Summary: Emma Swan is only just getting to grips with the whole fairy-tale thing, let alone the villains. She’s already defeated the Evil Queen. But the Evil Queen’s mother is a new story entirely. Not to mention Captain Hook. She will do whatever she has to do to take him out. Until one day she wakes up in an entirely different bed, only to find out she’s married to him. | Captain Swan.
Author’s Notes: I did NOT expect all the love I got for Part 1 of this. I thought it would be an interesting idea to write and as it turns out, so do many other people! So here we go. Part 2. I hope you guys like it! Thank you for the support my lovely shipmates. <3
She was sat on the floor, her back pressed against the door, keeping it firmly shut. She had already locked it with the silver bolt just above the handle, but she wasn’t taking any chances. Not with him. Not ever.
Her legs were pulled up, arms clasped tightly around them. Her feet sunk into the thick, cream carpet, but she couldn’t appreciate it. She couldn’t appreciate the beauty of the room, either. She stared at the bedframe, level with her eyes, but unseeingly. On the inside, she was screaming.
“I’m going to get your mother,” came Hook’s voice again. “Perhaps she can made head or tail of what the hell is going on.”
She didn’t move, not even as she heard the distant sound of his footsteps down the stairs and the slamming door.
What the hell had happened? One moment everything was perfectly fine, everyone was happy, Hook was locked in a cell and they only had one more problem to deal with: Cora. Then suddenly she was in this entirely different life, sleeping in an unfamiliar bed in an unfamiliar house.
And Hook - the fairytale Captain Hook - was claiming to be her husband.
Besting 'The Lego Movie': How Two Little-Known Animated Films Landed Oscar Nods
Song of the Sea
You don’t have to be living in Cloud Cuckoo Land to think that the Oscars’ snubbing of The Lego Movie is crazy. The Warner Bros. release was one of 2014’s most-loved and best-reviewed movies, and yet it failed to make the Oscars cut alongside other popular animated hits like Big Hero 6, The Boxtrolls and How to Train Your Dragon 2.
Instead, the final two slots in the Best Animated Feature category — one of which might otherwise have gone to Lego — are occupied by a pair of little-known international imports, Song of the Sea from Ireland and The Tale of the Princess Kaguya from Japan. Incredibly, both films also came from the same distributor, GKids, an upstart independent company that in recent years has brought some of the finest examples of world animation to American shores. “I love The Lego Movie; I saw it twice,” says GKids head, Eric Beckman. “There’s this idea that Oscar voters get together as a cabal [and decide] who to snub and who not to snub, but I think it’s really a personal thing. People might say that [our films] are a surprise, but I think anyone who saw them aren’t surprised at all.”
Watch the trailer for The Tale of the Princess Kaguya:
If it’s any consolation, the two films that arguably leapfrogged over Emmett, Wyldstyle and Batman aren’t just good movies — they’re exceptionally good movies. Based on a centuries-old Japanese legend, The Tale of the Princess Kaguya hails from Japan’s premiere animation company, Studio Ghibli, the home of revered filmmakers Hayao Miyazaki and Isao Takahata. Takahata spent seven labor-intensive years making the hand-drawn Kaguya, and it’s likely to be his final film — a grand summation of a career that has also yielded such classics as Grave of the Firefliesand My Neighbors the Yamadas. Song of the Sea, meanwhile, is the second feature from Irish animator Tomm Moore, and draws on the Celtic myths about selkies — magical seals that take human form when they emerge from the waves — to construct a deeply moving story about childhood and grief. “These are two of the strongest films we’ve ever released, and to have them both in the same year has been really, really great,” says Beckman.
Watch the trailer for Song of the Sea:
Both films illustrate the still-young company’s ability to form strategic, fruitful relationships with overseas animators. GKids has enjoyed a strong partnership with Studio Ghibli since 2011, when they acquired the U.S. theatrical rights to select titles from the company’s back catalogue, as well as their newest release, From Up on Poppy Hill. And Moore’s debut feature, 2009’s The Secret of Kells, became one of GKids’s first success stories by bringing the studio its first-ever Oscar nomination for Best Animated Feature. At the time, Beckman and his partner Dave Jesteadt had just created the GKids distribution label. Rather than rely on costly trade ads, Beckman and Jesteadt mounted a small, but targeted campaign directed at the Academy’s animation branch. “The films have to speak for themselves, and that film spoke for itself,” Beckman says, adding that Kells earned high scores on the 1-10 scale used by Academy voters during the nominations process. “We were a really small company back then, and put a lot of blood and sweat into that film.”
The Tale of the Princess Kaguya
Since 2010, GKids has built an Oscar track record that rivals some of Hollywood’s bigger, better-funded animation houses. In 2011, they received another double-nomination for the French film A Cat in Parisand Chico & Ritafrom Spain. And last year, the whimsical French fantasy Ernest & Celestinewas in the Oscar mix alongside studio blockbusters like The Croods and Frozen. Both Beckman and Jesteadt credit the quality of the films themselves for making the final cut, but they’ve also honed their Oscar strategy over the years. “This is the first year we’ve had films actively positioned around the awards [season],” explains Jesteadt. “We placed Princess Kaguya in the fall right against movies like Whiplash and The Imitation Game and all these other Academy contenders.”
Both movies can also benefit from the publicity an Oscar nomination brings. Princess Kaguya has been playing in theaters since October, while Song of the Sea started its run in late December and will have a major expansion towards the end of January. “The Oscars are a great platform to get the word out to an audience that are clearly very curious about what the films are.”
Even though they remain winless on Oscar night, GKids has carved out a niche as a go-to company for international and independent animated features that otherwise might remain unseen in America. And they’ll likely be back among next year’s nominees, with Studio Ghibli’s latest (and quite possibly last, as both Miyazaki and Takahada are retiring) film, When Marnie Was There, directed by Hiromasa Yonebayashi, which will be released stateside later in 2015. “After The Secret of Kells, people could have assumed that it was a fluke, but [we’ve got] six nominations now,” says Beckman. “The films themselves have to be worthy of the attention they’re getting. Once the films are there, we just have to figure out how to share what we love about them with other people.”