- The trapped group meets Olaf in the snow globe. Sadly, he turns out to be evil and is promptly killed and never brought up again.
- Wish-Hook, Henry, Alice and Robin catching Rumple watching a pirated episode of Game of Thrones on the dreamcatcher, instead of working on defeating his other self.
- Believing them to be villains in disguise, Snow and Charming mistakenly kill 3 Wish-Realm dwarfs before getting to the Dark Castle.
- A Rumbelle afterlife reunion that would make the sex scenes in Go Now look like Sesame Street.
- Zelena’s line: “Just kidding! That would be really stupid.” after revealing that Zorro was Lily’s father.
- Emma admits that an affair with Wish-Hook resulted in her pregnancy with Hope.
- The Heroes face off against a Cyborg-Rumplestiltskin sent from the future to kill Emma. (the fighting scenes were epic, but unfortunately the Emma Swan cardboard cutout kept falling over, ruining the footage)
- A drunken Tiana attempting to rip the crown off of Regina’s head.
- Zelena preforming a disco remix of Wicked Always Win during his sister’s coronation.
- A Wreck-It-Ralph cameo.
- A sober Wish-Cora attempting to rip the crown off of Tiana’s head.
- Spiked party punch, compliments of Maleficent, results in everyone falling asleep for 4 weeks and waking up under yet another curse.
- A newly freed Wish-Peter Pan sprinkles de-aging powder over most of the main characters for a potential Once Upon a Time Babies spinoff.
- Rumple is shocked to find out that afterlife-Belle is Cora in disguise and now must search Heaven for the real Belle.
– The episode ending in a closing shot of Neal Nolan as The Omen theme plays
your zucchini post sent me back over a decade ago to when i visited finland for the first time and stayed at my partners parents house. their garden was full of the most humungous zucchini i'd ever laid eyes on. my partner came up to me with this giant green sponge in her arms and said "look! it's the size of my dick!"; i remember distinctly being very impressed in that moment. however, what i did not know at the time was that having this bountiful harvest of zucchini meant that we would be eating nothing but zucchini based dishes for the next 7 weeks because there was no space to store it (why no storage, that's a whole other story). after about a week, everyone else in the family left to go to the lake for the rest of the summer and so it was up to my partner and i to eat zucchini day in, day out. it started out novel and fun really: zucchini on toast, stuffed zucchini with meat and mushrooms, zucchini casserole, zucchini and cheese soup! but as time went on, it got weirder and weirder, zucchini with jam on it, then the zucchini itself became marmalade, zucchini baked into a cake, zucchini stuffed with zucchini, zucchini bread, zucchini ice cream, and still more and more zucchini still needed to be consumed before they overippened and spoiled. and non of the neighbours wanted any of it because they too had too much zucchini of their own. needless to say, it was a very visceral experience that affected me in relation to zucchinis for many years afterwards. anyway, i hope the ones you got from your mother-in-law are tasty and you make something delicious with them <3
That's the funny part: I know this. We've been through this before.
Nobody in my boyfriend's family is particularly willing to eat zucchini. They are sick of it to the point of years of build-up. She playfully complains about how the youngest one won't try some of her baked goods out of an alledged fear that there might be zucchini hidden in there. And yet, she keeps planting zucchini. She's delighted to be able to hand them over to me. I am not yet sick of zucchini so I don't mind it just yet.
She also fucking loves foraging for mushrooms, and gets territorial over good spots just like any other finn would. As soon as they're poking out of the ground at the end of the summer she's grabbing the dogs and her daughter and is out of the house getting them, ticks bears and tourists be damned. She can't eat them herself due to allergies, and half of the family can't digest them either, and the other half just doesn't like the texture. She gives them off to friends and family and is delighted to be able to hand them over to me.
I don't mean to sound ungrateful, I'm not complaining. This is the opposite of a problem. Nonetheless I am baffled by it. Rain or shine, in sickness and in health, no matter how inconvenient it would be, she keeps doing this. Purely for the love of the game.
Mr. Flanagan, I’d like to ask a question and I deeply hope that it does not offend or upset you. I am strongly considering canceling my Netflix subscription due to their new password sharing policy. However, Midnight Mass is one of my favorite shows of all time and I know it isn’t available on DVD, and I’m also profoundly anticipating your take on my favorite Edgar Allen Poe story. So I wanted to ask your take on people accessing your work through, uh, other means. If it’s something that’s offensive to you or will harm you or the other people who work so hard on these shows, I’ll happily keep my Netflix just so that I can keep supporting your work. I respect you far too much as an artist to do otherwise.
Again, I really hope I’m not upsetting you by asking this question. Thank you for everything, and I hope you’re having a great day!
(NOTE 6/4/2024: I'm editing this entry because, well over a year since it was posted, some journalists dug this up and used it to create click-bait headlines that are misleading, out of context and artificially combative.
While I was of course disappointed over the years that Netflix opted not to release my work on physical media, I never experienced any hostility or aggression in those discussions, and I sincerely regret the manner in which this post was used in the press this week.)
Hi there - no offense taken whatsoever, in fact I think this is a very interesting and important question.
So. If you asked me this a few years ago, I would have said "I hate piracy and it is hurting creators, especially in the independent space." I used to get in Facebook arguments with fans early in my career when people would post about seeing my work on torrent sites, especially when that work was readily available for rent and purchase on VOD.
Back in 2014, my movie Before I Wake was pirated and leaked prior to any domestic release, and that was devastating to the project. It actually made it harder to find distribution for the film. By the time we were able to get distribution in the US, the film had already been so exposed online that the best we could hope for was a Netflix release. Netflix stepped in and saved that movie, and for that I will always be grateful to them.
However...
Working in streaming for the past few years has made me reconsider my position on piracy.
In the years I worked at Netflix, I tried very hard to get them to release my work on blu-ray and DVD.
It became clear very fast that their priority was subscriptions, and that they were not particularly interested in physical media releases of their originals, with a few exceptions.
While companies like Netflix pride themselves on being disruptors, and have proven that they can affect great change in the industry, they sometimes fail to see the difference between disruption and damage. So much that they can find themselves, intentionally or not, doing harm to the concept of film preservation.
The danger comes when a title is only available on one platform, and then - for whatever reason - is removed.
We have already seen this happen. And it is only going to happen more and more. Titles exclusively available on streaming services have essentially been erased from the world. If those titles existed on the marketplace on physical media, like HBO's Westworld, the loss is somewhat mitigated (though only somewhat.) But when titles do not exist elsewhere, they are potentially gone forever.
The list of titles that have been removed from streaming services is growing.
When titles disappear without warning, the whole streaming space starts to seem less stable.
I still believe that where we put our dollars matters. Renting or buying a piece of work that you like is essential. It is casting a vote, encouraging studios - who only speak the language of money - to invest more effort into similar work. If we show up to support distinct, unique, exciting work, it encourages them to make more of it. It's as simple as that. If we don't show up, or if they can't hear our voice because we are casing our vote "silently" through torrent sites or other means - it makes it unlikely that they will take a chance to create that kind of work again.
Which is why I typically suggest that if you like a movie you've seen through - uh - other means, throw a few dollars at that title on a legitimate platform. Rent it. Purchase it. Support it.
But if some studios offer no avenue for that kind of support, and can (and will) remove content from their platform forever... frankly, I think that changes the rules.
Netflix will likely never release the work I created for them on physical media, though I'll always hold out hope.
Some of you may say "wait, aren't The Haunting of Hill House and The Haunting of Bly Manor available on blu-ray and DVD?" Yes, they are, because they were co-produced with Paramount, and I'm grateful that Paramount was able to release and protect those titles. (I'm also grateful that those releases include extended cuts, deleted scenes, and commentary tracks. There are a number of fantastic benefits to physical media releases.)
But a lot of the other work I did there are Netflix originals, without any other studio involvement. Those titles - like Midnight Mass, The Midnight Club, and the upcoming Fall of the House of Usher - along with my Netflix exclusive and/or original movies Before I Wake and Gerald's Game - have no such protections. The physical media releases of those titles are entirely at Netflix's discretion, and don't appear to be priority for the studio at this time.
At the moment, Netflix seems content to leave Before I Wake, Gerald's Game, Midnight Mass, and The Midnight Club on the service, where they still draw audiences. I don't think there is a plan to remove any of them anytime soon. But plans change, the industry changes.
The point is things change, and each of those titles - should they be removed from the service for any reason - are not available anywhere else. If that day comes - if Netflix's servers are destroyed, if a meteor hits the building, if they are bought out by a competitor and their library is liquidated - I don't know what the circumstances might be, I just know that if that day comes, some of the work that means the most to me in the world would be entirely erased.
Or, what if we aren't so catastrophic in our thinking? What if it the change isn't so total? What if Netflix simply bumps into an issue with the license they paid for music (like the Neil Diamond songs that play such a crucial role in Midnight Mass), and decide to leave the show up but replace the songs?
This has happened before as well - fans of Northern Exposure can get the show on DVD and blu-ray, but the music they heard when the series aired has been replaced due to the licensing issues. And the replacements - chosen for their low cost, not for creative reasons - are not improvements. What if the shows are just changed, and not by creatives, but by business affairs executives?
All to say that physical media is critically important. Having redundancy in the marketplace is critically important. The more platforms a piece of work is available on, the more likely it is to survive and grow its audience.
As for Netflix, I hope sincerely that their thinking on this issue evolves, and that they value the content they spend so much money creating enough to protect it for posterity. That's up to them, it's their studio, it's their rules. But I like to think they may see that light eventually, and realize that exclusivity in a certain window is very cool... but exclusivity in perpetuity could potentially limit the audience and endanger the work itself.
The answer to the question of if the Cranes are mentally ill or if the house is haunted being "two things can be true" is so interesting and clever to me. Olivia had migraines and episodes before they moved in, Luke has been abusing drugs as self medication for at the very least ptsd but also likely some level of OCD, the signs of depression are scattered around Nell's apartment.
But also ghosts are real, no question. Sure Nell never would have gone back to the house if she hadn't stopped taking her pills or if her therapist hadn't given her bad advice, but once she was there the ghosts were in full force. They literally put the noose around her neck, no metaphor. Just because the Cranes are mentally ill, that doesn't mean the ghosts didn't exist, all it did was make their job easier.
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