the amount of cunt they served was astronomical
cherry valley forever
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@tchintchun
the amount of cunt they served was astronomical
Kawanabe Kyosai, White Heron in the Rain, colour woodblock print, Japan, 1880
Thinking about the flinthamilton/silvermadi parallels, and how they both drive Silver's decision at the end. He asks Madi if he would be enough - if she would give up the revolution for him. When he doesn't get the answer he wanted, he goes to Flint, and asks if he would give up everything to have Thomas back. He doesn't get an answer then, but it's enough of a non-answer that he can believe that Flint would give it up. He has to believe that people would choose love over revolution, because it is love that Silver really wants.
Silver sees himself and Flint as equals - two parts of a whole - and so he sees Madi and Thomas as having the same relationship to each of them. He sees Madi as his tether - the thing that keeps him from falling into the darkness - and so he assumes that Thomas must be the same for Flint. He is the tether that can allow him to "roll back" Flint into who he was before he fell into "darkness".
This is why the two major questions left at the end of the finale - Is Flint really with Thomas? and Did Madi take Silver back? - are linked. It's the same question twice - Can love override a desire for justice? Silver tells Madi a story where the answer is "yes", because he needs the answer to be "yes".
Genuinely one of my favorite things about TNG is how often they're just doing art for fun. Riker's been playing trombone since he was a kid and he really enjoys it and also he is Not Good. Dr. Crusher is stalking the halls trying to rope all her friends and acquaintances into joining her community theater productions and musical reviews even if they've never been on stage before. They're constantly going to their crewmates' music recitals and poetry readings, and some of these people are impressively good at what they do but some of them are just getting started or content to stay at beginner level. They're having fun! They don't have to be prodigies in order to be involved with art because engaging with art on whatever level has value of its own! THIS is what I want to see in my post-scarcity socialist space future. Will Riker's bad trombone playing is load-bearing, actually.
is jake gyllenhaal gay??
why would you ask us, a narnia blog, this
happy pride month to this post specifically
would you still be alive without modern medicine? looking back at your life, would you survive without any to the moment where you are now?
yes
no
barely
yes but it would affect me for the rest of my life
results
I'd have my knee fucked up forever alive but yeahhhhh
Happy Pride
PRIDE MOOOOOOOONTH. It's pride month. did you know dis? Please... take my Beatora
“’Black Sails’ reimagines representation in period dramas by making it integral to the show itself.
Flint’s internal struggle is not figuring out or discovering his sexuality – rather Flint’s character arc exists entirely because of his sexuality. His sexuality is not a prop meant to bolster another more important character or storyline. James Flint would quite simply not exist if he had not fallen in love with another man. Indeed, few plots on the show would exist if not for the fact that various women fell in love with women and men with men.
The driving narrative of this show is the battle for Nassau, a battle waged because of Flint’s love for another man and because this love was taken from him.
Flint is seen as a monster by England — he is a vicious pirate, guilty of innumerable crimes. He was a monster to them before he did any of that, though — he is told his relationship with Thomas is too loathsome and profane to be forgiven, and he is cast out because of it. The trope of the predatory homosexual is deeply rooted in our society. Homoerotic undertones in supernatural fiction have long cast gay people as monsters.
“Black Sails” takes this trope and attacks it. The show insists, rightfully so, that LGBTQ+ people have always existed, but it does not sugarcoat that existence. “They hang men for this,” Mrs. Hamilton tells Flint hours before their worlds all come crashing down, and she is right. Regardless of whether he’s a pirate or a respectable lieutenant, Flint will always be a monster to England, because of his sexuality.
In the third season, our crew is stranded on an island housing a matriarchal colony of marooned and escaped slaves. These people have formed a society entirely in secret. They exist outside the grasp of England’s fist because the crown does not know they exist. “Black Sails” is about people who have been cast out of society, it is about “monsters.” They are gay, women, marooned and escaped slaves. They don’t exist within civilization because civilization cannot allow them to exist. Their very presence challenges the entire façade, because civilization only survives if people cannot imagine it any other way.
In one of the most powerful scenes of the four-season show, Flint acknowledges this construct: “They paint the world full of shadows, and then tell their children to stay close to the light. Their light. Their reasons, their judgments. Because in the darkness, there be dragons. But it isn’t true. We can prove that it isn’t true. In the dark, there is discovery, there is possibility, there is freedom in the dark once someone has illuminated it.” The significance of an explicitly gay character making this declaration cannot be overstated.
For a shining moment, the show allows you to imagine a world in which this coalition of outcasts won. An alternate reality in which the New World was wrenched from England’s hands by an alliance of gay and black men and women. Of course, we know they did not win. Homophobia would become the law of the land in the New World, same as the Old. Slavery would flourish, and the world as we know it today would be built on the backs of enslaved peoples.
So what, then, is the point of “Black Sails”? It is just a story, with very little basis in history. Why imagine a world that could have been when we have to live in the one we have? Thinking of his happiness with his male love, author E.M. Forster once wrote “I see beyond my own happiness and intimacy, occasional glimpses of the happiness of thousands of others whose names I shall never hear, and I know that there is a great unrecorded history.”
“Black Sails” is imagining one of those thousands of unrecorded histories.
The show is an examination of the stories we create of, for and about ourselves. It is about how our narratives are wrested from us and twisted, and it is about how we fight to reclaim those narratives for ourselves. It is the lies we construct and the lies we are told, and the eternal struggle to maintain some truth in the midst of both.
The series closes with a character insisting that, “A story is true. A story is untrue. As time extends, it matters less and less. The stories we want to believe. … Those are the ones that survive, despite upheaval and transition, and progress. Those are the stories that shape history.”
We know from the beginning of the show that Flint’s war against England and civilization itself will not succeed. England’s power eventually waned, yes, but not before piracy was crushed and slavery was firmly entrenched. Homosexuality was still a criminal offense in my lifetime. Despite all of this, “Black Sails” is the power of stories we create in opposition to the stories civilization is built on. As long as we can tell those stories, we exist.
As long as we exist, we triumph.”
- Danielle Hilborn
basically, i think the general rule of thumb is: if someone REALLY wants the blood that’s inside of your body, and they’re like… a vampire, or a dracula, or some sort of mansquito, then that’s probably okay. a dracula and a mansquito are made for removing things like blood and swords from inside your body. that’s basically fine.
if something wants to get at your blood, and they’re, say, some kind of murdersaurus, or maybe a really big frog, that’s where the problems start to arise. a really frog is not made for removing blood, and your blood knows this, which is why it is so vehement about wanting to stay IN your body instead of coming out.
unfortunately this will not deter a really big frog, because a really big frog is full of things like prizes, and value, and quite a lot of hatred, and it would REALLY rather like to replace any and all of those things with your blood, and basically by any means possible.
These words scan with a fantastic degree of confidence considering that together they make no sense at all
heres MY rambly black sails analysis for the day, after watching the show twice in as many months i wholeheartedly believe in the "long john silvers quote unquote missus in treasure island is max, not madi" theory
the most obvious thing, as others have pointed out, is that in treasure island long john silver runs an inn with his wife, a black woman, in bristol, which is absolutely not madi behavior-- i cannot imagine madi would take him back in the first place much less move with him TO ENGLAND-- but IS maxs exact area of expertise. but theres so many other things that cement it for me
as early as episode 2, max tries to convince eleanor to buy out the inn and run it together with her when england takes nassau back. this is her dream-- to share power over her life with a woman she loves, free of the pressures of the outside world. (youll note this also happens to be silvers dream for himself and madi. the parallels)
in season 4 shes faced with the suspiciously similar option to take a husband to be the face of her business, completely on paper, for the sake of the public eye. and she refuses! she doesnt want to give a man that kind of power over her. not only that but she desperately wants to retain some kind of truth in her identity-- she admires anne for her honesty, her courage. these are things she can rarely afford to express. in refusing a marriage of convenience, she asserts her autonomy.
But. black sails tells us over and over again that an oppressive society will always find ways to batter down these private boundaries. there is no island safe from colonial rule. mirandas peaceful house in the interior is burnt to the ground. the maroons are forced to accept a freedom that comes at the price of abandoning those still enslaved and taking part in their continued subjugation. the things it takes to make these spaces are terrible, and unsustainable, and when it comes to being gay in the 1700s there is a tightrope to walk between privilege and privacy, one that destroyed flint and the hamiltons, thats even narrower to max as a self-made woman of color.
given all that, i do not believe she can girlboss her way out of her circumstances no matter how many lessons she took from what happened to eleanor. nor do i think the show believes it. i think the political-marriage-offer plot point is another illustration of that theme-- maxs desire, and silvers desire, to build a warm, happy room in the middle of the imperial machine, without meaningfully striking out against the machine itself, is destined to be futile no matter how strong they are as individuals.
max and silver are mirror images of one another. each of them is essentially the narrator of one half of the story. it is absolutely agonizing how BOTH of them tried to convince their lovers to abandon their ambitions, to settle for a quiet life with them, and in doing so saw that relationship destroyed by their own fear of an uncertain future....
....And its even MORE agonizing to imagine them finally securing the trappings of a domestic life... but without the love. and they know the love was what mattered! theyre always going to know!!!
it bookends PERFECTLY with their alliance at the start of the series. theyre right where they started, trusting no one, pretending to be humble and harmless, planning to steal the EXACT SAME TREASURE, except now theyre 50 years old and jaded and bitter and both pining after their lost loves. silver probably pictures madi whenever he tells people about his wife. when he and max have time to themselves they talk solely about finances and nothing else. its honestly impressive how miserable this is for every single person involved. im losing my mind
not every mutual fits neatly into an archetypal medievalism but there are some mutuals that im like yeah addressing you as “my liege” would come strangely naturally
what mutual is prev
my liege lord
my loyal knight
my wise wizard
my evil advisor
my brother in arms
my lady muse
my wild mermaid friend
my fellow alchemist
my dashing rapscallion
my monstrous foe
that’s his little guy!!
a character study of one carol sturka.
more under the cut. thanks for reading! i'll have this as a physical copy at ECCC. come talk to me about pluribus!!!!
~ Florence Harrison, "So the prince was tended with care" from Christina Rossetti: Poems (1910)
via internet archive
A ceramic bowl depicting a swarm of mice. From Peru, Nazca culture, 180 BCE-500 CE, now housed at the Art Institute of Chicago. Twitter