#hook/wendy

[zeldamacgregor]

yooooo it's another new chapter for Star Mile!

[not-wholly-unheroic]

Do you have any controversial headcanons that go against what is generally accepted by the fandom? Do you incorporate this into writing your muse or keep it to yourself?

For Hook please ///

I’ve been trying to think on it, and while I may have a few opinions that are divergent from the majority, for the most part, I don’t think I have any super controversial headcanons about Hook. I guess maybe the fact that I insist he lives and give him a redemption arc is unusual but not really controversial. Some of my preferred ships (and the ships I don’t like) might be a little out of the ordinary, but I mostly just don’t reblog things with a NoTP and don’t go out of my way to push my own ships.

Also, for me, who I may ship him with partly depends on the version. For example, Pirate Fairy James I think is cute with Zarina but I like Jake-verse Hook with Red Jessica. Original Disney Hook I actually like with Cruella because neither has a canon love-interest and they are both British, fashion-conscious villains without magic who just seem like they’d be on the same page in the villains hangout. Isaacs Hook and Barrie’s Hook (which I often group together as one character) I ship with an Adult Wendy…which is probably the most controversial ship I have, but I grew up with the 2003 film and was one of the many little girls around Wendy’s age who had a crush on his version of Hook so… 🤷🏼‍♀️ Some versions of Hook (like Hoffman’s) I don’t particularly ship with anyone.

Two semi-popular OTP’s I really don’t care for are Smee/Hook and Jafar/Hook. With Smee, I can at least see the reason why some people ship it…I just personally see their relationship as more of like a father/son thing and also headcanon pretty hard that Smee is aro ace and is content being single. I don’t think Hook had a loving male role model in his life and Smee just sort of ends up adopting that parental role. Smee is the opposite of the dad I headcanon Hook grew up with—violent, controlling, hypermasculine… Smee is this gentle, friendly, soft character and that’s exactly what Hook needs in a father-figure even if he doesn’t like to admit it. Jafar is more for personal reasons. He’s a great villain but in my headcanon storyline for Disney Hook, they have a MAJOR falling out that would prevent them from ever even being allies again after a certain point, much less anything else.

These days when I’m writing, regardless of the version of Hook, I often (though not always) intentionally leave any romantic interest at least somewhat vague so the reader can decide for themselves who they want to pair them with. All of that said, I do think I’m in the minority in that I headcanon Hook as being heteroromantic and somewhere on the ace spectrum. Hook is—at least in modern interpretations—often overly sexualized in my opinion. We don’t get any hints anywhere in Barrie’s original material that Hook might have any sort of romantic or sexual interest…which leaves the door wide open for how people want to interpret him. Hook’s personality lends itself naturally, I think, to romanticism (love of music, flowers, etc.) but I personally choose to interpret his lack of any canon hints at ever having had a love interest as meaning that he’s not really going out of his way here to look for someone. Also, Barrie drew at least some inspiration for Hook from his own life, and we have good historic evidence to believe that Barrie was ace even though he did marry a woman. At the very least, if Hook isn’t somewhere on the ace spectrum, he IS canonically a gentleman and I despise any interpretation that has him jumping into bed with just about anyone regardless of how they feel about him. I think the Disney Twisted Tales book “Straight on Til Morning” sums up my idea of (pre-redemption arc) Hook well when a pirate tells Wendy, “He might slit your throat, but the rest of you is safe.”

[zannolin]

peter pan (2003)'s portrayal of peter pan is so unhinged like. he can never die. but he can never live either. he'll never have to grow up. he'll never get to grow up. wendy could have convinced him to leave but what would have happened to neverland, which falls into a wintry darkness if he so much as leaves for a night, if he'd left for good? he has the world in the palm of his hand. it's a very small world. it would just as soon kill him to be sure he's paying it mind. everyone gets a satisfying ending except him. everyone changes except him. he's stagnant. he's constant. he's eternal. he's not a boy—he's a story. and sometimes that's the loneliest thing to be.

[ibrainrottomyself]

drew the flying green bean after weeks of not drawing

and yes this is a rtn scene redraw hehe i love that movie

[rtbyg]

some more captain hook doodles

[herstoryheaven]

Descendants Harry Hook x Reader: Hooked On Pan

Request: Hear me out... Harry Hook with the daughter of Peter Pan and Wendy Darling? Maybe she's helping out with everything in the third movie and they meet there. He finds out who her parents are and enemies to lovers shenanigans ensue. Also reader is an absolute menace to society because there's no way she got raised by Peter Pan and isn't.

Reader: Female

Word count: 3349

Average reading time: 12 min 10 sec

Category: Hurt/Comfort

Warnings: None

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Disclaimer: All events portrayed in my stories are fictitious. Any resemblance to actual events is purely coincidental. Any actions or behaviours portrayed by the characters may differ from reality and cannot be connected to any actual person. This work is purely fictional and intended for entertainment purposes only.

Ben and Mal had both agreed to bring more kids from the Isle of the Lost to Auradon, hoping to bridge the gap between the two worlds. They believed that by giving more kids from the Isle a chance to experience the opportunities in Auradon, they could create understanding and unity. Y/n Pan, always up for an adventure, was right in the middle of it. Her role was simple, distracting Uma’s crew or more specifically Harry Hook.

Y/n found Harry by the docks, where the salty sea breeze rustled through the sails of Uma’s ship. Harry was leaning against a post, his hook glinting in the light as he lazily flipped it between his fingers. His ocean blue eyes were distant, lost in thoughts that were quickly interrupted by Y/n's arrival.

"Hey there, Hook." she called out, her voice laced with playful mischief. She sauntered towards him, each step measured, as if she were a cat stalking its prey.

Harry's eyes narrowed as she approached, his guard instantly up. "What do ye want, lass?" he asked, his tone playful but laced with suspicion.

Y/n grinned, her eyes sparkling with a mix of challenge and amusement. "Just thought I'd see what the infamous Harry Hook was up to. You know, keep you company," she said, her voice dripping with flirtation.

Harry's suspicion deepened, his grip tightening around the handle of his hook. "Company, huh? More like a distraction," he shot back, leaning closer, his voice dropping to a low, seductive whisper, Holding his hook to her chin. "What is Mal up to now?"

Y/n shrugged nonchalantly, her posture relaxed despite the tension radiating from Harry. She tilted her head, her expression one of feigned innocence. "Wouldn't you like to know?" she teased, a sly smile playing on her lips.

Harry's jaw clenched, and he took a step closer to her, his eyes boring into hers. "Aye, I would," he said, his voice a dangerous growl. "And ye'd best start talking, or else—"

"Or else what?" Y/n interrupted, her tone light and mocking. "You'll wave that hook of yours around? Come on, Harry, you're not scaring anyone."

Harry's eyes flashed with anger, but he took a deep breath, forcing himself to remain calm. He knew better than to let someone provoke him. "You think you're clever, don't you?" he muttered.

Y/n laughed, a musical sound that seemed to echo around the docks. "I know I am." she replied confidently, her eyes locking onto his. "But seriously, Harry, why the hostility? Can't a girl just want to chat without underlying motives?"

"Not when that girl is from Auradon and her friends are here too." Harry retorted, his curiosity piqued despite himself.

Y/n sighed, rolling her eyes dramatically. "You really are paranoid, aren't you? Maybe I just wanted to see if the stories about you were true."

Harry raised an eyebrow, intrigued despite himself. "And what stories might those be?" he asked, leaning in closer, his eyes never leaving hers.

Y/n leaned in closer, her lips almost brushing his ear as she whispered, "That you're the most dangerous pirate on the Isle." her eyes danced with mischief. She pulled back slightly, letting her gaze travel slowly over him before meeting his eyes again. "But all I see is a boy who's all bark and no bite."

Harry's eyes flared with anger, but before he could respond, a commotion from further up the Isle caught his attention. He glanced over Y/n's shoulder, his expression darkening. Y/n took the opportunity to slip out of his grasp and follow his gaze, seeing Mal, Evie, Jay, and Carlos helping four new Isle kids into the limousine.

"Looks like your distraction worked," Harry muttered, his voice laced with frustration.

Y/n turned back to him, her smile playful and triumphant. "Looks like it did," she grinned, her eyes sparkling with teasing challenge. "Better luck next time, Hook." She threw him a wink before sauntering away, leaving him staring after her. As she rejoined the others, she couldn't help but feel a thrill of victory. The mission was a success, and they had managed to bring more kids from the Isle to Auradon.

-----

Over the next few days as Y/n sneaked often on the Isle, their encounters became more frequent. It seemed like every time Harry turned around, Y/n was there, always with a witty remark ready and a mischievous glint in her eyes. Harry found himself increasingly intrigued by Y/n. She was different from anyone he had ever met, fearless, spirited, and maddeningly hard to pin down. He would catch glimpses of her around the Isle, always just out of reach, slipping away before he could get too close.

One afternoon, Harry was on the docks again, lost in thought, when he heard the now familiar sound of Y/n’s laughter. He turned to see her balancing on the edge of a barrel, arms outstretched, grinning as if she didn’t have a care in the world. He couldn’t help but be drawn to her carelessness and the effortless way she seemed to navigate the chaotic world of the Isle.

Their eyes met, and she hopped down, walking over with that same teasing smile. "Missed me, Hook?" she asked, her tone light and flirtatious.

"Not in the slightest," he retorted, though the smirk on his face betrayed his words.

"Sure," she said with a wink, then jumped away before he could reply.

Each encounter left Harry more captivated, his curiosity about her growing. She was a mystery he wanted to solve, a challenge he was determined to meet. But everything changed when he discovered her true identity.

It happened one evening when he overheard a conversation between Y/n and a few little kids from the Isle. Harry was lurking in the shadows, trying to get a sense of what Mal and her friends might be planning next. He froze when he heard Y/n mention her father.

"My father always told me—"

"Wait," one of the kids interrupted. "Your father is Peter Pan?"

Harry's blood ran cold. Peter Pan. The name that haunted his nightmares, the source of his family's suffering. He stepped out of the shadows, his face contorted with rage. "You!" he spat, eyes blazing with anger. "You're Pan's brat!"

Y/n turned to face him, crossing her arms, unfazed by his outburst. "That's right, Hook. Got a problem with that?"

He sneered, the name 'Pan' dripping with venom. "Of course I do. Your father is the reason my family suffered."

Y/n's playful demeanor faltered for a moment, her eyes softening. "I'm not my father, Harry." she said quietly, a hint of vulnerability in her voice.

Harry took a step closer, his anger warring with the confusing feelings he had developed over the past few days. "Doesn't matter." he growled. "You're still a Pan."

Y/n held his gaze, her expression resolute. "And you're still a Hook. But that doesn’t mean we have to be enemies."

Harry's sneer faded slightly as he considered her words. There was something about the way she looked at him, something that made him want to believe her. But the wounds of the past were deep, and the name 'Pan' was a constant reminder of everything he had lost.

"Why should I trust you?" he asked, his voice a mix of anger and uncertainty.

"Because I'm not here to hurt you, Harry. I'm here to make things better." Y/n said, stepping closer, her eyes searching his. "I want to help bridge the gap between our worlds. But I can't do it alone."

Harry hesitated, his heart and mind at war. He had spent so long hating everything connected to Peter Pan, but Y/n was different. She was offering him a chance to move past the hatred, to find a new path.

"Maybe," he said finally, his voice softer, almost hesitant. "Maybe we can try."

Y/n smiled, a genuine, warm smile that made Harry's heart skip a beat. "That's all I'm asking for, Harry. A chance."

But as she walked away, the words "Peter Pan" echoed in Harry's mind, reigniting the anger and bitterness he had held onto for so long. He watched her go, the conflict within him far from over. Trusting a Pan, even one as intriguing as Y/n, was no small feat for Harry Hook.

Harry clenched his fist around his hook, his eyes narrowing. "All Pans are the same." he muttered under his breath. No matter how charming or different Y/n seemed, she was still a Pan, and Harry knew better than to trust anyone with that name. His mind was made up, he would never let go of his hatred, and he would never trust Y/n Pan.

-----

Despite their initial dislike, Y/n and Harry were forced to work together when Audrey took Maleficent's wand, and chaos threatened to engulf Auradon. Mal had been spelled by Audrey, and they needed all hands on deck to help her and get Hades ember back on the isle.

The air was thick with tension as Y/n and Harry found themselves side by side in the bridge of the Isle to Auradon, their previous friction simmering just beneath the surface. Uma stood confidently, her gaze flickering between the two unlikely allies and Mal, who was pleading for the ember that could save Auradon.

"Well, and who is this?" Uma said with a mocking smile, her gaze landing on Harry and Y/n. "Seems like you’re in quite a tight spot."

"Cut the games, Uma," Mal snapped. "We need that ember to break a spell Audrey cast. People’s lives are at stake."

Uma’s eyes gleamed with mischief as she held up the ember, her grip protective. "And why should I just hand it over? What’s in it for me?"

Mal’s frustration was palpable. "We can negotiate, but not right now. The urgency of the situation—"

Uma interrupted with a smirk. "Oh, I’m sure it’s very urgent. But I need a guarantee. Every single villain kid who wants out gets a chance to leave the Isle."

"I can’t promise that," Mal said, shaking her head.

Uma’s face hardened, her eyes narrowing. "Then we’ve got a problem. How about a deal? If you can assure me of that, I’ll consider returning the ember."

Mal’s shoulders sagged in resignation. "Deal," she agreed through gritted teeth.

Uma’s grin widened. "Good but don’t think I’m going to just hand this over easily. If you think I’m going to trust you to fix everything on your own, think again. This is a job for pirates!"

Harry’s eyes were fixed on Uma with immense respect. He glanced at Y/n, a scowl still present on his face. "Looks like we’re working together." he muttered, his tone heavy with irritation.

Y/n shot him a sharp look, her patience wearing thin. "Let’s just get this done. We don’t have time for your grudges."

Harry snorted, not bothering to mask his contempt. "Yeah, sure. Just remember, this doesn’t mean I’m suddenly going to like you. I’m only here to follow my captain."

"Fine by me," Y/n retorted, her voice cold. "Just stay out of my way."

-----

As they arrived at the castle and night deepened, the castle’s hallways seemed to press in on them, their shadows flickering like restless spirits. Harry and Y/n, though still struggling with their complex feelings, moved together with a newfound sense of cooperation. Their earlier tension had softened, if only slightly, as they navigated the castle hallways in search of Ben.

The silence between them was accentuated by the occasional murmur from Uma and Mal, who were engaged in their own banter. Uma’s taunt broke the quiet. “I bet you lost some sleep thinking about me on the loose, huh?”

Mal raised an eyebrow, her response dripping with disinterest. “No. Dragons don’t really lose sleep. I was more curious about what fried octopus tastes like.”

Evie, ever the mediator, interjected with a hopeful tone. “Okay, why do we always have to focus on the negatives? Why not appreciate the adventure we’re on?”

Mal and Uma shared a look that seemed to say they’d heard this speech before. “We’re celebrating our differences,” Uma quipped, her smirk widening.

Harry, who had been lost in thought, suddenly became more alert as the doors closed behind them. “I believe we’re being challenged.”

Before anyone could question him, the echo of clanking metal interrupted their conversation. The sound grew louder, more insistent, until enchanted armor guards emerged from the shadows, their eyes glowing with dark magic. The armor moved with a jerky, unnatural precision, and the creak of metal against metal filled the air.

“Girls! We have a situation here!” Harry’s voice cut through the chaos.

Without hesitation, the group sprang into action. Y/n, ever light footed, darted towards one of the armored guards, her sword clashing against the enchanted steel. Harry, though visibly annoyed, couldn’t help but notice Y/n’s grace and determination. He found himself instinctively moving to her side, fending off a guard that had swung its sword towards her.

“Watch your back!” Harry shouted, his voice tinged with frustration, though beneath the irritation, there was an unmistakable edge of concern. “Do you ever stop getting into trouble?”

Y/n shot him a quick, appreciative glance, her movements fluid as she took down another guard. “Got it, Harry. I’ll try not to make you worry too much,” she said with a playful smirk, the gratitude in her eyes softening the edges of her teasing tone.

Despite his best efforts to remain distant, Harry’s protective instincts were clear. He parried blows with precision, making sure Y/n had a clear path to strike. The two fought side by side, their coordination improving with each passing second. Harry’s earlier reluctance was replaced with a focused intensity, his actions betraying his true feelings.

In the midst of the battle, Y/n turned to Harry with a teasing grin. “So, Harry, I’ve been meaning to ask, do you always scowl like that, or is it just when you’re around me?”

Harry’s stern demeanor faltered momentarily as he deflected a guard’s attack. A rare, genuine chuckle escaped him. “I suppose you bring out the best in me.”

Y/n’s eyes sparkled with mischief. “Well, I wouldn’t want you to be anything less than your charming self.”

Harry’s smirk was short lived, quickly replaced by his familiar scowl. “Don’t get used to it. I’m still not going to be nice to you.”

Y/n’s grin widened as she ducked under a swinging sword, her playful energy undiminished. “I wouldn’t have it any other way.”

With the enchanted guards finally defeated, the room fell into a brief, uneasy silence. The group came together, catching their breath and assessing the situation.

“Let’s move,” Mal said, her voice firm and urgent. “We still have to find Audrey and end this.”

-----

As the final battle raged outside Auradon prep, the chaos intensified with every passing moment. Mal and Audrey's confrontation crackled with magic, while Uma helped to turn the tide in their favor. Amidst the commotion, Harry and Y/n found themselves close together, their earlier hostility replaced with an unexpected closeness.

During the battle, an explosive burst of energy from Audrey’s attack sent shockwaves through the ground. Harry’s protective instincts kicked in, and he abruptly pulled Y/n behind him, shielding her from any possible danger.

“Stay behind me!” Harry said, his voice filled with authority and urgency as he faced where Mal and Audrey were still in a heated battle. His usual scowl was replaced with a fierce determination to keep Y/n safe.

Y/n, caught off guard, blinked up at him in surprise. “Harry, what—”

Before she could finish her question, Harry's hand tightened around hers, his grip firm and reassuring. “Just stay close, alright?” His tone was less harsh and more protective, revealing an underlying care he hadn’t shown before.

Y/n’s confusion turned into a playful smirk as she tilted her head. “You know, I thought you hated me. Now you’re acting like my personal bodyguard?”

Harry’s eyes met hers, and for a moment, the intensity of the battle seemed to fade. “I might have had my issues with you,” he admitted, his voice softer, “but I’ve got to admit, I’m not letting you get hurt.”

Y/n’s playful expression softened into one of genuine warmth. “I never knew you cared, Hook,” she teased lightly, her heart fluttering at his unexpected protectiveness.

Harry’s face twitched with a hesitant smile. “Don’t get used to it,” he said, though his eyes betrayed his true feelings. “But for now, just stay behind me.”

As the last echoes of battle faded and the castle grounds began to calm, Harry and Y/n stood close, their earlier friction now replaced with an undeniable connection. The night sky above them sparkled with stars, casting a calming glow over the school grounds.

Harry, with his usual confidence restored, looked at Y/n with a playful yet intense gaze. “You know, Pan, I’ve had quite a few realizations tonight,” he said, his voice smooth and flirtatious.

Y/n, her heart fluttering at his tone, tilted her head with a teasing smile. “Oh really? And what exactly did you realize?”

Harry stepped closer, his gaze locked on hers. “I realized that despite your troublemaker ways and that pesky Pan name, there’s something about you that’s irresistible. And I’m not one to back down from what I want.”

Y/n’s smile widened, her eyes twinkling with both affection and challenge. “Is that so?”

Harry’s smirk grew. “Absolutely. Though, if it really bothers me, I could always change that name of yours to Hook instead of Pan. Seems fitting, don’t you think?”

Without missing a beat, Harry closed the distance between them, his confidence radiating. He cupped her face gently with one hand, his thumb brushing her cheek. “But for now, let’s focus on what really matters.”

Before Y/n could respond, Harry pulled her into a deep, passionate kiss. The world around them seemed to blur as his lips moved against hers with a fervor that spoke of all the feelings he’d kept hidden. The kiss was filled with intensity and emotion, leaving no room for doubt about his feelings.

When they finally pulled apart, their breaths mingling in the cool night air, Harry’s eyes were filled with a mix of satisfaction and tenderness. Y/n’s cheeks were flushed, and her smile was both shy and radiant.

As Y/n whispered, “I promise I’ll try to be less of a troublemaker.” Harry leaned in, his lips brushing her ear as he spoke in a low, teasing whisper.

“I don’t think so, darling. That’s exactly what I like about you.” he murmured, his breath warm against her skin. “You’re never boring, and that makes you even more irresistible.”

Y/n’s laughter was soft and delighted, her hand still clasped in his. “I guess I’ll have to keep you on your toes then.”

Harry’s grin widened, his eyes dancing with mischief and affection. “I wouldn’t have it any other way.”

Just as they were lost in their moment, Uma’s voice cut through the night air, filled with annoyance. “Seriously, you two? Major battle just finished and you’re over here making out? Can we have one minute without you two being all lovey-dovey?”

Harry and Y/n broke apart, their faces flushed with a mix of embarrassment and amusement. Harry chuckled, giving Y/n a playful wink before turning to Uma. “Well, Uma, can’t blame us for wanting to celebrate, can you?”

Uma rolled her eyes but couldn’t hide a small, amused smile. “Whatever. It’s great that you two don’t hate each other anymore, but we’ve got a lot to sort out. So let’s keep the PDA to a minimum, okay?”

Y/n laughed, her hand still in Harry’s as they joined the others. “Don’t worry, Uma. We’ll keep our celebration within reason.”

As they rejoined their friends, the air around them was filled with a sense of newfound joy and promise. The battles of the day were behind them, and the future ahead seemed full of potential, excitement, and undeniable chemistry. Harry and Y/n, now more connected than ever, faced the world with a renewed sense of purpose and affection.

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Requested by: Anonymous

[doll-drawings]

his urge to be a menace is insatiable

[filmmakerdreamst]

P.J.Hogan's 'Peter Pan' is still an underrated masterpiece 20 years later

Peter Pan is a live-action fantasy adventure film directed by P. J. Hogan that reimagines the classic story of Peter and Wendy. The screenplay was written by P. J. Hogan and Michael Goldenberg and was released in cinemas in December 2003. The screenplay is based on the 1904 play Peter Pan, or The Boy Who Wouldn’t Grow Upand the classic novel Peter Pan by J.M.Barrie, which was originally published under the title Peter and Wendy.

The film tells the story of a young Edwardian girl, Wendy Darling (Rachel Hurd-Wood) and her two younger brothers John and Michael. On the night she is told she must grow up, a wild, fairy-like boy called Peter Pan (Jeremy Sumpter) flies into her room with his high-maintenance fairy Tinkerbell. When he learns that she tells stories, he whisks Wendy and her two brothers away to a magical Island called Neverland — where you supposedly don’t “grow up” — so that she can mother his henchmen, the Lost Boys. There she fights pirates led by the evil Captain Hook (Jason Isaacs), meets mermaids, dances with fairies, falls in love and grows up.

I have strong family connections tied to Peter and Wendy and J.M.Barrie. My great, great uncle Nico was one of the sons of Sylvia Llewelyn Davies'. He and his other brothers "the Lost Boys" were adopted by J.M.Barrie; which ultimately inspired him to write Peter Pan. Nico’s daughter Laura — my cousin — who I met for the first time a few years ago, told me that she was flown to Australia for the filming of P.J. Hogan’s Peter Pan because she was J.M.Barrie’s goddaughter. She told me that she was thrilled with the cast, especially Jason Isaacs, who played Captain Hook and Mr Darling. She also mentioned that Jeremy Sumpter, who played Peter Pan, was a lovely boy. However, she said she was very surprised and sad that the film wasn’t a big success as she really liked what they did with the story. I have loved the fairytale of Peter Pan from a young age, and learning that I am literally part of the family that inspired the story was very exciting and I’ve only begun to internalise it more as I’ve grown older.

When I was in my mid-twenties, I was diagnosed with a high level of Autism. One of my main symptoms was labelled “ageless”, which in simple terms means that one half of me is still a child that I can’t mentally leave behind. I can’t do many things that most adults can do, such as pay bills, drive a car, look after my own well being etc. I flap my hands when I get excited. I bounce. I sometimes speak in a baby voice. I overcommit to things I enjoy. I admit that it was hard to come to terms with the diagnosis when I first received it. But over time, I’ve come to believe that the two can coexist in a healthy way. I believe that I am an adult who is able to develop and grow while still carrying the child within me, and that this is not seen as a bad thing. I think Peter and Wendy can be seen as a reflection of that.

I was first introduced to P.J. Hogan’s Peter Pan a few years after it was released (I was maybe nine or ten years old), and I absolutely loved it. It wasn’t only one of my favourite film adaptations, but one of my favourite movies of all time. What surprised me most about the film at that age was how dark and gruesome it was, and full of this underlying sexual tension that I hadn’t expected at all from Peter Pan. Even today, this film still has a special place in my heart. It is made with so much passion and love for the original text that I can automatically put myself back into the story. After watching the film again as an adult, I almost immediately opened my copy of Peter and Wendy and started reading. I would even go so far as to say that I prefer the film to the book. However, part of me wishes that the age rating had been set much higher, as the dark and gruesome moments were some of the strongest parts of the film adaptation. This is possibly why some critics and viewers had difficulty categorising the film at the time.

However, I often consider P.J.Hogan’s Peter Pan to be the same equivalent as Joe Wright’s Pride and Prejudice. (which came out a few years later in 2005, starring Keira Knightley and Matthew Macfadyen). The film moves at the same dreamlike pace. It is light, dark, colourful and deeply romantic.

I also often prefer P.J.Hogan’s Peter Pan to the 1953 Disney Animation of the same name, even though it’s the version I grew up with and liked. I find it much less straightforward and innocent. Also, the 2003 film is much closer to the original source material, which I loved reading as a teenager, and to J.M.Barrie’s original vision. The film manages to reflect the same intellectual subtext and depth of the novel while retaining the whimsy and magic.

Magical Realism

Peter Pan was a perfect blend of fantasy and realism. A lot of media these days focus too much on “realism” and make their sets and CGI look bland and washed out. It’s a common myth these days that no one likes whimsy anymore; it’s somehow seen as too childish. As a result, much of the magic of fantasy is lost. But in this Peter Pan, a lot of colour was used in the set design and cinematography. Everything was so brightly and colourfully lit. Most fantasy films these days, including the new live-action adaptation of Peter Pan and Wendy on Disney+, are all so gloomy and dark. You almost have to light up the screen to make out the actors’ facial expressions or what’s happening in the scene. But this film understands that a viewer who watches fantasy wants to be swept away, but also wants a certain amount of believability. Although the film contained a good amount of darkness, it did not shy away from being cartoonish either (which I think was partly inspired by the Disney animation), i.e. characters blushing or bouncing on the clouds.

The design of Neverland was breathtaking. I think the CGI, although criticised by some, made the island and creatures look more dreamy and fairytale-like. It was a good combination of CGI for the landscapes and real backdrops for the jungle, so there was enough magic and believability to transport the viewer into the story. A bright colour palette was used for the landscapes, while down-to-earth colours such as browns and greens were used on the ground, such as in “The Lost Boys Hide” under the tree, to give a sense of realism. The costume department also reflected this, from the majestic reds and blacks of the pirates, to the earthly colours of blue and red for the Native Americans, to the natural greens and browns of the Lost boys. I noticed that the colours in Neverland were used as a contrast to the Edwardian London back home, which is realistic but dull compared to the island.

One aspect I liked was that the lighting on Neverland always changed depending on the mood of the scene- unlike the naturalistic lighting on Earth. It was almost as if the island was a living being. For example, when there was a fight on the ship, the lighting was red. When Peter took Wendy to the mermaids, who were scary and frightening, the lighting was dark and blue. This created a surrealistic atmosphere, almost like a fever dream or a kind of nightmare.

Sometimes the environment changed depending on Peter Pan’s mood in the respective scene. I particularly liked how Peter Pan influenced the weather on Neverland. Just his mere presence when he flew to the island changed the entire atmosphere in an instant. His feelings also determined whether it was summer or winter. In other words, its suggested in the film that the longer he has been there, the more the island has become a part of him, so that he can no longer leave it. It’s almost as if the island has transformed him into a magical being.

The exuberant musical score by James Newton Howard: I’ll never forget that. I think that was one of the first movies I saw where I actively noticed the music because it was so brilliant. Even today, the “Flying” soundtrack still gives me goosebumps. It perfectly encapsulates the whimsy, joy and imagination of Peter and Wendy. I loved that there were always different variations. One of my favourite pieces from the movie is ‘Fairy Dance’, which starts off cheerfully and moves up and down depending on the characters’ conflict/what they’re saying in the scene.

Cast

The cast of this film adaptation was magnificent. The look of all the actors not only matched the book description, but also the mood, especially with the Darling family. One of the standouts was Olivia Williams as Mrs Darling. She captured the gentleness of the character perfectly. I also loved the new addition of Aunt Millicent, played by Lynn Redgrave. She fitted into the story so well that I was surprised not to find her in the novel. She had the perfect amount of ridiculousness and hilarity that suited J.M.Barrie’s style.

One particular member of the cast we can probably all agree on that was perfect, was Jason Isaacs, who played both Wendy’s father Mr Darling and Captain Hook. He was certainly a star in this film for sure. I just can not think of anyone who could play him better, especially in a live-action film adaptation. He was particularly good in the role of Captain Hook. When I first saw the film as a child, I did not know that Captain Hook and Mr Darling were played by the same person until my dad pointed it out to me because he was so good. I loved how they portrayed Wendy’s dad as shy and reserved, as opposed to Captain Hook who was flamboyant and sinister. Mirror versions of each other in different realities — that’s a common theme throughout the film. As Captain Hook, Jason Isaacs perfectly captured the essence of viciousness, deviousness and brutality that was necessary for the character. But also the deep loneliness and frustration behind it all. I have seen a quote that was supposedly cut from the film (and never should have been) that provides so much context for his hatred of Peter Pan:

“Imagine a lion in a cage and into that cage flies a butterfly. If the lion was free, it would pay no heed to such creature. But the lion is not free…and so the butterfly drives him slowly insane.” — Captain Hook

They did a really good job of showing how Peter Pan and Captain Hook are mirror images of each other. Peter Pan is a child who secretly wants to be an adult, while Captain Hook is an adult who secretly wants to be a child. Both fight each other for different reasons, but the goal is the same. For example, there is a great scene towards the end where Captain Hook uses his wits to defeat Peter in a fight. Here it becomes clear that there is deep symbolism for the inevitability of adulthood and the loss of childhood. Jason Isaacs really showed off his acting talent here. I liked that he wasn’t portrayed as a “dumb villain”, which he easily could have been.

There were also some great performances among the adults. Most notable was Richard Briers as the ‘pirate’’ Smee. But the child actors, especially the lost boys, really held the movie together. Their solid performances made it so believable that the island was ruled by children. I loved Theodore Chester as Slightly. He was very charming and funny in that role.

Another member of the cast I thought was brilliant was Carsen Grey, an indigenous actress of Haida descent, who played Princess Tiger Lily. I liked that they let her speak her ancestral language, Mohican, in this film. Although this film came out in the early 2000s, it is the only version of Peter and Wendy in which Native Americans are neither erased nor white-washed even though the representation is far from great. Considering how they’re treated in the novel, it’s perhaps for the best overall that they limited some of their scenes. However, I liked how firey she was in this adaptation and not the damsel in distress she was portrayed as in the Disney animation. I think it was a wise decision to cut the infatuation she had with Peter Pan, as it was really just one line in the book that would have added unnecessary drama, and all in all, it would have fallen short if all the female characters were jealous of each other.

They also downplayed Tinkerbell’s jealousy in this regard, portraying it more as her trying to protect Peter Pan’s youth from romantic advances, as hinted at in the novel, and also being sad that Wendy is attracting all of Peter Pan’s attention. Ludivine Sagnier has, in my opinion, succeeded well in making Tinkerbell equally repulsive and endearing, as befits the character.

Wendy Darling

Rachel Hurd-Wood was the perfect cast for the role of Wendy Darling.I was actually surprised to learn that this was her first film role ever, because she was a natural. She effortlessly possessed the same caring nature and charm that makes Wendy so endearing. She is exactly how I imagine the character when I read the story. When people talk about Peter and Wendy, they always mention Tinkerbell, Pan or Hook, but personally I am always drawn to Wendy. She is the real heroine of the story. After all, she was the main reason for Peter to bring her and her brothers to Neverland.

What always amazes me about Wendy’s role in the story is the fact that Wendy literally doesn’t spend much time being a “child” in the time she spends in Neverland. When she’s not escaping death at the hands of mermaids or pirates, she acts as a mother to the ‘lost boys’ and her brothers. She asks herself what she really wants from life. In comparison, she was allowed to behave more like a child at home in Edwardian London. Neverland is not a place where you never grow up. It’s the place where she chooses to grow up. Many people have described Neverland as a manifestation of Wendy’s subconscious as a result of trauma, and I’ve never found that to be more true in this adaptation.

One of the reasons why I think P.J. Hogan’s Peter Pan is the best adaptation of the novel is the fact that the film revolves around Wendy’s coming of age. I loved that they expanded on her love of storytelling and also gave her a tomboyish streak. Instead of just being on the sidelines, she’s able to get involved and fight pirates while retaining many of her feminine traits such as her maternal instincts and romantic feelings for Peter. She makes mistakes and sometimes gets dragged into things she knows she shouldn’t do. But in the end, she triumphs.

In many film adaptations of Peter and Wendy that I have seen, Wendy is either only present in passing or not at all. Characters like Peter Pan, Captain Hook and Tinkerbell always take centre stage, which I think is a strange decision as they are part of Wendy’s story and not the other way around. Peter Pan is meant to metaphorically represent the childhood she does not want to give up (which is why the character is always played by a woman in the original play, as he is a mirror image of Wendy). And Captain Hook (J.M.Barrie also wanted him to be played by the same actor as Mr Darling) represents the dark side of her father, or rather what she imagines adulthood to be. This is particularly emphasised in this film adaptation because he is an important factor in her being told to grow up. The father, the concept of adulthood, and Peter Pan, her childhood, are at constant war with each other.

“You’re not supposed to be like Peter, who kept every good and bad aspect of being a child and can’t tell right from wrong. You’re not supposed to be Hook, either. He let go of everything childish and loving about him and became bitter and evil..You’re supposed to fall in the middle, to hold onto the things about childhood that make it beautiful — the wonder, the imagination, the innocence — while still growing up and learning morality and responsibility. You’re not supposed to be Hook. You’re not supposed to be Peter Pan. You’re supposed to be Wendy Darling.” — @maybe-this-time

The 2023 film Peter Pan and Wendy took a different approach, by making Wendy a kind of powerhouse who always saved the day and outshone Peter Pan overall. In my opinion, the 2003 film adaptation emphasised very well that Wendy really is the yin and yang. She's allowed to be romantic, be rescued by others and at the same time determine her own destiny and stand up for herself. Because that’s what her journey in the adaptation is all about. She is pressured by all the adults in her life to grow up. She allows herself to be seduced with the prospect of an eternal childhood by Peter Pan. Then she realises that it is not self-fulfilling. She is tempted by Captain Hook with the concept of adulthood. And finally, she finds a balance between these two extremes on her own terms. By the end of the film, Wendy has made her peace with growing up while still remaining a child at heart. That requires a certain mental strength that we should all strive for.

Peter Pan and Wendy Darling

In most adaptations of Peter and Wendy, such as Hook and Syfy’s Neverland, the focus is on the title character Peter. In the more recent film adaptation Peter Pan and Wendy, the focus is on Wendy. This film adaptation of Peter and Wendy, on the other hand, sticks more closely to the original source material, as the story focuses on Peter and Wendy’s relationship. This is perhaps the reason why I always hesitate when I watch other adaptations, because these two characters are supposed to go together. It’s definitely a relationship that can be portrayed in all sorts of ways because they are symbolically the same person.

Although there is no romance between Peter and Wendy in either the original novel or the play, Wendy quickly develops romantic feelings for Peter which, as a prepubescent child, he does not consciously reciprocate as he has no concept of love other than that of a mother’s. Although Peter cares deeply for her, he ultimately only longs for her to be the maternal figure that is missing in his life. One could go into the symbolism that Peter and Wendy are one and the same, and that this is an expression of Wendy learning to love herself. But in a literal sense, J.M.Barrie had unintentionally created this very strong potential between the two characters. And I personally feel if your'e going to make an adaptation of Peter and Wendy that potential needs to be explored in some way, even if it’s not necessarily romantic.

Hogan recognised this potential and developed the romantic elements, e.g. ‘the “thimble” from the novel, into a very real and tangible plot. In other adaptations, Peter and Wendy’s relationship is rather one-sided. But in P.J. Hogan’s film adaptation, however, it is not at all. Over the course of the film, Peter and Wendy fall deeply in love with each other.

Rachel Hurd-Wood and Jeremy Sumpter had a remarkable on-screen chemistry for young actors, which helped give the adaptation its own identity. Whenever they interacted on screen as Peter and Wendy, it was — like the glittering pixie dust of Tinkerbell — simply magical. The off-screen chemistry between the two definitely helped make the romance so believable as well. When I was younger, I didn’t like romantic subplots in family films. I personally found that they clogged up the main plot because the “romance” tended to be very one-dimensional- but Peter and Wendy in the 2003 film version were simply enchanting.

In the original novel, J.M.Barrie alludes to the possibility of a romance between the two. In the film adaptation, they go all out. Their love story was written so beautifully and profoundly, while staying true to the original text and J.M.Barrie’s themes. This made the conflict hinted at in the novel of “staying in Neverland with Peter or growing up on Earth with Wendy” even more poignant and relevant, because in reality there was only ever one option. They couldn’t find a way to have both. That made the ending even more “heartbreaking” for me as a child, because even though they had the chance to be happy together, she couldn’t give up on growing up to stay. And he couldn’t give up being a child to leave, even though it was a natural progression for him.

Peter Pan

Jeremy Sumpter delivered a fantastic performance as Peter Pan. Not only did he perfectly match the illustrations, but he also managed to perfectly capture the essence of the charismatic, mischievous little boy from the novel. What’s more, of all the versions I have seen so far, he is by far the most accurate, right down to the clothes made of skeleton leaves, the dirty fingernails, the feral mannerisms, the traumatised soul behind the charm and the downright creepy insinuations. By today’s standards, you could almost take Peter Pan for a grown man who consciously decides not to behave like this.

However, when I watch the film again as an adult, I can now understand why he has reservations about growing up in Edwardian England and would rather remain a “child” in Neverland forever. As Peter says in the film, “Would they send me to school? And then to an office?” I feel like most of us today have so many choices as we get older, but back then it was much more limited. The choices were very restricted in that “heterosexist” environment. You could only be a certain thing, and it was much harder to hold on to the pleasures of life. I can now also understand the initial reactions of Michael and John to Peter: He must have seemed scandalous to people at the time. His bright colours, his inappropriate clothing and his behaviour are repulsive to the boys, but Wendy is immediately fascinated and attracted.  I think it was a deliberate choice that he is the only character with an American accent to set him apart from the rest of the cast; to emphasise the wildness of the character and his non-conformity to the people of Edwardian London.

Another small aspect I liked was the suggestion that the Lost Boys, although they lived with Peter and obeyed his commands, lived in constant fear of him and did not worship him as in other adaptations. (A fear that is justified as Peter tries to kill them more than once in the film). What the 2003 film adaptation captured perfectly about Peter's character was: how terrible of a person he really is. Peter Pan is a hero when he goes on adventures and fights pirates. You could argue — via the quote “Leave Hook to me” (which Peter says to her in the film) — that Peter is Wendy’s split self who can fight her father (Captain Hook) for her, just like antibodies do with germs when we can’t handle them ourselves.

However, when it comes to understanding emotions, caring about others, even his henchmen, the Lost Boys, and doing anything that inconveniences him, Peter Pan is possibly as bad as Captain Hook. This makes Wendy’s decision to leave him all the more powerful. Although she was initially seduced by his adventurous life, she soon realises that his “life” of joy and adventure is not fulfilling at all. Because in reality, there is no real joy. There is no real adventure. In reality, his life is empty because it is not earned. In addition, she realises that she is gradually losing her memory of the outside world, including her parents - a sign that she is “slowly awakening from the dream”. This leads Wendy to realise that she wants more than what he can give her in Neverland (e.g. romantic love) and decides to leave. Being alive means feeling, accepting and growing. However, as long as Peter remains a boy, he can never truly be alive. Peter Pan conveyed this important message, whereas earlier film adaptations, including the Disney animation, did not.

One of the reasons why good adaptations of Peter and Wendy are so hard to come by, especially in this day and age, is not only because they adapt a performative story that exists in layers of subtext. They also work with a protagonist who doesn’t change. Who doesn’t develop in any way, neither negatively nor positively. Not even just physically, but also mentally. (Even Eli from Let the Right One In, the child vampire, changes in the course of the story). At the end of day, Peter Pan is ultimately there to serve someone else’s story. It works in a fairy tale format. But it doesn’t usually translate very well to the screen because it often leads to one-dimensional storytelling. Even if it seems so natural, it doesn’t come naturally.

However, this adaptation allows Peter Pan to grow. The writers expanded on the small aspect from the book, which is the moment when Wendy enters Peter’s life; he begins to feel emotions. Not just love. But anger. Fear. Sadness. Pain. Disgust. And above all: self-awareness. Almost like a version of puberty in condensed time, as if the change suddenly caught up with his body. When Wendy brings this up, Peter immediately rejects it out of fear. I think most of us can all relate to this when we were in the midst of growing into a young adult. We experience feelings that are scary and new, that we can’t yet fully understand or even want to. For Peter Pan, falling in love is exactly what he is afraid of: growing up and no longer being a child. This adds to an interesting conflict that arises between the two when she asks him to leave with her.

“The thing about Peter Pan is, he’s a coward. Had the chance of a lifetime and he bottled it. Just fucked off back to Neverland. All alone, forever he was, by his own hand. Poor old Wendy, she had to grow old without him.” — Skins, 6x07 “Alo”

In the original novel, the reason Wendy can’t take Peter Pan with her (apart from the fact that he refuses to grow up) is the same reason Lyra in His Dark Materials can’t take Pan — the animal manifestation of her soul — on the boat to the land of the dead. She has to split in order to grow up and leave a part of herself behind. She can’t keep both in order to move on. But that does not mean I always agree with the ending either. In which Peter remains a child and takes Wendy’s future descendants to Neverland and back to look after him. It leaves an icky aftertaste, but at least it fits in with the story J.M. Barrie wanted to tell.

Even though the adaptation conveys the same message, that Peter Pan is the manifestation of Wendy’s youth, even to the end. In this version of Peter Pan, that is no longer the case. By the end of the film, the way he holds himself is different. The way he looks wistfully through the open window and solemnly says, “To live would be an awfully big adventure,” : a sign of self-awareness, while Wendy happily reunites with her family. So much so that Tinkerbell has to pull him by the hair to stop him from joining them and reconsidering his decision. Peter is now old enough to know that he loves Wendy. Maybe he’s also mature enough to know what he’s missing, but he knows he can’t have her the way he wants, so he does the most selfless thing he’s ever done in the whole film by letting her go.

There is no such conflict at the end of the 1953 Disney animated film. Peter Pan is described by Wendy as “wonderful”. In reality, everyone else gets their happy ending, except him, because he deliberately chooses not to. Peter Pan very much turns himself into a tragic figure because he is afraid of the most natural thing in the world. He is afraid of life. And I feel like this version of the story knew that and expressed it strongly, which makes me conflicted now as an adult. I’ve seen endings like this before, where two people fall in love but do not end up together because they grow apart or they are both interested in different things, and it’s very important to reach those points in different ways. It very much reflects real life and is also reminiscent of first love. How that love never really fades. It reminds you of simple times, even when you’ve grown up and moved on. That a part of you is still at that age when you look back on it. These endings happen because people grow — which Peter Pan does not.

“Peter in the books lives in oblivious tragedy. He may suspect that he’s not fully happy, but he tends to forget about it… yet this Peter doesn’t… Wendy leaving him and growing up to be a wife of another man is his unhappy thought…It’s the loss of innocence since Peter could not forget this…It’s the process of growing up…all but confirms that Peter’s character arc in the film is one of accepting the fact he too must grow up to be happy.” —  @rex-shadao

And I think that’s the real reason why his character is both the strongest and the weakest part of the adaptation. The writers didn’t make it clear enough that Peter Pan forgets in their version of the character. In the novel, Peter Pan forgets everything automatically, which is why he can exist in this limbo of childhood and not go mad. However, as mentioned earlier, this version of Peter Pan is old enough to remember and, more importantly, to feel. Even though he is the closest to J.M. Barrie’s original vision, unlike his counterpart in the book, he is capable of evolving. That’s why the ending sometimes feels strange to me as an adult.

It was hard to say why I had a strange feeling at first, but I realised that a lot of my mixed feelings stemmed from having seen the film adaptation fresh after reading the novel. Since Peter Pan fully reciprocates Wendy’s love in this version, he ends up being a different character than in the book, which is why I now disagree with them keeping the original ending instead of having him grow up with Wendy. It would symbolise that childhood can co-exist with adulthood, that you don’t have to leave a part of yourself behind. That you can be your true and complete self if you find the balance between the two extremes.

The original ending still works however, in all its bittersweetness. I know what it means and understand what it stands for. Wendy basically says goodbye to her childhood and promises never to forget it. There’s a reason it made such an impression on me when I was younger. It could just be because I’m trying to pick up all the pieces of my broken heart from the floor. But personally, as an adult, I just find it weaker compared to the novel. Sometimes I like to imagine an ending to this version of the story where Peter Pan comes back, having quickly realised that he has outgrown Neverland, but doesn’t meet Wendy again until they are both much older, at a time when Wendy is coming to terms with womanhood and the idea of marriage. Or she even meets his real earth counterpart (if we were to delve into the psychology of Neverland being Wendy’s dream). And their relationship is subjected to the natural test of time and growth.

Peter Pan is an almost perfect adaptation. It matches the humour, the tone and the vision of J.M.Barrie. But I can certainly understand why the film didn’t do so well at the box office. In the month it was released, there was an unfair amount of competition, namely the film Lord of the Rings — The Return of the King. And as an adult, I can now understand why it’s not the film people think of or remember when it comes to Peter Pan adaptations. And it’s not just because it doesn’t fit the elfish, jolly trickster persona that Disney has created.

The film adaptation suffers more from what it doesn’t do — such as maintaining a stable tone and consistent editing — than from what it does. It’s one of those films that would have benefited from being much longer. That way, the inconsistent tone and some of the rushed parts of the adaptation would be much more balanced. It feels like it was missing an extra twenty minutes. For example, the film is narrated by an older version of Wendy, but without the deleted ending where it becomes properly clear that it’s her telling the story to tie everything together, the ending feels a little abrupt. Say what you will about Tim Burton’s adaptation of the Series of Unfortunate Events, but the audience could see where the film’s narration was coming from the whole time. I think if they knew the alternate ending wasn’t going to work (that scene is a classic example of something working well in the novel but not in the film), they should have removed the narrator altogether with the deleted ending and adjusted the film accordingly. They should have extended some scenes so that parts of the film weren’t rushed, such as the introduction, and the story would have been left more up to interpretation as there was no voiceover throughout.

Despite its weaknesses, P.J.Hogan’s Peter Pan is still an underrated masterpiece 20 years later. It is an irresistible film that captivates and warms the heart. The film adaptation has certainly stood the test of time, staying true to the original while adding its own flavour to the story. It is full of magic, wonder and heart. It was clearly made by people who loved the origins of the story and explored where they came from, while also digging deep into the text to reshape the character arcs in a fresh and meaningful way. They succeed in capturing J.M.Barrie’s original message, which is that growing up is a natural progression of life, but that doesn’t mean leaving childhood behind entirely. That it is important to maintain a healthy balance between the two: Taking responsibility while appreciating the joys of life. From the vibrant colour palette to the goosebump-inducing music to the solid performances and gorgeous chemistry between Jeremy Sumpter and Rachel Hurd-Wood, my love for this adaptation will never end, no matter how old I am.

[pulpsandcomics2]

Wendy

[atomic-chronoscaph]

Robin Williams and Maggie Smith - Hook (1991)

[dapper-suitor]

After reading Peter and Wendy by J.M. Barrie I have come up with my own Captain Hook design....

Here's all my citations for why he looks the way he does!

★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★

★ Described as having a swarthy skin tone, which means an olive or tanned complexion; "Hook nodded. He stood for a long time lost in thought, and at last a curdling smile lit up his swarthy face. Smee had been waiting for it. 'Unrip your plan, captain,' he cried eagerly," (Barrie 90).

★ Outfit modeled after King Charles the Second of England; "In dress he somewhat aped the attire associated with the name of Charles II., having heard it said in some earlier period of his career that he bore a strange resemblance to the ill-fated Stuarts;" (Barrie 81).

★ Loves flowers (Yes, actually.), hence the floral patterns on his vest and jacket; "Thus defenceless Hook found him. He stood silent at the foot of the tree looking across the chamber at his enemy. Did no feeling of compassion disturb his sombre breast? The man was not wholly evil; he loved flowers (I have been told) and sweet music (he was himself no mean performer on the harpsichord)..." (Barrie 191).

★ His hair is distinctly dark and curled; "As dogs this terrible man treated and addressed them, and as dogs they obeyed him. In person he was cadaverous and blackavized, and his hair was dressed in long curls, which at a little distance looked like black candles, and gave a singularly threatening expression to his handsome countenance." (Barrie 80).

★ Eyes of periwinkle blue, forget-me-nots; "Dark as were his thoughts his blue eyes were as soft as the periwinkle.." (Barrie 189). and, "His eyes were of the blue of the forget-me-not..." (Barrie 80).

★ Specifically the little thumbnail of him with red pupils represents a later trait we see in the novel, in which when he angers his eyes become red, "His eyes were of the blue of the forget-me-not, and of a profound melancholy, save when he was plunging his hook into you, at which time two red spots appeared in them and lit them up horribly." (Barrie 80).

★ Hook has a sort of sophisticated air to him because it is heavily implied in the story that he came from a high-class college in England before Neverland, "To reveal who he really was would even at this date set the country in a blaze; but as those who read between the lines must already have guessed, he had been at a famous public school; and its traditions still clung to him like garments, with which indeed they are largely concerned. Thus it was offensive to him even now to board a ship in the same dress in which he grappled her; and he still adhered in his walk to the school's distinguished slouch. But above all he retained the passion for good form." (Barrie 203).

Note: The grey hair streaks isn't really mentioned in the novel, but I thought it would be a cool (obvious) contrast between Hook and Pan.

[zeldamacgregor]

For the fic writer's ask: 4, 27, 31, 33, 28, and 40, any or all! (Am I trying to get to mention Star Mile? Yes. Yes, I am.)

lmaooooo nice! Thanks very much for the asks!

4. Post a screenshot of one of your favorite comments. Well it's gotta be this one, which started off one of our back and forth interactions that eventually grew to this friendship!

27. Which fic do you think is your most adventurous? Hmmmm... like as in the story itself or the taking on of the project? In either case, you guessed it, Star Mile is both an adventure genre (in part) and has been an adventure to write and bring back recently.

31. Which fic would you like to see made into a movie? Hard not to say Star Mile again here lmao if for no reason other than it would be more Jason Isaacs as Hook!

33. Which of your fic titles is your favorite? You're not gonna believe this, Scully... lol Star Mile again. I think because it is a favorite song of mine but also because it's just a lovely pairing of words and fits the story. That fic is deeply personal for me and, in many ways, so is that title.

28. Which fic is closest to your heart? See above lmao. Star Mile was the first long fic I ever took on and published, and it is about my first ever favorite character (Hook) and some subjects that matter dearly to me.

40. Pick one of your fics and share a quote to go with it. (not a quote from the fic, but an outside quote that goes with it) Here's the description of Captain Hook from the book, which filled my wee head up with all kinds of sparkles as a little girl and still does when I just read it now. 🥰

"In person he was cadaverous and blackavized, and his hair was dressed in long curls, which at a little distance looked like black candles, and gave a singularly threatening expression to his handsome countenance. His eyes were of the blue of the forget-me-not, and of a profound melancholy, save when he was plunging his hook into you, at which time two red spots appeared in them and lit them up horribly. In manner, something of the grand seigneur still clung to him, so that he even ripped you up with an air, and I have been told that he was araconteur of repute. He was never more sinister than when he was most polite, which is probably the truest test of breeding; and the elegance of his diction, even when he was swearing, no less than the distinction of his demeanour, showed him one of a different cast from his crew." -Peter Pan, J.M. Barrie

[not-wholly-unheroic]

Disney Lorcana’s latest Wendy image is giving 2003 Rachel Hurdwood “Red-Handed Jill” vibes and I am HERE for it!

[destinylordoffreaks]

more of the Disney lorcana cards part 6

Here’s Peter Pan

101 Dalmatians

And Winnie the Pooh

And again the outfits 🤩

pics from

Https://Lorcana.gg

[ibrainrottomyself]

when i was younger i really wanted disney to create an anime about Peter Pan so i took things to my own hands 😓😓🙏 I tried creating a fake screenshot of a scene that popped up in my head, so i am so sorry if it looks kinda weird hahaha ‼️ might post more neverland related art if this reaches people lmaoaoa [ and yes peter has freckles BECAUSE I SAID SO. ]

( also i need pandom moots real bad so yk, if u are PLS talk to me and dont be afraid to say hi :3 )

p.s bonus ft. wendy & tink my babies

[beauty-4-thebeast]

Another OTP of mine is Wendy (adult, of course) and Captain Hook. A friend of mine told me this drawing looks like an illustration for a fic, but alas, it's not.:D If anyone wishes to use it as a cover for their Darling Hook fanfiction, you are actually welcome (credit is nice). And I always welcome reading recommendations for this ship (or any other fav ship of mine), do tell me if you have a favourite fanfic about them.

Wendy Darling and Captain Hook (c) James Barie (I still haven't read the book oh my!); Peter Pan 2003 movie, Rachel Hurd-Wood and Jason Isaacs Media: hand-drawn pencil, scanned, and painted in Clip Studio Paint