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.
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The LAYERS needed in a modern/human Dreamling au. Some level of Endless family dysfunction, obviously. Hob's family can be be dead or not, it's all good. Are they old enough to have individually gained the awareness they are off-puttingly intense and should hide it a bit at first, or still in that "no, why would I need to Elsa this" stage?
Option A is both of them trying to play it cool, like "don't scare him off" except they so badly want to go from zero to sixty.
(Death and Desire have ruthlessly drilled Dream with flashcards about how to react appropriately in situations.
Desire: it's your one-month anniversary, what do you do?
Dream: [hesitantly] NOT propose?
Desire and Death, conferring, because that's technically correct but the delivery was suspect.
Death, encouragingly: Good start. And?
Dream: a nice dinner and maybe a walk?
Desire: well done!
Death: and for a three-month anniversary?
Dream: give them a key to my flat.
Desire: [airhorn] NO. RED CARD.)
Option B makes them the classic anecdotal "my grandparents got engaged within seven days of meeting each other and still are happy together".
(Death, rubbing her temples: so you met this guy--
Dream: Hob
Death: -- Hob, and within 1 day you gave notice to the Registrar's Office and figured out the best day to get married. And Hob agreed to this?
Dream: NO.
Death: oh thank go-
Dream: Hob SUGGESTED this.
Death: . . .
Dream: are you going to be a witness or not?
Death, 29 days later in the Registrar's Office, to Hob's witness: Is he sane?
Johanna Constantine, drinking heavily from a large flask: unfortunately yes, by all legal definitions.
Death: fuck
Johanna: [passing the flask over] if your brother's even a tenth as intense as Hob, they'll be fine. Probably.
Death, brightening: Is Hob that bad?
Johanna: You know how sometimes you meet somebody and think "oof, they're a bit much, best give them a wide berth"?
Death: yeah.
Johanna: Hob's like a camouflaged hole in the ground of muchness. Except he's done the hole up all nice and he knows that sometimes you just want to be left alone in the hole to sulk and rattle the spikes for a bit, and occasionally get a F&M hamper tossed in.
Death: [hmmmmmmm'ing approvingly]
Johanna, morose: the bastard.
In the background, Hob and Dream are pressing their foreheads together and basking in each other's presence)
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Imma do this final vent and then I’ll shut up about it.
This was a dumb move, from every possible perspective.
In the og goodbye video, they really made it sound like they were doing the streaming service because they wanted to go bigger, make cooler videos, really see what they could do and let their creative vision take the lead.
Growing as an artist is what you do when you Already Have The Money To Do So. You don’t tell your audience “give me money and then I will use to it to make cooler bigger things”. That’s not a streaming service, that’s a kickstarter.
They didn’t have the numbers to pull a streaming service off either. “We think we’re ready for television quality content” no you don’t. Sorry, no you do not. Television quality content means 30-50 crew per project, means at least 4-5 production being worked on at the same time, and at least 4-5 productions being broadcast at the same time. Watcher has maybe 2 series they upload simultaneously and they have 25 employees TOTAL. Not even CLOSE to tv levels of content, who the fuck do you think you are???
Did they really think all 3 million of their subscribers were going to follow them on this? Including kids, whose spending is dependent on their parents? Including the casuals, who only subscribed for the occasional video? Including people for whom $6 dollars on another streaming service just isn’t an option? Why DIDN’T they poll this, was this being a surprise really that important??
AND why would you completely cut off another revenue? Even if YouTube is restrictive, it’s still another source of income. Cutting that off completely is… bold.
Especially since in the apology, they let it slip that no, actually, it’s because Watcher is on the brink of having to close up shop because they’re not making enough money with just the patreon, the merch sales, the ad reads, etc.
So… one of those is a lie. Or at least part of the truth.
But let’s assume they are in financial trouble, then this was still the dumbest they could’ve done.
Welcome to the entertainment industry where we follow 1 giant fucking rule: Kill Your Darlings.
Fellas, pals, amigos, bros, dudes. If your projects spend more than what they make, it’s time to downsize. Not upscale. Cut the shit that’s spending the most money, start concentrating on how you can conserve without having to fire your crew. Put the projects where you have to fly out and buy new stuff all the time on the back burner, you can get back to them once you actually have the money for them. Work with what you already have. You have a MASSIVE studio space, fuckin use it. You HAVE sets, you HAVE props, you HAVE talent and you have ideas.
Start workshopping all the crazy and shit ideas you thought weren’t gonna work and start thinking how you could make them work with the lowest possible budget you can have. Your audience is there, they’ll watch whatever you throw at them. Now is the time to go crazy and see what sticks. You HAVE viewership.
Collab. CONSTANTLY. Get it the fuck out there that you exist. A lot of people had no idea a patreon existed, mention it ALL THE TIME. To the point that it becomes annoying. Do it!
If your studio is becoming too expensive, get rid of it. Sorry, kill your darlings. Move some shit around in Steven Lim’s tesla garage, put up some green screens, this is where you work now until you can afford a studio in LA again, you dipshits. Editors can work from home, sound designers can work from home, writers and researchers can work from home, meetings can happen in someone’s kitchen or living room.
And finally: be transparent. Be honest to your audience and communicate. “We’re sorry to put Ghost Files on hiatus, however we can no longer justify the cost of traveling to locations.” The majority of your audience will understand and show patience. The part of your audience that matters will wait and enjoy your other wacky shit in the meantime. Hell, they might spontaneously start their own kickstarter because those who can, will want to support you financially, if you’re just hONEST WITH THEM.
As a business, you constantly have to choose between your financial stability and that of your employees, your vision and the future of your company and what you Want to do with it, and your integrity, the trust between you and your audience. (Especially that last one, businesses can’t pretend they don’t have a relationship with their audience, that’s not how business works, guys.)
When you’re in financial straits, one of those has to go. Watcher chose the latter, they should’ve picked the middle. Their grand television quality ideas can fucking wait, if money is a problem.
Look, I’m an artist too. I had a vision too. But it was either my creative vision or being able to afford food and rent. Creativity can wait, creativity will always be there once I can support it. Living comes ALWAYS first. Asking my audience to fund my huge artistic dreams though, with only the promise of something cool, NEVER even crossed my fucking mind. That’s what donations are for, that’s what the patreon is for.
They apologised. And good. But this was a dumb decision from the goddamn start. There were like 500 steps in between and they skipped all of it. And for what? For money? For grand ideas? For greed or for hubris? How many of their original subscribers are actually gonna come back? How much money did they lose with this stunt? If they really are in financial trouble, this MASSIVE risk -which is what it has always been- might just be their downfall. And it’d be 100% their own fucking fault.
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