“so I wait for you like a lonely house till you will see me again and live in me. till then my windows ache.” — Pablo Neruda, 100 Love Sonnets.
Halloween Treat for @hopeinthewater
Hannibal Mizumono / Interview with the Vampire The Thing Lay Still / Black Sails XXXVII / Miss Sherlock The Dock / The Untamed Episode 27 / Supernatural Goodbye Stranger
“Silver has always come from nowhere, he's the only character in the entire cast for which we have no backstory.” - Jon Steinberg, showrunner of Black Sails.
God. Okay. Not to still be making Jesus Christ Superstar/Black Sails posts but there’s SUCH a parallel to be drawn between Pilate and Rogers in the way they’re both desperate not to be seen as villains, not because they object to committing horrific crimes against humanity which make them inherently villainous, but because they’re afraid for their reputations and how they’ll be remembered by history.
And they both mistakenly believe that they, as leaders of imperial occupying forces, should be able to control how they’re perceived within their narratives. But they CAN’T and this infuriates them.
this vs. Rogers and Madi’s convo in 4x09. Truly nothing like telling a man who is used to there being no limit to his power “you cannot control the outcome of this situation” (or, in Madi’s case “I’m not going to let you”).
tbh when I saw the two swords in the sand in a random gifset in 2017 I assumed that two pirates had abandoned their hardened lifestyle to go have gay sex on a beach
So at some point in season 3 or 4 of Black Sails, Silver basically replaces Flint as protagonist, right? I don't think there's actually a definitive place in the narrative where that shift happens, but in my mind, it's the cliffs scene in 4x09 — not when we see it in the show but when it takes place in-universe, sometime in late season 3 before they return to Nassau from the Maroon camp.
This is explicitly a scene about the construction of narratives: Flint argues that you can only truly understand someone if you know their past — in essence, that the present is the result of a progression of linear events. This idea matches how Flint's own story is presented to the audience as well as how he presents it to Silver: we're shown what happened to Thomas and later what happens to Miranda, and how those events motivate him to fight against British rule. While we learn this information about him gradually and there are some parts — for instance, whether he pushed Billy overboard — that are left ambiguous, Flint's actions are presented as part of a linear narrative in which information is sometimes concealed from the other characters but rarely from the audience.
And then on the other hand you have Silver, who rejects the idea that constructing a narrative out of the past is logical or useful. Where Flint tells true stories about his past to explain the present, Silver's stories are invented or lifted from other crew members and serve a tactical purpose (reintegrating into the crew in early season 2, preparing them for Charlestown). I don't think Flint is really won over to this philosophy, but more importantly, he doesn't win Silver over to his philosophy, and neither he nor the audience learn anything about Silver's past — and I think that's when the narrative changes hands.
When Silver becomes the main protagonist, it's not just a shift in focus but in narrative structure. His actions are often concealed both from the audience and the other characters: we don't see him send Thomas Morgan to Savannah or the conclusion to his and Flint's confrontation on the island when they happen — in fact, we don't know for sure that either one did happen — but rather hear of them as a story that Silver is telling. Similarly, the cliffs scene itself and Silver's relationship with Madi are initially hidden from the audience and then revealed later on to frame other events in the narrative, mirroring way that Silver tells stories to the crew.
of the friend || “Thus Spoke Zarathustra,” Friedrich Nietzsche + Black Sails 4x09 + Mikey and Nicky (1976) + The Banshees of Inisherin (2022) + “Thus Spoke Zarathustra,” Friedrich Nietzsche + The Banshees of Inisherin (2022) + “Sula,” Toni Morrison
The thing that struck me when I watched Percy Jackson 1x08 was that the exec producers, Dan Shotz and Jon Steinberg, wisely borrowed from their own playbook when writing the episode.
Basing the episode around a previous training interaction between Luke and Percy, before the latter left camp on his quest, is the same narrative device Shotz and Steinberg used in Black Sails 4x09 (arguably one of the best written episodes in any show I've seen) in which the events of the episode are based around a conversation between Flint and Silver that occurred as they trianed together prior to the assault on Nassau.
In these episodes, both pairs of characters sharing a moment of instruction and understanding before one/both of them depart on a mission which will result in their relationship being irrevocably changed.