#just me going on a tangent

[faefaefaeriegarden]

Personally I feel like the ONLY way this could work is if they used the plot of an already existing game. And. You know they’re going to do OoT.

just makes me sad bc twilight has such a great standalone story and also, midna talks, so they wouldn’t need to have link talking the whole time, and also, the aesthetic, the music, the beasts, I justtttt

cmon Nintendo give us tp movie adaptation pls don’t multiverse us 😭

In all seriousness nobody knows what they’re going to do, and it will be different since LoZ is a fundamentally different series from sm, and I’m very biased towards tp. But just! Very anxious about what is going to happen with this movie 👀 at its core Zelda is just not something movie studios would be brave enough to do without messing with it

Sooooooo anyone wanna take bets on that new Zelda movie?

[cuddlytogas]

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.

[zarstarss]

completely impartial to lab partner situationships

[beeduoo]

i really like that one tiktok

[rimatsu]

if tommy doesn't propose by asking buck "will you be my last, evan?" then what's the point of anything really

[longingquiet]

thinking about daniel molloy absolutely mesmerised by the vecchio painting in a trip to louvre. he’s in his late 40s, a "romantic holiday". and he is unmoving in the paintings presence, drawn to the man kneeling on the right. a connection he cannot explain. his wife buys him a postcard with the art on, he uses it as a bookmark for months. there’s a smudge on it, damaged, where his fingers had caressed that ancient face far too often.

[valgeristik]

Ничего не останется от нас, Нам останемся, в лучшем случае, мы

hi. hello. listen to this song

i have so many thoughts about these two. oh my god. maybe i will write it out some day, but for now drawing it out will do

translation will be under the cut! knowing the words does add to the work so i do recommend reading it. or just enjoy the art <3

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heres the translation, color coded according to how i broke it up for the art. just in casies

first page:

Love is scarier than war

Love strikes more true than steel

second page:

More true, because of your own volition

third page:

You run towards all the winds

Let there be pain and eternal battle

Not atmospheric, not earthly

fourth page:

But definitely with you

caption:

There will be nothing left of us,

we will be left with, in the best case, ourselves

[todayisafridaynight]

[frankiebirds]

what an incredibly normal and not at all autistic thing to say! (lying)

[mamawasatesttube]

it's like, i really do enjoy most of the bats as characters and i really do like a lot of their comics. but also i am sooooo tired of them being hailed as better than literally everyone else. both in fanon but also in comics (modern ones are esp egregious imo, like WHAT was that shit about batman and the joker being the most dangerous men on the planet. hi. have you heard of lanterns? speedsters? supers? actually if i keep listing groups who could kick batman's ass we'd be here all day). they're like kudzu. that shit needs to stay in its native environment (funky little neo-noir detective stories) and stop being an invasive species (putting down everyone else to make them seem cooler). put bruce wayne back into a murder mystery setting that isn't about saving the world but is about saving one person or one family that no one else would've saved right now or so help me god. the whole invasive species cross contamination thing is unhealthy for both him And the other ecosystems he keeps getting transplanted into. please. it's so dark in here

[secriden]

Honestly, we, as a fandom have been so unfair to Kant about his lying/acting when this whole time, Mr "has my whole life planned out and I have a contingency plan for everything and also I am fully in control of all of my emotions" Fadel has been like:

Fadel, at 10am, pretending he wasn't missing Style: Sorry we're closed. Ignore the sign that says we've been open for the past 3 hours.

Fadel: I'm fine.

Also Fadel: Are you actually. 🥺 Not interested in dating? 🥺 Anymore?? 😭

Fadel, after he accidentally was too honest: OH shit, oh shit, oh shit!!!

Fadel: I'm a struggling business owner!

Fadel (under his breath): Nailed it.

[seelestia]

Aughh the Aventurine x bodyguard reader food 😩😩🙏🙏I need a part 2

THE FOODDDD 🙏 i honestly didn't expect anyone to ask for a part 2... but i have to gauge how many people would be interested in it first. so dw, i'll keep it in mind! as for now – since we can consider the gambler & knight post as a meal somewhat, have a snack in the form of text messages! (i tried emulating his canon texting style, can u tell.)

[ note: messages were made using this site! the creator also has a kofi if u'd like to show some support ‹3 ]

⎯ exhibit A: his favorite employee

⎯ exhibit B: aftermath of a deal gone wrong

[jade-of-mourning]

finished (please reblog that one!)

don't know shit about this fandom but my friend showed me the youtube videos and i was like oooooo… i have no idea what kinger looks like.

anywho; sketches. will probably clean these up & color properly at some point bc jax got so stretched that he is approximately 3 pixels now. but until then i figured i'd just put it out here bc i have to do college instead of drawing now!

[mwagneto]

i have a lot of things to say but to keep it short moffat's writing so often completely lacks emotional weight, either because he fails to insert it or because he removes it without realising

as an example of the former, both the women in this episode have scenes where the sad music swells and everyone's crying and you're meant to be sad along with them, her mum died, the doctor's leaving, they're sad conceptually but i couldn't help sitting there and thinking... i just don't care about this. you've failed to write characters or scenes i can get emotionally invested in and instead reached for the cheapest tricks available (universally relatable sad concepts such as dying parent or ending friendship) and figured that would be enough to elicit a reaction. this is something he comes back to countless times, which i don't want to dwell on here but once you notice he's doing it, it's everywhere.

as for the latter, take the death of trev. he's a likable guy and watching him slowly dying would be quite sad but my immediate thought wasn't "aw oh no :( " it was that i have seen an unfortunate amount of moffat media and all his doctor who episodes so i am 100% certain that this isn't trev's actual end, that somehow his consciousness is gonna get uploaded to a database and live on, so there's no point being sad for him. and what do you know, like 20 minutes later they confirm i was right, which the doctor and the audience learns at the same time (except the doctor learns he's alive before he even learns he died, so he never even has to mourn). moffat's completely removed any kind of weight regarding the character's lives since he never actually just up and kills anyone so his stakes are impossible to take seriously.

[achingly-shy]

ALSO the end of the episode when jemma is telling fitz that he’s the real hero because he was beside her the whole damn time in the lab and was giving her hope when she had none and then she kisses his cheek and walks away and he sits there smiling and then that smile slowly turns into more of a thinking contemplating oh shit face AND THEN HE KNOWS HE NEVER GOT OVER IT HE NEVER GOT OVER HER

[ahli-stuff]

The Corinthian: more than an object but less than a human and a wretched reflection of his creator

My obsession with the Corinthian is so funny because at first it's like ok. Cool. He's this gay serial killer nightmare with creator issues who's turns out to be a charming antagonist while he's pitted against dream and going about his nefarious plans on screen. What's not to love?

But then there's the next layer of oh...he has preferences and quirks and interests, but he's not a person enough to be a human he's a tool.. that's why he gets unmade in the middle of the street by his lord!! That he had a couple millennia of history with!! Because it's easy.. Dream has the blueprints, therefore remaking the Corinthian and editing out these faulty design aspects is pragmatic. It's efficient. It's less effort and way less emotionally taxing that trying to wrangle in your rogue creation and trying coax them back into doing their job. A human makes a mistake, you correct and reprimand them and offer a better course of action. But if your wrench rusts, you throw it away and buy a new one. It doesn't matter if it's your prized or even your favorite wrench, if it's been rusted to the point of uselessness, you toss it.

And the Corinthian, the agonized wrench, can probably only think: "Did I really mean so little to you?"

I think it totally fucks with his mind. The fact that Dream refers to the Corinthian as his masterpiece and yet he is still lesser in every form of his being—his agency is lesser in every form.

But you can't really blame Dream, can you?

Dream treats the corinthans agency like he treats his own—unnegotiable. For him, it has always been perform your function or die.

Dream: We are, each of us, born with responsibilities. Even I am not free to choose to be other than what I am.

And the Corinthian, in his own eye teeths, has performed his prescribed duty perfectly without hesitation or fail for thousands of years as well and worn as a well used knife—but he knows he can do more, so he does. Because if his function is to chase and slaughter in the dreaming, what's to say can't do it in the waking too?

Besides, in the waking, he's realer. More combobulated. More valued. If you're a mirror for long enough you start to crave a look of your own.

And oh, even with the thrill of newfound freedom, he loves his lord. He's eager for to give to him—to share with him—everything that's ever been dreamed of. In the Corinthians long, long, life he has only ever had his purpose and his lord and for a while that was enough, but his expectations evolve, he changes.

And that's really what dooms him.

Over the course of The Sandman you can see that looking deeper into Dream's ideology "perform your function or die" reveals one of the true themes of the sandman which is "change yourself or die." The Corinthian, whether intentionally or unintentionally serves as a mirror to dreams own character arc and the way dream treats himself.

Like how people put facets of themselves in their original characters, I think that in the corinthian Dream put a version of his own insatiable hunger; to break every rule, to run freely, to enjoy hedonistically. In creating the Corinthian as a mirror Dream unknowingly reflected a distorted face of one of his own buried desires—and i think he couldn’t accept that.

The Corinthian even calls dream out for it at the serial convention (even though he's advocating for murder) he's also jabbing at Dream's unwillingness to show emotional vulnerability and the cage he's built around himself.

Corinthian: Or you might actually feel something.

The dream the Corinthian knows he always cared exceptionally little for humans save for a select few, so what remains is this. Dream might've cared for the Corinthian, but he would unmake him, his prized creation, not for any moral justice, not for a personal slight, but for his rules and nothing else.

For the corinthian, who has spent years upon years upon years with his lord, fighting in his wars, chasing after his approval, pouring every ounce of love and loyalty to him—it stings.

And then there's this scene.

Dream: You're right. This was my fault, not yours. I had so much hope for you. But I created you poorly then.

This is the Corinthian, knowing he is about to die, spilling his frustration and spite to his creator for maybe the first and last time and trying, desperately, to make dream understand that none of this is fair (it's never been, for either of them. It's been the function and nothing else for an eternity but they could be happy.)

This is Dream purposely misinterpreting the Corinthian in the way that is guaranteed to hurt the him the most. Dream, with a writer's indifference, reduces the Corinthian's complicated desperate desire for freedom, rebellion, and his creator's love to his typo. Like a character’s grievance towards their writer, like a man’s outrage towards their god, Dream decides not to deign the corinthian with even the right to call his treason his own. He will not even let him have that bit of agency. No, Dream made the Corinthian wrong.

And then Boyd Holbrook does a phenomenal piece of acting here—he knows how to play evil and charming so well but the Corinthian’s vulnerability is so starkly on display it feels like a knife.

And when you imagine he is about to burst into bloody tears and anguished final words, this is how it ends: they leave each other cruel and jagged, because the corinthian will not end pathetic and he will have the last word.

The Corinthian: I am only sorry I won’t be here to see Rose Walker do the same to you.

The first Corinthian never gets a happy ending.

I don’t think there’s any universe where he doesn’t bite more than he’s allowed to and there is no world where he can really be forgiven. As there is no universe where Morpheus Dream does not stubbornly tie himself to his function and hurt himself and those around him with his pride.

In objectification and the inability to change, they exist as wretched mirrors of each other: The first Corinthian, sick of his function and executed for abandoning it, and Dream, unendurably tired, taking his sister's hand in his when he can no longer bear to perform his duty.