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matan4il · 2 years

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Buddie vs Captain Swan meta

This is for the darling Nonnies who asked me to delve into the comparison! Thank you for your patience, I hope you enjoy it! xoxox

Abbreviations: OUaT = Once Upon a Time // CS = Captain Swan (the Emma/Hook ship) // SF = Swanfire (the Emma/Baelfire ship) // TPTB = The Powers that Be (the team making the decisions for a show) // ep numbers: 201 = ep 201 of 911; O201 = ep 201 of OUaT Unlike with other shows’ canon ships that I have compared in the past to Buddie in terms of what happens to them on screen, this meta is also gonna compare the two ships on the level of the decisions TPTB made (with the two levels not completely separate), which is a part of why this has been one of my fave meta posts to write, ever.

A love story on screen starts with love off screen

Alright, so let me start by mentioning that Hook’s actor (Colin) was only supposed to be on the show for a brief stint. I heard different reports on whether he was originally booked for one ep or five. Either way, it was officially confirmed that even before his first ep aired, TPTB already liked Colin’s performance enough to promote him to a series regular. Yes, before anyone at home even got to watch Hook once. They didn’t specify what they liked, but we can assume it was his acting choices, charisma, the color, humor and sex appeal he brought to the character, but also the chemistry between Colin as Hook and Jennifer as Emma, maybe as early as in rehearsals. Once they expanded Hook’s role so much, they had to tie him in with some of the other regular characters. Hook’s original link to the show was the revenge he wanted to take on Rumple (as established in O204, his first ep), but if he was gonna be a regular, he needed something more. So O205 introduces him to a group of our heroines, especially through Emma’s eyes (she’s the one who sees right through him), while the climax of this meeting plays out in O206, laying out the foundation for CS. Just keep in mind that on 911, Ryan got the part of Eddie because of how much TPTB liked and wanted to work with him. In other words, in both cases it seems the on-screen chemistry and joint journey of two characters started with an off-screen love of TPTB for a charismatic actor.

Both ships were given this initial trajectory of enemies to friends. In the case of CS, Hook starts out on the side of the bad guys while Emma is The Savior. He also uses a sleazy sort of flirting as a tactic: when his opponents are annoyed, it distracts them from his true intentions, and it also disarms them by making it seem like he poses no real threat since he can’t even “keep it in his pants.” He uses this on many, yet from the get go, he has a special focus on Emma. There are four heroines he meets in O205, but she’s the main one he negotiates with, tries to win over, flirts with and when the women have to decide which one of them would climb the beanstalk with him, once they chose Emma he even states, “I was hoping it would be you.” Even the way he puts the bracelet on her wrist is more physically intimate than it needs to be. That means we have an antagonistic start, alongside an undercurrent of attraction. That’s exactly what we have with Buddie as well in 201, when Buck starts out disliking Eddie, but under the surface it’s clear he’s attracted (and not just physically) to Eddie as well, to how incredible he is.

During the O206 climb, Hook starts a dialogue with Emma, but I mean, he really wants to get to know her. It’s still something he can rationalize away in his mind as him simply doing whatever serves his revenge (maybe in the long run this info might be useful), but he doesn’t strictly need this in the short run. Knowing about her first love doesn’t help with how they’ll defeat the giant and retrieve the golden compass. Yet, he wants to know. She intrigues him and makes him want more. It’s the only time we’ll see him in Os2 (other than the finale) doing something that isn’t directly needed for his revenge. In fact, the issue of whether he would betray Emma in order to further his revenge explicitly comes up (she assumes he would based on how Neal had betrayed her in the past), he doesn’t try any tricks when she’s wounded, instead he bandages her hand, goes with her altered plan on how to tackle the giant even though it puts him in a much greater danger (the new plan has benefits for Emma, none for him, yet he still accepts it), comments on how well they work as a team, and we also discover in O209 that he wouldn’t have betrayed her later on either (Hook tells her so when they both know Emma has a lie detection super power, showing that she got under his skin, to make him honest and loyal to her even when it doesn’t necessarily benefit him). My point is, this ep isn’t shy about setting up the possibility of CS being more than two people who temporarily share the same goal. This is so much like Buddie, whose compatibility is clearly cemented in 201 beyond just that one grenade call they worked on together in the ambulance, leading to them exchanging a vow to have each other’s back.

Emma’s reaction to him is played in a more understated fashion. She goes with him because they need the compass, but she doesn’t like the flirting, she openly doesn’t trust him and at first she doesn’t quite open up to his questions. However, we get a hint that her real reaction might run deeper than it initially seems because we get her flashbacks to Neal (the name Baelfire chose for himself in The Land Without Magic), the only love she’s had before. Those flashbacks are triggered simply by meeting Hook, later intensified by his questions. He got under her skin from the start. She also spots his tattoo and asks about the woman mentioned in it. She wants to get to know Hook better, too. When he doesn’t really wanna open up to her about his lost love either, she also guesses correctly what it is he’s not telling her. When he acknowledges she’s right by calling her perceptive, she returns his honesty by admitting she might have been in love before (despite lying about it earlier). That makes their interaction perfectly mutual. We get everything needed for the classic trope of enemies to friends to eventual lovers, not to mention soulmates. And again, the mutual nature of the attraction is so similar to what we get with Buck and Eddie, who both want to get to know the other one better even at the peak of not getting along. Buck still asks Eddie questions to better understand the new guy, while in all of 201, the only person Eddie is shown as being interested in on a more personal level is Buck, with that comment at the gym about knowing that he’s a good guy going through a tough break up, showing empathy, but emphasizing they’re on the same team...

Keep your friends close and your story telling options closer

But CS didn’t get a simple love story set up. I’m certain the original plan was for Emma to actually have a different endgame, which IMO makes the comparison of CS with Buddie so much more interesting. Os2 is full of hints that Emma’s intended endgame was Neal. SF as endgame includes epic symbolism: Emma, the daughter of THE Good Guys from the Enchanted Land, and Neal, the son and grandson of THE Bad Guys from that land, meet in the Land Without Magic, fall in love and have a child together, their union bringing eventual salvation for all. It’s the stuff fairytales are made of! I also have to say that I really loved Baelfire as a kid, so it makes sense that if TPTB set him up to be such a loved character, they would want him (and assume the viewers want him) to have the ultimate happy ending with Emma.

How does CS fit into that? Well, my theory is that when introducing us to them, TPTB saw dramatic potential in the chemistry between Hook and Emma, plus it helped link him to the show, but they hadn’t decided yet how exactly to play with this ship alongside their intended endgame one. I believe they saw three options, and they tried to create the foundation for CS so that it would reasonably lend itself to any of the three, though I do think they had a preference. The first option was to set up the potential of CS as a romantic ship, but then not follow through, making it clear that Hook is attracted to Emma, but that her link to him would just be as The Savior, with him being one of many she helps to save. In other words, Hook’s attraction would be one sided, but it would help him to redeem himself and at some point find his own happy ending. Another option, and I believe the main one they were considering during Os2, was for CS to grow into something romantic (and mutual), but not an endgame ship. It would be a station on Emma’s romantic journey, and the love triangle created by CS would be another obstacle for SF to overcome (and it makes me LOL forever that we got a bit of that love triangle treatment for Buddie when Taylor was around, even without Buddie going canon, unlike CS who had kissed by the time Hook discovers Neal is still alive). The last option is again one that I think TPTB were less interested in, but made sure not to close the door on, which is that the set up for CS would grow into an actual endgame ship.

Why do I think the love triangle option was the initially preferred one? IMO just like Os2 is full of signs that SF were meant to be endgame, we also have hints that TPTB’s course was to create that love triangle between SF and CS, for example in the O206 flashback to the time when Neal shoplifted the swan keychain for Emma. Right within the shot there’s a heart-shaped keychain with a pirate symbol on it. Another example that connects the two ships is that in this ep, Hook tells Emma about having been in Neverland, while in her flashbacks we see SF talking about settling down, and she jokingly asks, “Like, where? Neverland?” Also, on the beanstalk, Hook says he can tell she has the look in her eyes of a lost kid who’s been abandoned by her parents. We already know based on the set up of his revenge story that Hook’s a bit of a lost soul himself (and we’ll find out in O222 that he was an abandoned orphan, too). This was Neal’s background as well. All three are, in a sense, kindred spirits. In fact, while O206 establishes the start of CS and shows us SF for the first time through flashbacks, O221 is going to show us that, independent of this, Hook and Baelfire had also crossed paths and cared about each other, completing all sides of the love triangle. Notice how ALL of these things, because they connect and parallel Hook and Neal, can just as easily support the idea that Hook was always meant to be an obstacle for SF to overcome, or that Hook is Emma’s true love. This is what TPTB like, to keep their options open in case things (and their preferences) shift.

I see similarities here to what happened with Eddie’s character on 911. He was brought in because TPTB liked Ryan and wanted him on the show. They were reorganizing after Abby’s departure in 110, so they introduced Maddie’s character as the new anchor at Dispatch, as well as Eddie to make the team more dynamic. Both needed ties to the team. Maddie would have one in Buck, but she also needed a romantic connection. We know TPTB decided on having the new characters develop a romance. JLH took one look at the ship name and said, “Chim,” 'coz she’s a queen. Which means Maddie would still have her romance, but what would tie Eddie on a personal level to the 118? My guess is TPTB saw the chemistry between Ryan and Oliver, and decided to go with that as the significant bond they’d give Eddie. The changes were made before 201 even aired. Once the ep did, Eddie’s entire introduction is all about Buck, including some clear hints at the option of a romance, without committing to it yet. I’m talking of course about the way Eddie’s presented shirtless for Buck to take him in, the sexy tune “Whatta Man” playing in the background, plus of course the classic enemies to friends trope. Again, TPTB hint at it, lay out the foundations, but keep their options open. When you run a show, there are a lot of elements that might end up not playing out as you intended them to, so you have to reserve some level of flexibility, keep your plans in mind, but also be able to adapt to what ends up working on screen. That’s why I think there were other hints at a possible romantic Buddie throughout s2 (the most blatant of which was the Elf Lady scene in 210 and the social media comments about Buddie in 218), but without anything becoming explicit yet. I do assume back then, they hadn’t decided yet whether to go canon with Buddie or not.

A part of what makes the comparison off screen so fascinating to me is contemplating what made TPTB change course and decide that the option they’re going with is CS as endgmae after all, because it might reflect on when and how a similar decision has been/will be made on 911 regarding Buddie. I do think the ultimate factor was on screen chemistry that garnered CS tons of vocal fans even before anything canon happened between them. Does that remind you of a certain 911 ship? But then, I also think SF's chemistry paled in comparison (I can specify in detail why the ship fell short on the story telling level as well, but my impression is it was a poor decision to cast Neal without an audition, including a chemistry read for SF. CS absolutely sizzle together. Chemistry is a mystery that few have managed to decipher. It’s not about whether actors are good or not, it’s not about whether they like each other as people off screen, it’s an unknown. And it might also be, at least to a degree, in the eye of the beholder. I’m sure there are SF fans who think their ship’s chemistry was way better than CS’. But I say to a degree ‘coz there usually is a general consensus, and in the case of Emma, most viewers seemed to agree her chemistry with Hook was off the charts). If the only ship that OUaT set up in a way that could (and was meant to) rival CS was failing to do that, what were the chances that any other incoming ship would? I suspect this is what settled the score in favor of CS. Not only did they become a canon couple, not only did they become Emma’s endgame, they became in a sense the whole show’s endgame. OUaT’s main theme (explicitly repeated) is that anything is possible if you only hold on to hope. The last significant zoom in we get for the entire show is on CS hugging while holding their little baby girl, Hope. 911 is very similar in its hopeful themes to OUaT, so here I have to point out that no one gives Eddie or Buck hope that things can be good quite like the other man (just one example is Eddie struggling from the very start of s5, and Buck helping him and giving him hope in 514 in ways no one else, not even a therapist, can).

Basically, this dynamic of TPTB creating a ship and not committing to it, but wanting it present in the minds of the viewers and realizing over time that none other could compare to this ship is once more very similar IMO to Buddie. After scenes like the lasagna Buddifer one in 601, there’s no character in the world that can enter the 911 verse at this point and win viewers’ hearts as the endgame ship for either Buck or Eddie over what they have with each other. Ultimately, I don’t see how TPTB can make any other choice that would be satisfying (and acceptable) for most of the audience.

In case you’re wondering whether I’m wrong and CS was supposed to be endgame all along, OUaT actually hinted within the show that this is what happened. In O621, after CS had just been married and immediately torn apart, Hook gives a small speech that seems to reflect the decision making behind the scenes: “Look, we made each other better! All right? Emma and I were never a predestined love story, guaranteed a happy ending. We fought for our love, and we won.” Within the OUaT world, where a whole bunch of things such as Being The Savior ARE predestined, there's nothing that tells Hook he and Emma weren’t. So why is he saying that? It’s TPTB inserting a meta comment into the text. As I’ve been pointing out, I believe these words resonate true for Buddie as well, who might not have been the original plan either, but they found each other, made each other better, and have been fighting together for the little family unit they ended up having.

Love is stored in the parallels

It’s fascinating to me that after CS first meet, the rest of Os2 gives each a mostly separate plot, because they’re both still preoccupied with a former love and they’re not ready to be with each other just yet. Hook is chasing his revenge, haunted by the ghost of the murdered Milah, while Emma is surprised by Neal returning to her life and taking his place there as Henry’s dad.

I find it insane how similar this is to Buddie in s2. They meet as enemies, quickly become friends, but for the most part have separate plots for that season, where Buck has to find a way to disentangle himself from Abby’s ghost (which is how he defines her when he writes his letter to her), and Eddie finds that his one request for momentary help turns into Shannon surprisingly returning to his life and trying to re-take her place there as Christopher’s mom. I’ll repeat, Hook and Buck are both haunted by the ‘ghost’ of a past lover, while Emma and Eddie have to deal with their ex, who’s also the biological parent of their kid, returning to their life. When I tell you that this perfect parallel makes me wanna chew glass...

But this allows them to resolve their issues and come closer together. There’s a moment when Hook thinks he did finally get his revenge in O215, which leads him to ponder in O220 what will become of his life if he does kill Rumple. He realizes it would be empty, as he has no one to share it with. This is a change inspired by Emma. He grasps the emptiness of his pursuit since in spite of himself, he started caring about her. It’s because of what he told her in O206, that she’s “bloody brilliant” and because of what she tells him in O222, that they understand each other (as fellow lost souls). There is something real between them that is changing him. The Os2 finale forces him to choose between his revenge and his own life. It’s a choice that he had to make before and he always chose to put himself in harm’s way in order to avenge Milah’s death (in an O311 flashback he even explicitly tells Tink that dying for his revenge would be satisfying enough). But this time, he realizes he does want to live. And as Emma challenges him in this ep to care about anyone other than himself, he does. He cares about her enough to do the right thing, returning to Storybrooke to save everyone. He practically tells her she’s the reason, that she inspired him to remember he could care about others. When he realizes his return was too late for his initial intention, but he could still help by offering the magic bean to save Henry, he immediately volunteers to do so and even to join the search party. It’s during this time that we’ll see them really coming together. That made me think of the distance we saw between Buddie in 5a, which gave way to them growing closer than ever in 5b, as Eddie confesses his greatest fear to and finds comfort in Buck.

O222 still doesn’t commit to a specific CS option, though. It could be Emma as The Savior helping Hook become better without returning his feelings, it could be the start of something that will eventually make way for Emma choosing Neal once she’s reunited with him, or it could be the start of CS as a ship that OUaT is actually invested in, not just as an obstacle to SF. When did the show decide between those options? I suspect the answer is during the hiatus ahead of Os3. What Hook did in O222, when he chose to return, it was the first selfless thing we’ve seen him do. But is it something that means he’s worthy of Emma or can compete with the feelings she and Neal still have for each other? I would argue that there’s nothing in the Os2 finale to definitively answer that in the affirmative, at least not just yet. In the Os3 premiere, however, I believe we get exactly that. We have a moment when Hook and Regina discuss whether villains like them can get happy endings. It’s a continuation of their talk in O220, where for the first time Hook wondered about whether he should have something more to his life than vengeance. In O301, he lets Regina know he hopes they can get one. As their conversation ends, the camera pans from that to Emma. That may not seem so significant, but in O416, there’s a scene where CS talk about whether Hook, as a former villain, will get his happy ending. She asks him if he’s found it, and he replies, “Don’t you know, Emma? It’s you.” Visually, the show clues us in on this almost two seasons earlier, before Hook himself had even realized it, using that shot. TPTB have already chosen CS over SF, we just don’t (officially) know it yet either.

But it’s one of those things whose full significance you’re meant to only realize during a rewatch. That’s exactly what 911 gave us with that montage of memories Eddie has in 315, where he sees the family he recognizes he’ll always fight to come back to, and that family is not just his son, it’s about both Buck and Chris. As emotional and incredible as that scene was, we discover roughly a season later that it means even more than we realized, as Eddie reveals to Buck in 414 his decision to alter his will following that call, officially and legally binding Buck to their family. Now just imagine, maybe somewhere in what we’ve seen there’s already a scene that one day, with the gift of hindsight, we’ll watch and it will hit us that TPTB were using it to signal that they had already chosen to make Buddie canon, we just needed to wait for it to unfold...

I say this because even though O301 lets us know TPTB have already settled on CS, the show itself will continue to pretend as if the love triangle between them and SF is yet to be decided throughout the rest of Os3. Hook surprised Emma more than once along Os2, but as he chose her over his revenge, she got to really see the kind of man he can be. His bloodthirst for Milah’s murderer was always fueled by his love and by the kind of devotion that only lost souls can offer. If that was so intense, just imagine what he’s capable of feeling when he begins falling in love with the one woman who he thinks of as so amazing that she could even make him let go of his vengeance. Alongside this, TPTB still dwell on Emma’s lingering feelings for Neal. That makes it seem like an open race, but it was later confirmed in an interview that they knew they were going to kill Neal before Os3 even started airing.

There are still clues in the subtext that CS are it. For example, in O301 we get to see them as a battle couple again, something we hadn’t witnessed since their first quest together climbing the beanstalk in O206. Never estimate the power of this trope! Since the days of the ancient Greeks, it has been used to signify a pair of bonded souls, ready to kill and die for each other, playing on the duality of the fierce fight one conducts for the person they harbor the most tender of feelings for, with both partners being so in sync that their bond can be counted on even in the most life threatening of situations. And yes, of course Buddie falls into this long, intense (and historically, homoerotic) tradition, as we have seen them being the ultimate battlefield boyfriends multiple times.

Another thing is that the triangle’s two sides aren’t truly balanced. What I mean by this is that when a show hasn’t decided yet, and wants to build up both ships, it will make sure to balance every significant thing one ship has with an equal counterpart for the other. In O307, CS have a meaningful moment where Emma thanks Hook for doing the right thing and telling them Neal is in Neverland, so that he can be saved. She acknowledges this is something Hook did in spite of Neal being his romantic rival for her affections. Hook responds that when he wins her heart, and he will, it won’t be because of trickery, it will be because she wants him (there are actually three opportunities Hook has in Neverland to win her “unfairly,” and he resists using even a single one of them). What this does is cement the fact that the love Hook feels for Emma can help him be a better man, someone who he once was (as we saw in O305). It’s a redemption through love story. And Neal doesn’t have an equivalent to that. Another indication is in O311, when Emma and Henry have to leave Storybrooke, knowing that once they do, they will lose their memories of everyone else. Hook tells Emma there won’t be a day when he won’t think of her. She smiles and replies, “Good.” Hook on his part is confessing that his feelings have morphed into this hopeless, epic love that will haunt him even when they’re realms apart. Emma, by accepting that, is in turn admitting that she actually does want whatever it is that has started developing between them. But when Neal told her a moment earlier that it isn’t over and he will see her and Henry again, she didn’t answer. Again, these are small signs that TPTB already knew the endgame ship before we got Emma officially choosing Hook, but they still pretended as if it’s not settled yet, still acting as if the love triangle is balanced. And I am forever thinking about 911 and what TPTB have already decided, but still aren’t ready to admit...

The on screen parallels are, like love, endless

We talk a lot about what Buddie’s ‘Oh’ moment might be, that instance of recognition of what they feel. We might not have gotten one on screen yet, or we may discover later on that, like the visual clue in O301, we can only decipher their ‘Oh’ moment in retrospect. With Hook, I think he had his in O302. Emma has to admit who she really is, that she’s still a lost girl. We, as viewers, can tell how similar she is to Hook. When they talk about it later, he asks her, “And just who are you, Swan?” and she teases, “Wouldn’t you like to know?” Hook is usually the one to bring on the flirting that most women don’t take seriously, but this time, when it’s Emma who’s being coy, he reacts with unusual sincerity and responds, “Perhaps I would.” It’s that uncharacteristic intensity that lets us know, he’s admitting it to himself. In O206, we saw that he was interested in getting to know Emma, but he could still lie to himself, hide behind how the info might come in useful at some point in his pursuit of revenge (even though we don’t see him take a similar interest in any of the other opponents). But here, he’s already let go of the idea of retribution, and is admitting to himself he honestly is interested in her, that what he feels is more than just attraction or a means to a goal. He genuinely would like to be the person allowed in. And yes, once more this is very similar to Buddie, who gravitated towards each other from the start, how they both showed such an interest in getting to know the other man better, and we got to see how similar in their trauma and journey towards healing they are, as well as being each other’s person, the one allowed in.

Another thing we have is instances of mutual longing stares. These are supposed to quietly make our guts turn, because CS exchange them in Os3 precisely whenever it seems like they can’t be together. For example, in O306 when Emma discovers that Neal, the father of her child, is still alive and in Neverland, there’s an intense exchange of stares between her and Hook. It reminds me a bit of how Buddie sometimes stare at each other, such as when the the team is discussing Eddie and Ana going to an event as a couple for the first time in 501, but it’s Buck’s eyes that Eddie meaningfully catches...

There’s of course the classic instants of jealousy. They don’t necessarily develop into full plots like on some shows, but they do exist in the background as a reminder for who someone really wants, no matter what facade they may present to the world. In O310, for example, Hook has decided to let Emma go so that she could have a chance to see if she could work things out with the father of her son. But he’s heartbroken, so he tries to take his mind off the pain by hitting on Tink, who of course realizes exactly what he’s doing and says no. Nothing happens, but Emma arrives just in time to see the two of them together and be visibly displeased by the idea. This is a lot like Eddie, even as early as 206, disliking the idea of Buck with any other person, like when he saw Taylor speaking to Bobby in that ep and ignored it, but the second he saw her speaking to Buck...

And let’s talk about building a family unit together! Well, Hook being Emma’s co-parent isn’t exactly a focal point of OUaT, since she shares custody of Henry with another, adoptive mother. The show is preoccupied enough with both Emma and Regina’s journey to accepting their motherhood and learning how to be a good parent to Henry, on top of Neal discovering that he’s a dad (not to mention all the grandparents this brings into Henry’s life), that I don’t think the show has a lot of space left to delve too deeply into Hook as Henry’s extra parental figure. And yet, it does have a whole bunch of really lovely moments that it dedicates precisely to that. For example, in O316, before CS even get together, Hook spends a lot of time with Henry to help this kid grieve. Even when we don’t see these moments on screen, OUaT makes sure to include references that let us know these are happening off screen. And to really cement it, all of O606 is dedicated to establishing that Henry does see them as a family unit and accepts Hook not just as Emma’s romantic partner, but also as an additional parent.

I don’t really have to explain how this is very similar to Buddie, where there’s no question Chris has basically embraced Buck as his other dad, and that these three ARE one family unit, right?

Another thing OUaT did with CS once it decided they were endgame is to give them an epic cinematic point of reference. I’m referring to O305, when Emma and Hook kiss for the first time. Hook, the womanizing pirate, is visibly shaken up by it. Emma, however, is still in denial and right away says it’s just a one time thing. But as she sends him away, he replies with, “As you wish.” This is an obvious reference to the movie Princess Bride which established that saying that is another form of saying, “I love you.”

Buddie have their own cinematic reference built into the ship. Their promise in 201 to have each other’s back is a clear reference to Maverick and Iceman’s exchange at the end of Top Gun accepting the other guy as their wing man. If you ask me, that was a way of saying “I love you,” too. And of course, Top Gun came out in the 1980’s, when mainstream Hollywood was not filming gay romances, but this hit film is widely known and understood as a queer coded movie. In fact, Val Kilmer himself once referred to Iceman as his first gay role...

And God, that epic reference really fits CS. Even before they get together, Hook’s feelings for Emma are so grand, he chooses to follow her to the ends of earth and time, literally. Magical vortex that leads God only knows where opens up in O321? Hook wants to get out of there right away. It sucks Emma in? Hook deliberately lets go and allows the vortex to claim him as well, while he mutters that one day he’s going to stop chasing this woman (except he obviously won’t). You know who else follow each other into the craziest, most life endangering situations without a second thought? Yep, our resident moron in love firefighters. They will never stop chasing and saving each other either.

An additional way to build up CS as a ship and a significant one is to have them parallel the other canon couples on the show, particularly the ones that have such a sound foundation that viewers know their love is true. If CS parallel those couples, that means their love is true as well. I think the most obvious parallel on OUaT is between CS and Emma’s parents, Snow and Charming. They were THE romance in s1, cemented by their exchanged promise that they will always find each other. Just imagine how feral I went when in O511, we had Emma leading an expedition to the fucking underworld because she was hellbent on finding and saving Hook, and she utters the same epic promise of love her parents have repeatedly made to each other, that she will find him, she will always find him. Just in case we still had any doubts, in the underworld she has to undergo a test of true love, and unsurprisingly, she passes it. Hook and Emma get to spend the rest of their lives knowing that what they built together, by being there for each other, comforting and learning and saving one another, is true love. So I hope you get why it drives me a little crazy to think about how, in essence, that’s exactly what Buddie have as well, their relationship is built from the same building blocks. Not to mention, they’re also repeatedly shown to parallel the canon, foundational couples of 911, like Madney, Henren and Bathena.

Another of these parallels to Snow and Charming can be found in the language one partner uses when they try to revive the part of the ship. In O103, it’s Snow trying to save Charming in Storybrooke, and she’s begging him at first to come back to “us,” but that doesn’t really express what she feels, her desperation, so she switches over to “Come back to me.” That switch says everything about how significant the “me” is. It’s not just a general rescue attempt out of respect for the sacredness of all human life. This is personal. A loss that the rescuer cannot bear. And they have faith that the connection between them and the person they’re trying to save is another life line, in addition to the physical actions to keep the other person alive. That’s exactly what Emma is also begging Hook to do when she’s giving him CPR in O320, in those very words, after Zelena almost drowned him to death. That of course parallels Buck begging Eddie to stay “with me” in 414. Also worthy of note? None of these couples are together when one half of the ship has to rescue the other and ends up resorting to this intimate language.

A parallel I absolutely have to quietly scream about into my fist is the one about emotional walls. In O503, Hook confesses to Emma that he liked her exactly as she was. He tells her that he liked her walls, and he liked being the one to break them down. That confession holds so much, like the acceptance of the person you’re in love with as they are, with all of the parts of themselves that they see as the worst, like the love, patience and support that turns being there for someone else when they let you in on what they see as their ugliest parts into something you see as beautiful, and like that awe-inspiring realization that you are special to them because you’re the only one they let into their mess. Now tell me this isn’t precisely what we got with Buddie, when Buck physically broke down the door to Eddie’s most private space, his bedroom, and he wasn’t kicked out for doing that or met with any kind of resistance, instead what Buck got was Eddie letting down his emotional walls as well, not just in that moment, but also later on, when he allows Buck back into that mess, to help clean it up and fix his broken walls. Yes, the most significant emotional developments that happen between romantic partners are ones that Buddie got to have, too.

And lastly there’s of course the parallel that you can see in the header for this meta post, between the time Emma had to watch Hook be stabbed in front of her eyes in O423 and when Buck had to witness Eddie get shot right in front of him in 413. The way that scene plays out (one is fatally wounded, the other is horrified into paralysis, but then before they can rush in, a third party has to intervene and stop them, as the wounded partner reaches out to them) is a romantic trope in itself, because yeah, shows and movies usually only do it this way to one person when it’s their romantic partner who sees everything and is devastated by it. That Buck was put in the same position Emma during this scene, that says everything.

~~ Thank you soooo much to the amazing @buckleyirondad and @madsbuckley who shared the load of giffing for this meta (since there were so many scenes to gif). Your creations are breathtaking and so is your kindness! I seriously can’t thank you enough, I hope you had a blast making the gifs, and that everyone reading enjoys this meta! If you have, please consider supporting it by giving it a reblog, thank you! xoxox

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hookedonapirate · 1 year

Text

Lady Cassidy's Lover

Summary: 1919 England, Emma Cassidy, wife of a baronet, finds herself trapped in a loveless marriage after the war leaves her husband, Neal, paralyzed from the waist down and unable to produce an heir.

Despite the obstacles, she sticks by her husband's side at Goldby Hall, his family's estate, but when she meets former army lieutenant and Neal's aloof gamekeeper, Killian Jones, she feels curiously drawn to his distant blue eyes and quiet demeanor.

At first, she seeks him out for reprieve from her soulless, mundane existence at Goldby Hall, but what starts out as purely physical quickly turns into more than either of them expects.

But Emma is a baronetess, wife of an aristocrat and Killian is a working class servant. Their love affair is frowned upon, and she risks losing her title, her wealth and her position in the world by being with him. But she is determined to get her happy ending with the man she loves. Even if it means losing everything else in the process.

A/N: Despite Emma's last name and marriage to Neal, this NOT a swanfire fic! This definitely ends with Captain Swan so if you're expecting swanfire, this is not for you.

This is the Lady Chatterley's Lover au no one asked for. I had never read the novel but when I watched the newest movie adaptation (there are 4 that I know of), I simply had to write this for CS even though I already have a mountain of wips in my doc. This fic will mostly be following the 1981 and 2022 versions. If you haven't watched the 2022 version, I highly recommend it, if no other reason than to watch Jack O'Connell.

This fic deals with mature themes (some of which the book was banned for back when it was written), adultery, postwar, language, smut.

Hope you enjoy!

Catch up: Ch 1 I Ch 2 I Ch 3 I Ch 4 I Ch 5 I Ch 6 I Ch 7 I Ch 8 I Ch 9 I Ch 10 I Ch 11 I Ch 12 I Epilogue

We've got to live, no matter how many skies have fallen—D. H. Lawrence, Lady Chatterley's Lover

Chapter One

Emma releases a heavy sigh as she slumps down onto the sofa, relieved the ceremony is over with. If only the day were done too, so she wouldn't have to be subjected to dancing and all the other useless traditions of a wedding reception. Now she has to listen to dreadful toasts and her and Neal's family drone on about how perfect she and her new doting husband are together.

"So, how does it feel?" One by one, her sister, Mary Margaret unbuckles Emma's shoes and pulls them off her tired feet.

Emma shakes her head. "I don't know. Ask me tomorrow." Perhaps then she'll feel differently about exchanging vows with a man she barely knows.

She and Neal had met and courted shortly before he was shipped off to war, and during his leave, he had confessed he'd hated being without her and asked her to marry him. She had said yes and they were quick to get married before he returns to the front. Their fathers may have had a hand in rushing things along as well. Britain declared war with Germany three years ago, heightening Sir Rumpelstiltskin's long-held desire to see his only son marry and produce heirs to their fortune.

Emma's father, Sir Leopold, wants her to have a stable husband, and who better than a man with a hereditary rank and title? She and Mary Margaret were raised in Kensington by Sir Leopold, a royal academician and their mother, Eva, a well-educated socialist, and had what one might call an aesthetically unorthodox childhood. They had been taken to Paris, Florence and Rome to breathe in art, and to the Hague and Berlin for socialist conventions where the speakers spoke in every civilized tongue.

Emma comes from wealth and Neal from aristocracy, so some could say it's the perfect match, except for the fact she has not known him long enough to truly love him. But from her perspective, this marriage is the perfect arrangement. The perfect way to get her father off her back about finding a suitable husband like her sister's. Furthermore, she does not have to worry about getting hurt by someone she does not love. She has experienced what it's like to lose someone she loves. She lost her mother ten years ago to illness and had to witness her father almost become a shell of a man without her. Emma made up her mind long ago she would never give her heart to a man. She would never submit to him emotionally.

She has been with men before, of course, but none she had loved.

A man is like a child, and if he doesn't get what he wants, he whines and fusses, exposing an unpleasant side of himself. But a woman can yield to a man without yielding her inner, free self. A woman can take a man without truly giving herself away. Certainly, she can take him without giving herself into his power. Rather, she can wield the power over him.

"You need to eat something."

"I need to get out of this dress first." She doesn't quite care for the high-waisted empire line, the tiered skirt made of dreadful lace or the sleeves that fall to her elbows. It reminds her of a tablecloth rather than a dress. Don't get her started on the extravagantly large bouquet of flowers that nearly touched the ground when she held it. And she'd tossed away the Juliet veil as soon as she had returned to the bridal suite.

Mary Margaret agrees as she takes her hand and pulls her up, helping Emma out of her wedding gown and into a simpler dress for the reception.

"How do I look?" Emma asks once she's in it, twirling around in the green dress to give her sister the full effect.

Mary Margaret smirks. "Well, I doubt Neal will want to stay long at the reception."

Emma's cheeks warm as she stands in front of the mirror and removes her earrings, replacing them with emerald ones that will match her dress. She and Neal have not even had sex yet, so tonight will be their first time. "You don't think his mother would've approved?" Neal's mother was the daughter of a viscount before she died.

"Well, I'm not entirely sure I do."

Emma rolls her eyes at her sister as she recoats her lips in red lipstick. "Are we talking about the dress...or the wedding?" Not everyone can find their prince charming as she did. Mary Margaret's marriage to David was definitely not forced or rushed. They are true love, as she always likes to boast. "We had to marry quickly before he returns to the front in the morning."

"Yes, but couldn't you have just had sex with him instead of marrying him?"

Emma laughs. "Mary Margaret! Be serious." She studies herself in the mirror, turning and running her hand over her dress, deciding to leave her blonde hair braided into a crown atop her head. She looks like herself, but somehow different now that she's married. She had honestly never thought this day would come.

"I am. It's much less commitment, and it's all Neal will want anyway."

"Neal's not like that. He's kind and thoughtful. He makes me feel safe."

"You mean safe from getting hurt?"

Emma looks up to see Mary Margaret's reflection in the mirror as the brunette narrows her eyes. But Emma knows she can't lie to her sister. Mary Margaret would see right through her. Emma stands and turns around to face her. "Precisely."

Mary Margaret places her hands on Emma's shoulders. "See, that's just it. If you never open that heart of yours up to anyone, you'll grow old and gray without ever experiencing the wonderful things life has to offer."

"I do experience the wonderful things life has to offer." Not that sex is really that wonderful. It has always been merely a way to let off some steam.

Mary Margaret tilts her head. "I'm not talking about sex. I'm talking about love."

The clearing of a throat interrupts their conversation when Neal steps into the room with a tray of three wine glasses. "I brought reinforcements."

The two women blush when they realize he must have heard the tail end of their conversation.

Mary Margaret goes over to Neal and grabs one of the glasses, taking a sip. "You read my mind."

"I nearly drank yours on the way up," he tells her, chuckling as he hands one to Emma and takes the other one for himself. Setting down the tray, he clinks his and Emma's glasses together. "Cheers."

"Cheers." Emma smiles at her new husband and takes a sip.

"Our fathers are preparing their toasts."

Emma groans, not looking forward to going downstairs. "Can we face them together?"

"Of course." He smiles at her, and she has to admit, Neal is not the worst man she could've chosen for a husband. He's handsome and charming, his eyes crinkling at the corners when he smiles. She can tell he cares for her. "You look beautiful, Ems."

She offers a smile in return. "Thanks."

After they finish their wine, she takes his offered hand, allowing him to lead her downstairs, where their fathers give speeches and announce their hope for a new heir to Goldby.

~*~

Two years later

Dearest Mary Margaret,

I knew the war would change us all, I just didn't know how much. It feels as though it ended half a lifetime ago, not half a year. Neal and I have already moved away from London, and we've just arrived at Goldby, his family estate. Once we get settled in, I expect to write to you often.

Your loving sister,

Emma

Lady Cassidy gazes vacantly through the window as the motor-car winds through the park of oak trees. The sky is about as gray and murky as the future, for who knows what tragedies it may hold. Clouds of smoke rise from the chimney of the pit in the distance where Misthaven village struggles to stay afloat beyond the park gates.

The car pulls up in front of the eighteenth century home made of brown stone that sits on the top of a knoll, overlooking the park. This is her new home in the smoky Midlands where she and Neal will finally begin their married life at Goldby Hall, the family seat. His father had died of heart failure, and Neal is now baronet. But he claims his father died of chagrin since he and Emma are without a child. And they most likely will be childless forever. Not only did they never get the chance to consummate their marriage the night of their honeymoon since she had been too exhausted and he had been too anxious about returning to war, they never will.

The chauffeur opens Emma's car door and grabs her luggage.

"Thank you." She steps out, taking in her new home. This place is nothing like her childhood house in London. Goldby certainly needs a lot of work.

The housekeeper, Mrs. Potts, who worked for Rumpelstiltskin, approaches with her husband to greet them. "Welcome, Sir Neal. We've been praying for you."

Mr. Potts helps him out of the car, picking him up and placing him into his wheelchair. An explosion during the war left Neal paralyzed from the waist down, and the doctor said he may never be able to walk again.

Emma tries not to think about that, however. She tries not to think about how she may never get pregnant or be able to give birth to a child as long as she's with Neal. She will never get to raise children or watch them grow up and run around the park at Goldby. She can't think of herself anymore though. She is married to a baronet, whom she vowed to have and to hold, for better and for worse, for richer and for poorer, in sickness and in health until they are parted by death. After he returned from war, he told her he could never lose her, and she promised he never would.

She will spend the rest of her life keeping that promise.

"Mr. and Mrs. Potts, this is my wife, the new Lady Cassidy."

Mrs. Potts turns around to greet her with a curtsy. "It's so nice to meet you, milady."

Emma smiles, bows her head and steps toward her. "Nice to meet you."

Neal wheels himself over to his wife, and the four of them avert their attention to the worn-looking house towering over them. "There's plenty of work to be done," Neal comments. "Hire back all the workers we can, Mrs. Potts. Old girl's seen better days."

Emma places a hand on the back of his chair and tries to be optimistic. "We'll bring her back to life."

~*~

"Killian Jones." Sir Neal looks up from the application in his hand from where he sits at the other side of the desk. "You, uh, worked for my father before the war?"

"Aye, sir. For two years." When he returned, he heard Rumpelstiltskin had passed and that Neal would be taking over and hiring new staff.

"And you were an army lieutenant?"

Killian nods. "I was very sorry to hear about your father. My condolences, sir." He wishes he could say Sir Rumpelstiltskin was a good man, but that would be a lie. He was ridiculous, chopping down trees in the forest and weeding men out of his colliery to shove them into the war while he, himself, was a coward who stayed safe at home and buried his country in heaps of debt while claiming to be patriotic.

"Thank you." Neal looks at him skeptically. "Do you honestly believe returning to gamekeeping will be satisfying after your time as an officer?"

Killian shrugs, his fingers drumming along his wool cap. If he could, he would leave. Every night, he dreams of escaping to a new place where a new voice says his name with warmth, where eyes filled with love look at him instead of ones filled with hatred and betrayal, where he is not dismissed. There is no freedom here, there never will be. Milah doesn't love him, but nevertheless she holds him close. One more possession.

"Bit of quiet would do me good. I've seen enough of what war does to men." Not only had he seen men brutally die in battle, but his brother had been one of them. Every day, he tries to push away the horrific images that have plagued him since the war. Every day he tries to forget. About the war, about her. Being a gamekeeper, tending to the animals, breeding them, enjoying the quiet of the forest while protecting it will be therapeutic for him.

"Hmm. As have I." Sir Neal has learned firsthand what war can do to men. He himself was paralyzed from the waist down.

Rumors about his injury had spread before Neal came to Goldby.

Neal sets the application down and joins his hands on the desk. "Very well then. Welcome back, Mr. Jones."

"Thank you, Sir." Killian turns around and heads out of Neal's study, moving past the long line of men seeking employment. He was lucky the baronet had hired him so quickly, and he is grateful. Killian receives a monthly war pension, but since he and Milah are still legally married, she's entitled to half of it. So now he is stuck in Misthaven, barely skimming by to make ends meet while Milah prances around with various menfolk of the village, spending the money he had earned by going to battle and risking his life.

Now he spends restless, lonely nights in his cottage, thinking about his brother and the war and everyone else he has lost.

But at least he has Jolly to keep him company.

He returns home to his cottage, where she's waiting for him at the door. His lips crack into a big smile when he sees her. "There's my good lass." He kneels down to ruffle a hand through her fur as she yaps, wagging her tail excitedly.

She truly is a good dog and the best companion he could hope for. She's loyal and trustworthy and always appreciates his affections, unlike his wife who betrayed him to be with other men.

After everything that's happened, Jolly is the one good thing in his life.

All he has left.

#cs ff #captain swan #lady chatterley's lover au #based on a novel

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