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Operation OUT

@operation-out / operation-out.tumblr.com

Operation OUT is currently a work in progress. We advise you to read the Intro and the Summary to get an idea of the general concept of our theory. The content found in the other categories is currently incomplete, but will be continuously updated. Join the speculations on Tumblr and Twitter by using hashtag #operationOUT.
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It's probably time to make a summary post explaining the OUAT meta theory on this blog, seeing as some new people have joined the fandom since this blog was very active. All you really have to understand is that according to this theory, OUAT takes place in the collective unconscious - a shared mind between all people where all elements from stories and fairy tales are actually alive. The entire show is Emma interacting with this collective unconscious to learn from the tales and archetypes, and process her own traumas and issues in a physical environment - because let's face it, she just isn't one to sit still long enough and work with a therapist.

Once you see Once Upon a Time as a metaphor for Emma's psychological journey, both the lack and subtle omnipresence of queer elements make much more sense. Emma carries a lot of guilt and shame, shame about abuse, committing crimes, going to prison, and guilt for giving up her son. She is also ashamed of her sexuality.

In the Pilot, baby Emma is put into the closet - to save her from a dark curse.

During season 1, there is a lot of queer subtext, but it's dark and antagonistic, and it generally plays out between Emma and Regina. It is hidden - here it is clearly an aspect of Emma's shadow self. She does not accept it.

Early on in season 3, there is an almost-confession of love from Mulan to Aurora. While this was still subtext, there was no other way to interpret this storyline, and the intent was never denied outside of the show. This shows us that Emma's reluctance is not only shame about her sexuality, but fear of getting hurt if she opens up her heart.

Season 4 has young Emma and Lily stare into each other's eyes for a little too long and it has them share a promise of eternity through a shared birthmark/tattoo. Meanwhile older Lily's apartment has Tibetan prayer flags in the colors of the rainbow and she lies about having a husband and children.

In season 5, Dorothy and Ruby share a True Love's kiss. Dorothy shares her family tried to have her committed and Ruby empathizes by sharing her entire village tried to run her out of town with torches and pitchforks. Fairy tale speak for conversion therapy and not being accepted by family and friends.

Then finally, in season 7, the entire season showcases a lesbian storyline with Alice and Robin. The couple is accepted and nobody questions their sexuality.

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Of course, there are far more references to Emma's sexuality, but these couples clearly show the evolution in Emma's acceptance of her homosexuality. It also explains why all of the queer representation on OUAT were female couples and not male couples.

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Hidden stories - Informant

From the beginning of the series we learn a lot about Emma’s real past through encoded memories. Take for example the scene between Snow White, Prince Charming and the trolls in “Snow Falls” (Season 1, Episode 3) . Watch the scene again, keeping in mind that it’s an encoded memory. Bandit Snow White is Emma - a young thief and police informant -, Charming is a cop and the trolls are criminals.

When the troll leader gets suspicious you can easily substitute the words “He’s a Royal!” for “He’s a cop!”. The visual metaphor becomes even more obvious when they are alarmed because they find  “a wire” on Charming.

In Season 7, it’s made even more clear this was a vital part of Emma’s past because Alice/Tilly - a more obvious avatar for Emma - is introduced to us as a police informant.

The picture is complete when Weaver and Alice meet... by the troll bridge.

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Season 7

In season 6 Emma started to regain consciousness for the first time. Her situation was made most clear through the metaphor of Snow & Charming’s shared sleeping curse. She went from being completely unconscious, to having one foot in the waking world and one foot in the subconscious world.

Imagine the people around Emma. This entire time they have been getting to know her through files, through coma work, through talking to people who knew her before the accident. This entire time direct communication has not been possible. What would be the first thing you would do once you felt they were starting to sometimes sit up and have conscious interactions with you? You would tell them about what happened to them while they were out, wouldn’t you?

Emma’s reality seeped into her world through dream logic, but she has the same information we do. She doesn’t really know what happened to her. Now that Emma is being told what happened, the part of her that is still stuck in the unconscious, translates everything she hears into fairy tale again. As explained here, the end of season 6 invited us to see the story from the perspective of conscious reality.

The season has two main story arcs. One is the retelling of everything that’s happened since season one, but from the perspective of conscious reality. The other is Emma’s final struggle to let go of this world and completely return to the conscious reality.

Hyperion Heights

The “Heights” is obviously a reference to the higher state of consciousness. We’re seeing the story from the reality perspective.

Emma’s absence

Emma’s absence is her recognizing she was in a coma the whole time. She was at the mercy of everyone else, she wasn’t really a player. That’s why she isn’t present. The car crash 

Henry

Adult Henry carries Emma’s keychain, he seems to be one of Emma’s main avatars in this world. He is a Swyft driver, he carries other people around, but his own life has stopped. He can’t write anymore. this represents Emma living among fairy tale characters, but she has stopped living her own life. By creating her own world she has given herself all she thought she ever wanted, everything the world had made her believe she needed to be happy. Parents, a husband, a baby. What she wanted was not what she really needed. She was also limited to the stories that came before her and they only had so much to offer. To live her life, she needs to break her sleeping curse and start writing her own original story again. 

Henry mourns the family that he got through the curse. Emma’s pain of losing her sleeping curse family is real too. Meanwhile Jacinda and Lucy represent Regina and Henry, the real world family who are waiting for Emma to wake up fully and realize she is really not alone anymore.

Roni

In simplified terms, Roni is Regina wearing Emma’s clothing. Emma recognizes that she has been projecting herself - and more specifically the Evil Queen side of her self - onto Regina. The clothes and the attitude represent the projection. Roni still represents Regina most of the time as we can tell from her meeting with Henry in which she asks what Henry is going to drink - much like Regina’s first question to Emma - just a bit less refined.

Real estate

Just like Storybrooke, Hyperion Heights sometimes represents Emma’s entire body, her entire being. Usually it means that all the archetypes that make up her psyche live there together, but sometimes it is about her physical body. The battle for real estate in Hyperion Heights seems to be a battle for Emma’s organs. Buildings are body parts and some people see them as nothing but commodities.

Candy killer

We have written about how there were many signs Emma’s liver was failing, and that she received a liver transplant from the person who was supposed to get her heart. One of our working theories is that in order to get to Emma’s heart faster, medication that was bad for her liver was used to legally poison her. The candy killer used chocolates, he was trying to kill by targeting the liver.

A life for a life

Lucy’s life for Anastacia’s live. Weaver’s life for Nook’s life. Heart curses and children who can’t be with their parents. If there was ever any doubt this show was about organ transplants, heart disease and family, there really shouldn’t be any left.

Custody battle Lucy

One of our working theories for Robin Hood’s identity was that of a family lawyer who took on Henry’s custody case and got romantically involved with Regina. We saw Regina give her heart - Henry - to Robin Hood to take care of it. Later they celebrated Regina getting her heart back. The heart sharing represented shared custody. The Nick storyline seems to fit that narrative even if details are unclear.

Roni couldn’t adopt

Henry’s adoption was legal, but it seemed like what we saw - Regina asking Gold to pull some strings, wasn’t so far from the truth. It seems plausible that Gold’s “Please” was a metaphor for him blackmailing Regina using small print he incorporated in the adoption. Again, a working theory that seems to hold up.

Search for a guardian

The search for the guardian was such a big part of season 7, as it would have been a big part of the reality. Emma has no next of kin, so who is her legal guardian? If people are after Emma’s heart, then the power of the guardian is the power of life and death. Emma’s life, but also the life of a person in urgent need of a heart. The finale and the coronation seem to tie in with ending the powers of the guardian. Emma regains legal custody of herself. 

Henry’s podcast

Young Henry’s speech in New York resulted in people throwing money in the fountain to bring people back from the land of untold stories. This seemed like a metaphor for Henry using social media to raise money for Emma’s medical care. Henry’s podcast about Hyperion Heights could be a reference to this.

Belle & The Dark One

Belle and the Dark One have been a representation of Life and Death. In season 6, Emma became partly conscious for the first time, so Belle went back to life. The Dark One was still stuck in the unconscious part, the death drive that keeps Emma afraid of waking up fully. Life and Death reuniting is another sign that Emma has woken up.

Gothel

Gothel’s story had very strong queer undertones, with one girl being bullied for coming out for her true nature and another girl confessing she is of fairy nature too, but she would never be strong enough to come out. Gothel’s price for being out is that her true nature was destroyed. This could be a reference to conversion therapy and Emma’s fears of waking up that playes such a big part throughout the series.

Alice & Robin

Alice and Robin both represent Emma - and the relationship between Emma and Regina. Alice is stuck between worlds much like Emma is now. Many of her conversations with Robin about having good days and bad days reflect the medical reality where Emma can be conscious one moment and back in a minimally conscious state the next. Robin and Alice’s youth represents a budding relationship.

Emma & Regina

Regina is coronated as the Queen who brought the realms - of consciousness - back together. In the end Regina saved Emma’s and Emma finally realizes and recognizes it. The coronation - apart from being a symbol of individuation and empowerment - seems to represent Emma showing up to prove she can legally handle her own affairs again.

The lyrics of “In my dreams” during Season 6 suggested that Emma and Regina’s meeting was love at first sight. If we take a step back and imagine what would have happened if Emma wouldn’t have had her accident, it probably wouldn’t have ended well for them. Emma would have left, they wouldn’t have been able to settle their differences.  Ironically Emma’s accident gave them a chance to grow. They get to be Miss Swan and Madame Mayor again. They’re getting a second chance to pick up where they left off.

These are just a handful of the metaphors - or more or less likely interpretations - that tell the consciousness story in season 7. Let us know which ones you’ve spotted!

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It seems counter-intuitive that the first part of the series finale is called “Homecoming” while the second part is called “Leaving Storybrooke”. Things start to make more sense if you look at the two episodes as two separate metaphors. “Homecoming” tells the story of Emma starting to wake up. As we’ve mentioned before, people don’t just wake up from a near-comatose state one day to the next. It is a long process of shifting between states of consciousness. Homecoming tells the story of the part of Emma that is already in the conscious world. 

When Alice - the most obvious Emma avatar - and Robin cross the Storybrooke townline, they came from a parallel world in the year 2017 and yet they used a bean - symbolizing they crossed a realm of consciousness. Hyperion Heights represented Emma’s alternate reality, the Storybrooke they go to at the end of the episode is real Storybrooke - Emma is going home to consciousness where she can be with real Henry and real Regina. It’s no coincidence they use a young couple that parallels Emma and Regina, their youth is a symbol of the budding relationship.

Meanwhile the second half of the finale is called “Leaving Storybrooke” and it deals with the part of Emma that is still stuck in mental Storybrooke, the Storybrooke that represents Emma’s personal unconscious. Emma still has her tattoo and she wears the second version of her red jacket - the design suddenly changed when she became sheriff - so we know she is not back to reality, but she is really close. The coronation scene shows us that the Snow and Charming - the Superego - now bow for the healed Queen - the Id, the core personality. Her personality is more balanced and hardship has given her hope.

She gets a second chance to be Henry’s mother and to have a relationship with Regina, because if she hadn’t crashed her car, their battle would have played out in the real world. It seems unlikely that they would have overcome their differences as the people they were back then.

The final scene shows us that Emma is finally able to cross the town line. It’s a rainy night, much like the night when her car crashed and she left on her inner journey. When she passes the sign, it symbolizes that she is finally ready to go back to consciousness.

Emma has healed.

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Where did the idea come from?

Adam Horowitz: The idea came from almost ten years ago now. We had been writing on Felicity on the WB. That show ended its run. We were sitting around talking about what’s the kind of show that we would want to do.  

Edward Kitsis: Because our agent was like, “Why don’t you guys think about a pilot?”

AH: Yeah, which led us to talk about things that we loved, stories that were formative to us, that got us going which led to a discussion of fairy tales. I had just read this book called, The Uses of Enchantment by Bruno Bettelheim, which was about fairy tales and their influence on kids.            

EK: At the time Smallville was out, but no one had really done fairy tales. We realized what we loved about them was the open canvas. What was great about Lost was that one week you were writing a show about a guy who won the lottery and the next week it was about a con man. You never just wrote only cops or only lawyers. So when Adam read this book, he started talking about fairy tales and about how much it would suck to be the Evil Queen [Lana Parrilla] because you were literally in a place where everything had a happy ending, but everything you do, fails. You get a working oven inside a gingerbread house and that stupid blind witch can’t kill two kids? So that was our genesis of: “Where would she go to win?” And that was our world. That was our premise.

AH: And what we had cooked up almost ten years ago is pretty similar to what it is now. In terms of there was this woman [Emma played by Jennifer Morrison] who came to this town who is the daughter of Snow White [Ginnifer Goodwin] and Prince Charming [Josh Dallas]. And there was a curse and a kid. But there were various incarnations.            

EK: In one she had two kids and in one she had no kids. In one, she didn’t know she had a kid which was a weird one.            

AH: We played with a version where she didn’t know she had a kid. She didn’t know she was pregnant. She was in a coma and the kid was delivered, but she never knew. We thought it was a cool idea, but we could never figure out how to make that work as a series. I think the problem was that in 2002 or 2003 that we just weren’t ready to concoct such a big canvas. But I think what we did know that if we wanted to do our own show, we wanted to do something that would allow us the freedom to do many types of stories but finding an umbrella under which they all could exist.          

EK: It wasn’t until we got to Lost that we thought, “Oh, this is how you could do it.” That was our learning experience. I remember going into the last season we were having dinner with Damon Lindelof [Executive Producer/Creator, Lost] and he asked us what we were thinking of doing after this, so we pitched him our show. He said, “That’s a good idea.” And then once the show ended, we said this is what we wanted to do.

Interview excerpt from: The TV Showrunner's Roadmap by Neil Landau

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The Court of Camelot is a metaphor for the court case in which Emma has to prove that she is still responsive, that she still has agency. That she is not a commodity, that she is still alive and that her heart can’t just be taken. Her life can’t just be ended.

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“If the woman moves her hand, Russell lifts one of the earpieces and asks her to squeeze his fingers; if she squeezes, he asks her to do it again if she is in pain. Of the thirty-two patients Russell tested, twenty-three squeezed to suggest they could hear, and twenty squeezed again to say they were in pain. Although Russell was supposed to test sixty patients, he was so unnerved by these results that he ended the trial early. It’s possible, he suggests, that the women were conscious and suffering on the operating table. If that’s the case, then general anesthesia might be better described as “general amnesia.”

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A Happy Beginning

Trigger Warning - Mentions of rape and sexual abuse.

Throughout the seasons, Emma and Hook’s relationship has always been shown with some ambiguity. There’s the absence of a true love’s kiss, the wedding dress turning black and the choice to show Hook killing Emma’s grandfather not long before the marriage - to name but a few. This made the purely happy musical event of their wedding a curious choice - one that begs a closer look.

In a previous post about season 6, we mentioned Emma’s marriage to Hook is about Emma’s animus. 

Emma’s marriage was a symbolic marriage where she married her Self, with Hook as the centerpiece because he was one of the most challenging pieces to accept - to make peace with. He is the past and the scars. He represents the negative Animus, the abusive men in her life and her own shadow masculine side.

Emma: “Killian, I spent so much of my life on my own. And then, Henry found me and brought me to Storybrooke, and helped me find the rest of my family. But just because you learn that you come from true love doesn't mean that you believe that you'll ever find it. But thanks to you, now I have.

The vows are pretty clear. She never calls Hook her true love, but the reason she has found true love. Viewed this way, it makes a lot of sense that this marriage is the ending of the storybook we started in the pilot, but not the end of Emma’s story. Let’s take a look at the inciting incident of this story. Or better yet, let’s take a look at Emma’s emotional response to Henry’s arrival.

The music, Henry’s casual attitude, the fast pace and the fantastical story all serve to distract from how heavy this moment is. This is Emma’s response when Henry comes back into her life. This is the beginning of this book, this is what sets everything in motion.

If we follow the recurring trauma theory then the truth about Emma’s past isn’t hidden in the flashbacks, but in the stories that seem to be happening over and over again. Car crashes, being orphaned, patricide, giving up a child, conversion therapy, vegetative states and more.

The many consent issues on the show should probably be seen in this light as well. The world building - with fairy tale cover-ups of ugly truths - allows the writers to address these difficult themes on network television in ways that they normally couldn’t get away with. Many of the children on the show are born as the result of rape by deception and there are references to child sexual abuse as well. The troll archetype in fairy tales can signify a bad father, which puts the picture above in an entirely different light.

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Henry’s birth

We think we saw a flashback of Henry’s birth, but as pointed out here, what we saw was symbolic. It showed the emotions Emma went through when Henry came back into her life.

Emma’s real experience is most likely hidden in the Underworld where her most painful repressed memories reside. 

During the episode Our decay it doesn’t take much to imagine Zelena’s story as that of a 17-year old in prison - a villain to many - who has agreed to give up her child, but can’t do it once she lays eyes upon him. Not only is he her child, he’s her chance at family. Only when she realizes she can’t give him a good life, does she give him up. 

Like Cinderella/Ashley’s story, arrangements had been made for Emma to be paid for giving up her child, but it’s only after she sees Henry that she realizes what deal she has agreed to. This explains the recurring theme of selling children.

In another flashback, we see Emma find out she’s pregnant and at the same time she gets the keys to the bug. Since the flashbacks are symbolic, this suggests that Emma may have gotten the bug with the money she received after giving up Henry.

This idea is reinforced through young Killian’s story - he is sold in exchange for a boat. The boat gave his father the chance at a new life, much like the bug gave Emma some sort of roof over her head. 

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Is Henry sick?

If the evil Queen’s curse is a metaphor then questions that we thought had been answered become questions again. If Regina wasn’t the evil murderous fairytale Queen who cursed everyone to another realm, then what was really behind Henry’s motivation to seek out Emma? The most obvious answer is that he had a hard time dealing with his adoption, but the show never really confirmed this. 

We’re going to examine the hypothesis that Henry is ill and that’s why he went to find Emma. Why? If this show wouldn’t have made it to the second season, then the conclusion of the first season would have been the conclusion of the entire show. It ended with Emma saving a sick Henry.

Regina’s predicament

Take the following scenario. Regina wants to adopt but she is rejected.

Roni: I did try to adopt once. A beautiful baby boy. Then at the last minute the adoption agency decided I wasn’t a good fit.

Regina then turns to Gold who finds a legal loophole to make her a mother.

Regina: I’m not in the business of making deals with you anymore. Mr. Gold: To which deal are you referring? Regina: You know what deal. Mr. Gold: Oh, right. Yeah. The boy I procured for you. Henry. Did I ever tell you what a lovely name that was? However did you pick it?

Henry’s adoption is legal, but there is small print. Gold is a shark of a man and he uses the situation to blackmail Regina. The stakes are high. Regina could lose Henry.

Now, it’s unclear what exactly the setup is, but as usual, we want to offer up a possibility of what might have happened. 

Imagine a pregnant Emma in jail. Gold is a lawyer who recognizes a desperate soul. He offers legal counsel to get her out of jail and uses the trust he builds to pressure her into giving up her baby. 

Cinderella: I will do anything to get out of here. Anything.

It’s really easy to imagine that Emma is being told she is signing a contract for a closed adoption, while the legalese states something else. She simply trusts what Gold tells her is in the contract and she signs it.

It’s possible Emma signed a document in which she still had some claim to Henry. Regina may somehow be Henry’s legal guardian until Emma claims him back. The way it’s specified by the King of Loopholes, It’s perfectly legal, but since Emma doesn’t know she hasn’t completely given up her child, she will not come back to claim him. 

To make sure Emma really doesn’t come back to claim Henry, Gold gives her money in exchange for the baby. Selling your firstborn or your child is a recurring theme on the show, and it speaks to Emma’s guilt. 

Sean’s dad: I went through a lot of trouble to get her that deal. Ashley has agreed to give up the child and she’s being paid very well to do so.

Gold knows that even if Emma finds out and tries to get Henry back, she has something to hide too. She wouldn’t want Henry to know she sold him. It could probably also be used against her in court. More than the law, he understands the human psyche and manipulation.

Regina may not know any of the details of how Gold got Henry. There seems to be something else at play for her to do with Emma’s connection to Storybrooke and whatever transpired on the night Emma was born - which we talk about here. What she does know is that she didn’t follow the normal procedure and that Gold is the only one who knows the details of the transaction. For Gold it’s probably best if she knows as little as possible and is afraid of losing Henry without knowing where the danger might come from.

Fairy tales

Now with that backstory in mind, let’s fast-forward a little. Considering the situation, it makes sense for Regina not to tell Henry that he is adopted. The fewer people asking questions, the better. All goes well until Henry is diagnosed with a disease for which the only known cure is an organ or cell transplant. Suddenly genetics become important. The normal procedure is to test family members for a match. It’s possible this is when Henry finds out he is adopted.

It makes a lot of sense for a child like Henry, dealing with disease and finding out he is adopted to look for comfort and solutions in fairy tales, but maybe everything he says before Emma’s accident is closer to reality than it seems.

Emma: “Oh kid, you’ve got problems.” Henry: “Yup. And you’re gonna fix them.”

If Henry is resourceful enough to go find Emma, then he is smart enough to understand the concept of organ transplants. Somehow he has understood that for him to get better, in order to fix his problems, he might need something from his birth mother. He also understands that it’s a big ask and he doesn’t want to ask her directly. 

Henry: “She doesn’t love me, she only pretends to.”

Suddenly Henry’s anger seems far more reasonable. He can tell Regina loves him, but he doesn’t know that Emma is a threat for Regina. That she might potentially cause Regina to lose Henry, Regina can’t explain any of that to Henry. So Henry can’t comprehend why if he’s sick, that his mother doesn’t do everything in her power to help cure him. Including finding his birth mother. If he can do it, then why wouldn’t she? She must only be pretending to love him.

Henry’s insistence that Emma is going to bring back the happy endings suddenly isn’t all that unrealistic. To him she is the key to making his life better.

The DNA test

So Regina’s worst nightmare has come true. Henry’s birth mother is on her doorstep and she might lose everything. At the same time, she loves Henry and now that Emma is here, she can’t help but think about a cure as well. She quickly recovers and comes up with a strategy.

Regina: How'd you like a glass of the best apple cider you ever tasted? Emma: Got anything stronger?

She offers Emma a drink. She isn’t trying to be nice, she is doing two things. She is creating a moment so she can find out vital information and she is... taking Emma’s DNA.

She is shown to go into the kitchen and she takes two completely different glasses. This makes it easier to remember which glass touched Emma’s lips. The first reason is of course so she can be sure Emma is Henry’s real mother. The second reason may be to find out if Emma is a medical match without Emma having to consent to a test. If Emma is a match, Regina can decide in that moment to have the conversation, but if Emma isn’t a match, there is no reason for her to be in Henry’s life.

The second thing she does is ask very specific questions. First she checks what Emma knows about the adoption, because she knows something is fishy. Next she asks about the father. Henry’s father is another potential match for Henry, so it’s important to know. If the father is still in the picture then maybe Henry has siblings, siblings who could also be a match.

After she has enough information, she provides Emma with a plausible reason for Henry’s trip to come and find her. She is a strict mother who doesn’t have as much time as she used to for her son. It’s meant to keep Emma from asking questions. Regina actually knows why Henry really went to find Emma.

Illness

It’s not entirely clear what exactly Henry’s illness is, but there is a link between the name Henry and the term ‘Savior sibling’. Henry Goldberg’s case is famous, because it opened up the debate about designer babies.

Suddenly Emma being ‘The Savior” becomes very real and very relevant. Savior siblings come in when the parents aren’t a match, but in Emma’s case, Henry’s first quest was to find his potential Saviour parent. 

Symptoms

We suspect Henry asking for juice in the pilot wasn’t random, it may have been a clue as to one of the symptoms of Henry’s illness. Nothing in a Pilot episode is a coincidence and if it doesn’t somehow serve the story, it doesn’t happen.

Henry: “Got any juice?”

So, share your theories. Do you think Henry is sick? Did you pick up on any other clues? What do you think is wrong with him? What did he need from Emma?

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