#it deep or anything

[moonscape]

emery just told me about breloom's plot in explorers of the sp!rit THAT'S SO FUCKING STUPID LMAO

[secondbeatsongs]

source

[vyrion]

original post

[lungthief]

listen. i know it's not 2014 anymore and i know it's just a throwaway line and that the russo brothers didnt intend for marvel action blockbuster captain america the winter soldier to become the tragic gay love story that never was but man. having steve say "it's kind of hard to find someone with shared life experience" in a conversation about romantic relationships right before the bucky reveal is so cruel. it's not just about steve and bucky obviously having the shared experience of being "out of time," it's the fact that they've both been stripped of their humanity in opposite directions. steve is a legend, he is an american hero and a national icon before he is a human being the same way that bucky is a weapon and a killing machine before he is a human being. steve knows that anyone who falls in love with him in the 21st century fell in love with captain america first, and that's just not him. but then the one person who knew him first and knew him best and loved him (not captain america, that little guy from brooklyn) so much he died for it is alive, impossibly. and it's a miracle because he's back and it's horrific because he's back under the worst possible circumstances. but to steve, the winter soldier is worth tearing the world apart for because he's always been bucky first. they find each other and suddenly they're human again. and maybe, despite it all, being "out of time" becomes a blessing, because in this century they'd finally be allowed to love each other the way they've always wanted to. like real people do.

like. no. the captain america trilogy isn't about two queer men traumatized and alienated by war and modern life rediscovering and reclaiming their humanity through their love for each other. but. i mean. it couldve been

[mangozic]

archivist be upon ye

[reliabledragon]

To me, the best embodiment of modern capitalism is in the phrase "please hold, we are experiencing higher than usual call volume". I know it's a lie. You know it's a lie. But you still hear that line every time you call, regardless of the day or time, because it shifts the blame. It tries to prompt you to blame the other callers instead of asking, "Hey, why are they deliberately understaffing their call centers and making it so difficult to get help?" It takes a failing caused by a deliberate, profit-focused management choice, and turns it into a problem with the people using the system, rather than one with the system itself. And that pattern, to me, is the epitome of the modern corporate system.

[regicidal-defenestration]

A bus is basically the classic thing to wait in the rain for

[egophiliac]

Please elaborate on your twst Pokémon headcannons I’m very interested

I had planned on drawing everyone for this (I made a LIST!) but it. hasn't been going well. 💀 soooo here's what I have so far!

Riddle - Roserade (I was going with 'no legendaries', otherwise I would've given him a Shaymin) (and I don't think Togedemaru is actually a hedgehog or I would've given him one of those too) (...they kind of do fit though. hmm.)

Trey - Alcremie (clover/mint cream + strawberry/ruby cream)

Cater - DITTO SQUAD! DITTO SQUAD! DITTO SQUAD!

Ace - Impidimp (I feel like there's probably a better one for him, but I can't think of it)

Deuce - Scraggy (meanwhile I KNOW deep in my heart that this is true)

Leona - Pyroar (but like. a nasty Pyroar. just a grizzly old Pyroar with the shittiest attitude imaginable. they pretend to hate each other but secretly they are a bonded pair, do not separate)

[feminetomboy]

IX of PENTACLES

---

This has been a long time coming, but finally, here is the card I drew for @dsmp-tarot. I couldn't have been more proud to get my hands on Technoblade and despite all the hurdles, I couldn't be prouder of my finished piece. Technoblade never dies.

(+two sillies under the cut 🧡)

[kettlefire]

Justice League & The Observants

The first time The Observants appeared before the Justice League, they were met with resistance. The JL was more than apprehensive when it came to working with the beings.

A new side of their world was exposed to them. Since the day those things showed up at the watchtower, everywhere the JL turned, there was a new spooky thing to learn about.

The strange beings didn't say much. Appearing in the room through a swirling portal, took a look at the heroes and gave them a mission.

A mission. Like suddenly the Justice League works for them. Something that rubbed all the heroes the wrong way.

Yet, they had to take it. They couldn't let a town get absolutely destroyed and leveled just because they disliked the creatures that told them about it.

It kept happening.

Batman pulls out all the stops to learn more about these so called "Observants". Everything he could find.

It takes him down a rabbit hole. Finding out more and more about the world those beings came from. The Zone.

No one could really complain. The visits from the Observants were always short and to the point. A new problem has arise in the time line and they needed to fix it.

That was until the first time it wasn't one of those things stepping out of the portal.

This time it was a kid. Or something that looked like a kid, and this kid looked pissed.

He demands to know everything that the Observants had asked the league to do. Demands to be filled in.

The anger isn't directed at the JL. No, no. It's directed at the Observants. It seems the league aren't the only ones that despise those all-seeing beings.

He's a king. The kid is a King.

Not what anyone had expected, and it seemed the complication only grew more. The king, Phantom, informs them not to trust the Observants.

The Justice League takes it all in surprising strides. Confirms that they have done nothing wrong, and they haven't. It was simply that the Observants cared more of their own opinions than the betterment of the world.

However, it gets a little harder to keep a straight face when they are introduced to the God of Time.

Made even worse when the God, Clockwork, is a child. If they thought Phantom was a kid, this was a baby.

Except in almost a blink of an eye, Clockwork was an old man.

Things just kept getting more complicating and intriguing.

Before the Justice League knows it. They are essentially thrusted into the Zone's own problems. An inner war was brewing, and Phantom wanted to do everything he could to stop it.

[ourobororos]

ds9 dump 3.... (falls over)

[cuddlytogas]

So I accidentally almost got into an argument on Twitter, and now I'm thinking about bad historical costuming tropes. Specifically, Action Hero Leather Pants.

See, I was light-heartedly pointing out the inaccuracies of the costumes in Black Sails, and someone came out of the woodwork to defend the show. The misunderstanding was that they thought I was dismissing the show just for its costumes, which I wasn't - I was simply pointing out that it can't entirely care about material history (meaning specifically physical objects/culture) if it treats its clothes like that.

But this person was slightly offended on behalf of their show - especially, quote, "And from a fan of OFMD, no less!" Which got me thinking - it's true! I can abide a lot more historical costuming inaccuracy from Our Flag than I can Black Sails or Vikings. And I don't think it's just because one has my blorbos in it. But really, when it comes down to it...

What is the difference between this and this?

Here's the thing. Leather pants in period dramas isn't new. You've got your Vikings, Tudors, Outlander, Pirates of the Caribbean, Once Upon a Time, Will, The Musketeers, even Shakespeare in Love - they love to shove people in leather and call it a day. But where does this come from?

Obviously we have the modern connotations. Modern leather clothes developed in a few subcultures: cowboys drew on Native American clothing. (Allegedly. This is a little beyond my purview, I haven't seen any solid evidence, and it sounds like the kind of fact that people repeat a lot but is based on an assumption. I wouldn't know, though.) Leather was used in some WWI and II uniforms.

But the big boom came in the mid-C20th in motorcycle, punk/goth, and gay subcultures, all intertwined with each other and the above. Motorcyclists wear leather as practical protective gear, and it gets picked up by rock and punk artists as a symbol of counterculture, and transferred to movie designs. It gets wrapped up in gay and kink communities, with even more countercultural and taboo meanings. By the late C20th, leather has entered mainstream fashion, but it still carries those references to goths, punks, BDSM, and motorbike gangs, to James Dean, Marlon Brando, and Mick Jagger. This is whence we get our Spikes and Dave Listers in 1980s/90s media, bad boys and working-class punks.

And some of the above "historical" design choices clearly build on these meanings. William Shakespeare is dressed in a black leather doublet to evoke the swaggering bad boy artist heartthrob, probably down on his luck. So is Kit Marlowe.

But the associations get a little fuzzier after that. Hook, with his eyeliner and jewellery, sure. King Henry, yeah, I see it. It's hideously ahistorical, but sure. But what about Jamie and Will and Ragnar, in their browns and shabby, battle-ready chic? Well, here we get the other strain of Bad Period Drama Leather.

See, designers like to point to history, but it's just not true. Leather armour, especially in the western/European world, is very, very rare, and not just because it decays faster than metal. (Yes, even in ancient Greece/Rome, despite many articles claiming that as the start of the leather armour trend!) It simply wasn't used a lot, because it's frankly useless at defending the body compared to metal. Leather was used as a backing for some splint armour pieces, and for belts, sheathes, and buckles, but it simply wasn't worn like the costumes above. It's heavy, uncomfortable, and hard to repair - it's simply not practical for a garment when you have perfectly comfortable, insulating, and widely available linen, wool, and cotton!

As far as I can see, the real influence on leather in period dramas is fantasy. Fantasy media has proliferated the idea of leather armour as the lightweight choice for rangers, elves, and rogues, a natural, quiet, flexible material, less flashy or restrictive than metal. And it is cheaper for a costume department to make, and easier for an actor to wear on set. It's in Dungeons and Dragons and Lord of the Rings, King Arthur, Runescape, and World of Warcraft.

And I think this is how we get to characters like Ragnar and Vane. This idea of leather as practical gear and light armour, it's fantasy, but it has this lineage, behind which sits cowboy chaps and bomber/flight jackets. It's usually brown compared to the punk bad boy's black, less shiny, and more often piecemeal or decorated. In fact, there's a great distinction between the two Period Leather Modes within the same piece of media: Robin Hood (2006)! Compare the brooding, fascist-coded villain Guy of Gisborne with the shabby, bow-wielding, forest-dwelling Robin:

So, back to the original question: What's the difference between Charles Vane in Black Sails, and Edward Teach in Our Flag Means Death?

Simply put, it's intention. There is nothing intentional about Vane's leather in Black Sails. It's not the only leather in the show, and it only says what all shabby period leather says, relying on the same tropes as fantasy armour: he's a bad boy and a fighter in workaday leather, poor, flexible, and practical. None of these connotations are based in reality or history, and they've been done countless times before. It's boring design, neither historically accurate nor particularly creative, but much the same as all the other shabby chic fighters on our screens. He has a broad lineage in Lord of the Rings and Pirates of the Caribbean and such, but that's it.

In Our Flag, however, the lineage is much, much more intentional. Ed is a direct homage to Mad Max, the costuming in which is both practical (Max is an ex-cop and road warrior), and draws on punk and kink designs to evoke a counterculture gone mad to the point of social breakdown, exploiting the thrill of the taboo to frighten and titillate the audience.

In particular, Ed is styled after Max in the second movie, having lost his family, been badly injured, and watched the world turn into an apocalypse. He's a broken man, withdrawn, violent, and deliberately cutting himself off from others to avoid getting hurt again. The plot of Mad Max 2 is him learning to open up and help others, making himself vulnerable to more loss, but more human in the process.

This ties directly into the themes of Our Flag - it's a deliberate intertext. Ed's emotional journey is also one from isolation and pain to vulnerability, community, and love. Mad Max (intentionally and unintentionally) explores themes of masculinity, violence, and power, while Max has become simplified in the popular imagination as a stoic, badass action hero rather than the more complex character he is, struggling with loss and humanity. Similarly, Our Flag explores masculinity, both textually (Stede is trying to build a less abusive pirate culture) and metatextually (the show champions complex, banal, and tender masculinities, especially when we're used to only seeing pirates in either gritty action movies or childish comedies).

Our Flag also draws on the specific countercultures of motorcycles, rockers, and gay/BDSM culture in its design and themes. Naturally, in such a queer show, one can't help but make the connection between leather pirates and leather daddies, and the design certainly nods at this, with its vests and studs. I always think about this guy, with his flat cap so reminiscient of gay leather fashions.

More overtly, though, Blackbeard and his crew are styled as both violent gangsters and countercultural rockstars. They rove the seas like a bikie gang, free and violent, and are seen as icons, bad boys and celebrities. Other pirates revere Blackbeard and wish they could be on his crew, while civilians are awed by his reputation, desperate for juicy, gory details.

This isn't all of why I like the costuming in Our Flag Means Death (especially season 1). Stede's outfits are by no means accurate, but they're a lot more accurate than most pirate media, and they're bright and colourful, with accurate and delightful silks, lace, velvets, and brocades, and lovely, puffy skirts on his jackets. Many of the Revenge crew wear recognisable sailor's trousers, and practical but bright, varied gear that easily conveys personality and flair. There is a surprising dedication to little details, like changing Ed's trousers to fall-fronts for a historical feel, Izzy's puffy sleeves, the handmade fringe on Lucius's red jacket, or the increasing absurdity of navy uniform cuffs between Nigel and Chauncey.

A really big one is the fact that they don't shy away from historical footwear! In almost every example above, we see the period drama's obsession with putting men in skinny jeans and bucket-top boots, but not only does Stede wear his little red-heeled shoes with stockings, but most of his crew, and the ordinary people of Barbados, wear low boots or pumps, and even rough, masculine characters like Pete wear knee breeches and bright colours. It's inaccurate, but at least it's a new kind of inaccuracy, that builds much more on actual historical fashions, and eschews the shortcuts of other, grittier period dramas in favour of colour and personality.

But also. At least it fucking says something with its leather.

[pyralart]

I've always thought he acted like a child...

Also killing him isn't enough, I want to see him break down and cry.

I made a part two!

[writergeekrhw]

In the special features for Star Trek, the producers and writers often refer to Trek as a "period piece" in the same vein as Jane Austen or Bonanza, just set in the future instead of the past.

With this in mind, 90's Trek had very distinctive language usage. It is formal, even stilted at times, but it comes off as erudite and evolved. Even Patrick Stewart has commented how he could always tell when Star Trek was on TV because he'd hear the dialogue and recognize that distinctive formalness.

From a narrative perspective, this choice falls in line with the whole "humanity has evolved" theme. But from a technical writing standpoint, it seems to have served a much more important purpose of setting the time period by scrubbing the dialogue of any time-stamped, current slang.

So in this future universe setting, casual, current language (such as F bombs) would be akin to one of us using slang from the 1600's. It's jarring not because it's crass (for some it is), but because it cracks the suspension of disbelief that what we are watching is set in different time period because they are using our language, not theirs.

I apologize for the massive run up to this question (maybe I've completely missed the mark with my musings) but what were the instructions you were given that gave DS9's dialogue that "period piece" feel?

Good observations regarding language use in Star Trek.

There were no specific instructions on how to write "proper" Star Trek dialogue. It was mostly learning by doing. But we adhered to the same unwritten rules as TNG, and that could be gleaned from reading scripts and watching episodes. Once I started on the job, a few things became quickly apparent to me:

Avoid slang.

Avoid religious expressions.

Generally, dialogue between Starfleet characters should be respectful (or even warm), slightly formal, and thoughtful.

Playful is fine, but not too goofy.

Use metric units.

Most aliens don't use contractions or use them minimally.

There are probably plenty more that I learned (and adhered to) unconsciously, but those were the ones that jump out in memory.

[highway-stars]

I'm in love with the slime man there I said it!!

[bizarrelittlemew]

calling it right now that season 3 starts like this