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#black sails xxxvii
garashir · 1 year
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“If I die, at least I will die by your hand”
Hannibal Mizumono / Interview with the Vampire The Thing Lay Still / Black Sails XXXVII / Miss Sherlock The Dock / The Untamed Episode 27 / Supernatural Goodbye Stranger
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cockworkangels · 5 days
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when silver is no one from no where with no past and flint is so completely defined by his past. and silver's story is just beginning and you know flint's is about to end <3
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tomateblack · 11 months
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the men: we heard your psychosexual bond w flint is so strong you can read his mind.
silver: ????????????????
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True Friendship Black Sails Musical Parallels | XXXVII.
music variation note: the music as Silver is leaving is in a lower key than the other scenes. The music after Flint says "Again." is lower still, and has fuller instrumentation.
I spent a year rewatching Black Sails and tracking all the bits of music that repeated at any point during the show, and my findings are reinforcing that Bear McCreary is a genius and this show should have been called 'parallels that will kill you over and over again'* (tag | chronological)
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piratecaptainraven · 2 years
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you're as cold as a knife
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brotherconstant · 5 months
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BLACK SAILS (2014-2017) XXXVII. • XXXVIII.
"Hold on to this for as long as you can, for all of us who once had it… and walked away." "All this will be for nothing. We will have been for nothing. Defined by their histories… distorted to fit into their narrative… until all that is left of us are the monsters in the stories they tell their children."
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john-silvers · 8 months
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BLACK SAILS, XXXVII
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cptnflints · 11 months
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"Your opponent's wrist is from whence the attack is born. It is its past tense from which it cannot separate itself.
The end of the blade, where the attack arrives, is its present tense, which also cannot be denied."
Black Sails XXXVII
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blacksailspolls · 7 months
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🏴‍☠️🔱 BLACK SAILS EPISODE BRACKET
ROUND 2
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SUMMARY
[LEFT] XVIII. (2.10) — In Charles Town, the day of Captain Flint's trial comes. Lord Ashe offers him a chance to avoid humiliation, but Flint declines, still bitter at Ashe for Mrs. Barlow's death. However, help for Flint arrives in the unlikeliest form: Charles Vane. Vane's men launch their attack on the city, and Flint and Vane fight their way out, with Flint murdering Ashe en route. They reach the ship to find Flint's crew have regained leadership, but Flint orders Vane's crew be released - realizing pirates have to unite against the rest of the world. Silver, after being tortured, is forced to have his leg amputated. When he finally awakens, he reveals that the spy they hired to watch the Spanish soldiers sold the location to Jack, but he leaves out his own part in the exchange. The ending scene shows Max celebrating Jack's success at bringing the treasure back to Nassau.
[RIGHT] XXXVII. (4.09) — Flint and Silver's crew follow Rogers' ship to Skeleton Island. On Skeleton Island, Flint and Dooley set off to hide the treasure, while Silver sends 6 men after them. A flashback is intermittent where Flint teaches Silver how to sword-fight. Rogers tries to convince Madi to accept his treaty. Jack and his crew also set sail for Skeleton Island. Flint and Silver's ship catches fire.
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the-breath-in-air · 4 months
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(One of) the things about the end of Black Sails that's so great is it's really impossible to know whether Flint ended up with Thomas or if Silver killed him.
Like, the evidence that Flint ended up alive with Thomas is that we see it. And up to that point, we (the audience) have only ever seen things that have a basis in either reality or an emotional truth. Like, the show's conventions up to that point are that dream sequences or hallucinations are all very clearly framed as such. (i.e. In episode XXXVII, when Woods Rogers sees Eleanor's 'ghost' knitting in the corner, we know that it's either mystical or a manifestation of grief...but for sure it's not literal). Up to this point, when the show calls into question the truthfulness of a story beat, it very purposefully keeps the audience in the dark about what happened. We, the audience, either know when a character lies because we saw the truth with our own eyes...or we don't know what happened because we didn't see it and only have one character's version of events to go on. But we know when we know and when we don't know.
So when we see Flint and Thomas together that says to the audience "this is real."
And yet...
For all that I was talking about how the show's been clearly delineating dream/hallucination/afterlife from reality, up to this point...it's also true that the end montage with Thomas an Flint is put together in a very dreamy way. It's all slow motion; there's no dialogue; just string music and Silver's storytelling. It's got a bit of a washed-out look to it...like the light is just a bit brighter than it should be. So it's got just enough of a dream-like vibe to it that it could be meant to just be showing what Silver is imagining as he talks to Madi...or what Flint saw as he lay dying.
The show's also put in a lot of legwork showing us that Silver would do anything to keep Madi with him and away from harm. And we know that Flint (and by extension, the audience) think we know Silver...but really Silver's character's been keeping a lot close to the chest. So would Silver kill Flint to keep Madi out of harms way? Absolutely. Would Silver spin a story to Madi about Flint surviving in order to prevent her from leaving him? Absolutely. Would Silver rather avoid all of that and present Flint with the opportunity to live and be with Thomas? For sure.
Would Flint believe Silver when he told Flint that Thomas was alive...thus 'unmaking' Flint and letting James McGraw go live out his life on that plantation? Maybe? It's really a question of whether Flint truly has put his trust in Silver as much as it seems. It's a test of their relationship more than anything else.
Anyway, that's why half a decade after it aired, I still sometimes think about this ending...because you really can't know which way it went. And that's part of the point.
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jessaerys · 2 months
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i. the sopranos, s3e2: proshai, livuska ii. black sails, s4e9: XXXVII
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cockworkangels · 5 days
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WHY ARE THEY LIKE THIS
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newbornmoon · 8 months
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Black Sails | XXXVII // XXXVIII
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Matter of Course Black Sails Musical Parallels | XXXIV. XXXVII.
music variation note: the scenes in XXXVII are in a lower key than XXXIV.
I spent a year rewatching Black Sails and tracking all the bits of music that repeated at any point during the show, and my findings are reinforcing that Bear McCreary is a genius and this show should have been called 'parallels that will kill you over and over again'* (tag | chronological)
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piratecaptainraven · 2 years
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Positions.
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idontwikeit · 2 years
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Your opponent's wrist is from whence the attack is born. It is its past tense from which it cannot separate itself.
The end of the blade, where the attack arrives, is its present tense, which also cannot be denied.
How exactly is one supposed to watch two points in space at the same time?
Practice.
All warfare is the same. Two questions are of paramount importance... who was my opponent yesterday, and who is he today?
- Black Sails, XXXVII
insp by @brownbicon
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