Once upon a Time Rewatch 1.19, "The Return"

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

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1.19, "The Return"

Written by Jane Espenson
Directed by Paul Edwards

Synopsis

Following a brief  recapitulation of recent events and the title card, the episode begins with August abed, nursing a strange malady. He staggers to a phone and calls to note a need to accelerate matters. Later, he enlists Henry in a bit of distraction, sending him into Gold's shop to cover his own clandestine pilfering. The boy distracts the pawn-broker of many talents unsuccessfully, and Gold arrives back in his office before August can purloin what he seeks.

All according to plan, but whose?
Image taken from the episode, used for commentary.

Emma checks in on Kathryn, who convalesces in the hospital. She reports having been imprisoned and lacking useful information, and the idea that someone is framing Mary Margaret is noted. Regina accuses Gold of breaking a deal with her, which accusation he rejects. She notes the challenges facing her, Gold having outplayed her. She questions why and gets no firm answer.

In the Enchanted Forest, a young Baelfire plays, occasioning some commotion. Rumpelstiltskin arrives to rebuke the villager who had commented sharply at the boy, turning him into a snail and delivering an ignominious ending to him--despite his son's entreaties.

David calls on Kathryn in the hospital, startling her. They confer, him apologizing for his earlier follies. They seem to end at an accord, and David departs. Meanwhile, Mary Margaret is welcomed home, noting the mismatch between the current festive mood and her earlier treatment. Henry and August, both present, confer about their escapades at Gold's, August revealing little; Henry gifts her a card and a bell, David arriving just as Emma makes to attend the party. Emma dismisses him with the boy, and she and Gold confer about August.

In the Enchanted Forest, Baelfire rebukes Rumpelstiltskin for his actions. He notes the differences in his father, and Rumpelstiltskin muses on the necessity of power and his existence as the Dark One. Balefire strikes a deal with Rumpelstiltskin for the promise of his renunciation of power.

This might not be the most welcome nighttime visitor.
Image taken from the episode, used for commentary.

In Storybrooke, Gold picks the lock on August's room, reconnoitering it to learn more about August. What he finds--an image of the Dark One dagger--disturbs him mightily.

Emma confers with Sidney at Granny's, confronting him about his having bugged her office. She realizes that Sidney is in love with Regina and dismisses him. And Gold continues his pursuit of August.

In the Enchanted Forest, Baelfire tries to play with local children and is shunted aside; the children know their parents' fear of Rumpelstiltskin. The children flee from him, save for one young woman who voices approval of Rumpelstiltskin. She notes the availability of another power to afford him his father's freedom, and Rumpelstiltskin's evident slaying of their mute servant seems to confirm that desire in him.

In Storybrooke, Gold watches August confer with the Mother Superior and confronts her about the conversation. The details give Gold ideas about August's true identity. And in the Enchanted Forest, Baelfire confers with the Mother Superior's counterpart, the Blue Fairy. The two discuss the exile of Rumpelstiltskin to a world without magic, the fairy pushing the boy toward enacting his father's banishment and giving him a magic bean that will enable travel between worlds.

David tries to talk to Mary Margaret, and she rebukes him sharply for his failures. He tries to justify them to her as he apologizes to her for his disbelief. She spurns him.

Baelfire reports his success to Rumpelstiltskin, bidding him accompany him. Rumpelstiltskin notes the problems in his interactions with the Blue Fairy, and Baelfire argues. Rumpelstiltskin is shamed into going along with his son--and in Storybrooke, he confers with Hopper about the possibility of his son's return. The conversation goes awkwardly, Gold noting his own failures and his uncertainties; Hopper's recommendation for honesty does not sit well with Gold. That night, Gold confronts August about his pursuit. August calls Gold his father.

I feel like this should end with Spaghetti-O's.
Image taken from the episode, used for commentary.

In the Enchanted Forest, Baelfire leads Rumpelstiltskin out to where he can use the magic bean to take them both to a world without magic. Baelfire makes the journey; Rumpelstiltskin, afraid of the loss of power and still a coward, does not, and loses his son in the exchange. He regrets it immediately, but it is too late to amend matters. Gold admits as much to August, who admits that he is searching for the knife, and Gold reveals its location to August. They retrieve it, and August accepts it, revealing that he is not Gold's son as he commands the Dark One. It does not work, and Gold confronts him about it. He realizes that August is from the Enchanted Forest, and August notes that he needs the Savior to restore magic to save his life. Gold bids him try again and lets him live for the moment.

In the Enchanted Forest, Rumpelstiltskin confronts the Blue Fairy about her meddling with his son. He stumbles onto a way to effect a return to his son, and he proceeds to devote himself to finding a way to the world where his son has gone, raging at her as she flees.

Regina awaits Emma in the sheriff's office, noting that a confession in the abduction of Kathryn is forthcoming; Sidney tenders the confession. Emma disbelieves and confronts Regina about it, warning her of her intent to reclaim Henry.

Discussion

Image via Smithsonian from the
British Library's Queen Mary Psalter, used for commentary

It's a small thing, but the references to snails early in the episode bring to mind the phenomenon, discussed by Colin Schultz and others, of snails popping up in medieval manuscripts' marginalia.  Interpretations vary, of course, and how likely it is that the production staff for the series would have had such a thing in mind is open to question (although likely not). Still, it is an interesting little point of correspondence, intentional or otherwise, doing just a bit to reinforce the series's medievalism.

A larger thing that emerges for me is the comparative machinations of Gold / Rumpelstiltskin and the Blue Fairy. In one sense, the former stands as an almost-ideal example of typical depictions of fay folk, being (largely) bound by agreements made and adhering almost slavishly to the letter of those agreements (indeed, "intent means nothing" is overtly stated in the episode.), and he is not at all above abusing those letters to get what he wants from those with whom he bargains. It is decidedly Faustian, perhaps early modern more than strictly medievalist, although the term remains...ambiguous. The Blue Fairy, though ostensibly "good," is a peculiar kind of good--not above coercion and deceit, certainly not in line with the more heroic ethos espoused by more central protagonists in the series. She seems to be much less rules-bound, even than Gold / Rumpelstiltskin, which makes her more dangerous; at least with the Faustian character, it can be assumed that his word is his bond, but she can clearly lie...

It's something to think about, certainly.

Once upon a Time Rewatch 1.18, "The Stable Boy"

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

There should probably be a content warning re: abuse on this one.

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1.18, "The Stable Boy"

Written by Edward Kitsis and Adam Horowitz
Directed by Dean White

Synopsis

After a recapitulation of the series's premise and the title card, the episode opens with Regina contemplating a ring until interrupted by Gold, who asks her for a favor; he asks for charges against him to be dropped in exchange for his assistance with Mary Margaret--in the form of plotting the murder of Kathryn and arranging for Mary Margaret's escape.

He's no Burrich, certainly.
Image taken from the episode, used for commentary.

In the Enchanted Forest, a young Regina takes riding lessons, putting her horse through its paces. She is interrupted in them by the arrival of her mother, who comments aspersively on her excesses and her current unmarried status. The stablehand present attempts to intervene, drawing ire as he attempts to smooth things over. He takes the horse in hand as Regina confronts her mother for her interference and is subjected to her magics and abuse. Regina runs off as soon as she can, conferring with the stable hand, Daniel. They kiss, clearly enamored each of the other.

In Storybrooke, David confers with Emma regarding Mary Margaret. Emma rebukes him and drives off; Regina, meanwhile, presses Mary Margaret to confess to the murder of Kathryn. She refuses and is badgered about it. And the source of Regina's hatred for Mary Margaret begins to be revealed. Her Enchanted Forest assignations with Daniel proceed and run into the problem of Regina's mother, interrupted by a runaway horse carrying a young Snow White. Regina rushes off to the rescue, saving the girl.

Well, this isn't a set-up for a pattern...
Image taken from the episode, used for commentary.

In Storybrooke, Gold presses Mary Margaret to sit for questioning; Emma resists the idea. Gold pushes for a sympathy plea until Sidney interrupts--with a poor report. Mary Margaret agrees to the interview, and the district attorney--the counterpart to Charming's adopted father, George--arrives to conduct it. The interview proceeds, and it goes poorly for her.

In the Enchanted Forest, Regina's mother works upon her, preparing her for an audience with Snow White's father, King Leopold. He greets her graciously in thanks for her actions, and he asks to marry her; Regina's mother accepts on her behalf, despite her father's silent advice against it. In the night, Regina rushes to Daniel, reporting events and pressing him to marry her swiftly. She realizes that flight is the only option for the two of them to be together; Daniel advises her to accept the offer the king has made, and she refuses in his favor. An impromptu betrothal follows, which Snow White observes. Regina gives chase to the fleeing child, swearing her to secrecy when she catches up to her.

It's a serious talk.
Image taken from the episode, used for commentary.

Emma reviews Henry's book until confronted by August. They confer about Mary Margaret, and he offers such comfort as he can. He frames advice in terms of working through writing problems, and she follows up on the lead thus generates, heading to the location where the heart had been discovered. August is pained, clearly, but he continues to work to advise Emma. She finds a shard from a shovel, thinking it is Regina's; she makes to verify the hypothesis as Henry feigns sleep and guides her searches. They reveal the damaged shovel in Regina's toolshed.

In the Enchanted Forest, Regina's mother confronts Snow White, pressing her for information when she unwittingly reveals tension surrounding Regina. Snow White childishly lets slip the secret she has sworn to keep, and Regina's mother acts swiftly upon the knowledge.

Emma presents Regina with a search warrant for her tool shed, only to find that the offending shovel has been repaired or replaced. A confrontation ensues, and Emma again gets the worse of the exchange. She confronts August afterward, and he rebuffs her rebuke; she rebukes him in turn. Regina visits the weeping Mary Margaret in jail, mocking her for her imminent conviction. Mary Margaret pleads for forgiveness, and Regina admits her knowledge that Mary Margaret is not the killer.

Might not be the best time...
Image taken from the episode, used for commentary.

In the Enchanted Forest, Regina meets with Daniel in preparation to flee. Regina's mother confronts them, halting their escape and killing Daniel. Not long after, she is fitted for her wedding dress, and the learns that Snow White has spoken the secret; her hatred blossoms in that moment, though she quashes its outward expression swiftly as she steels herself to face her marriage to Leopold. Regina's mother commends her on the performance, and Regina susses out that she has arranged the whole affair.

Regina muses on her lost love, exulting in her impending vengeance as Mary Margaret is conducted to court in restraints, and Gold proposes to make matters right. Emma lashes out and finds that her office has been bugged; events fall into place in her mind, and she apologizes to August for her earlier rebuke of him. A scream interrupts their conversation, and the body of Kathryn Nolan is found--alive.

Discussion

I am struck once again by the costuming at work in the episode; frankly, the women depicted do not dress as would be expected, as makes sense, for outdoor activities and clandestine assignations (for the most part; Regina's riding habit is sensible for that activity, at least, but she usually gets the most sumptuous and varied costuming in the series). And while it might be the case that people in lower socioeconomic strata might not have the ability to change clothes to suit the day's tasks, Regina is very much not among the lower socioeconomic strata, even before becoming the king's fiancée. Her mother might have been a miller's daughter, but she is not. Then again, it is Disney, and the princesses aren't exactly noted for dressing sensibly.

I'm struck, too, by the overt parental abuse at work in the episode. There is a clear purpose, of course; establishing just how bad Regina's mother is is such a purpose, and the callous treatment of her child--as her father looks on, impotent--accomplishes that purpose handily. It also speaks to a Freudian excuse for Regina's actions, even before the childhood folly that results in Daniel's death occurs--but it also falls into some decidedly uncomfortably antifeminist tropes that are already too often bruited about. I should not be surprised, really; Disney's not exactly noted for depicting healthy maternal relationships, and the present series has already shown that it doesn't do much to repudiate a number of problems it really ought to address...

Once upon a Time Rewatch 1.17, "Hat Trick"

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

I suppose there ought to be a content warning on this one.

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1.17, "Hat Trick"

Written by Vladimir Cvetko and David H. Goodman
Directed by Ralph Hemecker

Synopsis

Buck up, man!
Image taken from the episode, used for commentary.

After a recapitulation of the series' premise and the title card, the episode begins with Mary Margaret making good her escape from imprisonment. She runs off into the woods as Henry reads, conferring with Emma when she arrives with Gold. Mary Margaret's escape is revealed, and Emma moves to pursue the fugitive, driving off through the fog and coming upon a heretofore unknown inhabitant of Storybrooke, Jefferson, whom she gives a ride.

In the Enchanted Forest, Jefferson's counterpart, Jefferson, flees through the forest, only to be found by his daughter, Grace, as they play together. They are interrupted by the arrival of the queen; Grace is bidden hide as her father confronts the queen, finding that she has work for him and his magic. Regina offers to compensate him richly for his work, and he refuses.

Emma delivers Jefferson to his strangely lavish home, walking him back in and accepting his hospitality--to her peril; he drugs her tea and takes her captive, restraining her.

Back in the Enchanted Forest, Grace longs for toys that Jefferson cannot afford. Therein, the Queen presses upon Jefferson.

Seems he'll bar none.
Image taken from the episode, used for commentary.

In Storybrooke, Emma rouses to find herself captured and bound. She assesses her surroundings and situation and begins to effect her escape. She finds that she has been under observation, stunning her, and she reconnoiters Jefferson's home, finding him sharpening a large pair of shears.

In the Enchanted Forest, Jefferson tends to Grace. Seeing her amid their straitened circumstances bids him reconsider the queen's offer, despite Grace's protestations.

In Storybrooke, Emma sneaks through Jefferson's house, stumbling onto the restrained Mary Margaret. As she makes to free her, Mary Margaret reports the events surrounding her escape from jail, and the two attempt to stalk out of the house--to no avail. Jefferson forces Emma to retie Mary Margaret, and he takes her off.

In the Enchanted Forest, Jefferson reports to the queen, securing a promise for her support of Grace. It being given, Jefferson produces a magical hat, the which he spins to generate a magical portal. They enter it, and Jefferson presses on Emma in Storybrooke, speaking to her of the same kinds of things Henry discusses. She disbelieves his assertions of magic, claiming he is insane.

Morrison, Manzarek, Krieger, and Densmore are just off camera.
Image taken from the episode, used for commentary.

Within said hat is a room of many doors. One such leads to Wonderland, which Jefferson hates.

In Storybrooke, Jefferson presses Emma to make a magic hat. She reiterates her disagreement with his fundamental worldview; he retorts with a philosophical screed that she continues to reject even as he presses it further.

Jefferson and the queen press through Wonderland, coming into possession of a strange box and attracting attention from locals as they do. The box is revealed to contain the queen's father, whom she restores to full size. They abandon Jefferson, and he is apprehended and taken before the Queen of Hearts. There, he is arraigned, interrogated, and beheaded.

In Storybrooke, Jefferson reveals the loss of his daughter. He notes that his seeming insanity derives from his simultaneous perception of two realities; he remembers the worlds of Storybrooke and the Enchanted Forest. Emma takes advantage of the situation, and a fracas ensues; Mary Margaret dispatches their abductor--who vanishes.

Curiouser and curiouser...
Image taken from the episode, used for commentary.

In the wake of it, Mary Margaret and Emma take stock of their situation. Emma presses Mary Margaret to face her trial rather than trying to run; she accepts it, and Emma conducts her to her cell, where she awaits arraignment. And Emma reports events to Henry, checking his book for information about one of his classmates' counterparts and revealing Jefferson's ongoing efforts to reclaim his daughter.

Discussion

I'm struck, among others, by the cheerful anachronism inherent in amalgamating so many different milieux as the series does; the fairy tales which Disney, filtering Perrault and others, presents hail from different times and places and depict the same, yet the present series, as well as the "traditional" treatments from which the series borrows, compresses them together. (Kavita Mudan Finn has much to say on the matter, as witness this and others. Her work is well worth reading.) Admittedly, it's hardly a unique occurrence, as I've commented once or twice and as Shiloh Carroll has commented more powerfully; the neo/medieval makes much of anachronism, conflating premodern periods to sometimes dubious effect. It's not a surprise to see the series do it again, although perhaps it is one with my delayed work on this rewatch--for which I apologize--that I am struck by it again.

Admittedly, if there is a period apt for amalgamating with the medieval in an Anglophone context, it is the Victorian. The era's own medievalist tendencies are amply attested, of course; that they are is, in fact, part of the problem that faces medieval studies yet, as the Victorian project, aimed in so many cases explicitly at justifying white supremacy, forms an understanding of the medieval all too often used by execrable people in support of reprehensible ideologies. There is much yet to do to push back against such; too few apply themselves thereto, and more of us should.