silkenbutterfly7

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#does not one bring his habits to marriage

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THE TERROR ▸ 1.04 punished, as a boy

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Why are you here, Francis? You've never believed in this cause. No one was ordered to this. We volunteered.

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I know we're all here for the queer action but I will not stand making Sophia Cracroft and Francis Crozier out to be this pair that never could have worked. I know she gets The Beard treatment in lots of fanfic, but what little screentime they got together in the show, they had genuine affection for each other. They spoke to each other on equal footing, candidly, showed real emotion with each other, neither looked down on the other, they were casually affectionate, made each other laugh, enjoyed each other's company. Sophia's decision to not marry him comes from a place of preemptive heartbreak, of fearing and hating the lifestyle of being married to a man who was always at sea or may never return home. And to her great despair she found that heartbreak was going to reach her either way, hence her "I have made a terrible mistake."

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JOPZIER NATION

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Thomas Jopson and his hair

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"Letters" for week 7 of Sail Out Summer Flash Fest on twitter

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he couldve been 2012's most famous tumblr sexyman it was all there

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The Terror characters as horse paintings from The Horse; 30,000 Years of the Horse in Art by Tamsin Pickeral

Part 1/? (All paintings are picked from this specific book and all quotes are from the author's comments on each painting! Also I apologize if I miss any context for any paintings, please add any commentary or corrections you'd like.)

Francis Crozier: A Suffolk Punch by James Ward

Mostly chosen for the painting's blonde/red colors, long-suffering expression and somewhat stout character, the book reminds us that this species has no feather on its legs to suit it for for dirtier, muddier work than the feathered draft breeds, which suits Crozier's dislike of pomp and performance, his strong preference for practicality. It is a horse bred for work, not performance, fashion or war. Delightfully, the author also reminds us "these creatures have been famously described as "having the face of an angel, the body of a beer barrel and the bottom of a farmer's daughter." Can we get Jopson to confirm?

George Hodgson: The Piebald Stallion at the Eisgruber Stud by Johann Georg von Hamilton

A painting of a powerful stallion performing a dressage move called a levade- "the primary movement for airs above the ground." The author describes this painting as" a curious paradox- an image of a horse that is at once unfettered by man and yet behaving in response to man's influence." This concept reminded me of George speaking of the etymology of the word diet in episode seven- even as they starve his mind is on his civilization and human trappings and has no qualms (perhaps even a compulsion) to speak his facts out loud, this social performance he falls back on even in a dire situation. That and its pretty blonde (somewhat receded) mane. It should be noted this type of horse is bred for its strength, athleticism, and intelligence, which suits George's status as a war veteran. *cough war criminal cough*

John Irving: The Morning Ride by Alfred Munnings. Beneath, Red Horse Bathing by Kuzma Petrov-Vodkin.

The first painting is perhaps the one John may chose for himself; a subdued gray ridden by a demure and modestly dressed woman. The artist recounts his love of grays comes from seeing a painting of a gray stallion on the wall every day during morning prayers. However John does not seem to see the very large painting that was already on the wall beneath it, and is much larger and not at all hidden by the small painting of a gray. This second painting "demands to be looked at; it raises questions but provides no clear answers. Interestingly, Petrov-Vodkin's work as a body is characterized by its innate spirituality, and this painting the horses are immersed in the spiritually symbolic lake, taking part in a ritualistic cleansing." John clutches to spirituality as a shield but I personally feel like he does not need to abandon it to accept others and himself, if only he could see that. A painting with homoerotic vibes and spiritual undertones seemed to perfectly illustrate that.

Thomas Jopson: Ownerless Horse on the Battlefield at Mozhaisk in 1812 by Adam Albrecht

A particularly difficult choice due to Jopson's character simply suiting the nature of the domestic horse so well, especially in western culture. A member of the servant class, he may be treated like he is a horse, that is, a living possession, a creature of decent strength and ability and well groomed, its value being in its ability to perform the specific tasks it is trained for. But Jopson is also defined as a character by his deep personal loyalty, which exists despite the social constructs of his class. The painting also reflects his last moments, the glimpse of others being led away.

Silna: Two Riders by Quincy Tahoma

I was quite pleased the book includes at least a few indigenous painters, as it would be difficult to have picked a European painting for Silna, though this painting's origins are far far south from Silna's, the painter being a Navajo who painted Navajo culture. (Nobody on the list has paintings directly representing their origins, but I wanted to point out the distance here to not lump together all North American tribes- and remember I'm picking from what's available in this specific book). Two Riders reminded me of the duo of Silna and her father's first appearance side by side, and in the narrative they are a duo, their violent separation being a major catalyst for the disasters of the show. "This artist is known for developing a "unique and humorous signature called "the final chapter" where the bottom right hand corner would have a scene related to the main painting, the suggestion being that paintings capture just a single second in time, followed by another, and another..." This made me think of the story that Silna is experiencing, her own chain of disasters that falls one after another, a series of tragedies each caused by the last.

Tuunbaq: Dream, Speak, Think by Christopher Le Brun

The cool blue and deep shadows first made me think this painting was appropriate for Tuunbaq in the arctic setting, but reading the description I felt it had an appropriate irony. On this page the author describes the horse (in general) as a creature that "inspires great emotion, awe and sometimes even terror" and the painting as such: "Shrouded in mystery, the horse half-appears, seeming only partly real... Le Brun's painting encompasses ancient precepts surrounding the horse, a sense of hystory, myth, and legend." I thought this statement paired with the painting's current location in the Tate museum in London perhaps appropriately symbolizes the cultural appropriation of colonization; the interest, curiosity and even some reverence for a concept, but its fate still remains a piece in a London museum.

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very self-indulgent art nouveau (mostly Alphonse Mucha inspired) jamie sketch

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THE TERROR ▸ 1.06 a mercy

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“Aww imagine a good boy and his boss loved him like a son and wanted to fuck him 🥹” boringggg sorry Jopzier fans but it will never compare to the elite “imagine a racist piece of shit whose boss HATED him like a DAD and he STILL wanted to fuck that old man so bad he ruined both of their lives” pairing that is Hickey/Crozier

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Jaw and Tongue

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Hello!!! I'm so excited to finally share this little time-based guess-the-sailor fangame with you!

In Who is That Sailor? you have 30 seconds to correctly identify the characters shown on screen. The more you identify, the more time and points you get. See where you land on the leaderboard, and compete for the title of Master of the Muster Roll!

It's available as a web game on itch.io, and as an executable for Windows.

Play it here!

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I pay attention to different things during every Terror rewatch. This time, I was focusing a lot on Crozier (because Jared Harris does the best drunk acting I've ever seen) and his alcoholism. I noticed that during that talk with Fitzjames in Punished as a Boy, he's heavily intoxicated to the point that he's acting noticeably emotional and winsome. Fitzjames is so unsettled that his captain is slyly referencing his doomed relationship with Sophia and admitting to only being on the expedition because she asked him to look after Franklin, and I can't blame him. Like, these two have never had a personal conversation before; Fitzjames knows all of Crozier's less public backstory beats from Franklin, presumably. It's just such a deeply sad scene to me, and I love how Fitzjames tries to soften his frustration and reach out in sympathy but is immediately shut down. This show never stops giving.

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jeames and an assortment of terror drawings yayyyy

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