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Comic Review: Bitch Planet #1 Part IV

BitchPlanet_01-1_300_462I return from the short break to continue the close reading of Bitch Planet #1 by Kelly Sue Deconnick. This particular installment is going to be briefer than the previous three, since other responsibilities have impeded my writing. Alas, life.

I intend to spoil everything, so read the comic before you read my analysis unless you don’t mind that sort of thing. Find Part I here. Part II here. And Part III here.

Page 15-16

This is where the panel structure of the comic gets wickedly brilliant by cross-cutting between The Catholic’s interview with Marian Collins on Bitch Planet and Solanza’s interview with Mr. Collins back on Earth. The Bitch Planet panels have a blue background and female characters, while Earth’s beige and male contrasts to easily keep clear the two lines of action. Cross-cutting in film is meant to create a direct relationship between the two scenes. Viewers will assume there is a connection through the juxtaposition–perhaps the scenes are happening simultaneously or even two different sides of the same wall. The climax of Silence of the Lambs uses the cross-cutting to surprise the viewer when we find out it is Clarice outside of Buffalo Bill’s house, not the FBI raid squad. Well, Bitch Planet does this too.

To emphasize the relationship-making of the cross-cutting, Kelly Sue Deconnick deliberately merges the dialogue through repetition of phrases shared by both Mr. and Mrs. Collins. In spots they even seem to finish each other’s sentences. We get the backstory of how Marian ended up NC. Mr. Collins admits first that he had an affair, but Marian fills in that she drove him to it. How does a woman drive her husband to an affair? Did she give him a ride to the mistress’s apartment? No, but this illuminates the expectations of compliance. She didn’t want to have sex with him. She was non-compliant. He found a woman who would be compliant.

marian collins solanzaMarian then explains that she was devastated when she found out about the affair. She threatened him. Mr. Collins says, “She went crazy! I didn’t feel safe!” He went to the authorities of compliance. They said they couldn’t do anything on her first infraction, so he paid them off.

Meanwhile Marian changed her behavior and forgave her husband. Mr. Collins, in the next panel, states, “Just like that it was fixed! And it was like…starting over. We put all the ugliness behind us. Moved on.” Because of the juxtaposition of panels, the reader thinks it is Marian’s change of heart that fixed things, but this is part of the deception of the narrative. Mr. Solanza suggests he could sort things out but that it might take a while. Mr. Collins hands over another pay-off to grease the bureaucratic wheels. Solanza changes his tune.

These men, bargaining over the life of a woman, are “ick” inducing. She’s escaping riot violence. It’s clear every moment counts to get her out of the traumatic situation of Bitch Planet. Solanza’s smiling distance is even more terrifying than The Catholic’s soulless eyes and condescending religiousness. But this is only ramping up to the truly horrifying climax of the issue.

To be continued in Part V.


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Star Wars Saturday: Holiday Round-Up

Well, Wookie Life Day is nigh. And to get you in the spirit, I have some holiday-themed Star Wars fun for you.

First off, if you’ve never endured the Star Wars Holiday Special, and you’re feeling the holiday self-hatred, it is available online. Here, I’ll get you started.

Much more enjoyable is the “Leaked Star Wars Holiday Album” wherein Lando Calrissian shills a collection of songs including “We Wish You a Merry Sithmas” and “Frosty the Wampa” in the classic 1980’s way. Many well-intentioned jabs make the funny.

For your more traditional Christmas-oriented Star Wars entertainment, I present this mad genius’s 5-minute Star Wars Christmas light show. I was especially impressed with the spotlight lightsaber battle. Click through to YouTube and read the description for more information on how he engineered the show.

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Frozen Friday: Be Merched

FFF ChDsgnrench website RadioDisneyClub may have unintentionally leaked the character designs for the upcoming Frozen Fever short. Set to premiere in front of Kenneth Branagh’s Cinderella on March 13, 2015, Frozen Fever revolves around Elsa and Kristoff’s plans for Anna’s birthday. Disney appears to be ready with tie in merchandise this time around.

The website posted a roundup of late 2014 and 2015 offerings which included several items with the new designs. In keeping with the Spring theme, Elsa’s dress is more teal rather than ice blue and accented with snowflake/flower hybrid iconography. Anna’s design is a version of her travelling dress with a green and gold jacket brightening it up a bit. Even Kristoff’s muted earth tones might be shading more into brown than grey.

I think it works. Anna’s coronation dress wasn’t too far from this color scheme to begin with. And Olaf always wanted to smell the flowers. Elsa’s imagery can easily withstand the change. I can imagine sun-flakes for summer and snow-leaves for fall in addition to her traditional ice-blue look.

The product previews were only up for a short time before they were taken down, but the ever savvy internet managed to save a couple. On the left there’s a toddler dress featuring a bouquet of sunflowers. On the right a tote/gift bag with the short’s cast and a birthday gift.

FF Merch

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Comic Review: Bitch Planet #1 Part III

BitchPlanet_01-1_300_462Read Part I here. And Part II here.


Pages 9-10

With the transition back to Earth, the images have shifted tones. No longer vivid green, blue, brown, and pink, Earth, or at least this office building, is tonally pastel and beige. Intensity has been muted. This is a world of compliance, where emotions too must be muted.

But the man we see speaking in the first two panels is anything but muted. He’s angry. He wants to speak to someone in charge. The receptionist gives him her compliant smile and diction: “I’m certain Mr. Solanza would be delighted to speak with you…”

Mr. Solanza greets the irate Mr. Collins. Collins explains this is about his wife. She has been “detained for compliancy issues.” Mr. Collins has initiated a complaint. He attempts to tell Solanza there has been a mistake. Solanza assures him they “have safeguards against these things.” Mr. Collins then gets quite non-compliant, pointing a finger at Solanza and yelling, “Then the safeguards failed!”

A full panel of silence. Collins knows he’s crossed the line. He apologizes. Solanza, for the first time without a smile, asks, “Would you like to begin again…?” Collins puts his hands up in supplication, puts a big smile on his face, attempts to explain his non-compliant accusation. “Look, I didn’t mean to… I’m just… I’m upset, okay? There’s been a mistake and–and–you don’t ever hear about people coming back from Bitch Pla–“

Solanza, with his smile returned, scolds and corrects him. “The bureau prefers “Auxiliary Compliance Outpost.” Collins looses his smile, attempting to deal with the bureaucratic absurdity: “It’s another planet.” Solanza grins big: “Isn’t technology a wonderful thing?”collins solanza

Page 11

Back on Bitch Planet, a series of monitor views of the riot: yelling, hitting with batons and fists, guards unmasked, what appears to be one woman defecating in the mouth of a fallen guard and that guard vomiting it back up.

The two monitoring men discuss the “innocent” woman asking for help. They think it’s the women’s own fault for not seeing it coming, for thinking they’ve done nothing wrong. Of course, the implication to their perspective is that a woman is inherently non-compliant within the system. Just by being female, they are at fault.

The two men, both of whom are black, call attention to the fact that “of course” she’s a “white girl.” Her name is Marian Collins. She wants to talk to “someone in charge.” This is Mr. Collins’ wife–must be–same last name, same word-for-word demand of authorities.

But Marian will not get to talk to anyone as real as even Mr. Solanza. Instead, the monitoring men, who now appear to be more active in the prison experience than mere witnesses, set her up with “The Catholic.” In a moment seemingly straight out Cabin in the Woods, the one (I’m going to call them operators now) operator raves about his love for The Catholic, and the interaction shows the camaraderie they have by saying, “I look after you, don’t I?”

Page 12

A panel of photography spotlights with the text: “Lights up!”

CatholicA hologram of a sexy, pink nun appears. “Marian Collins, my angel…Please step forward and confess your sins,” she says, hands together in a gesture of prayer. Like the previous hologram, she is a ludicrous parody of a real nun. She wears a strapless corset to show off her Barbie doll figure. This time a habit covers her hair.

The page finishes with a view of the other side of the spotlights. The spotlights highlight the manufactured nature of all of this. These expectations of women, the gender dichotomies, and the paradoxical standards are constructed and then reinforced by the image-makers of society.

She is the virgin-whore dichotomy writ large. She negates any mature sexuality in women, leaving only the two options: virgin or whore.  The nun’s habit represents the virgin–the innocent, yet to be deflowered woman, the promise to a man of being her “first.” The sexy corset, underwear, and thigh-highs represent the whore–sexually experienced and, thus, degraded. Nowhere in dichotomy/paradox is there room for sexual maturity that is also respectable.

Page 13-14

The hologram beckons Marian through a now subdued hallway with the condescending phrase, “Come, girl.” Marian introduces herself, the comic restating her name, showing her importance, her personhood. Her name, too, is connotatively significant. Marian, a variation on Mary, links her with the virgin-whore dichotomy, also called the Madonna-whore dichotomy. Mary, the virgin mother. The Christian paradox. It reinforces her innocence. Perhaps she truly doesn’t belong here.

But imagine, since it’s the Christmas season and all, how the Virgin Mary would have been perceived by a society that has no forgiveness for non-compliant women. She goes to her husband, a man she has not had sex with. She states she’s pregnant…by God. What is she now to him–Madonna or whore? Most of society would call her whore. Thank goodness the visit of an angel confirms her story, or she too might have been cast out.

Along the walls and railings of the hallway, small groups of women, now wearing their uniforms, stand around talking. The instructions get passed around–count the guards. This is a move of solidarity. The women can amass information together. Their information could become opportunity. When the instruction reaches Penny, she responds with a quick dose of realism: “For what? It’s a damn planet, Meiko. You ain’t gonna scale a fence and hitchhike home.” But she then turns to the woman next to her, the woman who stood up for her to the guard earlier. Instead of passing along the instructions, she asks if she knows her from somewhere. The woman doesn’t respond. Perhaps she’s unsure of what Penny is really asking–is this sincere or some veiled message?

Continued Sunday in Part IV.


Comic Review: Bitch Planet #1 Part II

BitchPlanet_01-1_300_462As I mentioned in the previous post, here there be spoilers. Find Part I here.

Pages 2-3

The spread on pages 2-3 depicts the transition from the “free world” to incarceration via the voice recording by our nameless page 1 woman. Although she is supposed to be a “history teacher,” she is presenting a revisionary creation myth. No longer is Earth “Mother Earth.” Now that life on other planets is possible, space has become the Mother. Earth is the Father that is casting these women out. They have trespassed against the Father through gluttony, pride, weakness, and wickedness. The six naked female transports have sinned against the Patriarchy. Their sins include radicalism and murder. Radicalism seems to include extreme obesity, suggesting that one’s body is perceived as a place of rebellion.

One woman voluntarily chose to go to prison, and the two black men monitoring the prisoners label her crazy. She appears to be the only one awake. Her alertness makes her seem more aware of what’s happening here. Perhaps she’s the sane one, choosing to shuttle off to a women’s prison rather than stay in the “free world.”

They have been deemed beyond correction or redemption. They must be removed from Earth, “lest [their] sickness spread.”

Page 4-5

The title page continues the recording, telling us their sentence is life with the only possibility of mercy after death.bptitle

Page 6

The women arrive at the “Auxilary Compliance Outpost,” the official name for Bitch Planet. They are wet and naked, as if reborn after their space travel. They look up at a female hologram greeting them and instructing them towards stalls with uniforms. She ends her speech with, “Non-compliance is not recommended.” An incoming prisoner states, “I hate that bitch.” Another replies, “We all do. That’s why they use her.” The hologram displays the body type often found in comic books–bulbous lips and boobs, cleavage from sternum to armpits, barely there clothing, big hair. She is pink and white, and her oversized image makes the page as a whole mostly pink. Juxtaposed with the naked prisoners, the hologram’s sexualization is obvious and absurd. Her sexiness is out of context and thus made ridiculous.

Who is she supposed to be seducing? The prisoners, of course–who else? Like the models in a women’s magazine, she is meant to seduce them into compliance. They are meant to look at her and want to look like her. Through purchase of cosmetics, high heels, corsets, and skirts which will limit their movements, through diet which will make them physically weaker. If that is unattainable, they are meant to hate themselves for not looking like her and undermine their own confidence and power.

Page 7

PennyIn contrast to page 6, page 7 is blue and green. The focus is on an extremely obese black prisoner named Penelope Rolle. She is the antithesis of the hologram’s “beauty.” Penny might stand as tall as the hologram–she’s easily a foot taller than the guards. She is muscular and fat with a half shaved head and a tattoo on her bicep that reads, “born BIG.” She receives a uniform that she identifies as too small for her body–“Where am I supposed to put my OTHER tit?” The guard tells her the uniforms were constructed specifically for their body measurements. Penelope talks back, saying the uniform “ain’t gonna fit.” Another guard tells her to put the uniform on and proceed down the concourse. Penelope gets insistent: “Bitch, I know my size!” Behind her a guard raises his club to hit her over the back of the head. Another prisoner covers her eyes.

Penny’s size is threatening to the society of Earth, and it continues to be a point of non-compliance at the prison. But the uniform won’t fit because her size is more than her measurements. Her power is in her non-compliance with the beauty standards, her absolute confidence of who she is–with no reference to her value to men. Her obesity does not equate to weakness. She exudes strength.

Page 8

The top panel brings the expected clubbing by the guard. He knocks Penny down, cracks her skull, makes her bleed.

Unlike the woman who covered her face to avoid seeing this abuse of power, a new woman with wild hair and a confident stance calls out the guard: “She didn’t raise a hand to you.” “And now she won’t. Any questions?” he responds. But now Penny is getting up behind him. “Yeah…” she begins, “Where’m I s’posed to put my tits?!” She hits him so hard, it knocks off his mask and helmet.

By removing his helmet, she also diminishes his power. He is no longer an uncanny authority figure. Now he is just a man.

Penny’s name connotes the smallest amount in US currency, the least of the capitalist system. Certainly that’s how Earth society values her. She might be dismissed on Earth, insulted and viewed condescendingly, but her power comes from within, not within the system.

Her show of power incites a riot in the prison. Naked female bodies throwing kicks and punches against, black-clad, faceless male guards. One of the two men monitoring the situation declare this is a new record: 2 minutes. Yes, Penny is powerful. No wonder she was declared non-compliant and shipped off planet. Her “disease”–female power–spreads quickly.

The other monitoring man jokes, “Cue the innocent. Which one is it gonna be?” A blonde, white woman attempts to flee the melee. “I don’t belong here. I don’t deserve this. You have to help me, please–” Traditionally protected by patriarchal society, as long as she stays compliant, this woman assumes asking for help will work. The answer she receives shows the truth of the system. A guard cracks her on the back of the head, because now she has been deemed non-compliant, her traditional Western beauty will not save her. The panels go black–her point of view becomes the transition back to Earth. “…No one deserves this.”

To be continued in Part III.


Comic Review: Bitch Planet #1 Part I

BitchPlanet_01-1_300_462A friend of mine passed along this issue to me. She said she suspected it was brilliant but wanted some assurance that she wasn’t off-the-mark. She is not one to normally lack confidence in her reading of a text, but given the nature of the comic, I now understand why she was a bit unsure.

In Simulacra and Simulation, Jean Baudrillard wrote that prisons are there to hide the fact that society itself is a prison, at its very nature carceral. Bitch Planet appears to be a prison that is built to reveal the fact that society is a prison.

Bitch Planet, written by Kelly Sue DeConnick and drawn by Valentine de Landro, is using the sci-fi sub-genre of women’s penitentiary exploitation to critique the contemporary systems oppressing women of all races, but especially women of color. It’s not critiquing the genre but, in fact, using it as a structure to critique our own capitalist “free state.”

That’s some tricky business. And it may be brilliant. Comics often further societal misogyny through the objectification of women–as sex objects, victims of villains’ violence, damsels in distress, or, in some of the best cases, superheroines with barely enough clothing to cover their unrealistically proportioned tits and ass. How does an author sell a comic that wants to critique and condemn that same system? Well, you could hide it in a traditionally misogynistic format which exploits nudity and violence against women while at the same time shows women as tough survivors. Yeah, okay, brilliant.

On the cover, a silhouetted woman is manacled but giving the finger with both upraised hands. The exploitation-styled text reads: “GIRL GANGS…CAGED AND ENRAGED!” It is an apt image for this comic that walks a razor-thin line between itself becoming exploitative and offering a critique. This is not a comic for the squeamish or prudish. In fact, though the comic exhibits aspects of Minority Report, Django Unchained, The Shawshank Redemption, and Cabin in the Woods, it most reminds me of Alan Moore’s Watchmen. It is a structurally dense take-down of oppressive systems of society through a familiar genre. It even includes an essay and fake, thematic mail-in ads.

Now come the spoilers. I’m going to attempt a close reading of this comic, because it honestly has me fascinated, and as an English teacher, I don’t know a better way to solidify my thoughts on its meaning(s). However this particular blog post will only spoil the first page of the comic. Later parts will spoil the rest. I suggest you get your hands and eyes on this comic as soon as you can. Then come back for the full shake-down.


The opening panels depict a black woman rushing through a crowded, futuristic street. She asks to be excused and pardoned by the people she rushes between, apologizes profusely to another. Before her is seemingly projected the word “APOLOGIZE.” It is unclear whether this is a hologram from a corporation or government (or amalgamation of the two) or a visualization of her conscience. The text matches that of billboard screens shining down on the streets, signs urging dieting, purchasable fixes to problems, and, above all, compliance. “BECAUSE HE SAID SO.” One projected screen says, “You’re hungry.” Another says, “You’re fat.” These are the paradoxes of capitalist, fascist society. A drone flies overhead, seemingly a police vehicle as designated by its red and blue lights. It insinuates that non-compliance is dealt with swiftly.

The woman is rushing to work. Her male manager is complaining about her lateness, giving a countdown to when she’ll be fired and he’ll do the job for her. She bursts into the recording studio just in time, asking him to tell her who she will be today as she places the headset on and begins to record a message for the sleeping passengers on the way to Bitch Planet. She is not non-compliant. She apologizes, she rushes to meet someone else’s schedule, she conforms her identity to the whims of her male manager’s instruction. Not a moment is spent determining the cause of her lateness–whether this is a character trait or the consequence of some personal emergency. She is there simply to fill a role compliantly.

This is the “free world” the comic introduces us to before setting us off to the penitentiary world of Bitch Planet. But the repressive elements are clear. The bars of this society are seen in the standards of beauty and compliance, and the men are the gatekeepers.

Read Part II here.

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Early Observations About “Heroes and Villains”

We bid 4A farewell. Two ships are sunk. The cobra joins the mongoose. And the last Arendelle scene mirrors the first.

Michael’s “Always… no, no… never… forget to check your references.”

“Heroes and Villains” – The Beach Boys

Is heroes vs. villains a fair descriptor for the second half of the season?
KITSIS: Absolutely. That is the title of episode 11.
HOROWITZ: It’s “Heroes and Villains.”
KITSIS: That’s actually named after the Beach Boys song.


EMMA: [The Snow Queen] wanted to make Storybrooke her Ice Castle.

The perfect “Wait, what?” Anna carries on about how great this Gold fellow must have been and then David tells her he’s Rumplestiltskin.

ANNA: Did you see these bruises?
ELSA: Have you seen Hans’s eye?
ANNA: Yeah. Totally worth it.

Anna Punch

Anna’s wearing the gloves in the family, now.

This scene, with Anna saying, “What is that amazing smell?” instead of Elsa.

The Sound of MusicAnna of Austria

Anna’s skip-hopping arms wide approach to the town line completes all possible riffs on her costume. She hasn’t moved that way at all through the season. While it didn’t seem wildly out of character, it did take a moment to recognize where they were going with it.

When the ad for The Sound of Music Sing Along aired, we had a good belly laugh.

Star Wars

Holo-Belle more or less crying, “Help me, Obi-Wa… Rumplestiltskin. You’re my only hope.”

SW Belle

Wish Upon a Star

Rumple tempts Belle with a honeymoon in “a magical city called New York.” The opening line of this Olivia Goldsmith novel is, oddly enough, “Once upon a time in a magical city called New York a girl under a spell lived on an island.”


The broom is back. With enough personality to outshine some of the other recurring guests on the show, this bit player from “The Sorcerer’s Apprentice” struts its stuff, cracks its knuckles, and reveals the portal back to Arendelle. All while its creepy modified theme music plays in the background.

Bonus: Turns out the house does belong to the Sorcerer after all, validating a lot of fans who called it at the beginning of the season.

The Little Mermaid

One of three freebies, everyone’s favorite predatory subprime magic lender Ursula appears as part of a trio trying to swindle Rumplestiltskin.

Her contribution to the plot against Rumple is a sand dollar bearing the holographic message.

After wrapping Belle in her tentacles, she says, “Such a pretty thing.  Seems a shame I’ll have to crack her pipes.” It’s a dialogic stretch to reference the film.

101 Dalmatians

Cruella de Vil, whose costume is a nice mix of mostly animated classic with the makeup of the live action adaptation.

While the green smoke around the Belle-ogram is characteristic of the cloud following Cruella, it apparently wasn’t a big enough clue, so they added a Dalmatian to lead Belle away.


Her raven, Diablo, delivers the ransom message to Rumplestiltskin. At least, his name is Diablo in the animated classic. In the recent reinterpretation, he’s recast as Diaval.  It remains to be seen which one they’ll go with.

Maleficent’s costume has undergone a drastic redesign, bringing it in line with the 2014 film.

Once Upon a Time

Some key themes reappeared in this episode. Color coded clothing showed us a Regina who’d do the right thing in blue and a Belle who’d make some shocking choices in grey and black. Rumple stalked around with Geppetto’s parents hanging in the background, reminding us what an evil imp he is.

But they brought the Frozen arc full circle visually. Our first glimpse of Arendelle’s royal siblings in “A Tale of Two Sisters” was their clasping hands from behind, Anna on the left and Elsa on the right. The shot’s inverted, or mirrored, at the end of their scene with Elsa on the left this time.

Erin’s Happy Shipper Moments


  • Not that we got much interaction between the two on screen, but the good news is that once they got back to Arendelle, Anna’s right hook apparently made short work of Hans, and Kristoff and Anna were finally going to get married. Mazel tov!

Captain Swan

  • To be honest, I had been hoping for the Captain Swan relationship to be more central to the episode. Instead, it fell fourth fiddle to the Arendelle crew, the Rumpbelle dissolution, and the coming of the Queens of Darkness. As the plotline involving Gold having Hook’s heart developed, I fully expected there to be some major touching scene between the two. Instead, we got two minor scenes.
  • The first of these was in Granny’s Diner when Gold puppeted Hook into telling Emma where the portal was to get Anna out of the way. Emma finally touched him intimately on the face and asked what was wrong, that he was acting strange[ly]. The only response he could make of his own volition was to grab her wrist with a shaking hand. But does she pursue him or this clue that clearly something is truly messed up? No. Jeez, Emma, can’t you see your man is in trouble?! You are a less than stellar girlfriend.
  • The second was when she reinserts his heart. (Note, there was no romantic anything when Emma and Snow arrive at the clocktower to see Gold about to crush Hook’s heart.) So he asks her to be gentle, but this is Emma, so she just shoves it back in, thinking that it must be like pulling off a band-aid. But as soon as it’s back in, he lays a great, passionate kiss on her. When the kiss breaks (why, oh why, did it have to?), he reiterates that he’s a survivor, and she shyly smiles.


  • This relationship, more than any other, was at the center of the episode. Considering how much damage the writers had done to this ship since the iconic dance in the ballroom, I ended up being rather relieved that Belle finally figured out that Rumple loved power more than anything and kicked him out of town. That said, it was an emotional scene, and Robert Carlyle sold it so well, I actually felt bad for Rumple as he lost Belle, then his magic, and crumpled from the return of his crippled leg.
  • First, Rumple wakes Belle from a sleep that I can only imagine he put her in magically and tells her that he’s going to take her to the magical land of New York. She goes to pack her bag happily.
  • Belle saves the day, or at least Hook, by controlling Rumple with his dagger after using the magic gauntlet to reveal to her what Rumple’s greatest weakness is (that’s not good wife behavior). The betrayal is merely in response to the many, many betrayals Rumple has offered her this season. Not even the sort of sweet flashback scene of him trading the gauntlet for her life could redeem him.
  • So she finally forces him out of town, using the dagger to make him go. It’s painful for both of them (and the audience). We know this won’t be the end of it, since Rumple won’t stay gone for long (you, know, just till March), but Rumple’s going to have to work his hinney off to win her back. She’s gotten wise to his unchanging ways.

Outlaw Queen

  • I liked that the first thing we saw Regina do this episode was return Marian’s heart, that there was no hesitation. In return, Marian offers to back off if Robin chooses to be with Regina. How civil.
  • Robin chooses Regina! He points out that though it may be complicated, the most important thing he can model for his son is to live honestly and follow his heart.
  • Not that it matters, because Plot Conveniences Playhouse presents the relapse of Ingrid’s ice curse, and the only way to save Marian is for her to cross the town line into the non-magical world from which she can never return. But Regina won’t let her go alone–she insists that Robin and Roland have to go with her. Which is honorable and stuff, but very sad for the Outlaw Queen shippers around the world.
  • Their good-bye is full of feels. Thank goodness Marian couldn’t see that kiss–not that Robin would know that. Ballsy, Robin!

Swan Queen

  • Emma offers to do shots with Regina after Robin leaves town, but then Henry breaks up their fun with news about The Author (pretentious indeed!). The three of them go to the mansion’s secret room and find the blank storybooks. Emma opts in for Operation Mongoose and reiterates her promise to bring Regina a happy ending.

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