The Justice League have a problem, one that needs some level of knowledge and expertise of a being from the Infinite Realms to give them a better chance of actually solving this problem.
However.
Every ghost they have summoned, without fail, took one look at Constantine. Squinted (yes, squinted). Then decided to go back to where they came without a word.
This. Would have been useful, nice even. If it was a situation where they needed the summoned being of a cult to head back to where they came without a fight.
But alas, that is not what is happening.
The Justice League, obviously, ask him why the ghosts keep fleeing back to their Realm at the sight of him, but Constantine can't answer because he genuinely has no idea why they keep leaving when getting a proper look at him.
So they keep trying and they do find some success in it. They summoned a boy, most likely older than he physically looks yet it still puts some of them off because of, well.
You know.
A boy with white hair and toxic green eyes. The boy stops short, as if not expecting to be randomly transported to somewhere else, takes a look around the room, then the Justice League. His eyes settle on one person.
Constantine, in particular.
He squints (Why do all of them squint? Nobody knows) and then a sudden looking of realization passes on his face. Different from the looks of vague fear and genuinely want to not involve themselves any further, his face held slight disgust and a heavy amount of disappointment.
Thankfully, he didn't leave immediately after that.
Constantine asks what's with the look on the ghost boy's face, the ghost boy in question squints even further. Stares at Constantine for a moment or two, buries his face in his hands and brings his knees to his hand and groans out.
"He could've done so much better."
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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 officer leans close, jabbing a finger into Steve’s chest. “You’re damn lucky it ain’t ten years ago or one state over,” he growls. “You could be looking at a felony charge, serving 15 to life. We didn’t stand for this kind of thing in Hawkins when I joined the force.”
Steve just folds his arms and gives the officer a bored look. “Okay,” he says. “Good talk. Can I see my boyfriend now?”
The officer sneers, but he steps aside to let Steve through. They’ve got Eddie cuffed to the hospital bed with another gun-toting guard in the corner.
“Jesus christ,” snaps Steve. “He’s not gonna escape, he can’t even walk right now. Why don’t you clear out and give us a little privacy, huh?”
“Sorry,” says the guard, not sounding all that sorry. “It’s for his own protection.”
Fuck. He’s gonna have to hope Eddie can follow his lead. All that practice pretending to be a wizard or whatever has to be good for something, right?
He perches on the side of Eddie’s bed and takes his hand. He can do this. “Hey, gorgeous. How’re you feeling?”
“Uh,” says Eddie, eyebrows doing something hilarious. “Steve?”
“It’s okay,” says Steve. He rubs his thumb over Eddie’s knuckles. This is the most they’ve ever touched, he thinks—the most that was just skin, no layers of denim or leather in between. Not even a layer of blood and dirt.
He swallows and keeps going, willing Eddie to develop freaky mind-reading powers all of a sudden. “I know you didn’t want to tell anyone about us, but I had to, baby. I’m sorry. I had to tell them you were, y’know, with me when…when Jason killed Chrissy.”
“You didn’t have to tell them about us,” says Eddie slowly. He’s giving Steve kind of an intense look. “Honey-pie. I’m sure there’s gotta be another way. One without as many consequences for you that you might not have thought all the way through.”
“There really isn’t,” Steve says. Thank god Eddie’s so quick on the uptake. Sure, he’s being a stubborn dick about it, but at least it doesn’t seem like he’s going to let anything slip.
“Fucking hell,” sighs Eddie. “Don’t suppose we can put that pesky little cat back in the bag. Okay. Darling angel, light of my life, corndog of my soul, who else knows?”
Corndog of my soul, Steve mouths to himself. “Just the cops. And Robin and Nancy, obviously. And—oh, remember Hopper?”
“Do I remember Hopper, he asks. Oh, pudding-pop. The late Chief Hopper and I spent so, so much quality time together over the years; he was practically a father figure to me. And just as with my actual dear old dad, his departure was cause for great rejoicing in Casa Munson.”
“Sorry to break the bad news, then. Hop’s alive, and he—uh, he knows everything.” Steve tries to communicate the scope of everything by kind of tilting his head back and forth. “He’s been…helping.”
“Huh. No shit,” says Eddie. Steve can’t tell whether or not he’s getting it. To be fair, there’s a lot to get. “Okay, gallant knight errant of mine, any news on whether or not I’m getting sprung from this charmingly appointed dungeon?”
“We’re…Hopper’s working on it. That’s why I’m. Y’know. Here. To tell you that they know about us.”
“Cool, right, understood.” Eddie closes his eyes, leaning back on his pillow. It’s so strange to see him in nothing but a hospital gown against white sheets. He looks like a wrung-out dishtowel.
There’s a commotion from outside, raised voices saying something like you let him what and haven’t even interrogated the Munson kid yet and not a legal status you fuckin—
“Time’s up, sweetheart,” says Eddie, mouth quirking up into the ghost of a smile. “Anything else you wanna say before they decide to upgrade my security?”
“Uh,” says Steve. He’d mostly been focusing on getting the basics of Eddie’s alibi across in a convincing way, and he can’t remember if there were any other details Eddie should know.
He hears the door slam open behind him, and panics. “Love you, bye,” he says, and ducks in to brush a quick kiss across Eddie’s chapped lips. The last thing he sees as he’s hauled bodily out of the room by a pissed-off detective is Eddie with his eyes gone enormous and shocked, lifting his uncuffed hand to his mouth, looking and looking at Steve like something is always going to be different from now on, forever.
(ETA: small continuation here!)
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