medieval stories that have been transmitted--which transmission is itself a concern--are themselves products of change and refiguration. Arthurian literature shows it, among others; Arthur changes substantially from Gildas and Nennius to the Galfridian conception through the high chivalric to Malory. He is far from the only such. How the changes occur and what changes are retained--and imposed--shows much about those who do the changing and those for whom the changes are made; they are well worth the attention, for those and other reasons.

Once upon a Time Rewatch 2.18, "Selfless, Brave, and True"

Read the previous entry in the series here.
Read the next entry in the series here.

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2.18, "Selfless, Brave, and True"

Written by Robert Hull and Kalinda Vazquez
Directed by Ralph Hemecker

Synopsis

An auspicious beginning...
Image taken from the episode, used for commentary.

August, with company abed, wakes in pain in Phuket, his leg beginning to turn to wood. He rouses his companion, attempting to show her the progress of his turning to wood and finding that she cannot see it. He hobbles up and begins to realize what is happening to him.

After the title card, the episode shifts to Storybrooke in the present, David tending to Mary Margaret as Emma looks on and comments aspersively, prompting an argument. After Emma leaves, Mary Margaret rises, determining to "think things through" on her own, sending David to tend to the bean crop. She reminds him of her perfidy and urges him to understanding.

Meanwhile, Emma takes Henry to Baelfire, where Henry asks after the nature of the Enchanted Forest. Baelfire asks to talk to Emma, noting that Hook has escaped confinement and that his fiancée, Tamara, is coming to Storybrooke. Emma is upset by the second news more than the first, but Baelfire notes needing his betrothed. Emma bids him confess all, and he asks her to remain to confer with Tamara.

I'm sure there's some joke to make here...
Image taken from the episode, used for commentary.

In the woods, Mary Margaret practices her archery, finding her aim strangely off. Startled, she seeks in the woods, finding tracks to follow that lead her to a derelict RV. Investigating it, she finds August, wooden and animated, struck by her arrow. A flashback to Hong Kong follows, tracing August's trip to a hospital for examination that reveals nobody other than him can see his lignification; a demonstration occasions pursuit, and August flees until he encounters a messenger from "The Dragon." August explains what he knows of his situation to Mary Margaret, remarking that his condition is a separate issue from the curse Regina had cast. Mary Margaret urges August to return to town, but he refuses, citing his many failures and rejecting Mary Margaret's attempts to offer comfort.

A tense conversation among Tamara, Baelfire, Emma, and Henry begins over bagels. As Emma makes to take Henry off, Henry leaves his book with Baelfire, and Baelfire and Tamara confer about his son. Baelfire makes to confess his background and history to Tamara, offering her Henry's book as explanation. She expresses disbelief at his claims, rebuking him for his continued feelings for Emma and departing.

In another flashback to Hong Kong, August is taken to the Dragon. While he waits, he returns a dropped phone to its owner--Tamara. And in Storybrooke, Regina meets with Greg at Granny's, introducing herself to him and thanking him for finding Henry. She notes finding him familiar, which assertion he rejects. As she makes to leave, she encounters Mary Margaret rushing in, offering her rebuke as she departs. Mary Margaret reports August's condition to Emma and Marco, and they determine to seek help for him from the Mother Superior--which Tamara overhears with interest.

Tamara seems to have a type...
Image taken from the image, used for commentary.

The flashback resumes, Tamara bidding August call on the Dragon. He does so nervously, though he is greeted warmly enough, and he finds that the Dragon can perceive his lignification--and knows his identity. He offers assistance--with conditions, demanding his remaining puppet string in exchange for his efforts, as well as a hefty cash fee. In Storybrooke, the Mother Superior remarks that she cannot help Pinocchio resume his flesh; his woodenness a punishment for his failures. Mary Margaret continues to hold out hope, and the flashback resumes, August encountering Tamara once again. They drink together, Tamara showing a substantial amount of cash and relating the story of how she came to seek the Dragon. As Tamara takes a call, August purloins the cash from her purse and flees--and she confronts him in Storybrooke.

The flashback continues with August returning to the Dragon, who offers him a vial of magic. As August makes to tender the payment, his condition afflicts him, and the Dragon notes that the lignification is a symptom of a condition he must address for himself. August takes the vial and departs, fleeing from Tamara as she confronts him for his theft--and takes the vial. She is no more forgiving in Storybrooke, though her perception of his woodenness gives him pause. She demands his aid in her purpose, noting that some of the contents of the vial remain--in New York City, payment for him leaving Storybrooke forever. She notes, too, that Baelfire is not concerned with or aware of her purposes, and urges him to save himself once again.

Greg returns to his room to find Regina waiting for him, aware of his true identity: Owen. He notes the temporal disjunction and asserts his purpose in finding his father. She notes that Owen's father departed, which he disbelieves, and she threatens him. Meanwhile, Mary Margaret, Emma, and Marco proceed to August's trailer, conversing along the way; Marco confesses his perfidy, his failure in having sent Pinocchio with Emma, and earns rebuke that Mary Margaret realizes comes from the tainted portion of her own heart. As they reach the trailer, they find it empty, August having departed for New York City.

There's a reason for the sobriquet.
Image taken from the episode, used for commentary.

In Hong Kong, Tamara returns to the Dragon, confronting him for information. She makes to assail him, and though he begins to show power, she subdues him. Evidence of her having done so presents itself to August, and he comes about to return to Storybrooke, seeking Emma and attempting to warn her about Tamara. She interdicts him, however, and a confrontation ensues that leaves him incapacitated. He does manage to tender an incomplete warning to Emma and company, finding forgiveness from his father as the life leaves him. The arrival of the Mother Superior on site invites his return to life--which is given him in the form of a boy whose memories of previous life are muddled. Tamara arrives and notes the truth of Baelfire's claims, looking on apprehensively as Pinocchio is asked about the warning. Tamara reaffirms her love to Baelfire.

A flashback to New York details another meeting between August and Baelfire. August notes his intent to Baelfire, promising a report--as Tamara clandestinely observes. She uses the opportunity to ingratiate herself to Baelfire. And in Storybrooke, Emma apologizes to Henry, which apology he accepts, and Mary Margaret reports her attempt to get Regina to kill her to David. He offers her comfort, certain their love will suffice to any purpose. And Tamara meets Greg in his hotel room, their romance revealed.

Discussion

Aside from the rampant deus ex machina at work in the episode, a couple of points suggest themselves. One is that the present episode makes use of a number of interweaving narrative threads impressive for less than forty-five minutes of screen time, integrating several plot threads that extend back through the season and further back. It is reminiscent of the interweaving identified by a number of scholars, including the late and revered Larry D. Benson and eminent Arthurian Molly Martin, as typical of Malory's work. Such work is not the only to make use of the technique, of course, but given how much of Once Upon a Time works in medieval/ist tropes and explicitly invokes Arthuriana, the parallels to Malory suggest themselves.

The more important point, though, concerns forgiveness. The present episode focuses on the possibility of redemption and the struggles that accompany it; in the episode, valiant self-sacrifice appears as a means to effect redemption--perhaps the only one. I find myself in mind of Dream of the Rood as I think on it, the Early English poem speaks eloquently to that notion and to the preoccupation of the medieval mind, insofar as such a thing can be supposed to be a singular thing, with the concept of salvation. Admittedly, viewers now can look back on then and see a sort of world that asks for release from it; certainly, the stereotypes about it are of an unclean, unpleasant place from which an exit to paradise would be welcome. But there is not less evil in the world now than then, nor necessarily less desire to see the effects of misdeeds undone, even if all too many of those who espouse execrable ideologies, not seldom "supported" by sometimes willful misunderstandings of the medieval, fail to see themselves as the stains upon the collective soul that they are. There is not less need for redemption, nor less belief that it is in giving of one's self that it can be found.

Once upon a Time Rewatch 2.17, "Welcome to Storybrooke"

Read the previous entry in the series here.
Read the next entry in the series here.

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2.17, "Welcome to Storybrooke"

Written by Ian Goldberg and Andrew Chambliss
Directed by David Barrett

Synopsis

That's no electrical storm...
Image taken from the episode, used for commentary.

The episode begins with a father and son camping in the woods. The weather in the area suddenly shifts, and the radio they have playing begins to make strange noises; the father posits an incoming electrical storm, and he and his son take shelter. A strange cloud swells toward them, enveloping them, and in the wake of the storm's passing, they find their vehicle destroyed by fallen trees. Navigating through the woods, they find a new town present, one not on their maps; entering it as the father opines to his son, Owen, about the impossibility of the town's existence, they find themselves confronted by the local sheriff, Graham, who welcomes them to Storybrooke.

Following the title card, the episode continues, Regina waking in her bed in Storybrooke in 1983, assessing the effects of the curse she has enacted and reveling in her success. She stalks through her town, surveying it as a number of its residents show the accustomed behaviors they hold in their cursed lives. Regina makes a point of calling on Mary Margaret in her classroom, bidding her walk to the hospital with her to check on the still-comatose David. She continues her survey with a trip to Granny's and consultation with Graham, one that quickly introduces her to the father--Kurt Flynn--and child who have stumbled into their town. Introductions are made, and Regina quickly realizes the nature of the father and child--and the danger they represent to her plans.

In Storybrooke's present, Regina mourns her mother's death and is confronted by Gold as she does so. They confer, and Regina purposes vengeance; Gold attempts to dissuade her from her intent, citing her failure to find happiness by that road. She refuses the advice, firming in her purpose.

Emma, David, and Henry confer about Mary Margaret, who finds herself in a fugue after having killed Cora by trickery. They are interrupted in the talk by the arrival of Gold, who brings news of Regina's intent against Mary Margaret. David charges him to aid in stopping Regina, citing the debt he owes Mary Margaret for saving his life.

A bit of knotwork?
Colors noted as contesting good and evil?
Oh, there's no symbolism there...
Image taken from the episode, used for commentary.

In the Storybrooke of the past, Kurt and his son are greeted harshly at dinner by Regina. She notes having sped the repairs of their vehicle along, and Kurt's son offers a small gift of appreciation. She wakes soon after from an assignation with Graham and surveys her town again as community members settle more fully into their familiar patterns, the static nature of the curse beginning to assert itself, and Regina growing dissatisfied with and confused by things. When she confronts Gold about the curse, he reports ignorance about her meaning, and she rants about the falsity of Storybrooke before calling Kurt. She calls Kurt, in fact, inviting him and Owen to dinner.

In the Storybrooke of the present, Regina searches frantically for a small scroll--and finds it. Later, David and Gold infiltrate Regina's vault, where Gold notes that Regina had searched through Cora's effects for a spell to use against Mary Margaret. He determines that the spell is the Curse of the Empty-Hearted, the effects of which he explicates to Mary Margaret's family. Henry realizes that he will be the target of the spell, and Gold notes that Regina's current purposes speak to an ongoing blood feud that will only be ended in death.

In the Storybrooke of the past, Regina hosts Kurt and Owen, the latter of whom remarks on the lasagna she serves. As Owen is excused from the table, Kurt notes being a widower, opining on the loss. The topics of companionship and motherhood are broached, Regina somewhat startled by the latter. Conversations continue, and Regina invites the pair to relocate to Storybrooke on a more permanent basis. Kurt demurs.

Henry's got the right idea.
Image taken from the episode, used for commentary.

In the Storybrooke of the present, Emma takes Henry to Granny's, where she has arranged for him to meet with Baelfire. Baelfire discusses the possibility of taking Henry to New York to protect him, and Henry arrives swiftly at the idea of eliminating magic from Storybrooke entirely. Baelfire notes that the elimination of magic would have the intended effect, but that it would take time during which Henry's removal would still be advisable. Greg interrupts, giving Emma and Ruby pause, and Baelfire notes that Henry has agreed to go to New York with him--a lie, in the event, and Emma and Baelfire pursue the fleeing Henry. Meanwhile, Regina breaches Mary Margaret's apartment, purposing to take her heart. Gold interdicts her, and Regina withdraws.

In the Storybrooke of the past, Regina calls on the repair shop where they Flynns' vehicle had been taken. The mechanic notes that the pair had already retrieved the vehicle and departed, and Regina commands Graham via magic to interdict their departure, arresting Kurt and delivering Owen to her. Kurt sees her do so and confronts her. Graham arrives to effect the arrest, and Kurt departs amid the struggle, fleeing.

In the Storybrooke of the present, the fleeing Henry runs into Greg, who is walking out in the woods. They confer briefly, and Greg snaps a clandestine photo before they go their separate ways. Emma, Baelfire, David, and Ruby pursue Henry, going to the mines. David determines that Henry sought dynamite, and Baelfire posits he wants it to destroy magic--by dropping a bundle of explosives into the wishing well. Greg calls Regina to report Henry's location, and she heads there in haste.

In the Storybrooke of the past, the Flynns flee, pursued by Regina and Graham. They are interdicted at the town line, and Kurt tells Owen to flee without him. The boy reluctantly obeys, and Kurt is taken into custody after a brief altercation. Owen rebukes Regina, and she lets him leave the town.

In the Storybrooke of the present, Regina finds Henry about to blow up the well. She interdicts him, and he pleads with her not to go through with her plans, echoing Owen's words. Emma, David, and Baelfire arrive to confront Regina, and Henry interdicts the melee before it can proceed. Regina destroys the text of the spell she had meant to cast, and Henry departs with his birth family.

Again, nothing symbolic here at all.
Image taken from the episode, used for commentary.

A young Owen leads state troopers to the Storybrooke of the past only to find that there is no town. The troopers disbelieve his story of the town but believe that he has been abandoned, taking him away. In the Storybrooke of the present, Gold confers with Mary Margaret about recent events, and she asks him how he endures his perfidy; he offers an answer, but not a good one, as he departs. Mary Margaret calls on Regina, offering her life as an end to the feud; Regina does not kill her, but she does take her heart, which is notably stained by her knowing evil deed. Delighting in Mary Margaret's pain, she lets her live, returning her heart to her chest in spite--and Greg records the whole thing, revealing that he is Owen.

Discussion

Aside from bringing up several questions about the logistics of the curse (and perhaps invoking Bellisario's Maxim and the MST3K Mantra), the present episode brings up a couple of medieval/ist tropes. One of them that is fairly prominently highlighted is the motif of time passing strangely in the enchanted realm. Present notably in medieval Irish literature, as well as in other places, it is a commonplace in fairy-tales likely to be familiar to Once Upon a Time's presumed audience--and it is on full display in the episode, with the inhabitants of Storybrooke physically little changed in the series present (the early 2010s) from the time of their arrival in the curse-made town (1983). The repeated day-beginnings depicted suggest, too, that the people of Storybrooke exist in something of a time-loop, reaffirming the divergence of time involved in the magical creation of the town.

The episode also reinforces the feuding nature (and, yes, I understand the pun of depicting a feud arising within a pseudofeudalist neomedievalist work) of the conflict undergirding the series. I am put in mind of some earlier comments made in this webspace, as well as the notion of compensatory payments that are actually at work in a number of medieval cultures. Sides offers a usefully accessible introduction, although far from the only one, and while Sides's focus is on Early English, the Textus Roffensis points to the survival of such concepts into what is commonly called the Middle English period, and Njáls Saga points to their currency beyond the English medieval. Certainly, under such systems, Regina might (might) have some claim to restitution from Snow White for the deed that started her own personal vendetta (although this would be complicated in several respects, not least of which is that the event was itself part of Cora's machinations, stemming from her own insult--but that insult would not likely have resulted in a legally actionable claim...but the easy transgression of social boundaries is another matter). However, the present episode shows Mary Margaret offer "just" compensation, a life for a life; she did not kill Daniel, as such, but she did kill Cora, and offering her own life is an appropriate "repayment" for that...except that it was not framed as just compensation, but an act of cowardice, Mary Margaret being unwilling or unable to face the consequences of her actions as such...

It becomes something to consider.

Once upon a Time Rewatch 2.16, "The Miller's Daughter"

Read the previous entry in the series here.
Read the next entry in the series here.

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2.16, "The Miller's Daughter"

Written by Jane Espenson
Directed by Ralph Hemecker

Synopsis

Following a recapitulation of series events, the episode begins with a scene some years in the past, when a young Cora deals with her drunkard father and carts a load of flour to the local castle. There, she is mocked and rebuked by local and visiting nobility, including Snow White's mother, for whom Cora conceives no small hatred.

What's in a name? What about when it fades?
Image taken from the episode, used for commentary.

Following the title card, the episode follows Emma, Henry, Gold, and Baelfire as they return to Storybrooke aboard the Jolly Roger. Gold continues to suffer, and Emma inquires after the dagger and its power. Emma notes the familial bond among them that has been revealed, affirming it begrudgingly. Report of events reaches Storybrooke, overheard by Regina and Cora, who confer about Gold's looming death. The implication of his death is noted, and Cora notes her intent to succeed Rumpelstiltskin as the Dark One, shocking Regina into recognition of Cora's true intent.

The episode shifts to a masquerade ball which a young Cora attends and at which she is swiftly shamed. She replies with the boast of turning straw into gold, which prompts the local ruler to expose her and put her to the test--with her life and a potential marriage on the line.

Mary Margaret and David meet the returning Jolly Roger and her passengers. They confer, and Mary Margaret purposes to kill Cora. David attempts to dissuade her from vengeance. Gold asks to be taken to his shop, and Henry is sent aside to keep him safe.

The non-assumption of literacy has...implications.
Image taken from the episode, used for commentary.

The young Cora contemplates her situation and is joined by Rumpelstiltskin. He offers her a solution to her problem--for a price: her firstborn child, a daughter. She insists on being taught how to work magic, herself, and a deal between the two is struck.

Gold guides preparations for the coming conflict, including reminding Mary Margaret of the fatal candle a disguised Cora had provided her. Emma prepares a minor working, assisted by Baelfire; they confer about their respective situations briefly. Gold presses Mary Margaret to use the candle, explaining how it can be done. She argues, and Gold reminds her that Henry will have feelings about his departed grandfather. Preparations continue, and Emma struggles to enact the working on which she began, guided by Gold--and it works, Emma beginning to understand magic. 

The event parallels Rumpelstiltskin's earlier experience teaching Cora, which is depicted. He guides her through enacting the working that makes straw into gold, tapping into strong emotion. It succeeds, and the Dark One promises that there is more to come. Cora demonstrates the ability before the local court, to the disbelief of all, and she is given the promised betrothal.

In advance of Cora's assault, David and Mary Margaret confer as she weighs her decision. The assault begins, Regina and Cora breaking Emma's spell with seeming ease. They proceed in, and Mary Margaret absconds as melee ensues. Mary Margaret reaches Cora's heart, to which Regina is dispatched, and Cora proceeds against Rumpelstiltskin.

In advance of her wedding, Cora finds herself confronted by Rumpelstiltskin. After a brief romantic exchange, Cora notes the hollowness of her achievement. Drawn along by his amorous feelings, Rumpelstiltskin offers an altered arrangement, and he shows her how to remove hearts.

Wow. That's not ominous at all.
Image taken from the episode, used for commentary.

Mary Margaret searches for Cora's heart in Regina's vault. The conflict at Gold's shop continues, and Mary Margaret's absence is noted. She finds the heart in question and hesitates over it briefly before enacting her own working.

A young Cora confronts her future father-in-law. They have a frank exchange, in which the king rebukes the weakness of love and her lowborn status  again; she takes his heart from his chest.

The assault on Gold's shop continues, and Gold begins to resign himself to death. Baelfire objects, and Gold offers such final consolations and confessions as he can. That he gives the amnesiac Belle moves Emma and Baelfire. That he offers to Baelfire prompts something akin to reconciliation. And as they do, Regina confronts Mary Margaret, who deceives her into taking Cora's cursed heart for reinsertion. How the heart had come to be removed is disclosed as a young Cora meets with and spurns Rumpelstiltskin in favor of retaining political power, effectively side-stepping the renegotiated deal between the pair.

David confronts Mary Margaret outside Regina's vault, realizing that she has done some wrong. Regina returns from the vault to Cora as the latter breaches Gold's sanctuary and confronts him. She prepares to kill him to take his power, only to be thwarted by Regina's reinsertion of her heart and concomitant death by magic mere moments after being returned to her ability to love--as Gold recovers and resumes his dagger. And Mary Margaret's perfidy is revealed in full.

Discussion

As to the obvious (to me, at least): Cora's origin as the daughter of the miller is a reference to Chaucer's Canterbury Tales. As one of the medieval works most likely to be known to the presumed general audience of the series--even in Texas, high school English textbooks contain selections from CT, although the editors tend to be...circumspect in their apparatus--the unfinished collection is positioned ideally to be a point of reference for series viewers. Additionally, the presentation of the Miller in the Tales is one that readily associates itself with the lower-class ideation of the miller in the present episode; other "peasant" professions that might be accessible to general viewers (and that might generate names for characters, since "Mills" is the family name accorded to Regina and hers in the series) do not operate under any particular onus. Brewers, butchers, coopers, tanners, and the like could just as easily have been selected as millers for the family origin, and butchers and tanners could easily have borne negative associations, since working with meat and hide is often smelly and unpleasant work. Yet they do not carry the stigma associated with millers--in part to mainstream audiences, however subconsciously, due to Chaucer's Miller being "a thikke knarre" and, frankly, much like a now-stereotypical redneck or cast-member of Jackass in his depiction in the General Prologue (ll. 545-66). So there's that.

Once upon a Time Rewatch 2.15, "The Queen Is Dead"

Read the previous entry in the series here.
Read the next entry in the series here.

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2.15, "The Queen Is Dead"

Written by Daniel T. Thomsen and David H. Goodman
Directed by Gwyneth Horder-Payton

Synopsis

Nice hat.
Image taken from the episode, used for commentary.

After a recapitulation of series events, the episode begins with a young Snow White conferring with her mother in advance of her birthday ball. Her mother promises her an inherited tiara, which one of the household servants, Johanna, is trying on in the absence of the royals. Snow White rebukes Johanna sharply, occasioning sharp rebuke from her mother in turn and a lesson in the demands of rule. Immediately after, Snow White's mother is taken by a strange malady.

In Storybrooke, Mary Margaret contemplates herself in a mirror in the apartment she shares with her family. David makes breakfast, occasioning some angst from Mary Margaret about her birthday; Mary Margaret has also received a gift--a jeweled tiara--and recognizes its source as Johanna. Mary Margaret and David confer about events, and she determines to find Johanna, noting the perennial unhappiness of her birthday. David subsequently reports in to work at the sheriff's office and is beset by Hook, who takes the opportunity to retrieve his titular appendage.

Following the title card, Mary Margaret finds Johanna at work in her backyard garden. The two are happily reunited, and Johanna reports having found the tiara in Gold's shop. The two confer about their shared heritage and sorrow for Snow White's mother until interrupted by a strange noise that Mary Margaret moves off to investigate. Said investigation takes her into the woods, where she sees Regina and Cora at work digging for Rumpelstiltskin's dagger and overhears their plans. She moves to report the information to David, finding him unconscious in the sheriff's office. He reports events and receives hers in turn; they plot to intercede between Regina and Cora to delay their plans.

Honestly, it's not nearly crowded enough.
Image taken from the episode, used for commentary.

In New York City, Neal and Henry go out for pizza, trailed by Gold and Emma. Henry presses his father about his background and experiences, leaving Gold and Emma to confer. Gold tries to press on Emma to persuade Neal to return to Storybrooke for Henry. The relative morality of their various deeds comes up for discussion until they are interrupted by Neal and Henry returning from getting pizza.

In Storybrooke, Mary Margaret confronts Regina about her collaboration with Cora. Regina rebukes Mary Margaret's presumption, and Mary Margaret reminds Regina of Cora's depravity and motivations before being reminded, in turn, of her own mother's death--the surrounding circumstances of which are depicted. Snow White's mother gives a commendation to the girl, and Johanna takes her away to allow the attending physician to work, offering such comfort as she can against the situation. Johanna plots to use magic to save the queen, sending Snow White in pursuit of a fairy.

In New York City, Henry presses Gold about their relationship, and Emma and Neal confer about the course of events to come. She suggests Neal return to Storybrooke, and he demurs. As Neal and Henry move to retrieve a camera, Hook arrives and assails Emma and Gold, wounding him deeply. Neal returns, recognizing Hook as he attends to his injured father. Gold recognizes the poison with which he has been afflicted, and a return to Storybrooke in haste is planned, Neal offering to sail the Jolly Roger back to Maine.

Something looks...off.
Image taken from the episode, used for commentary.

In Storybrooke, Mary Margaret and David appear to call on the Mother Superior for aid. She agrees to help them seek out Rumpelstiltskin's dagger.

In a flashback, a young Snow White seeks out the Blue Fairy, the other life of the Mother Superior. The fairy only begrudgingly assists Snow White, providing her a candle that will allow for the sacrifice of another's life in favor of the queen's--a life Snow White must choose and name.

In New York City, the plan to get Gold back to Maine gets underway. Neal remarks cryptically on his earlier experience with Hook as he arranges for transport. Henry presents information received from Mary Margaret and David about Regina and Cora's search for Gold's dagger. Meanwhile, the Mother Superior's own efforts to find the dagger are interdicted, prompting unusual comments, but the location of the dagger is indicated by a phone call from New York City.

Back in the past, a young Snow White attends on her dying mother, reporting her perfidy in seeking and being unwilling to wield the magic of the candle. Her mother commends her for her resistance to evil and offers her daughter such comfort as circumstances allow, dying with her daughter's praise on her lips. Johanna attends the princess.

There's a lot going on here.
Image taken from the episode, used for commentary.

In Storybrooke, Gold's dagger is retrieved, and Cora and Regina arrive to interdict Mary Margaret and David. Cora summons Johanna, and Regina takes her heart to compel Mary Margaret and David to surrender the dagger to them. Mary Margaret recalls her presentation at her birthday, her kingdom in mourning at the loss of the queen, her mother, and Johanna's assistance in the event and afterward. But after Snow White departs, Cora emerges to mock the perished queen, noting her complicity in the death and expressing her machinations against the late queen and her family.

Mary Margaret realizes Cora's machinations, but she still relents and surrenders the dagger. Cora kills Johanna regardless, and she and Regina flee, leaving Snow White to mourn again. They repair to Regina's mayoral office, where Regina presses Cora about her years-long machinations in her favor. Meanwhile, in New York, Neal and Emma confer about their situation, and Neal notes that he is engaged, his fiancée, Tamara, meeting Emma unexpectedly. Johanna is interred, and Snow White begins to harden in her resolve against Regina and Cora, plotting outright murder.

Discussion

Early in the episode, Johanna is rebuked for daring to don the tiara that had been intended for Snow White. While the justification in the episode is that it does not belong to Johanna--which is a valid consideration, truly--it also smacks of "know your place" (which I note the episode does abjure, given the comments that follow swiftly from Snow White's mother), and that concern was one that occupied the medieval mind (to the extent that such a thing can be described as unitary). One way in which the concern manifested was in sumptuary laws, with which many are more familiar from discussions of early modern England--the topic comes up in high school English textbooks in Texas, at least--and which do range back into antiquity but which are present in force in the "high" medieval that the series (often halfheartedly) attempts to evoke.

Broadly, sumptuary laws attempt to constrain and restrict what people may consume, often in the service of indicating their social positions and therefore reinforcing social hierarchies. Most frequently, they are discussed in terms of clothing; a number of sources attest to specifics, with Wood and St. John's at Cambridge offering useful introductory glosses, and Phillips and Muzzarelli--among many others--getting into more detail. (DISTAFF has much more to say on the specifics of clothing and the related associations, as well.) And in many cases, restrictions on who could wear what clothing and in what circumstance was explicitly and specifically to reinforce who fit where in the prevailing social order of the place and time; that Johanna is rebuked for putting on the tiara echoes such concerns, even as the rebuke that follows serves to set aside those concerns in large measure, perhaps speaking to the (incorrect) belief that "we've moved past such things," if quietly.

Another note: the final image accompanying the synopsis above speaks to one of the brutal realities of hereditary power, namely that advancement demands the deaths of ancestors. It is not only magic that has a price in the series, and those who fancy that they would have enjoyed power and privilege in earlier times (I think I've spoken to such on some previous occasions) would do well to remember such things--among many, many others.