Once Upon a Time

Season 1 – 85% – Once upon a time there was a fairytale kingdom where an evil queen ruined everyone's happiness, Snow White and Prince Charming always found true love, and the dwarfs happily worked and looked out for magical fairies. And some of the main writers of my beloved Lost decided that this group should try to find their destiny again in a kingdom we all know more intimately. Once Upon a Time is occasionally fantasy (thanks to Rumpelstiltskin), occasionally a fairytale (thanks to Henry), and occasionally drama (thanks to Emma), but always a captivating adventure full of characters you can't help but eagerly look forward to in every episode. It's an addictive adventure with a magical atmosphere, albeit hindered in some storylines by too many knots. Season 2 – 80% – The omnipresent magical atmosphere may have become a bit mundane, but you still come back to Storybrooke on your own. Robert Carlyle's unwavering charisma helps the most, as do two perfect new characters: Hook and Neal. But every series must evolve, and OUaT decided to make that shift very early on. A fairytale that occasionally touched on a serious note has suddenly transformed into a family drama in a fantasy setting, and the increasing number of intrigues (the days when Regina was the only troublemaker are long gone) may be less palatable for some. However, this fairytale is firmly in good creative hands, and though it occasionally seems to deviate from the story in almost nonsensical ways (Aurora and Tamara's justifications are a bit complicated), everything seamlessly and gradually falls into place. A heap of interesting ideas at the very end proves that we're far from being tapped out. Season 3 – 100% – An enjoyable bit of entertainment has become pure adventure and one of the most reliably fast-paced TV shows. The family of beauties works perfectly even despite repeated monologues full of courage and reflections on the fate of each of us, it's impossible not to love Rumpelstiltskin even when he's doing something despicable, and the new supporting characters are amazing and captivating (Ariel, Robin). But the main difference is in the role of the season's villain, this time via ruthless teenagers and envy-driven witches craving their own thwarted happiness. Despite the considerable layers of plans, the stories are woven with a huge dose of emotions, surprising twists (the fall finale felt like a series finale in every respect), and a feeling that the weekly wait for the next episode will be truly unbearable. If the bar stays this high, the citizens of Storybrooke won't have any competition in the adventure drama category for quite a few years. Season 4 – 90% – The number of twists that can happen in a single season is almost incalculable. But as long as the whole formula works as magnificently as it does here, I'm happily willing to be deceived by new spells, deus ex machina moments, and the fact that for umpteenth time, the motto "We're family, we love each other, and because of that, we will prevail" works in the first layer. The part with the inhabitants of Arendelle is another perfect adventure that, thanks to Georgina Haig as Elsa, quite possibly remains the most captivating story ever told in a fairytale book. The spring part with the Queens of Darkness takes a while to find its footing, and many storylines end surprisingly quickly (though effectively), but we do get an excellent chase with the Author, the devilish Cruella, and as usual, twists that won't let us sleep during the summer break. Even though for some writers, the duo of the main writers has been spinning in circles for a while, I remain satisfied because you really can find everything in this world. Season 5 – 80% – The constant changes and twists in what seemed like unchanging laws and rules can sometimes give you a headache. But the rewarding setting of a tight-knit family group, which even in a smaller space continues to be dominated by Ginnifer Goodwin, still makes up for much, not to mention that both The Dark Swan and The Underworld are plot lines sufficient to carry more than one heroic or dastardly deed after another, but calmly take seemingly inconsequential digressions in stride. The newcomers occasionally disappoint (Liam Garrigan simply doesn't work as Arthur), but when they shine, it's worth it. Amy Manson as Merida and Greg Germann as Hades are both perfect, stealing every line as soon as they enter the frame. So, as usual, I'm happy with the entire season, though only the second half of the season really extracted any true enthusiasm from me, and that's still thanks to the main narrative crew. Still, I'm wondering if the right time is right to take my leave. Some motifs are becoming subtly repetitive (Rumple), there aren't many fairy tale worlds left that have the potential to be visited for a full half-season, and after the finale I'm not entirely sure if the new path will be the right one. Season 6 – 80% – The fairy tale heart is still beating strong, although there could be enough reservations. The much-anticipated new villain has far less scope than you would expect, the new heroes I've been waiting so long for (Aladdin and Jasmine) are more of a brief appearance than regular characters, and maybe half of the people have one motif or another repeated from before. Still, I still enjoy everyone here, I'm happy to welcome back old friends, and above all I'm enjoying what was quite possibly the best episode ever. I'm a big fan of musical episodes, and The Song in Your Heart in particular proves that there are still a decent amount of ideas in Storybrooke. Still, I'm a little nervous about where the road will lead next. A lot of characters have gotten their happy ending, their additional storylines won't sustain another year, and while this is definitely not a purebred reboot, there's still a huge transformation ahead for Henry that will leave him pretty much on his own. Considering how positively the series still affects me every time, even years later, I'm rooting with all my might for this plan to work out. Season 7 – 60% – The renaissance of the original concept fell apart right from the start. Seeing the new characters and the trivial storylines being pushed through made me curse Adam Horowitz and Edward Kitsis for not giving it another shot. In terms of their quality as actors, Victoria, Ivy, Gothel, Drew, and above all Jacinda and Lucy are several levels below the handful of returning actors, and the episodes that focus on them are, unfortunately, the worst the show has offered in seven years, ones that merely play around with a concept that has already been played out several times. I found it very difficult to relate to the new characters, and their (often hasty or confusing) departures from the scene rarely moved me. The saving grace is the trio of veterans, led by Lana Parrilla, who has matured into an actress of the first magnitude in a fascinating way over the course of the series. There is also a wild card in Rose Reynolds, who makes the ambiguous Tilly an irresistible treasure. The final wild card is the soaring quality. While there is a single great episode in the first half (Beauty), the final third picks up to such a pace that I felt the usual regret when it was over in the two-part finale alone. For it's in those moments that OUAT returns in full force, and fairy tale hearts once again beat at their fastest rhythm. It has symbolic meaning for me that just as the classic format of family supernatural dramas running all season slowly clears the field, it represents a farewell to the very thing that has always been about faith, hope, and the power of happy endings (and beginnings). (10/08/2012) (moins) (plus)