BLACK SAILS 10th Anniversary Celebration
Day Two: Favorite Dynamic: Max/Eleanor
II. • And then what?
Then they blockade the island, choke off trade. A few crews will resist, but how long can they survive without my father's support? One by one their numbers will dwindle. The fort will be abandoned. Soldiers will storm the beach. By the time the smoke clears, my father will have arrived. First time he's set foot here in five years waving the royal commission that his bribes purchased and lording over the place. Round of applause, the new governor. Somewhere in London, some foul fuck will get news of all of this, light his pipe and say, "Finally, all is right again in Nassau."
XIX. • You saying this ain't real?
Of course it is. The fort will be repaired. If he says it, he'll do it. When you first opened that door and showed me the Urca gold, do you know what I saw? A solution. The mortar that would secure the sand beneath our feet. The thing I could offer to England or Spain or whomever arrived here and threatened to reorder things, and say, "Take this and leave me be." Everything is dependent upon that gold, and right now it is sitting in a fort with no guns and full of holes.
spangel currently outperforming dangel in every divorce matchup they've had. SAD! i'm fine with dangel losing to gethan but to SPANGEL? those fuckers are weird as hell but they're not DIVORCED. i'm struggling to articulate why gethan feels more divorced than spangel, despite the surface-level similarities -- past relationship when they were very different people, fanon interpretations of that past relationship being uneven and toxic, CANON and present-day weird toxic obsessions -- but i think it's that a lot of spike's canonical weird baggage with angel involves a third party. and while it's perfectly legitimate to see that as projection or more evidence of their togetherness, for me peak divorce needs a more explicit, long-standing obsession where one party actively makes it their life mission to ruin the other's. (ie. ethan and darla come back into the narrative just to ruin their exes' lives, plus there's a degree of entitlement/"i know you better than anyone else" there. spike is too much of his own character who develops sincere relationships with other people, not ENTIRELY hampered by his relationship to angel [even though he's often THERE but angel's almost always the third party there, not the other person].) does this make sense
What's it all for if it goes unremembered? It's the art that leaves the mark. But to leave it, it must transcend. It must speak for itself. It must be true.
1999's Sleepy Hollow is a good baby's first horror and the feature of many many sleepovers for me growing up (shoutout to the dog I had as a teen, who slammed his paw full force into the door of the living room just as the Horseman was on his rampage leading to shrieks from teen girls that I think woke up the entire block. Miss u Tomás you were a good dog)
I had it on the list at one point but I must have replaced it when The Munsters came out (I'm keeping the list at a clean 100). I too watched it at a sleepover originally.
Faith (in Buffy’s body) states that “Faith’s” arrest was “poetic justice.” This references Faith and Buffy’s confrontation in “Graduation Day, Part One,” in which Buffy states that sacrificing Faith’s blood as a cure for Angel would be “poetic justice,” as Faith was the one who poisoned him. (x)