#no more tudors

[liminalmemories21]

TV Hot Takes

Hot Take #1

Nobody ever needs to remake an Agatha Christie novel again. It was the Golden Age of detective novels, pick a new author. Personally I’m asking for a remake of the Harriet Vane/Peter Wimsey Dorothy L Sayers novels, because Lord Peter Wimsey is hands down my favorite fictional crush and Harriet Vane is awesome.

Hot Take #2

Nobody ever needs to make another tv series or movie about the Tudors - not Henry, or his wives, or Mary or Elizabeth or the other (Scottish/French) Mary. There are other dysfunctional royal families all over Europe.

There’s Henry II and Eleanor of Aquitaine right there in England a couple of hundred years earlier. She was the most beautiful (and richest) woman in Europe! She came from the original court of Courtly Love! She was married to the King of France and ran away with the younger man (Henry)! And then became the Queen of England when Henry inherited after the Stephen & Matilda mess. They had really hot sex (I mean, I don’t know that for sure, but probably). They had a really messy family. Also Henry II is my favorite English king (Alfred runs a close second) - he restored peace and order to England after decades of civil war (also Thomas a Beckett was kind of a tool - not saying he deserved to be murdered, but kind of a tool). It would be such a good Starz series.

You could do John of Gaunt and Kathryn Swynford who was his mistress for decades and then he married her in the end and legitimized all their kids who went on to found the Tudor dynasty, if you were really hung up on the Tudors.

Okay, I’m done now.

[shripscapi]

Queen Cersei Lannister

absolutely never would have anticipated how many times i’d end up drawing cersei when I first started asoiaf but over time she has cemented herself as one of my favorite characters…

i’m forever revisiting my own designs, so here’s a second attempt at Cersei’s ruby mourning dress and a first attempt at her in her hunting greens when she goes to meet with Ned. I think hunting greens implies menswear, but I’m not certain and I could be misinterpreting…? either way I think it is more reasonable for trying to be stealthy so that’s the route I took…

[dingledraw]

Smitten

[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.

[jamesfrain]

Mark Rylance as Thomas Cromwell Wolf Hall: The Mirror and The Light | Episode Six 'Light'

[jaehaeryshater]

“Near the end, [King Jaehaerys] grew certain [Alicent] was his daughter Saera, returned to him from beyond the narrow sea.”

artist: @riotarttherite

I had the great pleasure of commissioning, in my opinion, one of ASOIAF fandom’s greatest artists on this gorgeous piece. I had never commissioned any artwork before and didn’t know what to expect, and this far exceeded my expectations. The attention to detail is beautiful and the overall piece conveys exactly what I was envisioning in my head, so I wanted to start off with a big thank you.

The idea for this art piece was originally a “what if” or AU where Saera either didn’t get caught at the brothel or was brought back from the Silent Sisters as was allegedly Jaehaerys’s plan (or if she had bonded with Balerion and gotten to stay! Would have loved that for her) so she stays in King’s Landing and becomes his caretaker in his old age instead of Alicent Hightower. As his daughter, she would have significantly more influence in being able to “speak for him” instead of a caretaker for another House, so although I do not take Saera as someone particularly obsessed with power, I do find it very interesting to imagine her deciding to cause chaos as the Old King’s mouthpiece. The streets of King’s Landing are burning as we speak! Even before Jaehaerys seemed to succumb to dementia, Saera did appear to have a strange influence over him, so once Alysanne passed away, it only makes sense that Saera would become the person in his ear. Not all that great for the smallfolk or even Lords of the realm, but great for drama and storylines. And Saera, of course! I’m sure she would have paraded everywhere, weighed down by jewelry and the finest wines. Perhaps she would have had a full menagerie, as she appeared to love animals. Definitely an elephant there somewhere.

As this piece was being worked on, however, I did think of a second meaning to the art that I also think is really neat. You could also view this as what Jaehaerys is seeing as Alicent is caring for him. He did believe her to be Saera in the end, as his mind was being lost. His Saera had come back to him, and although I do not like Jaehaerys and think he probably deserved worse, he most likely died happy at that thought, believing Saera was reading to him. So if you prefer to interpret this as viewing things through Jaehaerys’s mind, I welcome you because I love it at least equally to the first idea.

Lastly, the detailings are beautiful so I wanted to touch on them and give them the attention they deserve for the moment. I asked Riot to have a caring but sinister vibe, that she is caring for him for a plethora of reasons but certainly that includes self-serving reasons. I believe this was captured really well! I wanted it to be illustrated that Jaehaerys had lost his wits a while beforehand, so he has a vacant look, and Saera has the keys, showing that she is the real power behind the Crown. She has several expensive jewelry pieces (she has many from her lovers, but she doesn’t bother with them, leaving them to collect dust, only thinking gifts from the King are worthy to wear), but my favorite was one I specifically requested. Her jeweled bodice, which contains replicas of the King’s jewels that are present on his crown. Dare I say, she had her mother’s crown repurposed for herself? The intention is clear, Saera is effectively the Queen now, not in name, but Queen nonetheless. As for the general fashion, I told Riot that my favorite era of fashion was the Tudor era, more broadly 1300s- 1550s. As you can see, this was more than delivered and extremely beautifully inspired by historical fashion. GRRM doesn’t always describe his character’s outfits, and the GOT and HOTD outfits were often lackluster. This was exactly the type of beauty I was looking for. The dragon embroidery on Saera’s sleeves? Mwah!

Anyway, thank you so much for geeking out with me! The Saera/Jaehaerys dynamic is one of the most interesting dynamics to me. There’s simultaneously so little and so much there. It’s complex and layered, I can’t stop thinking about it. If you have been on my tiktok, you may have heard about my extensive theory regarding that dynamic, iykyk. If you ever want to talk about them, absolutely feel free to inbox me. More commission ideas coming this year definitely, at least a couple more of this dynamic, but I don’t know how a piece could be any more perfect <3

[buildoblivion]

long live the queen

[melrosing]

wanted to imagine outfits for them as heads of their houses!

[austin-friars]

The "Lucky" One

[thequietesthing]

they officially cancelled My Lady Jane after only one season because it apparently “didn’t find a broad enough audience”. i’m disappointed but not surprised, unfortunately it’s just one more name in the very long list of too-soon cancelled shows with incredible potential.

[green-like-the-sky]

sir thomas more (anton lesser) refuses to sign the oath of supremacy | wolf hall

princess mary tudor (lilit lesser) signs the oath of supremacy | wolf hall: the mirror and the light

[catherinesboleyn]

The Tudors 1.04

“His Majesty, the King”

[roselyn-artist]

And finally I could do another drawing for my project #YamiNeedsMoreClothes 😆 Yes, I know Yami uses this clothes in Duelist of the Roses, so basically is not new clothes, but I wanted to draw it and I needed an excuse! 😂 Anyway, doesn't he look handsome? 😍

[dxcstrange-stuff]

"The Mirror and the Light"

Lithography, 2024

[english-history-trip]

Professor Tim Thornton, Deputy Vice Chancellor of the University of Huddersfield, is the person to have discovered new evidence in the case. Thornton has found documentation that a chain, once a treasured possession of Edward V, was later owned by the half sister of Sir James Tyrell's wife, Anne.

Sir James Tyrell was very loyal to Richard III, and nobody can be sure how his wife's half sister, Lady Margaret Capell, came to be in possession of the chain. However, her will states: "I bequeath to my sonne Sir Giles his fadres Cheyne which was Yonge kynge Edward the Vth." The wealthy widow wrote her will 33 years after the Princes disappeared.

The piece is a royal chain of office, a priceless artefact that would've been not only irreplaceable, but always linked with its owner - there would've never been any doubt about to whom it belonged. Although Richard lll has always been a frontrunner in theories relating to the Princes' possible murder, Sir James Tyrell's name was at one time added to the mix when Sir Thomas More alleged he'd hired two men to kill the boys. However, historians have always largely dismissed this theory as Tudor propaganda until now.