#otp: dead end

[kdval]

Cyberpunk 2077: Phantom Liberty

› OCs: Lara & Roland Hardin

Alright, now you're probably thinking what is going on? Yeah, another AU lmao

Where Roland is Logan and Lara is Jean Grey. I mean, from that 2000s movies, u know? Ofc Roland is more Logan than Lara is Jean, but it's also bc her appearance combines two images actually, and the other one is from manga "Beagerutā" ("Die Wergelder"):

This is the closest to canon image of the two I could create.

How do you like these two now? We still simpin?

[wr1t3w1tm3]

I wanted to add another little bit about clothing and characters of PotC.

I don't think it's a coincidence that of all the characters, only Jack Sparrows costume has remained relatively unchanged. Of all the characters, he's changed the least.

But looking at Elizabeth in the picture above, on the right, we see that her outfit has changed quiet a lot from her first (adult) appearance in CotBP (below).

In CotBP, she is obviously wearing a dress with a corset, but we see she is wearing a white dress with yellow accents. Her final outfit from At World's End (outside of the end credit scene, which doesn't count) is black with gold/yellow accents. Earlier in AWE, we see her in all black, and even briefly in the scene where Soa Feng puts her in the more ornamental robes, those are dark colors. My point here is that as Elizabeth's story progresses, she dresses in darker colors. It happens in every movie.

In CotBP she goes from the white with gold to a sort of mauve-y red (IDK I don't know my colors that well) to that bright red coat on Isla De Muerta. And at the end, during the execution sequence, she's in that other yellow dress (see below). And even when she's in her underthings, they're white. Which we only see her in when she's surrounded by Norrington and his soldiers. When she's back where society would deem her "place". When she's aboard a pirate vessel, where she can be truer to herself, she's in darker colors. Around society, she has an image to upkeep, so she wears the lighter colors, using them as a shield.

And I can't forget pants. Elizabeth wearing pants near the end of the movie really drives home just how much she's changed in these movies. Here she's wearing arguably the least amount of clothes she's worn during the entire movie (even her underclothes are several layers of full-length dress like stuff). Even Anamaria, the only other significant female character in CotBP wears pants. They show the freedom these women have as pirates. This same point can be made when she eventually ends up in soley pants through the mid part of DMC to the end of AWE, except for the brief moment she's in a dress while imprisoned by Soa Feng, which I feel only strengthens my point.

Now, let's look at Will in the above (left) picture. He's in what I like to call his "Muskateer Get Up" - he's wearing the more billowy, formal shirt, a brown vest with double crossed belts, a red cape, brown pants and that garish hat. Will's outfits in CotBP are much less about color and more about appearance. In the picture above from Will's first adult appearance, he is pictured wearing a full, formal suit with tie, coat, and everything. As the movie progresses and he gets closer and closer to Elizabeth, he loses more pieces of that suit.

By the end of CotBP, Will is left with just his vest, trousers, and undershirt from the original ensemble.

Him putting on the more colorful ensemble at the end to free Jack is symbolic of him accepting his true identity (son of a pirate) and allow his experiences to change him.

I wanna talk about hair here for a second. Elizabeth and Will both get hair used as a symbol as well. For Will, his is kept up until approx. his capture in CotBP by Barbossa. Once he's finally in the thick of it, and once again when he's accepted the results of his actions, it's down (in the opening shot with Governor Swann we can see his hair is kept back in a ponytail). The same can be said for Elizabeth: during the scenes where she is wearing her lighter clothes, where society is expecting something of her, her hair is kept up. When she goes out to Barbossa's ship, and basically up until she's back in her stuffy societal position, her hair is down. Now, it's not practical, but it is symbolic (I still don't give it a pass. That is a crime honey. I have to put my hair back to walk to class when it's windy, put your damn hair up on the high seas dammit!).

Back to clothes: we really get to see this change in Elizabeth and Will's characters and their clothing best in DMC and AWE.

We can see here that Elizabeth is once again in yellow, and her hair is done in a half up, half down style. Her yellow is once again a symbol of her being in a societally "acceptable" position (the same can be said for Will, more on that in a moment), however her hair can be seen as a sort of "sticking it to the man", since, as we've established, Elizabeth's hair is down when she is getting a taste of freedom. Marrying Will is an act of freedom for her, since she's not been forced to marry Norrington. With Will, we get a special blend of symbolism. He too is wearing yellow, which can be seen as symbolic of him doing a "societally deemed chill" thing: getting married. However, his is surrounded by the much darker blue, which as I will establish momentarily, is a symbol of him straying further towards piracy and away from society. This is also the fanciest get up we see him in: he looks like a soldier and has the same tricorn hat we know Jack wears. As far as his hair, it's up in a ponytail. So, we know that Will is in a societally acceptable position, but just like Elizabeth, his scuffle with pirates previously has changed him. However, unlike Elizabeth, he's not really acknowledging that in public, hence the ponytail.

Just like with CotBP, DMC gives us similar outfit evolutions with Will and Elizabeth, but with some minor changes. Will still ends up stripping down to the most basic components of his suit by the end (though this time he doesn't get a final outfit change, though it appears he gets it at the beginning as he doesn't seem to be in the full wedding suit when he leaves Port Royal) and Elizabeth ends up in pants and a red shirt once more. Both have their hair down as they return to piracy, again a symbol of their freedom or even just comfort level away from society. Elizabeth is back in pants again, relatively free (despite the whole Davy Jones situation). The only major hair change to note is that when she's on Tortuga, Elizabeth keeps her hair up and very short looking. Even if this is a temporary change, it's the first time we really see her acting like a pirate. Even stowing over to Tortuga she'd kept to the shadows and been witty about her interactions with the crew. This shorter hair can be taken to symbolize a new start (even if, again, it's only temporary).

What I want to note here is the colors used. Both end up wearing significantly darker colors by the end of the film. Even their yellow and blue at the beginning of the film are the darkest we've seen outside of the blue navy coats, but I'd personally argue that Will's coat is darker than the EICo's blue. Elizabeth's dress is a darker yellow, and as the movie progresses, they end up in darker and darker colors. Both end in grungy, dirty clothes too, in contrast with the previous film. Will is in greyer tinted, dingy stuff, and Elizabeth is wearing maroon and a brown darker than Will's from CotBP.

Also, I'm putting a quick pin in Elizabeth's maroon from DMC for Will's fit in AWE. We already saw Will wearing yellow for the first time in DMC when Elizabeth so prominently wore the color in CotBP, so him wearing maroon in AWE after Elizabeth wore it prominently in DMC cannot be a coincidence. I think it's probably a very literal symbol, in that she is really starting to rub off on Will.

Now let's jump to AWE. Elizabeth is featured initially in all black (minus the hat and poncho which are quickly discarded). Will's outfit also appears this way due to the water he's been soaked in, although we soon learn that it's black with the maroon shirt. Everyone's in mostly dark clothes, as this is a dark hour for pirates. Also here, Will's hair is undone, and Elizabeth's is in a tight braid. Again, Elizabeth is in a more "acceptable" position, but this doesn't last long. It's down again once they hit Davy Jones locker. Will's hair, however, stays back almost the entire movie, beginning with their search for the locker (See below).

As I mentioned before, the dark clothes are a pretty standard symbol for dark times. Just about everyone in this movie is wearing dark clothes. The maroon on Will still shows how Elizabeth has rubbed off on him, but his hair back shows us he isn't as free as he could be, how he's trying to hide the effect of his experiences on the Flying Dutchman from everyone. He's weighed down between his options: Elizabeth and his father. We learn pretty quickly into the movie that he's gonna have to choose, and he doesn't want too.

Once again, as mentioned above, Elizabeth is the one who gets an outfit change for this movie. First, she ends up in the red and blue ensemble from Soa Feng. Red is a color we've seen her in before, one we know she's comfortable in. Blue is one we haven't seen her in, so we can see how she sort of feels during this scene through these colors. At first, she's ill at ease, but once Soa Feng reveals his cards, she gets him hook, line, and sinker. She's in control. She's cool, she knows what she's doing.

When Elizabeth rolls up to the pirate council in the black and gold threads from Soa Feng, she also has her hair up (not many pictures of that, unfortunately). And while, yes, that does mean she's in an "acceptable position", I think here its more that she's in a position she's prepared for. She's the governor's daughter, so a position of power is something she theoretically should have in the bag. And we see she does because she becomes Pirate King pretty quick. Again, it's a dark hour, but that gold really ties her character back to when she was firmly the governor's daughter: when she only wore yellow. Something I didn't mention above is that Elizabeth really only wears yellow in the presence of her father, the governor. And again, really only while he's the real power. By the time he loses that to Cutler Beckett, she's in maroon and brown. The colors symbolize that while this is the pirate's darkest hour, Elizabeth is prepared for this. She can lead them. And her hair, once again down, represents that she is free here, even in the face of impending doom (same with her pants). She is a real pirate, and she's ready to fight for their freedom (even if I would HIGHLY recommend tying your damn hair back, girl!).

Let's look at Will now. In AWE, he's got some pretty static character stuff, but that's okay, because he got a lot of that in DMC. His most major outfit is the switch from a black vest during the locker sequences to a black coat when Jack throws him overboard and lets him get captured. He's still got a crossed belt, which has become a staple, and we get a little pop of color from his sash/gun belt thing. Which, funnily enough, looks to be predominantly brown, red, and gold.

So as far as colors, we again get the darkest hour bit, although for Will his is more of a darkest hour because he's going to soon be forced to choose between his dad and his (I'm assuming) fiancé. The maroon shows that Will and Elizabeth are still connected, she's still rubbing off on him despite their coolness during this movie. The steaks of color in his belt help us really see where he came from too, red from AWE, the gold again from Elizabeth, and the brown calling all the way back to CotBP.

Will's final costume change comes once he's sort of forced into the captainship of the Flying Dutchman. He's still wearing the black coat and maroon shirt, with the black crossed belt, but there's two major changes: the bandanna and his hair. The hair I'll harp on real quick because it's down. And as far as we've discussed, that mean he's more himself, that he's allowing the world to see just how much he's been changed by the circumstances around him. Like Calypso says, Will has a "touch 'a destiny", and as far as we can tell, this is quite literally where he is meant to be (for the 2007 crowd this was assumed to be in perpetuity as well). This is like, literally the 2nd or 2 times his hair is down in this movie. Do I like that all the symbols are pointing to him being here on purpose? fuck no. But it gives me that kind-of-icky-kind-of-not pit on my stomach that tells me this is a narratively satisfying conclusion.

Turning to the bandana, this is something we've never seen his character wear, ever, in the entire franchise. The only other prominent characters we see wear bandannas are those who do so under hats: Jack and Barbossa. And both of them are captains. So, the bandana not only signifies the magic-girl-transformation(TM)that Will undergoes after getting his heart carved out by (assumedly) his own father; but it also symbolizes his new role in life: captain of the Flying Dutchman. Its color tells us something too, the same as his clothes. The maroon symbolizes how Elizabeth has worn off on him, and the black shows us that when he became captain, it was a dark time. But the bandanna, that baby is green. What can that symbolize? Well, do me a favor and scroll back up to Will and Elizabeth's wedding outfits from DMC. What colors are they wearing? Yellow and Blue? I sure hope so. What color does yellow + blue = ? Green. Will's bandana symbolizes not only his new station in life, but also the entwinement of his and Elizabeths' destinies, now for all eternity. That's why even though Norrington ended up in gold and blue, like Will, he never got any green, he says it himself: "Our destinies were entwined, but never joined" (I paraphrase).

So, in conclusion, the wardrobe department for this trilogy slaps, the writers were great, Gore Verbisnky is a legend, and I just spent over a literal hour over analyzing the clothing on two fictional pirates in a Disney movie franchise based on a ride.

I love how I said this was gonna be little. Thanks for coming to my TedTalk ya'll. Felt like pictures might do us some good this time and break up the giant walls of text. This has been fun to put together, and I may do an analysis of other characters later, but IDK. I'm trying to outline a new WIP so... we'll see how long that one lasts. I may do an analysis of the costumes from five as they pertain to the original trilogy, but I don't know yet (for reference, I personally don't consider 4 as a main line story. It's like Rogue One is to the Original Star Wars trilogy, it explains a couple plot points for the next movie, but it's not a necessary watch).

[leviiackrman]

"what do we say to people again? 'witch-loving-witcher'? hmm, catchy"

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[diamondsunbursts-and-marblehalls]

will turner and elizabeth swann are THE example of true love. they are the goal. it’s that or nothing.

[joneevarts]

As i said yesterday, sleepy hollow is now my new obsession and I've planned to draw more cursed image of the team to cope with the fact that I only have one and a half season left to watch ;v;

[averlym]

"oh my soul, is it here? or is it rotting somewhere with my head?"

[litlunacy]

We will kill him, if you could be patient for five seconds. Also maybe don't say that right in front of his face?

Love the look at her face about that. Also, bard for the win again! She knows a thing or two about songs, after all.

Again, patience. Has she not talked four other massively terrifying beings into offing themselves already? Let her work the word magic.

Tem looks...so fucking proud of herself. Absolutely patting herself on the back here. I can't tell if Astarion is impressed, dumbfounded or annoyed that he didn't get to stab anybody.

[rosieshipper]

Wanda: You were a wonderful experience

Rose: You were…everything

Tags: @astralshipper @arickaandherfictionalothers @wolfofthedead

[merrilark]

The tragedy of Daenerys' marriage and overall relationship with Drogo is not lost on me, I get it, I see the red flags and the issues and the glaring sexism and inherent abuse of it all.

But consider: They're not real and the way they look at each other is cute as heck, Your Honor.

[aceghosts]

Tagged by @sstewyhosseini, @socially-awkward-skeleton, @jacobseed, @natesofrellis, @marivenah, and @indorilnerevarine to do this template!

I think most people have been tagged, but I'm going to send tags to @hoesephseed, @captastra, @thomrainer, @strangefable, @funkypoacher, @direwombat, @purplehairsecretlair, and anyone else who wants to do this! No pressure, this is all for fun!

[anthrofreshtodeath]

Just saw that ask....27 and 9 sound painful lmao 😭

A little bit of angst ahead.

Jane stands with her hands on her hips, slick with sweat, staring at the last few of her boxes to be unpacked. The walls - stark white, feel foreign to her, and her body vibrates with the desire to escape the way they start to close in. Ironically, it’s the nothingness that makes the place feel so heavy, the lack of memories and abundance of fresh starts.

So, she shakes her head. Her ponytail swishes, the bottom of it brushing the skin of her exposed back. It’s summer - mid-July, and because she hasn’t had time to figure out the swamp cooler in her bedroom window, she’s in just a sports bra and some running shorts. Short ones.

She sighs, touching her damp forearm to her damp forehead - Paris had been so mild - when the doorbell rings. Who the hell even knows she’s here already? She’s been in DC all of two weeks, most of it spent in a hotel while she waited for her paperwork on this place to clear. She braces herself for a salesman, or a nosey neighbor, something equally annoying.

She does not expect Maura Isles. “H-hey,” Jane stutters. She steps aside immediately, old habit, without even knowing why Maura’s here. Why Maura’s at her door.

Maura comes in anyway. “Hi,” she says, and Jane senses the nerves in it. It causes her to catalog all the physical signs - Maura’s tense shoulders, her shifty eyes, her spinning ring. 

“You good? I thought you were supposed to be in Paris another month,” Jane says, closing the door despite her confusion. She stares at the couch in her living area that is still wrapped in plastic. “Lemme uh, lemme get that,” she hurries, her keys jangling in her hand when they’d just been on the counter, and she cuts through the wrap so they have a place to sit. “There.”

“I actually… I changed my plans. I’m just back from Italy,” Maura explains. Jane comes back from the kitchen with two bottles of water, gloriously cold. Maura takes hers, and holds it between her once-fidgeting hands. Jane remembers how she hated that she did that. How it reminded her of Paddy Doyle. 

Jane sits now, shocked that the woman she’d just talked to yesterday morning was in an entirely different country and neglected to say, is in her DC apartment now. “Italy?”

“Italy,” Maura confirms. “Paris was just so… full of ghosts,” she says quietly.

Jane chuckles. “And Italy wasn’t? I’d think the Italian ones’d be worse.”

Maura shakes her head slowly, as though two weeks was long enough to forget how sarcastic and full of life Jane could be. “I suppose it was,” she tells Jane. Then she looks up like she’s trying not to cry, and Jane feels like an ass.

She leans in, taking one of Maura’s hands in her own larger, surer one. “So… what’s up? Why Italy? Why the secrecy? Why the crying, kid?” The last question is soft and Bostonian. Jane means it to wrap around Maura the way her arms would be too stifling to do. 

Maura cries now, because apparently it does wrap around her. “I couldn’t stand to be away another minute,” she laments. Jane looks around because the tears are many, but all she’s got is a roll of paper towels on the coffee table. She grabs it anyway, ripping one off and handing it to Maura, who blinks at it with disdain.

“I know,” says Jane. “But it’s the only paper product I got except for toilet paper. Just take it.”

“Toilet paper would be better,” says Maura, and they both laugh. It releases some of the tension in the air, even if Jane is just as confused. 

“I’d have to get up and go to the bedroom to get it,” Jane tells her. “Sure you want me to do that?”

Faced with the prospect, Maura reaches forward and grabs Jane by both hands. “No,” she whines, in a way that makes Jane want to hold her again. “I don’t.”

“So… Italy. Not France. And not a month,” Jane goads. For the first time, she realizes that Maura is in her flight clothes - comfortable leggings, a light windbreaker for Europe and for the flight, though it is useless to her now in the American humidity. Probably uncomfortable. Maura is tired. Maura is preoccupied, maybe even hurting, to allow herself to be seen in public this way. 

“The south of Italy. Calabria, Napoli,” Maura says in an effortless Italian accent. “But I had to come home.”

“I don’t know if you know, but Boston is home,” Jane replies. “This sure as hell ain’t Boston.”

“You are home,” Maura says sternly. “You left and I… broke without you. I couldn’t look at all the places we’d been together in Paris. The cafes, the museums, the football stadiums.”

“That was soccer, not football,” Jane interrupts impulsively.

Maura glares. “The rest of the world would disagree.”

“Good thing I don’t live there then.”

“Jane.”

“Sorry.”

“So, I thought, what if I went to Italy? Your ancestral homeland - the mezzogiorno. I know it’s irrational, but I thought it would make me feel close to you. It didn’t work. You know why?” Maura asked, passionate again.

Jane, rapt with attention, leans in closer. “Why?”

“I feel your absence everywhere I go alone, in every place I go without you. Surrounded by people, I… miss you. You’re the only one that counts. And I can’t do the rest of the month, Jane. I cannot bear to be apart from you anymore,” Maura’s confession ends in a sob that cannot be suffocated any longer. It swims its way to the top of her throat and writhes into the empty air of the place. It chills the sweat along Jane’s spine, making her clammy. “I can’t be so far from home anymore.”

Jane cannot speak for a long while. The cry rattles her into silence, is a noise that shuts her up. It’s less its pitch, its frequency, and more the love inside it, the love from which she can no longer run, now that it’s out. Now that it’s been said. “All this way and neither of us are home,” she croaks finally.

Maura blinks at her. Sniffles loudly. “W-what?”

“I… made a mistake,” Jane says, hanging her head. “A few of ‘em, actually. First one was takin’ this job. Second one was leavin’ you. I think I just…I got scared, Maura,” she whispers. “And if you weren’t gonna say it first… I couldn’t. And I had to go. Just to get away from myself. But then it started to really happen, and you were going to Europe and I suddenly needed you a little longer. But now that I’m here, I…”

“Boston is where you belong,” Maura supplies kindly. 

Jane nods, her own face crumbles, and then Maura takes Jane into her, head against her chest. It is that quickly that the tables turn and Jane claws at her back while she resists the tears dripping slowly onto Maura’s jacket. They come anyway, of course. “I fucked up,” Jane breathes her own confession. It turns quiet when it hits the soft skin over Maura’s heart. “I fucked it all the way up.”

“Me too,” Maura tells her. “But can’t it be fixed? Can’t we fix it? There’s nothing we can’t do, together.”

“Together,” Jane repeats, pulling away slowly with her realization.

Maura looks down until Jane is far enough to be taller than her again, sitting up straight. “What? What’s wrong?”

“We get to be together,” Jane says. “Like together together.”

Maura looks past Jane’s shoulder to the open bedroom door where a mattress lies on the floor, pillows and blankets strewn about. “Not on that we don’t,” she jokes, just for some relief, some distraction, the kind Jane had given her moments before. 

“Maura,” Jane growls, warns. 

“I’m kidding,” Maura holds up her hands, smirking when Jane gives up her seriousness for a little grin, too. “But I’d like to be together together. That's why I’m here.”

“Got my badge yesterday,” Jane says, suddenly invigorated. She wipes at her eyes and then bolts up to get said badge from her tiny dining table. “Let’s see if I can’t break this lease.”

Maura laughs robustly this time, hand on her heart when Jane leaves her for the leasing office downstairs. Never has a door slamming shut sounded so good. So much like the start of something new.

[kdval]

Cyberpunk 2077: Phantom Liberty

› OCs: Lara & Roland Hardin

[wr1t3w1tm3]

Look, I understand people are upset about the end of Will and Elizabeth's arcs in the original Pirates of the Caribbean trilogy. I won't lie and say I didn't want to see some Will as the Dutchman's captain and some Pirate King Elizabeth BAMF on the high seas. I'm not even saying the writers are right... I'm just saying that the way they set up Will and Elizabeth's arc's, it makes sense.

They're tragic heroes: it's like John Proctor or Reverend Hale in the Crucible or Iron Man during the Infinity Saga or even Thackery Binx from Hocus Pocus. They're heroes working towards a noble goal, but they either can't obtain it or when they can, it doesn't go according to plan, and they have to make some sacrifices.

For Elizabeth it's a little more obvious. She's the girl who's trapped in her social status. In the first movie, her corset, a very real symbol of her status, literally suffocates her. It nearly kills her. Only once she sees the world of piracy and gets swept up in that world and allows herself to be changed by it does she see any smattering of freedom. Her whole goal is to get freedom, for her people (Port Royal) and her love (Will) in CotBP, even at the price of her own freedom (agreeing to marry Norrington if he saved Will). In DMC it's for herself (literally), Will again, and her father. That whole movie she is constantly fighting to keep herself and Will out of prison and danger. In AWE, she's fighting for her own freedom at times, but she soon finds herself the harbinger of freedom for a new golden age of piracy against Cutler Beckett and the East India Trading Co, who in the Pirates universe are canonically slave runners. She is searching for freedom in a very wide scope.

For Will, it's a little less obvious. He is also striving for freedom, but often not his own. He fights to help free Elizabeth during CotBP, and in DMC he's literally fighting to keep his own freedom and win the freedom of Elizabeth. Even when that means turning in a (sort of) friend (Jack). When he meets his father in DMC, his mission of freedom for those he loves expands in two parallel directions, Bootstrap tells Elizabeth as much in the brig of the Dutchman in AWE. The director and writers of AWE made that very clear in Elizabeth and Will's direction. One of my biggest pet peeves with that movie is the lack of a relationship between Will and Elizabeth, but it does make sense. It demonstrates Will's dilemma. His search for freedom is much more tangible, and on a very narrow scope. It also demonstrates Elizabeth's dilemma, where she feels that the freedom Will craves for his father will separate them for good. So, she turns to piracy, because freedom is all she has left by act II of AWE.

Both are searching for freedom, but both are tied down by duty. Elizabeth becomes the Pirate King, Will the Captain of the Dutchman. Both bound by their own duty, although the only duty we see them both bound too tangibly is Will's. Isn't it ironic that in the end, the choice to kill Davy Jones isn't Will's? Sure, it was his intention, but Jack wrapped his hand around the knife and dropped the hand that felled the heart. Jack - the pirate - an embodiment of freedom for both characters in CotBP (he saves Elizabeth from her corset and is the inciting incident into Will beginning his quest for Elizabeth) is the one who chains them to Will's curse? Narratively, it makes sense. Elizabeth has just become the free-est we've seen her in any of the movies (and I will die on this hill) and Will's only just literally been freed from the clutches of the EICo. And even if you did argue that Elizabeth still had her freedom as Pirate King, it can be easily argued that she lost her freedom the day she decided to keep and raise Henry. Both of them end up chained by Will's curse - one to land, one to the sea. All on their search for freedom. And Jack, that symbol of freedom (or rather, a symbol of piracy that for both characters ends up being a symbol of freedom), is the one who chains them to land or sea.

Now I am all for Henry, I actually think he had some great potential pre-Deppo-osition trial, and I think it speaks to Elizabeth's character that she was willing to wait and stayed on land for her child (who she easily could've taken her anger out on, though that doesn't appear to be the case). It can even be argued she stayed on land for Will to, as he gave her his heart to guard, a very fragile heart that if stabbed, ended her husband (this is one of the final demonstrations of their mended relationship, but that's a different topic for another time). Will got a very short stick in this fight, but Elizabeth got an equally short, if not shorter stick. Chained to the sea, destined to see your wife a max of seven more days before her death, and the reverse true for Elizabeth, instead she is arguably forced by society to keep and raise the boy who reminds her of the husband she'll never be sure she'll see again.

That's why William and Elizabeth Turner - The Captain of the Flying Dutchman and the Pirate King - are tragic heroes. In striving for freedom, they became trapped by duties, obligations, and burdens that they didn't even get a say in. In the end, not every happy ending is a good ending. And while the original Pirates trilogy didn't have a happy ending, it had a good one, as far as the narrative was concerned (Do I like this ending? Yes. Personally, I think it works and it gives me that kind-of-icky-kind-of-satisfying pit in my stomach that Hocus Pocus did back when there wasn't a sequel. Maybe it's not the ending everyone wanted, but for the story being told, it's the right one).

Thanks for coming to my little rant! I used to love doing these literary analysis essays in English my junior and senior years of high school. Over analyzing media, especially film and tv, is something I quiet enjoy. Plus, I might do a foray into video essays one day, so I figured I could use some practice. This is something that's been bouncing around in my head since I first watched AWE. The original Pirates Trilogy is just so good at symbolism, I'll probably put more stuff out here eventually raving about it. For now though, this is it.

[lokittystuckinatree]

I’m only on season 2 (David Tennant) but I’m already blown away by how Doctor-Who-Romance coded Sylvie/Loki was…fuck I miss them

[elialys]

may or may not have spent something like 6 or 7 hours today working on Shivered Bones and finishing the entirety of draft 2 of the last chapter, essentially writing close to 7,000 words since this morning

[eolande]

hello and welcome to my oc (and also lore discussion) blog!!

oc / oc x canon carrd

i interact from @beastren but you may also know me from my self-ship blog @deishubait