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to me the murderbot books and the tv show are still two separate things (which is good - the tv show is an adaptation, it doesn't have to recreate the books exactly nor should it) but I'm getting a kick out of how being able to SEE SecUnit's face recontextualizes things.

like. in the books the PresAux crew treats SecUnit like a person because they are A) nice in general and B) ethical

in the show the PresAux crew is still A) nice in general and B) ethical, but they're also C) fairly certain their SecUnit is a person because every time they talk to it directly it looks like it's going to throw up

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[video description: a recording of a computer screen showing a five frame animation of late-season Black Sails Silver and Flint kissing. The animation is black and white with fine lines and expressive detail. /end description]

hey friends heres something i started on a long while ago and will never finish bc neither my pc nor my body can handle drawing and cleaning up more frames but still i think for someone who doesnt know shit about animating it is a pretty successful attempt at making the blorbos kiss on a loop forever

(you might remember this post)

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a lot of people say "Silver *knows* he's in a story" as in he knows he's a fictional character in the show Black Sails. imo what he really does is actively turn himself into a fictional character that he inserts into other people's stories, and that's so much more fucked up, like John Silver only exists bc John Silver made him up

....until other people start to put him into their stories on their own

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Charles Vane | Proper Pirate - C (Part 2) Black Sails Musical Parallels | XI. XIX. XXIV.

music breakdown note: The music in this parallel is made up of parts A and B. Parts C and D are each a different extension of part A. E is a tease of A (only the first two notes of part A)

All the scenes in this group have C. All scenes in this set also include AB. The scene in XIX also includes D.

music variation note: The music in the first scene in XI is played on harpsichord (or similar). The second scene in XI and the scene in XIX are on strings. XXIV is on low strings.

Part 1 | Part 2

AB | A | B | C | D | E

I spent a year rewatching Black Sails and tracking all the bits of music that repeated at any point during the show, and my findings are reinforcing that Bear McCreary is a genius and this show should have been called 'parallels that will kill you over and over again'* (tag | chronological)

[somfte]

after s2e5 it makes flint so much more tragic. he didn't do any of that for power, ambition, or greed, but for love!!!!! that's most devastating to me because it's one of the most unstoppable motivations and he is going to be doomed by it

[somfte]

something very funny about the fact that Silver isn't aware of the narrative enough to know that 'darkness' also represents internalised homophobia. he thinks it just means rage.

so Silver is like "I'm afraid of getting too close to Flint because I'll be dragged into the depths of his desires. he awakens some dark urge within me that feels really good but I know it should be shameful." thinking that it's like secret fourth dimension evil powers and not just.. gay thoughts

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2.05 / 4.04

The closer we get to the end of this journey, the more the contradictions will accumulate...confusing issues we once thought were clear.

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it has been literal years since I last posted about this so. hey

tinyurl.com/BStracks

unofficial s2-4 music <3 if you’re into that.

pls don’t crosspost or share this link publicly anywhere else

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Important to remember that MARRIAGE is between:

ONE English Lord

ONE bisexual ginger

And ONE outspoken woman who regularly gets accused of being a witch

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“blanket amnesty for any man who will accept it. in exchange for his allegiance, his renunciation of violence, and his labor” is what thomas initially proposed to his dad to get rid of the pirate problem on nassau. and. depending on what you think about what happened in 4x10. that is also what silver used to get rid of his pirate problem

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When the king brands us pirates, he doesn't mean to make us adversaries. He doesn't mean to make us criminals. He means to make us monsters. For that's the only way his god-fearing, tax-paying subjects can make sense of men who keep what is theirs and fear no one.

//

this is how they survive. You must know this. You're too smart not to know this. 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

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any play, performance, or game is a cage because it's played by the rules written by someone else or whatever black sails is about.

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Flint, to any member of his crew with a complaint: Have you considered dying mad about it?

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When Captain Flint first arrived on this island, he gained influence faster than any man I’d seen before or since. I heard men say it was because of the violence. I heard them say it was his charm. But it was clear to me the reason why he was so good at bending men towards his will was he knew the power of a story and how to harness it to his own ends. That man there, I would argue, may very well be his equal.

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BLACK SAILS ( 2014 - 2017 ) // WHISPER IN THE WIND by LUKE ARNOLD.

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the fact that the entire back half of s4 Flint is thinking "I can fix this" about the rift with Silver meanwhile Silver is thinking "this was inevitable" MAN

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Civil War

[video description: A Black Sails fanvid focusing on Eleanor, Mr. Scott, and Madi. Between clips of Madi and Eleanor discussing their past on the beach, there are scenes showing Eleanor and Mr. Scott's interactions, emphasizing how Eleanor fails to consider Mr. Scott's perspective, and the ways in which Mr. Scott is never able to lose sight of his position in society. The penultimate scene is Madi's speech to Woodes Rogers. As her speech escalates, sounds of chains clanking and being removed can be heard in time with the clicking of the knitting needles being used by Eleanor's ghost.

/end description]

Dialogue transcript:

Eleanor: You trust him? Flint. You've cast your lot with him.

Madi: What does it matter to you?

Eleanor: Before this war began, before everyone's roles changed, your father mistrusted Flint as much as anyone in Nassau did. I assume you were in some contact with him all that time. I'm surprised that his feelings didn't influence you.

Eleanor: For how long had he been secretly aiding them?

Flint: He began, he said, after the Spanish raid.

Eleanor: Did he say why he did it?

Madi: You were my sister. There is very little that I remember from when I was young, but I remember this.

Mr. Guthrie: Once upon a time Mr. Scott was my personal houseboy. Until he proved himself worthy of greater responsibility. That earned him an education which he then passed on to my daughter. And look where that's gotten me.

Madi: You were older. You were beautiful. I revered you.

Mr. Bryson: Mr. Scott, you sided with his daughter against him. You forgot your duty. You must have known there would be consequences.

Madi: When you were told that my mother and I were dead, I have to believe that it affected you. You had just lost your mother.

Eleanor: And what? Now you think you can just waltz back in here and pick up from where we left off like nothing happened?

Mr. Scott: Where else would I go? I belong to you. Chattel property of the Guthrie estate.

Eleanor: You… you know I've never seen you that way.

Madi: But if things were as I remember, my mother and I were your family, too.

Eme: He says…

Mr. Scott: I know what he says. He says in Nassau a slave can be free, get a job and a wage. Maybe for him. He's strong. A few others. The rest of you, don't kid yourself. You are cargo, in Nassau or otherwise.

Madi: And yet, through all the years thereafter that my father cared for you… counseled you, labored for you… he never told you that we were alive.

Madi: I was there in Nassau, and she's there. Eleanor is there. She is one of them now. I stood in Nassau and I realized when this war begins, it will have many different meanings, but to you this war is a civil war. You will have people on both sides of it. You will have daughters on both sides of it. And I want you to know…

Mr. Scott: [whispers softly] Only… you.

Madi: It would have been so easy to lessen your suffering by divulging the secret. And yet, he never did. Have you yet asked yourself why that is?

Madi: The voice you hear in your head… I imagine I know who it sounds like, as I know Eleanor wanted those things. But I hear other voices. [clicking sound] A chorus of voices. Multitudes. They reach back centuries. Men and women…and children who'd lost their lives… to men like you. Men and women and children forced to wear your chains. I must answer to them and this war… their war… Flint's war… my war…it will not be bargained away to avoid a fight.

Madi: My father didn't mistrust Flint. My father mistrusted all of you.

(for @built-on-sand )