Thought I might as well finish it…
because you know, isn’t like we need a heart sigh
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Thought I might as well finish it…
because you know, isn’t like we need a heart sigh
I know this was asked a while back but I thought I’d add on to the “OUaT bad writing” examples.
1) The premise of the show is that the Dark One took nearly 300 years and countless manipulations in order to travel realms. Since Emma broke the memory curse this has now been “accomplished” TEN times in the course of roughly two seasons. Examples:
- Emma/MM going to the EF
- Emma/MM getting back to SB
- Cora/Hook getting to SB
- Neal going to the EF
- Tamara/Greg/Henry going to NL
- Emma and the gang going to NL
- Neal going from EF to NL
- Everyone getting back from NL
- Everyone save Emma going back to the EF
- Everyone coming back to SB from the EF
Now they may all be going back in the past to the EF? Was the Dark One just twidling his thumbs or something in the years he should have been doing something?
2) Regina got the idea to seperate Henry from everyone and make him love her THREE times in S2. (when Emma/MM went through the portal, when Cora came back, just before she was taken by Greg/Tamara). Three times in the course of the series would have been excessive, but one season is overkill. Especially when you take into account the loose time-passing of the show. If S2 took place over the course of a month, Regina got that idea practically once a week.
3) Another thing about realm travelling-Jack and the giants. They had viable beans. Why should I believe the Dark One didn’t just pop up there, grab some beans, and go about his business of getting his son back? Why should I believe he had to enact this whole curse that had Maleficent shocked, when he could have just had his answer with a simple materialization?
4) Dropped storylines-even not taking into account the secondary characters, there are several dropped storylines on the show. Snow’s dark heart? It was featured for one episode, maybe two, and then never spoken of again.They’ve manipulated the characters emotions to fit with what they want to do. This week-we want Regina to be horrible, so we’ll have Henry hate her. Oh, this week, we want everyone to feel sorry for Regina, so we’ll make Henry her great defender. Emma not being the least bit suspicious when a supposed dead Archie shows up at her door? Yes Pongo was reacting positively to Archie but why wouldn’t Emma be the least bit suspicious? Especially knowing there’s dark magic involved. Why did she not ask him something about the mine? They’ve also done the emotional flip flop with Snow. Oh we want drama with Snowing-let’s have MM not want to go back to the EF. Oh, this week we need to convince Emma-okay MM totally wants to go back. Yeah, we’ve been highlighting how sad MM was to not be a part of Emma’s life, so let’s just have her decide to abandon her to be with David in NL, without the slightest conversation about that topic between them. Wrt secondary characters, I get not all actors are available for an appearance, but it does not in any way proculde them from being mentioned. Would it be so hard to have this;
Henry: I’m going to play with Grace at the park!
Emma: Well don’t drink anything her father offers you!
What about the Lost Boys from NL? The one’s Emma promised homes and parents to (you know, when the writers had her usurp Wendy’s role)? When Regina reversed the curse, what happened to them? We haven’t heard a word of it.
5) Neal’s death-I know this is a hot topic in the fandom, but whether you love or hate Neal, his death was handled miserably. If A&E did get the idea to kill him off b/t S2 and S3, then they should have just let him die after deliviering a message to Aurora and Co. Rather than bringing him back and killing him HALF A SEASON later. The impact of the death is minimized and the GA is just going to be confused as to why they didn’t just do it ten episodes or whatever ago. Hook could have taken over his role in NL (which he really should have, tbh).
6) Too much action, not enough dialogue-to the best of my knowledge, even JMo and Ginny have stated this. The characters have no time to process anything, because it’s just going from one “adventure” to the next, We get minimal indication of how things affect various characters because they rarely just talk. When we do get an emotional reaction, it seems out of the blue. Good writing should not make one go “holy shit, they are actually acknowleding their past! Holy hot damn!”
7) Major conversations happening off screen. One example is Emma finding out Neal had intended for her to have the $20,000 and the car. We saw the after effects of it, but not the actual conversation about it. Whatever you ship, this would be a MAJOR thing for Emma. There is no actual reason we should not have seen this on screen. In addition, a lot of characters acting OOC. Regina escapes from the damn tree in NL, because she had no regrets because her actions got her, her son. Fair enough, but now, she’s not even debating with Emma about Henry getting his memories back? That is the epitome of lazy writing.
8) Overuse of magic-there’s a problem? Just wave your hand. Disguise yourself as somebody else (a la Cora). Oh we need to get some memories back to have a semi-emotinal thing? Have the BF pull a magic potion out of her rear at the last second (rather than the extended time before when the special ingredient-something of reverted August’s was available for a while.) Oh yeah, we’ve said the BF is supposed to be more powerful than Rumple…but only when it is convenient for us.Good writing does not establish things, then just ignores them, because it fits whatever plot arc is wanting to be persued. Good writing adheres to the established boundries, If they want the BF to be shady, they should have had a scene with her, denying being able to make the potion, only to show her doing it right after. This is just one example of a convenient retcon for the purpose of a desired storyline. Again, bad writing.
9) Villians cannot just be villians. Yes, there is something to be said about shades of gray. But the excessive “why couldn’t x just love me and have a happily ever after with me” just gets tedious. Show me a villian who just doesn’t care. Show me a villian who doesn’t have a sob story. People have loved villians since the start of storytelling. People love Tony Soprono, Hannibal Lecter, Nucky Thompson, Tywin Lannister, Loki, Darth Vader, Moriarty and many others. Liking a villian does not make one a bad person. Good storytelling makes one feel slightly bad about rooting for the bad guy, but it doesn’t make one defend the villian to the death. Understanding motivation and condoning it are two very different things, and good storytelling makes the distinction clear.
10) Convuluted family tree-this is not supposed to be a soap opera. And don’t even get me started on the whole “haven’t you heard of European royalty” ( I live in an European country that has a queen so yes, I’ve heard of it). The EF might be small, but there’s no reason for someone with a grudge to be a blood relation (or seriously connected to one with a blood relation). With good writing, you can wrap someone into the fold without having to have a fall back. But that is exactly what they’ve done almost every time. They don’t care to create a motivation outside of “I was wronged by x who happens to be powerful/royalty”. Once again, lazy writing.
These are the most prevelent examples I can think of. Very sorry for the length. It’s the things I’ve had on my mind but fear putting them on my blog for fear of anon hate. So thanks for giving me the place to state this. Especially if you’ve read to this point, lol.
ALL OF THIS!!!
Well, Captain Swann. But still…
AND THEN THEY GOT MARRIED AND LIVED HAPPILY EVER AFTER, THE END.
“First day working with Tom Hiddleston. He is my ideal as an actor: brilliant, reliable, human, decent, open, and friendly. He charmed my daughter as he has charmed me. I think my kid charmed him, too. This is a fellow I could joyfully spend the rest of my career working with. He’s that good and that generous.”
Jim Beaver filming scenes with Tom Hiddleston for the new horror movie ‘Crimson Peak’ in Toronto on April 16, 2014
One of the best onscreen squuudges I’ve ever witnessed. Rumple’s so happy he doesn’t know where to put himself. <3
Floof sammich. Rumple is the Peanut Buttah.
AND THEN THE SHOW ENDED FOREVER AND NOTHING BAD EVER HAPPENED TO ANYONE EVER.
Thus sayeth my head canon and you will never persuade me otherwise.