2/100 pictures of Lana Parrilla
@ABC_Publicity: Pretty ladies @lanaparrilla of @OnceABC and Margarita of @Revenge: http://t.co/RWKa52rT”
Congratulations, Lana Parrilla, for demonstrating the whole range of human emotions in the span of 43 minutes.
Lana Parrilla CTV Upfronts 2012 | Toronto May 31st, 2012 Canada TV
The one where Regina calls Victoria to help her with the curse.
we all wanted to be somebody else. somebody braver, or more handsome, or smarter. it’s what children want. it’s what you grow out of, if you’re lucky. if you don’t, it’s a life time of agony.
BOOM, THE VERY THING THAT DRIVES ME UP A VERY SPECIFIC WALL ABOUT THIS SHOW: they framed it like this! That is their central conceit—did they miss that, somehow? Yes, they chose to write about the deconstruction of her story, but that doesn’t change the fact that we are operating in a story framework she crafted. That she mastered by knowing the rules of storytelling and which she crafted into allowing her the happy ending. She gets everything that the world denies her kind before: you don’t get to mother a child when you’re a witch, you don’t get a peaceful kingdom if you’re a wicked queen, you don’t get a prince climbing out your window when you’re the antithesis of a princess. It’s her damn world, and we’re watching it fracture via the entrance of someone unwritten, but that doesn’t mean that it’s not a thriving story about her. The point is the story, the town is the story, and it’s hers.
Which doesn’t absolve her. Which doesn’t vilify everyone else. Actually no wait, look at the things she chose to do to everyone around her: she didn’t make worlds where they were miserable or abject; she made worlds where they were still. Comas (instead, I might add, of death), marriage, small-scale sweet-natured gainful employment. Little lives. Unmagical lives. She stripped the scale of the story, and in doing so, she stripped the concepts where Good means Rewards and Evil means Punishments: that’s what brings us into the real world. Where you gain exceptionalness by wanting it and pursuing it and gripping it with your nails, by making the world what you want it to be, not by letting the narrative work for you.
That’s the format. That’s where the show starts, where it drops its plot.
And then…it…wants us to want to rend our way back to childhood? Yeah, a grown-up commandeered this story a long time ago. Drop the stars from the narrative’s eyes, let the characters work for their place in the story and for fuck’s sake, let the AUDIENCE work. We can do this. We’re grown-ups, too.
#yes. #thank you. #I just. #this isn’t a fairytale anymore. #this is about what happens to people when you take them out of their stories. #this is regina’s happy ending and it’s not in the fairytale world. #she can’t win in the fairytale world. #she wants it too much. #she’s not good enough. #she schemes and tries and wants a happy ending. #but she’s not allowed to want that in the fairytale world. #so she takes them away. #and makes everything more complicated. #and once you exist in the real world you stop existing in a place where Good and Evil are things. #I mean we could get into a whole other conversation about how Good and Evil are constructed in the fairy tale verse. #(good commits a LOT of murders). #but in the real world it’s not like that. #and you can’t pretend that it is. #you can’t say Regina is Evil and thus everything about her is wrong. #she raised henry with care and love for over 10 years #she IS his mother. #she cared about graham and her father and the town of storybrooke. #just not in the way you want her to. #emma is not a good mother okay. #emma does not get to waltz in a be henry’s mother because Regina is Evil. #and the fact that the show wants us to root for her in that battle is just. #so gross. #so so gross. #I just. #I can’t. #it’s so wrong.