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Feb. 21st, 2016 04:41 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
gwydion* "Baby Asha may go to community detention, not Nauru:" http://www.theguardian.com/australia-news/2016/feb/21/baby-asha-community-detention-negotiations-follow-hospital-protests
* "Donald Trump Honors Men Who 'Took Action' Against A Young Protester:" http://thinkprogress.org/politics/2016/02/17/3750224/trump-sc-protest/
* "Prehistoric Massacre Hints at War Among Hunter-Gatherers:" http://www.nytimes.com/2016/01/21/science/prehistoric-massacre-ancient-humans-lake-turkana-kenya.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=mini-moth®ion=top-stories-below&WT.nav=top-stories-below&_r=1
* "We talked to the man who forced the U.K. film board to watch 10 hours of paint drying:" http://www.dailydot.com/entertainment/paint-drying-uk-film-censorship-board-kickstarter-project/?tu=gav
* "100 Years of Beauty - Episode 16: Japan (Mei):"
* "100 Years of Beauty - Episode 15: China (Leah Li):"
* "100 Years of Beauty - Episode 17: Egypt (Dina):"
* I don't watch award shows, and what with all the stuff going on I didn't get around to tracking down the Gaga Bowie tribute until today. It didn't work for me for a variety of reasons, but I'm not convinced anything they could have done in the allotted time would have. What's really needed is a full concert tribute like they did for Freddy Mercury. I want to make clear I'm not attacking anyone here. I know opinions are strong on both sides. I'm just saying for me, personally, it didn't do what I would have wanted it to do.
* Black Sails XXIII:
* We open with another James and Miranda dream sequence with a figure of Death. I guess they've crossed the Styx now. This sets up Flint having to decide this episode to live or die. Miranda says, "James, you resented me because we were so close... and I threw it all away. If you join me now, what if I resented you for the same reason?" She also tells him he's not alone. Foreshadowing for his conversation with Silver in which Silver talks him into fighting to live. Flint is not alone. He has Silver now, even if Billy is still wildly conflicted. We cut from dream Flint to waking up Flint to Billy and Silver standing together. Not a coincidence, I think.
* Blackbeard's talk to Charles about Eleanor parallels Woodes' talk with Eleanor about Charles. Both Blackbeard and Woodes are too perceptive to believe either is even a little over the other for all they would rip each other's hearts out with steel if they could. They are still to tangled in love and hate to be safe or reliable in proximity to each other. the fight or fuck dynamic they have going is too strong for all they are now at literal and open war with each other.
* Blackbeard has the same sort of power in his tongue that Flint and Silver had. The thing that unnerves me is that while Silver is always challenging Flint in their little one on ones, Charles is yes manning Stab Dad Blackbeard. Billy and Silver are always reality checking each other and Flint. No one is reality checking Charles and/or Blackbeard. *shudder* the reality checking is important. The lack of it is part of why season Two was so brutal. Blackbeard has raised himself an echo chamber instead of a rival. And now I'm thinking of the Charles and jack dynamic and my suspicion that Charles wanted someone at his back who could bring things he needed to the command table, but not challenge him. I think Charles is strong enough to challenge Blackbeard, but because of their dynamic, it's hard for him to think of rebelling. It much have taken everything he had to betray him the first time. I think it will be devastating when he has to decide whether to do it again.
* I love how quick and spare the Mr. Scott and Flint scene was. They both know the politics so well that it's easy for Flint to extrapolate from the bare bones news.
* The Rosario Raids speech fails to solve the contradiction of Mr. Scott's behavior on the slave ship in season one with the new retrofitted backstory, though it does answer questions. I want to make clear that I am not complaining about the giving better arc to Mr. Scott, nor am I complaining about them foregrounding the slavery narrative. What I am irritated with is them not having thought through Mr. Scott's arc from the start they way they obviously did for a number of other characters, though I'd much rather they made they effort to fix it than the alternative (I'm looking at you again, Penny Dreadful). So yes, it's nice they are trying to improve representation. I'm just that person who picks at plot and character contradictions like a scab.
* "For as long as I have known you, you've been two wholly separate men." Takes one to know one, Flint. Takes one to know one. Flint and Mr. Scott are both divided men.
* So Scott is about to vouch for Flint's trustworthiness to his wife, while Flint is off plotting to maybe murder that wife with his crew. *facepalm* It is Silver who points out how literally suicidal this back up plan is. He's been worried about Flint's death wish all season. Now here it is on display, albeit in service of the men.
* I love the little bits of almost Austeneque commentary on the corruption of governors and bureaucrats that Woodes makes to Eleanor.
* I think Woodes is whistling in the dark when it comes to Charles Vane, as much trying to convince himself as her.
* Eleanor is sensibly always gathering intelligence. Woodes is still so new at this, Sweet Summer Child. Of course the game has already started. I like the way this helps point up how much he still needs her for all his obvious intelligence.
* I think the bit with Featherstone and the pardons is not just there for establishing that the process is ongoing, but also to point yet again to the power of words. Mostly, the power has been in spoken stories, but written words matter too: the inscription that filled in the blanks or Richard Guthrie, the books passed back and forth in the first two seasons, the schedule that started the whole damned mess in 1.1, now pardons that make the difference between outlaw and citizen. Words matter.
* Eleanor echoed Charles when she described herself to Woodes last episode. Now she describes Max as they described Eleanor back in London. Max is literally sitting at Eleanor's desk and sitting in her chair. Remember Mr. Scott's warning to Max about how complicated replacing Eleanor is? I think calling attention to that this episode was deliberate. I think Eleanor called attention to Max sitting in her chair at her desk specifically in the same meeting she called Max a pirate as much as a warning as a threat, if that makes sense.
* Once Eleanor sits down, it becomes diplomacy between powers. Max brushes the unpleasantries aside and they set about doing diplomacy. Max is a Queen of a sort, after all, and Eleanor, though deposed is now a diplomat for the occupying power Woodes represents. Once the more personal business complete with insults is done the tone and body language shifts into the realm of politicians and business people. I can't help miss the symbolism of blonde white Eleanor representing British Imperial Interests and former slave Max representing occupied Nassau trying to figure out what best to do for herself and the people who depend on her. It was good to see her standing up to Eleanor after Eleanor tried to make her feel small and ignorant. It was good to see she comes back later with a plan for buying in to the new power structure on her own terms.
* They end on a vulnerable note, Max asking if she was on Eleanor's kill list; Eleanor asking if Max betrayed her to Hornigold. I do think the answers matter to them both.
* Contrary to most TV, novels, and movies, belly wounds in this period are generally fatal, being so prone to infecting. I appreciate that being the subtext to all Mr. Scott scenes this episode. Mari is already mourning him even while trying to get to know him. I think Silver is watching her to gauge both Mr. Scott's likely fate and to better plan for how changes in village dynamics will effect the walrus crew.
* The shot of Silver segues us from Mr. Scott's expected death to Captain Flint's likely death if he tries his plan B. "I understand that you've made gains towards a rapport with the captain in recent days, but if he wants to sacrifice himself so that we might go free, I mean, that might be the first selfless thing he's done for our benefit since we've known him." I think Billy thinks Billy is telling the truth about wanting the Captain dead. I think Billy's got a lot of conflict about Flint under the surface. I think he's still furious about Gates. I think he also wants to be close to flint and is angry at himself for it. If Flint dies, the conflict goes away. I also think that Flint's sacrifice is mostly for the crew, but not entirely selfless. Everyone he loves is dead and he's been flirting with death all season. I think he does want what's best for the crew here. I also think he still wants to die FOR something. It was there in season 2 with Ashe when he was willing to destroy himself for Thomas' dream, in his stated willing to obliterate himself and have no part in the world he wanted to build. It was there in his risks as he burned coastal towns for hanging pirates. It is here now as he toys with the idea of sacrificing himself for the freedom of his men. Silver doesn't want him to do it and that is a big arc moment for Silver, showing how much he's changed. Like Flint's plan for self sacrifice, it's not entirely pure, but I think there is real caring mixed in with the self interest. Flint is seducing him the way he seduced the crew.
* There is something beautiful in Charles Vane's respect for the dying swordsman. The economics of empire are here also, and the way empire grinds men up. The Spaniard says, "A ship full of dead men. A town full of Widows and Orphans. To protect a thing that vanishes before it is ever known. Where is the reason in that?" It means the intelligence in the Hold, of course, but it could possibly apply to the dream of freedom for Nassau. I think the Dead Sailor is a warning for Charles about his future the way the ghost captain was for Flint back in 3.1. I think Charles could easily end up with a ship full of dead men and either the hidden village or Nassau could end up full of widows and orphans. It reminds me a little of dream Miranda, and her conversations with Flint.
* Max looks every bit a Queen when she treats with Woodes. "I am Nassau." Eleanor figures out the implications first, but Woodes follows the logic fast enough. She sounds so Statesman like too, and her demands are certainly self serving, but the principle enshrined is subtly larger. "An end to questions about my past and a new beginning in which we all agree there is no history in this place anymore, only a future in which you and I are truly friends." No history. O.o. What I also love is that earlier Woodes and Eleanor were referencing the previous corrupt governors of the island, and Woodes expressed a hope not to follow in their footsteps. Here he is already being tempted. Those same governors, i might add were the ones they hoped once to replace with honest Thomas Hamilton, but civilization ate him. Which brings us to the question debated since first season: Is Nassau corrupting civilization or is civilization corrupting Nassau. I know what Blackbeard would answer. I'm inclined to think it's a matter of all human structures being prone to corruption because people are prone to corruption. People make up Governments whether it's the British Parliament, the Pirate government of Nassau or the hidden village. It's a matter of degree and how bearable living under a particular type and level is.
* I contend the Silver/Flint conversation is a reply to the Miranda one. You can see in his face, he is psyching himself up to die. Flint is not alone, Silver comes to talk him into not sacrificing himself. It also plays back to several of their conversations, particularly the one in season two when flint revealed his self hatred and the not wanting to be a monster, but there are so many little beats in it that resonate back to the Quartermaster scene or the conversations about the power of persuasion and story, showing Flint just how carefully Silver was listening all along. "Billy doesn't give a shit if you die tomorrow. But I suppose you knew that already. You know, the strange thing is, I... I should be with Billy. Until most recently, I'm quite certain I would have been. Unbothered by the idea of trading your life for the rest of the crew's. And yet, for some reason, right now I am bothered by it. But I understand it. I understand the allure of ensuring that no one will ever think you the villain you fear you are. What a waste, it seems to me, knowing it doesn't have to be this way, knowing the man who talked me into giving a shit about this crew, why, he could talk those people out there into anything. If he wanted to." It's beautiful. It's going to end in blood and stabbings, but it's beautiful. I love the face acting here too. The way they are both fundamentally worn down by the captivity, the way Silver laughs at himself even as he's being sincere and is very serious about trying to talk Flint into choosing to live. Flint's deep and understandable skepticism complete with eye roll followed by a degree of acceptance. You can see him thinking after, rather sullenly at first, but too honest with himself to give into that for more than a moment. He listens. The way he used to listen to Miranda. Exactly the way Billy told Silver to handle him. I love how complicated the line between manipulation and sincerity gets with Silver. Seriously though, watch the play of facial expressions with Flint during Silver's monologue, then after he leaves. I love that they didn't cut the long silence. I love that they let us watch Flint think.
* I think Flint's plea before the Queen mirrors Max making her offer to Woodes, which makes me ask all sort of questions about Max's more reasonable offer. She is regal; he is statesmanlike. I get why this plan is good from Flint's perspective, but it's a terrible deal for the Queen and her people. It is seriously terribad. They are vulnerable and so many of them are going to die and they risk everything, especially their freedom, going up against a slave power like that, not just for themselves but for descendants stretching forward a century to a century and half depending on where they end up. I get why she falls for it. Her very likely dying husband wants her to and it was the English shot him in the gut after a lifetime of them stealing his labour and his freedom. She is making this decision full of grief, justified anger, and impending loss. This is the ugliest thing I've seen Flint do, and he's done so many horrific things. And the worst thing about it, is it's yet another white man manipulating and using ex slaves for his own selfish ends. He's throwing black bodies into the meat grinder of Empire, an Empire they'd managed to escape. And I thought Charles using slaves to build the fort was as disgusting as it could get. I think I just through up in my mouth a little at what Flint is doing.
* So Charles and teach have a fleet of ships they would need to invade, plus Mrs. hudson's spy reports on Woodes Rogers. Flint has a ship and now lots of armed people....
* Eleanor did warn Woodes about herself in words very similar to the ones Charles used to describe her. She's working Woodes much the way she must have Vane. Not that I don't think there's genuine chemistry there, but I think she's working the same pattern. The chemistry is much hotter with Charles, but Woodes is dangerous, clever, and powerful. We know that is her type in men. He sees her and he likes playing the same power games she does, which is also something attractive in a man. Eleanor seems the best of a bad situation sort of person and playing power chess is kind of her thing and power maneuvers were a kind of foreplay with her and Charles. Woodes sees her strength and her brain and her dangerousness, just like Charles did. He's a cooler personality, but I think there is a lot of backstory there. The Eleanor/Woodes ship board scenes reminded me of Geoffrey and King Philip in Lion in Winter.
* Given all the ominous cuts to Mrs. Hudson spying, I am not surprised. Watching her reveal, I am reminded of Silver and Flint in the rowboat, only this time, it is a blind side.
* So is Max holding Silver's share for him or did she cheat Anne? Or is Mrs. Hudson mistaken or lying? I'm hoping it's holding Silver's share and not cheated Anne, because that would really distress me.
* Jack you idiot! This is such a characteristically Jack Rackham bad idea. I hope Anne has the sense to bury and hide the gold, or at least most of it. Seriously I'm with Anne on this one. This is a bad idea.
* Silver: I'm going to admit something to you. Please don't take this the wrong way... but I didn't think there was a chance in hell that was actually going to work.
Flint: Me neither.
Me: Bwhahaha!
* "Black Sails XXIII:Extended Comentary:" http://gwydionmisha.tumblr.com/post/139756151687/black-sails-xxiiiextended-comentary
* I really took to Bletchley Circle. I wish they hadn't chosen to make the promo material the showed after the first episode wincingly sexist, but the first season itself was aces.
* "Fever Ray 'If I Had A Heart':
* Zimbabwe has joined Ethiopia in disaster level drought People and animals are dying. Want to help? https://www.wfp.org/help
* Help the poisoned children of Flint Michigan. "Water Crisis:" https://www.cfgf.org/cfgf/GoodWork/FlintArea/WaterCrisis/tabid/855/Default.aspx
* "How to help Flint, Michigan:" http://www.msnbc.com/rachel-maddow-show/how-help-flint-michigan
* Want to help finance my meds/medical co pays? Paypal Lethran@gmail.com
* Donate to help refugees "UN Refugee Agency:" http://donate.unhcr.org/international/general
* Organizations helping with the refugee crisis: http://captainofalltheships.tumblr.com/post/128790538169/an-updated-list-of-organizations-to-donate-to-help
* Want Game of Thrones without the creepy? We desperately need new players. We are very inclusive. "Game of Bones MUSH:" gobmush.wikidot.com
* "Donald Trump Honors Men Who 'Took Action' Against A Young Protester:" http://thinkprogress.org/politics/2016/02/17/3750224/trump-sc-protest/
* "Prehistoric Massacre Hints at War Among Hunter-Gatherers:" http://www.nytimes.com/2016/01/21/science/prehistoric-massacre-ancient-humans-lake-turkana-kenya.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=mini-moth®ion=top-stories-below&WT.nav=top-stories-below&_r=1
* "We talked to the man who forced the U.K. film board to watch 10 hours of paint drying:" http://www.dailydot.com/entertainment/paint-drying-uk-film-censorship-board-kickstarter-project/?tu=gav
* "100 Years of Beauty - Episode 16: Japan (Mei):"
* "100 Years of Beauty - Episode 15: China (Leah Li):"
* "100 Years of Beauty - Episode 17: Egypt (Dina):"
* I don't watch award shows, and what with all the stuff going on I didn't get around to tracking down the Gaga Bowie tribute until today. It didn't work for me for a variety of reasons, but I'm not convinced anything they could have done in the allotted time would have. What's really needed is a full concert tribute like they did for Freddy Mercury. I want to make clear I'm not attacking anyone here. I know opinions are strong on both sides. I'm just saying for me, personally, it didn't do what I would have wanted it to do.
* Black Sails XXIII:
* We open with another James and Miranda dream sequence with a figure of Death. I guess they've crossed the Styx now. This sets up Flint having to decide this episode to live or die. Miranda says, "James, you resented me because we were so close... and I threw it all away. If you join me now, what if I resented you for the same reason?" She also tells him he's not alone. Foreshadowing for his conversation with Silver in which Silver talks him into fighting to live. Flint is not alone. He has Silver now, even if Billy is still wildly conflicted. We cut from dream Flint to waking up Flint to Billy and Silver standing together. Not a coincidence, I think.
* Blackbeard's talk to Charles about Eleanor parallels Woodes' talk with Eleanor about Charles. Both Blackbeard and Woodes are too perceptive to believe either is even a little over the other for all they would rip each other's hearts out with steel if they could. They are still to tangled in love and hate to be safe or reliable in proximity to each other. the fight or fuck dynamic they have going is too strong for all they are now at literal and open war with each other.
* Blackbeard has the same sort of power in his tongue that Flint and Silver had. The thing that unnerves me is that while Silver is always challenging Flint in their little one on ones, Charles is yes manning Stab Dad Blackbeard. Billy and Silver are always reality checking each other and Flint. No one is reality checking Charles and/or Blackbeard. *shudder* the reality checking is important. The lack of it is part of why season Two was so brutal. Blackbeard has raised himself an echo chamber instead of a rival. And now I'm thinking of the Charles and jack dynamic and my suspicion that Charles wanted someone at his back who could bring things he needed to the command table, but not challenge him. I think Charles is strong enough to challenge Blackbeard, but because of their dynamic, it's hard for him to think of rebelling. It much have taken everything he had to betray him the first time. I think it will be devastating when he has to decide whether to do it again.
* I love how quick and spare the Mr. Scott and Flint scene was. They both know the politics so well that it's easy for Flint to extrapolate from the bare bones news.
* The Rosario Raids speech fails to solve the contradiction of Mr. Scott's behavior on the slave ship in season one with the new retrofitted backstory, though it does answer questions. I want to make clear that I am not complaining about the giving better arc to Mr. Scott, nor am I complaining about them foregrounding the slavery narrative. What I am irritated with is them not having thought through Mr. Scott's arc from the start they way they obviously did for a number of other characters, though I'd much rather they made they effort to fix it than the alternative (I'm looking at you again, Penny Dreadful). So yes, it's nice they are trying to improve representation. I'm just that person who picks at plot and character contradictions like a scab.
* "For as long as I have known you, you've been two wholly separate men." Takes one to know one, Flint. Takes one to know one. Flint and Mr. Scott are both divided men.
* So Scott is about to vouch for Flint's trustworthiness to his wife, while Flint is off plotting to maybe murder that wife with his crew. *facepalm* It is Silver who points out how literally suicidal this back up plan is. He's been worried about Flint's death wish all season. Now here it is on display, albeit in service of the men.
* I love the little bits of almost Austeneque commentary on the corruption of governors and bureaucrats that Woodes makes to Eleanor.
* I think Woodes is whistling in the dark when it comes to Charles Vane, as much trying to convince himself as her.
* Eleanor is sensibly always gathering intelligence. Woodes is still so new at this, Sweet Summer Child. Of course the game has already started. I like the way this helps point up how much he still needs her for all his obvious intelligence.
* I think the bit with Featherstone and the pardons is not just there for establishing that the process is ongoing, but also to point yet again to the power of words. Mostly, the power has been in spoken stories, but written words matter too: the inscription that filled in the blanks or Richard Guthrie, the books passed back and forth in the first two seasons, the schedule that started the whole damned mess in 1.1, now pardons that make the difference between outlaw and citizen. Words matter.
* Eleanor echoed Charles when she described herself to Woodes last episode. Now she describes Max as they described Eleanor back in London. Max is literally sitting at Eleanor's desk and sitting in her chair. Remember Mr. Scott's warning to Max about how complicated replacing Eleanor is? I think calling attention to that this episode was deliberate. I think Eleanor called attention to Max sitting in her chair at her desk specifically in the same meeting she called Max a pirate as much as a warning as a threat, if that makes sense.
* Once Eleanor sits down, it becomes diplomacy between powers. Max brushes the unpleasantries aside and they set about doing diplomacy. Max is a Queen of a sort, after all, and Eleanor, though deposed is now a diplomat for the occupying power Woodes represents. Once the more personal business complete with insults is done the tone and body language shifts into the realm of politicians and business people. I can't help miss the symbolism of blonde white Eleanor representing British Imperial Interests and former slave Max representing occupied Nassau trying to figure out what best to do for herself and the people who depend on her. It was good to see her standing up to Eleanor after Eleanor tried to make her feel small and ignorant. It was good to see she comes back later with a plan for buying in to the new power structure on her own terms.
* They end on a vulnerable note, Max asking if she was on Eleanor's kill list; Eleanor asking if Max betrayed her to Hornigold. I do think the answers matter to them both.
* Contrary to most TV, novels, and movies, belly wounds in this period are generally fatal, being so prone to infecting. I appreciate that being the subtext to all Mr. Scott scenes this episode. Mari is already mourning him even while trying to get to know him. I think Silver is watching her to gauge both Mr. Scott's likely fate and to better plan for how changes in village dynamics will effect the walrus crew.
* The shot of Silver segues us from Mr. Scott's expected death to Captain Flint's likely death if he tries his plan B. "I understand that you've made gains towards a rapport with the captain in recent days, but if he wants to sacrifice himself so that we might go free, I mean, that might be the first selfless thing he's done for our benefit since we've known him." I think Billy thinks Billy is telling the truth about wanting the Captain dead. I think Billy's got a lot of conflict about Flint under the surface. I think he's still furious about Gates. I think he also wants to be close to flint and is angry at himself for it. If Flint dies, the conflict goes away. I also think that Flint's sacrifice is mostly for the crew, but not entirely selfless. Everyone he loves is dead and he's been flirting with death all season. I think he does want what's best for the crew here. I also think he still wants to die FOR something. It was there in season 2 with Ashe when he was willing to destroy himself for Thomas' dream, in his stated willing to obliterate himself and have no part in the world he wanted to build. It was there in his risks as he burned coastal towns for hanging pirates. It is here now as he toys with the idea of sacrificing himself for the freedom of his men. Silver doesn't want him to do it and that is a big arc moment for Silver, showing how much he's changed. Like Flint's plan for self sacrifice, it's not entirely pure, but I think there is real caring mixed in with the self interest. Flint is seducing him the way he seduced the crew.
* There is something beautiful in Charles Vane's respect for the dying swordsman. The economics of empire are here also, and the way empire grinds men up. The Spaniard says, "A ship full of dead men. A town full of Widows and Orphans. To protect a thing that vanishes before it is ever known. Where is the reason in that?" It means the intelligence in the Hold, of course, but it could possibly apply to the dream of freedom for Nassau. I think the Dead Sailor is a warning for Charles about his future the way the ghost captain was for Flint back in 3.1. I think Charles could easily end up with a ship full of dead men and either the hidden village or Nassau could end up full of widows and orphans. It reminds me a little of dream Miranda, and her conversations with Flint.
* Max looks every bit a Queen when she treats with Woodes. "I am Nassau." Eleanor figures out the implications first, but Woodes follows the logic fast enough. She sounds so Statesman like too, and her demands are certainly self serving, but the principle enshrined is subtly larger. "An end to questions about my past and a new beginning in which we all agree there is no history in this place anymore, only a future in which you and I are truly friends." No history. O.o. What I also love is that earlier Woodes and Eleanor were referencing the previous corrupt governors of the island, and Woodes expressed a hope not to follow in their footsteps. Here he is already being tempted. Those same governors, i might add were the ones they hoped once to replace with honest Thomas Hamilton, but civilization ate him. Which brings us to the question debated since first season: Is Nassau corrupting civilization or is civilization corrupting Nassau. I know what Blackbeard would answer. I'm inclined to think it's a matter of all human structures being prone to corruption because people are prone to corruption. People make up Governments whether it's the British Parliament, the Pirate government of Nassau or the hidden village. It's a matter of degree and how bearable living under a particular type and level is.
* I contend the Silver/Flint conversation is a reply to the Miranda one. You can see in his face, he is psyching himself up to die. Flint is not alone, Silver comes to talk him into not sacrificing himself. It also plays back to several of their conversations, particularly the one in season two when flint revealed his self hatred and the not wanting to be a monster, but there are so many little beats in it that resonate back to the Quartermaster scene or the conversations about the power of persuasion and story, showing Flint just how carefully Silver was listening all along. "Billy doesn't give a shit if you die tomorrow. But I suppose you knew that already. You know, the strange thing is, I... I should be with Billy. Until most recently, I'm quite certain I would have been. Unbothered by the idea of trading your life for the rest of the crew's. And yet, for some reason, right now I am bothered by it. But I understand it. I understand the allure of ensuring that no one will ever think you the villain you fear you are. What a waste, it seems to me, knowing it doesn't have to be this way, knowing the man who talked me into giving a shit about this crew, why, he could talk those people out there into anything. If he wanted to." It's beautiful. It's going to end in blood and stabbings, but it's beautiful. I love the face acting here too. The way they are both fundamentally worn down by the captivity, the way Silver laughs at himself even as he's being sincere and is very serious about trying to talk Flint into choosing to live. Flint's deep and understandable skepticism complete with eye roll followed by a degree of acceptance. You can see him thinking after, rather sullenly at first, but too honest with himself to give into that for more than a moment. He listens. The way he used to listen to Miranda. Exactly the way Billy told Silver to handle him. I love how complicated the line between manipulation and sincerity gets with Silver. Seriously though, watch the play of facial expressions with Flint during Silver's monologue, then after he leaves. I love that they didn't cut the long silence. I love that they let us watch Flint think.
* I think Flint's plea before the Queen mirrors Max making her offer to Woodes, which makes me ask all sort of questions about Max's more reasonable offer. She is regal; he is statesmanlike. I get why this plan is good from Flint's perspective, but it's a terrible deal for the Queen and her people. It is seriously terribad. They are vulnerable and so many of them are going to die and they risk everything, especially their freedom, going up against a slave power like that, not just for themselves but for descendants stretching forward a century to a century and half depending on where they end up. I get why she falls for it. Her very likely dying husband wants her to and it was the English shot him in the gut after a lifetime of them stealing his labour and his freedom. She is making this decision full of grief, justified anger, and impending loss. This is the ugliest thing I've seen Flint do, and he's done so many horrific things. And the worst thing about it, is it's yet another white man manipulating and using ex slaves for his own selfish ends. He's throwing black bodies into the meat grinder of Empire, an Empire they'd managed to escape. And I thought Charles using slaves to build the fort was as disgusting as it could get. I think I just through up in my mouth a little at what Flint is doing.
* So Charles and teach have a fleet of ships they would need to invade, plus Mrs. hudson's spy reports on Woodes Rogers. Flint has a ship and now lots of armed people....
* Eleanor did warn Woodes about herself in words very similar to the ones Charles used to describe her. She's working Woodes much the way she must have Vane. Not that I don't think there's genuine chemistry there, but I think she's working the same pattern. The chemistry is much hotter with Charles, but Woodes is dangerous, clever, and powerful. We know that is her type in men. He sees her and he likes playing the same power games she does, which is also something attractive in a man. Eleanor seems the best of a bad situation sort of person and playing power chess is kind of her thing and power maneuvers were a kind of foreplay with her and Charles. Woodes sees her strength and her brain and her dangerousness, just like Charles did. He's a cooler personality, but I think there is a lot of backstory there. The Eleanor/Woodes ship board scenes reminded me of Geoffrey and King Philip in Lion in Winter.
* Given all the ominous cuts to Mrs. Hudson spying, I am not surprised. Watching her reveal, I am reminded of Silver and Flint in the rowboat, only this time, it is a blind side.
* So is Max holding Silver's share for him or did she cheat Anne? Or is Mrs. Hudson mistaken or lying? I'm hoping it's holding Silver's share and not cheated Anne, because that would really distress me.
* Jack you idiot! This is such a characteristically Jack Rackham bad idea. I hope Anne has the sense to bury and hide the gold, or at least most of it. Seriously I'm with Anne on this one. This is a bad idea.
* Silver: I'm going to admit something to you. Please don't take this the wrong way... but I didn't think there was a chance in hell that was actually going to work.
Flint: Me neither.
Me: Bwhahaha!
* "Black Sails XXIII:Extended Comentary:" http://gwydionmisha.tumblr.com/post/139756151687/black-sails-xxiiiextended-comentary
* I really took to Bletchley Circle. I wish they hadn't chosen to make the promo material the showed after the first episode wincingly sexist, but the first season itself was aces.
* "Fever Ray 'If I Had A Heart':
* Zimbabwe has joined Ethiopia in disaster level drought People and animals are dying. Want to help? https://www.wfp.org/help
* Help the poisoned children of Flint Michigan. "Water Crisis:" https://www.cfgf.org/cfgf/GoodWork/FlintArea/WaterCrisis/tabid/855/Default.aspx
* "How to help Flint, Michigan:" http://www.msnbc.com/rachel-maddow-show/how-help-flint-michigan
* Want to help finance my meds/medical co pays? Paypal Lethran@gmail.com
* Donate to help refugees "UN Refugee Agency:" http://donate.unhcr.org/international/general
* Organizations helping with the refugee crisis: http://captainofalltheships.tumblr.com/post/128790538169/an-updated-list-of-organizations-to-donate-to-help
* Want Game of Thrones without the creepy? We desperately need new players. We are very inclusive. "Game of Bones MUSH:" gobmush.wikidot.com