#so no need to make drama

[eri-pl]

So, Vanyar are the good guys, right?

The boring, faultless Elves?

...except that part where Ingwë (that's the Vanyar king, right? I tend to mistake him with the Teleri one) plays matchmaker so that his sister could marry Finwë despite the fact that Finwë has a wife (who is dead but anyway) and we all know how it ended.

Seriously. In one of the alternate tellings of the story, he knows Indis loves Fnwë, he invites Finwë for a visit and tells Indis to go sing on (the mountain? a balcony? anyway somewhere) and Finwë falls in love and this looks very much planned.

Which is just

just

it was even before the Valar said that Finwë can divorce, that this is even a possibility.

Since I learned about that I have a strong hc that many Vanyar are very "letter of the law", "if it's not forbidden, it is ok" kind of persons, while simultanously blaming the Teleri for not going to Aman fast enough and the Noldor for leaving (I'm not even talking murder, just leaving would be enough) and if they got whatever terrible order signed by the Valar, they would do it without question.

[forgettable-au]

END OF CHAPTER ONE

FORGETTABLE-AU (Page 65-72)

* Time to put this puzzle together.

[BEGINNING] [PREVIOUS] [CONTINUE]

[henke-penke]

Disaster lesbian and her hype woman

[starryluminary]

♪ Perfect Day (A True Story) ♪

Gabbie Hanna

╾━━━━━━━━━━━━━━━━━╼

◃◃ II ▹▹

FINALLY at the big reveal! So happy to be here!!

I don't know if I've made it clear, but Sierra has heavily tinted rose-colored glasses when it comes to Cody. She sees him with a dopey smile, she assumes she's won him over. She sees him blush and stumble through the challenges, she assumes his feelings for her are too overwhelming. And when she hears Cody and Noah kissed... It must've been Noah's fault. Noah must of manipulated him somehow. Noah must've gotten in his head, cause there's no way Cody would ever like anyone that wasn't her. Right...?

She's not right. It's gonna take a while for her to come to terms with it, though.

Bonus dialogue between team Chris I had to cut in favor of Noah chewing Sierra out:

Noah: He’s NOT a boyfriend and I didn’t do anything WRONG!!

Duncan: You don’t think kissing another girl’s guy is WRONG?

Owen: Woah woah woah, hold on! Noah wouldn’t do something like that! And he *just* said Cody’s not her boyfriend!

Noah: She’s only saying he is cause she’s DELUSIONAL.

Noah: He doesn’t even LIKE HER!

Duncan: How would you know?? How long have you been doing this [song and dance] exactly?

Owen: It couldn’t have been long! I would have known something about it, right?

Noah: …

Owen: NOAH!?

[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.

[radiationsaint]

i’m catching up on tsv, i think something that eskew prod does extremely well is using horror absurdism to capture the absurd horror of capitalism. it’s clear in eskew too, but i think it’s especially fantastic in the silt verses. the casualness with which sacrifice is discussed. how red lobster has a god that has and continues to take human sacrifice, and so do cereal companies, cops, and the grueling start up that has a “fun room”. it captures EXTREMELY well how it feels to live under capitalism, that you’re constantly bombarded with horrible things, discussed cheerily in a nice tone. the way it’s simultaneously numbing, hysterical, and horrifying. i think i was especially fond of how in ep 39, protest against sacrifice was taken as radical, a propostorus, idealistic thing that’s just so SILLY it’s not even worth considering, something that feels very real to revolutionary organizing/protest irl. i also liked how despite the face, when everything gets down to it, when everything is about profit, all people come down to are bodies. all capitalism is a gaping maw, and it eats the poor and marginalized first, but doesn’t STOP eating just there. the very literalized version of this, where the profit wheel (and all that includes— war mongering, the prison industrial complex, wage labor, etc) is given a very real literal set of teeth, but the body count is the same. so the electric company has a god, and so it takes humans sacrifice. do real electric companies not have a very real human cost? overworked and underpaid labors looking to make rent, or well off comfortable employees no less likely to get the axe under profit margins, or the blood shed when colonizing in the first place, in clearing the space for the electric company to move in. is that not also a very real human sacrifice? the commercial aimed at elderly people talking about “back in my day, we would just talk about all this human sacrifice and find a compromise :)” is so bleakly hysterical, but is that not very accurate? that you can put a good face on it, but in the end what it comes down to is that you’re being sold the chance to be human fodder? that there is no glory or honor on a battlefield or in working yourself to death, just mud and shit and bodies to throw at problems. idk! i’m rambling but it’s a deeply engaging podcast.

[pharawee]

You’re quite strict, Trainer Yoryak.

[poorly-drawn-mdzs]

Gaslighter? I hardly know her!

[First] Prev <–-> Next

[ryuusea]

RIP (rest in pieces)

…sorry louis (and sorry to that tea tray)

[bread-wizards]

I actually think Dorian and Orym should fight more.

Remember when their slowly building tension over and entire episode (full of passive aggressive remarks and blame throwing) led to threats? And how after, Orym thanked Dorian for handing over the crown sadly because he knew Dorian would be mad at him? And Dorian couldn't even look at him because he was legitimately hurt, thinking Orym was disappointed in him for doing what he thought was right? That was peak.

The fact they went from that to their current closeness and trust is the best part of their entire dynamic. Their relationship was hard fought and still will be. They will fight for it because they respect and care for one another deeply, and their disagreements don't change that, only improve it.

[fight-for-what-you-love]

♪ Worldwide - Big Time Rush

I'm gonna be honest- these episodes kind of fell apart while I was making this. The more I re-wrote the story for it's second draft the less this version made sense and the less interested I was to work on it. I have not much else to say except sorry this part is kinda iffy and sorry it took so long. I promise you I'll make up for this in the next episode I PROMISE

Notes on both episodes under the cut!

Sweden Sour

* (I think it’d be really funny if Cody just doesn’t talk at all this episode. Not a word. Just nods and head shakes and depressed faces.)

* Cody’s incredibly depressed after Noah’s elimination. Sierra’s over the moon, though. She sees Cody depressed and gives him a tight side hug, petting his head. She tries consoling him with “I know you’re sad, but it’s ok! At least I’m still here~.” Cody starts sobbing, head in hands. Heather is sick of this already.

* The teams get their “ibuilda” pieces and the Amazons argue on what it’s supposed to be. Cody stares at the pieces for a few seconds before the light briefly re enters his eyes. He starts building. Courtney tells him to stop but Heather tells her he’s obviously got it, so let him work. They start helping him build… something.

* Once the Amazons are done, Heather, Sierra and Courtney take a step back to see what they’ve built. It’s a giant wooden Noah head. Their faces drop. Heather is filled with murderous rage.

* We built Noah’s face (We’re gonna take first place) Cause we built Noah’s faaaace

* Tyler’s jumper would be white.

* Cody doesn’t sing in this number. Chris notices and stares at him threateningly. He reluctantly hums the chorus and Chris takes what he can get.

* (Alejandro takes off his shirt to pull the boat like a freak. Duncan is unfazed and Tyler will deny it if you ask him if he blushed.)

* Sierra hits Noah’s Head hard enough it falls over on its side and suggests sawing off the side to ride in him like a boat. Heather and Courtney agree to this. Cody has no comment.

* Duncan and Alejandro don't bother bending over backwards to please Tyler. Duncan makes himself captain and no one argues.

* When the Amazons go to pick a captain, Courtney grabs the hat and declares herself captain without input. Heather tries to argue but Courtney argues back- Cody is in no condition, no one trusts Sierra and Heather took control the last challenge so this time she’s in charge. Heather reluctantly backs down.

* Amazons catch up to team Chris in the water. Alejandro sees them approach and makes note of Cody’s face, making fun of him for being so upset about “the Noah thing”. Cody furrows his eyebrows and points furiously at Chris’s boat. Courtney agrees that yes, they should shoot their boat.

* It doesn’t matter who wins the challenge since it’s a non elimination round, but I want to say the Amazons persevere. The massage helps Cody enough that he’s not stone faced next episode at least.

Aftermath III (Aftermath Aftermayhem)

* Gwen, Owen and Noah are introduced together. Gwen walks out first and Owen, hugging Noah to the point of lifting him off the ground, walks behind her.

* Geoff asks what all that’s about and Gwen responds that Owen refused to let him go until Noah “understood just how sorry he was”. Noah insists he forgives him, but Owen still won’t let him go.

* The Owen square is replaced by the Tyler square. The prompt is survive. (The hosts throw a bunch of debris at the contestant for thirty seconds and if they dodge everything they move on.)

* (For brevity’s sake, assume all of the contestants that participated in the board game in the original episode participated here [with the exception of Tyler, who is replaced with Owen]. They all get eliminated the same way as well, Noah getting got by aliens, Owen falling down the booby trap square and Beth making it to the final question.)

* When Beth gets stumped on the last question (What was Duncan's band called) Noah yells at her, frustrated: “Oh my- It’s Der Schnitzel Kickers, Beth!!” Confetti and balloons fall from the ceiling.

* (He knows this because Cody had mentioned it in a conversation after the London challenge.)

* Noah initially complains about winning the game, but Owen reminds him that he gets to see Cody again and he shuts up immediately.

* “Noah wins!” “Wasn’t he disquali-” “NOAH WINS!! Let’s wrap it up. We’re done here.”

[suntails]

the weight of family and the pull of gravity

[thatnununguy]

Nepeta is like Classic Sonic to me

[dramashii]

By the way, why are you worried about your view anyway? You don't even live there. I moved back in.

LOVE NEXT DOOR (2024) | Ep 2

[mintypsii]

mini sanusos 🤫🤫

[starryluminary]

Ridonculous Race but Noah is friends with Owen part 9: Teamwork makes the dream work!

Don't you LOVE IT when Noah gets to play the stupid game? Don't you LOVE IT when Noah and Owen work together and Owen isn't left to do everything himself? Don't you LOVE IT when they mutually support each other and care enough about each other to give it their all??? Personally I love it when that happens

No transcript cause there's no dialogue. Instead have scrapped doodles for this part that I refuse to leave in the jail of the IbisPaint canvas