#and try to do a multi-season set and one more s4 set before s4 drops

[fulcrumahsokaamidala]

Fan Fic Catch Up: One-shot

Hello, everyone!!! So this is me thanking awesome fanfic writers for their amazing work and all the time they put into their fics. ♥️ I want to recommend spectacular fanfic stories I’ve read since my last spectacular Saturday post! ♥️ Which was last November!!! Saturday spectacular post will resume this Saturday. Will still be tagged as #saturday spectacular fic rec

This is the second of three catch up posts.

Completed multi-chapter fics

WIP fic

One-shots

cook with love (to make food for the soul) by @inlovewithimpossibillity | Arrow | One-shot

Summary: ‘I don’t really cook.’ ‘That makes sense.’

An expansion on the beginning sequence of 8x05 within which Oliver takes it upon himself to try and remedy a gap in Mia’s education. The kitchen.

these faultlines in our guard by @alexiablackbriar13 | Arrow | One-shot

Summary: Instead of forcing Mia into doing the initiation bell exercise, the Bratva use more extreme measures to try and extract information from Oliver, using his daughter. Mia is left trying to deal with the physical and emotional aftermath of being tortured in front of her father while he dials his overprotective instincts from 10 up to 11.

Viscount Hood’s Return by @hope-for-olicity | Arrow | One-shot

Summary: Lady Felicity Smoak attends a Yuletide Ball and is surprised to discover Viscount Hood.

A Perfect Holiday Getaway by @blondeeoneexox | Arrow | One-shot

Summary: This fic is just a whole lot of holiday Olicity fluff.

no I don’t hardly know her (but I think I could love her) by vickovac | Brooklyn Nine-Nine | One-shot

Summary: 'I’m in the library doing extra-credit work and you’re working on a term paper due tomorrow’/'you accidentally took my coffee’ 'you really drink that?’/'I took the flyer for the society you were handing out because you’re so pretty but I have no idea what we actually do’ AU

or Amy Santiago, like any normal college student, has a routine. Naturally, her class rival, Jake Peralta, disrupts it…in the best way possible.

Boyfriends From College by Impossibly_Izzy | Brooklyn Nine-Nine & One Day at a TIme | One-shot

Summary: Jake dated two guys in college, but doesn’t realize until he introduces one of them to Amy.

Into the B99-Verse by ThatOneSmolFangirl | Brooklyn Nine-Nine & Into the Spider-Verse | One-shot

Summary: that title was so bad ANYWHO, our favorite boy, Miles Morales, finds himself in the Brooklyn-99 precinct. Him interacting with everyone and generally having a good time. Based off that one tumblr post

Are You Wearing My Shirt? by @green-arrows-of-karamel | Arrow | One-shot

Summary: Felicity has a little accident and borrows Oliver’s shirt.

Not The Last Time by CSM | Arrow | One-shot

Summary: Post 804. Mia desperately wants to see her mother and there is no stopping her, so Oliver and William accompany her to Bloomfield to see a surprised Felicity and baby Mia.No association with my other season 8 fic

Big Belly Reprieve by @inlovewithimpossibillity | Arrow | One-shot

Summary: Bored in the bunker waiting for their parents to finish at the gala, FTA head to Big Belly to introduce Mia to the food of their childhood. [Set in 8x06: Reset]

Merry and Bright by @inlovewithimpossibillity | Arrow | One-shot

Summary: The 2013 Queen Consolidated Holiday Office Party sneaks up on CEO, Oliver Queen, but if he’s learnt one thing this year, it’s that anything’s possible when he has Felicity Smoak by his side. (For the 'Olicity Holiday Tropes Challenge’ prompt: Office Party)

The Little Green Secret by @green-arrows-of-karamel | Arrow | One-shot

Summary: This is not how Oliver imagined New Year’s Eve was going to be.

A Heart Full of Love by @inlovewithimpossibillity | Arrow | One-shot

Summary: With Christmas upon them now, Felicity has to admit that she’s incredibly excited as well to do something other than eat takeout and watch Disney movies with her baby girl. Sharing the Queen’s traditions with them is just another move towards them becoming a more cohesive family and she’ll always be excited for that. [A Christmas morning fic set within my Single Parents AU 'Welcome to Starling Prep Elementary’ around a year later]

sugar and smoke rings by @inlovewithimpossibillity | Arrow | One-shot

Summary: He never would have believed the full story if it hadn’t come directly from the lips of the man he trusts most in the world. The legendary vigilantes Green Arrow and Overwatch had a daughter no one knew about?[How Connor meets Mia, pre-s7 flashforwards]

kissing death and losing my breath by fbismoak (midwestwind) | Arrow | One-shot

Summary: “In the grand scheme of things, she figures she’s probably due for a mental break anyway.“Picks up immediately after the end of 2x07.

A Late Christmas Present by @alanna-the-lionheart | Arrow | One-shot

Summary: When Oliver and Felicity’s friends send their wedding gift back to them, the two of them feel quite differently about it. Oliver tamps down his frustrations in an effort to make Felicity feel better, and together, the two of them turn an unpleasant situation on its head.

a father should be great by @inlovewithimpossibillity | Arrow | One-shot

Summary: Two conversations, thirty years apart. A seven-year-old Felicity and a nine-year-old Mia. Both two scared girls wondering why their fathers are no longer with them. Both seeking the comfort of their mothers.

Everything by WinnieTherPooh | Agents of SHIELD | One-shot

Summary: Jemma tries to reconcile the Doctor of the Framework with her Fitz. Set immediately post-Framework (in a world where the space adventure doesn’t happen, or at least doesn’t begin right away).

hot chocolate conversations by riverwoodhills | Arrow | One-shot

Summary: Walter stumbles upon a distraught Oliver being consoled by his Executive Assistant in his office, a hot chocolate being passed subconsciously between them.

open up the door for you by @inlovewithimpossibillity | Arrow | One-shot

Summary: A random evening with a little too much whiskey leads to Mia opening up to Connor about where she comes from and a little bit more.

gentle lady, your knight is here ready  by @alexiablackbriar13 | Arrow | One-shot

Summary: Set in S2. A collection of missing scenes. The five times Oliver took care of Felicity and the one time she took care of him.

(drop everything) meet me in the moonlight by @inlovewithimpossibillity | Arrow | One-shot

Summary: Oliver is working late one summer’s night in the mayoral office when a text from Felicity alerts him that everything is not alright with his beautiful, blonde ex-fiancée partner. (or post-s4, Felicity’s trying desperately to deal with the guilt of Havenrock and reaches out to Oliver one night when it’s all a little too much.)

we do, but friends don’t by @inlovewithimpossibillity | Arrow | One-shot

Summary: Detective Billy Malone learns many things early on in his relationship with Felicity Smoak but his most important finding is just how close she seems to be with her ex-fiancé, newly appointed Mayor Queen.[a (semi-)outside perspective on olicity, just before the start of s5]

Life was Full of Surprises - and Oliver Queen was the Best One byaponderingcharming | Arrow | One-shot

Summary: Set sometime in Season 2. After a rough night, Oliver gets drunk and Felicity is left to take care of him. After some fluff and a heartwarming moment of honesty, Felicity notes a shift in their relationship.

kneel by 101places | Agents of SHIELD | One-shot

Summary: Simmons has a bad reaction to an episode of Doctor Who.

a dance or two to escape the gloom by @alexiablackbriar13 | Arrow | One-shot

Summary: Queen Incorporated’s Oliver Queen and Felicity Smoak of Smoak Technologies, rival CEOs, dance with each other at a holiday gala to avoid their exes.

New Year’s Eve by @alexiablackbriar13 | Arrow | One-shot

Summary: William pulls a 5x20 on Connor and Mia, locking them inside the bunker on New Year’s Eve with Indian food and wine. Of course, things escalate.  

Regret by Altum_Videtur  | Star Wars: The Clone Wars | One-shot

Summary: In the aftermath of the Battle of Ryloth, Ahsoka comes to terms with being responsible for other people’s lives. Set right after Storm Over Ryloth.

The Subtleties of Fashion by FrostOnGalway | Star Wars: The Clone Wars | One-shot Summary: Can we all agree that Ahsoka’s first outfit with the tube-top and mini-skirt is terrible for so many reasons? Anakin thinks so, and he’s gonna take a stand against stupid costume designers. The only problem is, how does he do that without hurting Ahsoka? When faced with a crisis of fashion (or most crises, really) the obvious solution is to go to Padmé for help. AKA The story of how Ahsoka gets her new outfit in Season 3. AKA The Fashion and the Arts (of Subtlety) Remix

you put your arms around me (and i’m home) by @inlovewithimpossibillity​ | Arrow | One-shot

Summary: The bunker is filled with people, Mia had been right about that, and there are many faces she recognizes staring back at her in shock but Mia is only interested in one of them.[An 8x10 spec-fic based off of the promo stills wherein Adult Mia meets 2020 Felicity]

no one will win this time by @alexiablackbriar13​ | Arrow | One-shot

Summary: Canon divergent from COIE Part 5.Instead of targeting the Paragons, the pissed-off Anti-Monitor sends shadow demons after Oliver’s loved ones. Realizing two of the people Oliver loves most are vulnerable currently out in Bloomfield, dealing with the archer’s death, Sara rushes to protect Felicity and baby Mia, and bring them back to Star City so they can keep them safe.

The Next Right Thing by @inlovewithimpossibillity​ | Arrow | One-shot

Summary: A cabin. A wife. A teenager. A baby. Felicity Smoak is shaken to her core after the events of Crisis but she must come together for her son and daughter now. For Oliver, and for the true reason he sacrificed so much.

Take Your Daughter Into Battle Day by @alexiablackbriar13​ | Arrow | One-shot

Summary: Oliver and Mia are trying to keep her identity secret from the other superheroes as Crisis begins, saying that she’s a Green Arrow from E-20 called Maya. But after their first huge team battle, Barry and Kara quickly notice something is up between them - and the truth unfolds.

Let me know if you want to be tagged!

@hope-for-olicity @emdee8907 @malafle @laxit21 @icannotbelieveiamhere

#saturday spectacular fic rec #jazzy's fic catch up #weekly fic recs

[sol1056]

season release & demographics

Alright, I’ve gotten several asks about the speed of the upcoming season releases for DW/Netflix. Most asks amount to roughly

are they releasing that fast because they want it over, or because more stuff is coming? 

...with at least two asks attempting to make sideways snarky comments about the revelation of a canonically gay character. 

Behind the cut: some stats on how DW groups and broadcasts its series, some data-based theories on VLD’s scheduling, who the ‘real’ audience demographic is, and some speculation about show timing independent of VLD itself.

how DW groups and broadcasts its series

First thing I should note is that dropping a chunk of episodes at once onto Netflix is relatively new for DW, compared to their years of traditional weekly syndicated format on Nick, CN, etc. (You can find a list of all past and present television productions here.) Starting around 2014, their Netflix/DW works were mostly the usual children’s fare -- episodic shows made for syndication. 

Two shows changed this game: VLD and Trollhunters, both premiering in 2016. Each contain one continuous arc, requiring viewing in order, from the start. Unfortunately that means the only real comparison is Trollhunters, which had a 12-month gap between S1 and S2, and a 5-month gap from S2 to S3. Just before the final season broadcast, DW announced two sequels, which brings TH’s total ep count to 78. Remember that timing; it’ll be important in a bit. 

Looking across even the episodic younger-set stories, it does seem like releases try to stick to a general pattern, give or take a month. Across 8 multi-season shows, here’s the breakdown of cours (because you know I had to throw a visual in somewhere). A single cour is 11-14 episodes, 5-7 eps is a half-cour, with 26 being a double-cour. (One series released a 16-ep season, which I counted as a single cour.) 

I point this out just to make clear that half-cour drops are actually rather common, comparatively. Out of 31 episodes, 11 were half-cour. As for the length between seasons, the mode (most common) is 7 mos.

some theories on VLD’s scheduling

Now let’s look at the gaps between VLD’s seasons: 7, 7, 2, 5, 3, 2 (counting the upcoming release for S7). If we merge the half-cour seasons for comparison (so we’re dealing with consistent 13-episode seasons again), then we’ll posit the broadcast date would’ve been the date the 2nd half of the season aired. In other words, had we gotten the original S3 (now S3/S4) season as one, it would’ve aired on S4′s broadcast date, as one solid chunk. 

With the consistent pattern of S1 through S3′s data, that’s a 7-month break between seasons. Assuming that this would’ve originally been set as the scheduled dates, let’s compare those dates to the actual broadcast dates.

scheduled Jun 2016 ==> aired Jun 2016

scheduled Jan 2017 ==> aired Jan 2017

scheduled Aug 2017 ==> aired Aug + Oct 2017

scheduled Mar 2018 ==> aired Mar + Jun 2018

scheduled Oct 2018 ==> aired Aug 2018

scheduled May 2019 ==> aired ???

Yes, I’m aware DW spun the split-seasons as getting more episodes, sooner. It’s the reverse. We should’ve gotten all of S3 in August, but S3 was completed 2 months late. Same for S4, which we should’ve gotten in March, but compared to the original schedule, S4 was 3 months late. S7 (the original S5) is the first time we’re getting anything ahead of schedule, 2 months earlier. 

If we go by the usual pattern of 7 mos gaps -- and counting from the actual broadcast date of Aug 2018, that would put the concluding 13-ep drop at May 2019. However, at least two other series have dropped their final seasons with a much smaller gap: from 8 down to 3, 12 down to 5.

Which means that dropping S8 (the original S6) in December would be a gap of 4 months from S7′s broadcast, or alternately, a 2 month gap from the original schedule. That’s pretty dramatic, compared to half the time, which would’ve put us at March of 2019. 

why the last season comes so fast

When Dawn of the Croods dropped its final season, it came with the announcement that this would be its last. When Trollhunters dropped its final season, it simultaneously announced that two sequels were in the works. And check this out, with hat-tip to @ptw30 for the sharp eyes:

Voltron’s got a film in development, and it’s under the aegis of the Dreamworks Animation team. (Oddly, that ‘S’ notation comes with a note saying the film will combine live-action with animation. I have no idea whether that means rotoscoping or actual live-action with lots of CGI.) 

My guess is that on, around, or shortly after the final season of VLD drops, we’ll get an announcement about the upcoming film that will attempt to build on the series. That’s a matter of timing, though, so it’s just my guess (and things can change). 

the ‘real’ audience demographic

When asks make comments about VLD being unsatisfactory to the ‘primary demographic’ (and doubly so now that we’re talking about a canonically gay character, cue asshat-sounding commentary about gay hookups)... the assumption is almost always that the primary demographic is men. Probably men aged 18-30. 

Wrong. It’s women. Specifically women between 25 to over 50.

But since this is supposedly a for-kids show, let’s start with appealing to families. There are 73.7 million children under 18, and 69% of them are in two-family households. 23% of those children live in single-mother households. (The largest growing family demographic is gay families. Go ahead, explain to me why a kid watching television shouldn’t see a role model in a relationship like their parents have.) 

Guess who does the majority of the buying choices for families? Women.

A few facts about women as a market, in the US: the estimated purchasing power of US women ranges from $5 trillion to $15 trillion annually. Women control more than 60% of all personal wealth in the U.S., and 75% are the primary shoppers for their families. Women are buying 66% of all tech purchases, 65% of all car purchases, 89% of all bank accounts opened, 93% of all food purchased, and 92% of all vacation expenditures. 

Oh, and while I’m at it: 

45% of all gamers are women. 

Women over 55 spend more time gaming online than men aged 15-24. 

Also, millennial women (roughly early 20s to mid 30s) have 3.4 social media accounts on average, compared to 2.6 for GenX women; 61% of them are online and sharing content at least once a day. However, Gen-X women spend more time onine (7+ hrs/week) than Millennial women (6hrs/week). And then there’s Boomer women --- of the age to have seen Voltron when it first aired --- with a market share of $19 trillion. They tend to spend, on average, 250% more than any other bracket -- which is pretty phenomenal buying power when you consider that every fifth adult in the US is a woman over 50.

A show pays for itself with merchandise and toys --- and if you can swing the women’s market, you’ve got it made, ‘cause they’re ones doing the buying. That means appealing to mothers who make the vast majority of their household’s purchases, or women up to and including the over-50 gamer pop-culture-savvy women with spare income (who are also the fasting growing online demographic, while we’re at it).  

So, miss me with that 'primary demographic’ crap. If it doesn’t appeal to boys but appeals to women 25-50+, it’ll do fine. The reverse --- of appealing to boys but not to women --- is a visual media that’ll be lucky to break even. DW hasn’t made it this far by alienating the ones who are making the purchases. If they realized that Shiro appeals most to women aged 25 to 50+ (which he does; he’s that age bracket’s favorite character) then you damn well better believe they’re going to keep him front and center. 

why else dreamworks might be wrapping up

There are other factors in play. In 2013, DW partnered with Netflix for the first time, and since then it’s produced 16 series for Netflix. Only two series were exempt, one broadcast in France, the other on Amazon video. 

Of the 9 series currently in pre-production, 4 will be on Netflix (She-Ra, 3 Below, Wizards, and Fast & Furious). The remainder are broken up between Amazon, cable TV, Universal, and two most recent that don’t even have homes, yet. Dreamworks is moving out of Netflix, excepting the pre-existing contracts they can’t quite break. 

This is the result of net neutrality, to be perfectly blunt. 

Check out who owns whom, here. (Larger version at recode.net.)

Comcast owns Dreamworks, and a 30% stake in Hulu -- of which Netflix is a direct competitor. I’m on AT&T and already noticing throttling happening for Netflix, and at some points for Tumblr (Verizon-owned). Scuttlebutt says DW is going to be pushed into moving its content onto Hulu, to support its parent company’s business agenda. 

*** ETA: there is no good business reason (at this time) for DW to switch to Hulu. Netflix’s market share is easily ten times the size of Hulu, and switching will cut DW’s products off from a significant number of viewers. ***  

That means DW is probably being strongly encouraged to wrap up its Netflix contracts and start shifting to Comcast-owned or controlled markets. And that has nothing to do with VLD itself, or even how popular (or not) that it’s been on Netflix. It’s a command coming down from on high, and now that we’ve lost net neutrality, there'll be less and less gain from sticking with Netflix.

#vld #voltron #doing the data cronch #analysis #popular media

[qqueenofhades]

Black Sails s4/finale thoughts

Okay, so I caught up on episodes 4x05-4x10 with @thelittleschemer​ over the past few days, and as such finished the season/series. Now I have many thoughts and need to write them down, welp.

I held off on finishing the show because I didn’t want it to interfere with what I had planned for TDH, and I can definitely say that it did not change anything about what I had worked out for the ending of said fic (which I really need to get around to doing soon). I was pleased to see that there were/will be a few points of concord, but yeah, TDH will definitely remain its own entity/story.

Tagging @prairiepirate​ and @ransomideas, who have expressed interest in my thoughts on said subject, heh. Under the cut for length and possible unpopular opinions.

Okay, first and foremost: Overall, I really liked it. The writing generally remains some of the best on TV, the acting is phenomenal, and as usual with Starz’ historical dramas these days, the production value is jaw-dropping. The sets, costumes, ships, etc are all just so real, and it definitely set up well for Treasure Island. It finished off its narrative arcs cleanly (or mostly so) and it continues to provide some excellent meaty commentary on the nature of stories, who tells them, who remembers them (hums “Who Lives Who Dies Who Tells Your Story” because lbr, theme song of this whole show) and the roles we play in creating and managing and remembering our own. This show was (and remains) incredibly intelligent and complex and subversive, you have to pay attention to all of it or you’re going to miss important plot developments (and probably still be confused on a few points) and it’s otherwise not at all what you’d expect from the premise (and first few episodes). As I said, just overall really impressive on many levels. The final few episodes also had a very POTC feeling to them, with mysterious islands that nobody can find, ghost stories, swashbuckling sea battles, hidden treasure, and so forth, and that was a lot of fun.

That said: Time to deconstruct it!

My main issue with the second half of s4 was that they seemed to throw all constraints of time/space/travel out the window, especially when it involves the characters sailing long distances at sea over incredibly cramped time-frames. Possibly writing TDH has made me too well-informed in said matters, heh, but they’d have us believe that Jack sailed from Nassau to Philadelphia, back to Nassau, out to Skeleton Island, and then back to Philadelphia in what.... a week? It’s been hard to gauge a reliable timeline for the show, since they’re moving historical events around freely and playing fast and loose with the facts to tell a good story, but we have the Maroons arriving and Madi’s mother saying that pirates from as far away as Massachusetts (which made me briefly hopeful for a Sam cameo, I AM NOT GONNA LIE) have heard of the fall of Nassau and have come to fight. In what... again, a day or so? I realize it’s important to keep the plot moving, and that nobody is actually going to watch two weeks of Jack and Anne stuck on a ship on the way to Philadelphia (although lbr, it’s probably still amusing), but for a show that has prided itself on its gritty realism, it kept taking me out of the story because I was all, NO WAY THEY’RE THERE ALREADY. WAIT. WHAT. THEY’RE BACK AGAIN? OKAY THEN.

(Aka, every historical/historical fantasy show has to contend with the fact that they need to get characters/news to places faster than historically accurate transport can actually take them, so things get compressed and skimmed over and squashed together, etc. It wasn’t enough to ruin anything for me, but I did keep noticing it, so yeah.)

My other issue was the involvement of the Spanish. Once again, I understand the narrative choice behind the decision: they needed a wild card/way to shake things up/break the standoff between the English forces and the pirates, and re-change the balance of power on Nassau. However (and I feel like they were aware of it and tried to finesse it to some degree in the narrative) are we really supposed to buy that the Spanish hate pirates just that bit more than they hate Rogers, agree to sail to Nassau, sack the place good, and then.... pack up and leave, never to be seen again or to have any further involvement with trying to reclaim the Urca gold (which would at least be a full-circle thing)? Within the span of an episode? I feel like the writers needed the shakeup, and to obviously provide an impetus for Rogers’ poor decisions to blow up in his face, but they knew they didn’t have time to adequately deal with the outcome, so we had the Nobody Expects The Spanish Inquisition and then poof, gone. This connects to the other sense I had, which was that they knew they had to wrap things up for the final season and find a way to stop a full-out war from happening, so the Spanish had to disappear after their use as a one-off shit-stirring device, the Maroons and the pirates and the English had to hastily make treaties to avoid said war, and despite a few really excellent action scenes, it still felt, idk, a bit... anti-climactic? As if they wanted a relatively happy ending for these characters (which is understandable) but didn’t have time to play everything out, so it just got compressed and a bit watered down.

Speaking of characters...

I love that the show has such intensive character studies/conversations/setpieces. However, I also feel as if the pacing ended up being a bit off as a result. We kept having long, multi-minute scenes of just two characters talking to each other (and again, exchanging important information in most cases, so you can’t really tune out), followed by a brief action scene, usually followed by yet another long dialogue scene. It’s always enjoyable to see the acting chops on display (I mean, these are not easy scenes to work through and require a lot of line memorization and facial nuance and other skill), but at several points I was wondering when everyone was going to stop talking and get back to the issues at hand -- as noted, if they’d cut some of the talking and focused on solving their plot problems, it could have flowed somewhat more smoothly. It felt as if they went too often to the well of “flashback followed by voiceover explaining plot twist” and had to TELL us information rather than SHOW us. Which again, it’s a good problem to have when your narrative is rich and complex and intelligent and has a lot of moving pieces, but again, everything could just be a bit, well, tighter. At least, that was the overall impression I was left with.

I was successfully kept on pins and needles over Madi’s fate (I had a few choice words when it looked like she was dead) and I hope she and Silver do end up together (I think it’s implied she does come back to him at the end) because I really like that relationship for both of them. It added a bit of selflessness and sympathy to Silver’s otherwise completely self-interested character, as did the scene where Flint presses him to explain his past and he doesn’t; we can tell he simply wants to forget everything that existed before Long John Silver (and I love how both that persona and “Captain Flint” were treated and twisted as distinct narrative entities for both characters) and that his life has probably been incredibly tragic too. He’s just dealt with it differently than Flint (which again, fits with them well as each other’s foils/yin and yang.) Their conversations/one-on-one faceoffs were some powerhouse acting from both Toby Stephens and Luke Arnold, and I appreciated the way things came full circle between them/to the logical end, but with a twist and with callbacks to their relationship in the pilot (as well as Silver finding the cook belowdecks). Madi is also generally a queen of everything and I love that she, a dark-skinned African woman, was made a central love interest and given emotional and narrative power/sympathy in her own right, and that the subject of slavery and her telling off Rogers to his face remained front and center. The show has always been so good with that (and LGBT representation, to the point where it’s a shorter list to think of who ISN’T LGBT than who is) and I really appreciated that.

On the subject of Rogers: Luke Roberts did an incredibly good job. Like damn. You can see the anger and insanity and grief rising and rising in him, but he’s almost scarier because it never breaks the dam entirely, because he’s always (almost always) self-controlled and dangerously calm and driven to do whatever he has to, and yet has no qualms with absolutely anything that is going to take. I was yelling at him for being the worst (and as noting, side-eyeing the decision to involve the Spanish both on a story and a meta level), and rooting for him to get his just desserts, but also genuinely being scared of him and respecting that he was good at what he was doing. You’re aware that he CAN hurt/kill/otherwise cause serious problems for our faves, and you’ve seen him do it, sometimes in gruesome detail. So yes, he served as an effective villain. You never could relax with him on screen, or be quite sure which way he was going next.

As for him and Eleanor, I’m still not entirely sure what to take away from that. I never bought that she genuinely loved him, as Eleanor is way too selfish to do anything, even a relationship, without personal benefit, and she got together with him in the first place as an alternative to incarceration/hanging. Even Flint questions whether her relationship with Rogers is somehow different from all the men she’s bragging about overcoming. Eleanor’s motives/nuances remained opaque until the end -- I believe that she wanted to rule Nassau again, and that she wanted to survive (hence the sad irony in her fate: that everything she did and everyone she sold out trying to save her neck led to her dying anyway) and that she saw in Rogers a way to do it. Likewise, I think he loved the idea of controlling Nassau through her more than her, and that it was easy for both of them to attach their feelings about ruling/controlling this place to the person of the other, to the point where even they might have been fooled/willing to believe it was true (if somewhat twisted) love. Hence as well why neither of them ended up in charge of it, she died, and he was ruined by his wife’s family, but not the wife he expected.

Jack and Anne were, as usual, fab, though as noted, their Super Speed Ship Travel had me side-eyeing hard. I noticed that their story, at least for now, ended far more happily than it does in history. Glad that Max got the chance to come out on top (I never ended up fully connecting to her as a character, but she’s definitely a BAMF).

Billy.... damn. Talk about a 180. Going from the man willing to do anything to keep your crewmates safe from Flint, to shooting them down in the water aboard a boat full of redcoats? Not cool, bro. Not. Cool. (Though I did enjoy the final face-off between him and Flint on the yards.) When that’s contrasted with Flint giving orders to make sure everyone is evacuated from Nassau and nobody is left behind, it strikes you how much they’ve changed places and how Billy has become objectively no better -- indeed, possibly worse -- than Flint, and doesn’t even have Flint’s self-awareness to know it. He has gone down a road by himself, by choice, and which fits fairly well with his upcoming role in Treasure Island/estrangement from the others (real talk, how does he get off?) but which made him pretty hard to root for by the end. I also think it’s no accident that he got paired with Rogers. Both characters are convinced they are acting for a greater good on their respective sides, but both are willing to do anything to achieve it, stubborn and independent to a fault, and unwilling to take any responsibility for their mistakes.

And okay, so... Flint.

He is my favorite and as such, I’ve had to save him for last, since I probably have the most thoughts/investment on the end of his story. In a nutshell: I have mixed feelings. I was convinced that he was going to die for most of the season, so I am obviously happy that he got some measure of solace/happiness/reunion at the end. However, I am also not sure that it wouldn’t have worked better for him to die, or at least leave his fate more open-ended. Hint that Silver wasn’t telling the whole story and that Flint was still alive, but for it to remain ambiguous where he went or what he did or why.

This obviously is a strange place to be for my favorite, but after a season of fairly hard-hitting emotional moments/notes and some pretty bloody action, I almost feel like they chickened out of killing Flint at the end and wanted to give him some happiness instead -- aka, an unexpectedly sunny “Everyone Lives!”-type finale for what has been a pretty dark show. Which again -- I have no problem with, because heaven knows the man deserves some happiness, but I still found myself vaguely unsatisfied with how it was pulled off. See above for my feelings on how well they dealt with the legends/personas of “Long John Silver” and “Captain Flint” in their own right, and I did appreciate that the end of season 2 (Flint wants to leave it behind and settle down with Miranda, but she’s killed) was paralleled with the end of season 4 (Flint does get a chance to leave it behind/is reunited with Thomas). However, on a narrative level, this... doesn’t quite work for me, because Thomas was never built up on-screen to be a character capable of carrying this emotional weight. We saw him only in a few season 2 flashbacks. We saw a bit of his and Flint’s relationship and how that backfired, but all we ever really knew about Thomas mattering to Flint was that we were told he did. We cared about Thomas because we cared about Flint and Miranda, but there was never really enough for him to become any more than a motivating/backstory figure in Flint’s own story.

Hence, I feel as if Thomas worked better as such (a backstory figure) rather than as Flint’s presumably somewhat-happy ending. Yes, I am a diehard Flint/Miranda shipper, but I was more invested in Flint and Miranda’s relationship because of all the time the narrative spent on making me care about it. We saw them together for two seasons. We saw their arguments, their disagreements, their tender moments (”I was hoping to have you all to myself for a few days”/”I recognize you, do you recognize me?” will never not kill me). We saw Miranda fighting to be with Flint and reminding him that she has been loyal and devoted to him for ten years, and him finally accepting that and letting her come with him to Charlestown and the two of them planning to make their home together and leave piracy behind... only for, yeah, welp, noooo. We saw Miranda’s relationships with other characters and we saw her own struggle in how exile had changed her and the sacrifices she had made for allowing Flint and Thomas to be together and the blame she took for the scandal. We had Flint wanting to die and be with her and his flashbacks/dreams of her for half of season 3, and him even saying that this was worse than losing Thomas (”But you... I am ruined over you.”) In other words, I was invested in them because the show spent so much time making sure that I was. I cried out loud when Flint compared Silver’s apparent loss of Madi (the woman he was willing to give up the war for/wanted to be his wife) to his own loss of Miranda. Flint and Miranda were both real characters in their own right, and Thomas just by nature of his role in the story was someone that they had lost and whose memory they still honored. To pluck him out and make him alive again seems a bit, well, pat.

Don’t get me wrong, my super bi ass is definitely incredibly appreciative that Flint, a bi character who has had two great loves in his life (Thomas and Miranda) ended up with his same-gender partner, and that they got to be reunited on screen. But I also feel as if the most poignant and fitting end for his story would either for him to explicitly die, and for his reunion with both Thomas and Miranda to take place in the afterlife (I so wanted that scene of the three of them together again/Thomas and Miranda being there to finally bring Flint back to them) or for his fate to not be spelled out, as it is in Treasure Island. I.e., for it to be pretty clear that Silver didn’t kill him and let him go, but for us not to know where he went or why, and that is why the legend remains and lives on. That way they can have the symmetry of him letting the persona of Flint “go back to the sea,” and to also keep the tragedy and romance and true loss of his story. He HAS changed forever in being Flint. He can’t give that up, he can’t wake from his nightmare. He’s lost everything and everyone (including his ship, poor Walrus). The ending with Thomas was nice enough, but again, I don’t care that much about Thomas in his own right, because the narrative never spent time on making me do that. I am happy FOR Flint because I love him and I know it’s what he would have wanted, but I don’t feel the gut-wrenching relief/sadness/cry-for-days-but-love it that I would have with Flint dying and finally getting to be with both Thomas AND Miranda again, and for us to see them once more as a threesome and a whole. Again, I feel like they ducked out of bringing Flint’s story to a sadder and arguably more fitting end, and while I can’t argue with my fave getting to live, yeah.

Anyway! Damn. That was a long-ass meta. As I said, overall I did like it very much, I certainly had feelings, and the rest of the show was generally so well-written that I can forgive them some pacing and plot hiccups here and there in this season. As I said, this is absolutely one of the smartest and most subversive and diverse shows on TV, and I am sorry to see it end. I would watch the shit out of Treasure Island if they do it (as I think they were kicking around). I just wish they could have hit some even more powerful notes in a few places. But thanks for the great adventure.

#hilary for ts #black sails #black sails spoilers #black sails meta #captain flint #flint x miranda #silver x madi