Oh boy... OH BOY... I was reading through comments and tags under that Flint vs. Stede post (and before that in Silver vs. Oluwande post) and OH BOY RANT INCOMING

Feel free to ignore. No, I'm prickly about this.

I LOVE how people are like "Black Sails fans are so mean why are they like that T.T ?" in the tags and comments.

LET ME TELL YOU.

So we have this show that has been marginalized and has been pushed to the side for years. A show that has excellent plot, wonderful intrigue, magnificent representation and well-written, 3D characters that are complex and relatable. You get your edgy queer men (whether you want to characterize Flint as gay or bi, doesn't change the fact that he likes dick whichever way), you get your edgy queer girls (Anne), you get your flamboyant whatever-the-fuck-Jack-Rackham-is (<3), you get sweet gays (Thomas), you get confused bisexuals (Eleanor, Silver), you get straight sweets (Miranda) and straight angery dicks (Woodes Rogers), and competent, edgy straights (Vane). Oh! A competent, master-of-the-house lesbian? Check (Max). You even have asexuals, or that is what I shall forever classify Billy as. You have a f/f sex scene in the first damn episode, ffs. You get threesomes (sexual, romantic), you get couples, you even have Silver in a brothel orgy.

But sexual representation is not ALL! You get goofy pirates (Jack Rackham), you get serious pirates (Blackbeard), you get balls of rage (Flint), you get chill, laid-back sea dogs (Gates), you get competent little weasels (Silver), you get incompetent rats (Dufrense). You also have marvelous extras and side characters (Beauclerc the marksman, Captain Fruit-Fruit, Idelle... OHMYGOD IDELLE <3333).

There's the political plot that's historically accurate, the story's plot that's Flint's big gay rage, there's the sociological context of being painted as a monster, there's the gold hunt, there are ships correctly operated by crews of more than five fucking people, there are guns, blood and realistic injuries. You get quotations and allusions to Shakespeare, Cervantes, Julius Caesar, Marcus Fucking Aurelius, a metric ton of other classical writers. You get so many tropes done right it's astonishing and too effing long to list them all here.

On top of that, there is the picturesque landscape, absolutely gorgeous ships and very accurate portrayal of how life looked back then.

We had to defend that show when it first came out, the actors had to fucking fight homophobic assholes upon the airing of season two (IMAGINE THAT), people who loved it had a hard time going around, although admittedly it's a "fandom" hard time, not a "real life" hard time. We persisted, we persevered, and now we're here, clinging to what's left of our fandom, because we are admittedly all over the place and we don't have "troops" on any one social media, which makes our numbers small in comparison to other fandoms, and makes fandom interactions very limited.

Now imagine that there aired a show... a pirate show promising a lot. And then the show turned out to be an office-type comedy with no lesbian/bi women representation (I may be wrong, but I did watch it out of curiosity, didn't see any, just guys). A show that the whole plot of is just a rendition of the Beauty and the Beast for pirate times with so many historical inaccuracies (couching your crew like a bunch of office workers? Plz. The way they speak and the concepts they talk of that weren't there? It's like they were sitting around a fire, holding hands and singing kumbaya). And don't get me wrong, there's place for those shows as well, and maybe it works for you (and great for you too!).

We tried to ignore it, really we did. We basically gave it the eyebrow-raise-huff-ignore thing that you do on the internet when you want someone to enjoy their stuff and are not interested in it yourself.

But you know what happened? Suddenly there were people on twitter tagging everyone and their dog from Black Sails with renditions of Flint/Izzy (Izzy who comes across as an extreme asshole at best and a homophobic shit at worst and you can't fault people for reading it like this). Let that sink in - our fandom babe Flint, who had his whole life ruined due to homophobia and homophobic assholes is suddenly being shipped with a guy who suspiciously fits the description a bit too much for our tastes. Wouldn't you get angry? Of course you would, we're all very protective of our babes. We are, you are, everyone is. We asked you not to do this, and while I admit that hurling curses your way might not have been the most polite way of asking you to stop, the message was clear enough. What does OFMD fandom do? They all double down. Double fucking down on fanfiction and tagging everything in BS again, pairing Flint and Izzy together, writing things way out of the realm of any possibilities because most of the writers didn't watch BS (I did read their comments on that. They weren't even sorry). If you take such character and throw him into a work of art that can and will be seen as controversial, you should at least have the decency to do your homework on the original work he comes from. Otherwise, to our eyes, you're taking the most wronged man from our beloved show, wronged due to his sexuality, and throw him together with a literal asshole just to see them fuck because they would look pretty (and that's an actual comment from one of the artists, I shit you not). Wouldn't you feel a bit angry about that? I bet you would.

What's worse, people loving Black Sails and not liking OFMD usually point out how narrow the representation is, how improbable the show is and how they're not remotely invested in the plot. It's a cheesy show for your average Sunday afternoon, don't make it into something it's not. It's not a political statement any more than Guess The Tune is.

What's more, when I've seen attempts at people pointing out the obvious flaws in plot, in logic (how many people crew that ship exactly? How is he not dead after being stabbed clean through with a sword?), all we've gotten was "Oh it's not that type of show, OBVIOUSLY", "it's just a comedy, duh" and my personal favorite "you just DON'T UNDERSTAND IT BOOMER". (I'm a late Millennial, thx). Every attempt was chucked out the window. What got me most, tho, was the high praise of OFMD IS THE FIRST SHOW TO [insert whatever queer thing it did supposedly]. No, it's not. There was even a post on twitter that debunked all those claims one by one. I get it, you're happy that you got your gay pirates, good for you. But give credit where credit's due, otherwise you're gonna piss off a lot of people. People who watched our show struggle and crawl so that your show can run today and be fine and accepted widely.

And personally, I felt disappointed watching it because of the lack of representation. Disappointed that Ed turned out to be just as rainbowy as Stede. Don't get me wrong, I don't have anything against rainbowy, ultra-sweet characters that are big softies. I love them. But not everyone in the lgbtq community is like that. Actually, it's the minority. There are your sweets, there are your glittery rainbows, but the majority is on the more... inconspicuous part of the scale. And there are edgy people (like myself) who don't like glitter, pink, feathers, fluff and a shitton of other things this show had in abundance. You know what made me wince while watching? When I realized that the only person who I could remotely like for the way they weren't so glittery-rainbowy-sweet was Izzy, and I hated him because he was an asshole. Even Jim got the fluffy af oranges arch. So not my (and others') cup of tea.

So yeah, our recent anger and rabidity is not based solely on one post about an insignificant poll (that you're winning only because our fandom is significantly smaller and most people are dispersed between different sites). It's all those things combined and it's the result of them.

And no, I'm not going to finish it with a "please forgive us if we seem a bit angery, we're coping". Flint wouldn't.

eleven is fascinating to me because he came right off the back of tens horrible traumatic breakdown after he lost everything and he immediately tried to establish himself as the opposite of that. he is funny and goofy and almost childlike, and he bulldozes on in his adventures with amy like nothing happened at all. but then something happens and his masks slips and it's like oh! the core of this man is still anger. he is so so angry all of the time and this façade is the only thing stopping him from being consumed by it. he isn't over any of it and he hasn't moved on. he is wearing a fez and laughing but under that all that exists is age old anger and grief and it is going to consume him

oh nothing just thinking about that period between xvii and xviii where flint wakes up alone in a cell, his partner’s blood drying on his face, and realizes with a terrible clarity that nothing will be the same ever again

I have a lot of complicated feelings when it comes to what Neflix has done with the Witcher, but my probably least favourite is the line of argumentation that originated during shitstorms related to the first and second season that I was unlucky to witness.

It boils down to "Netflix's reinterpretation and vision is valid, because the Witcher books are not written to be slavic. The overwhelming Slavic aestetic is CDPR's interpretation, and the setting in the original books is universally European, as there are references to Arthurian mythos and celtic languages" And I'm not sure where this argument originated and whether it's parroting Sapkowski's own words or a common stance of people who haven't considered the underlying themes of the books series. Because while it's true that there are a lot of western european influences in the Witcher, it's still Central/Eastern European to the bone, and at its core, the lack of understanding of this topic is what makes the Netflix series inauthentic in my eyes.

The slavicness of the Witcher goes deeper than the aestetics, mannerisms, vodka and sour cucumbers. Deeper than Zoltan wrapping his sword with leopard pelt, like he was a hussar. Deeper than the Redanian queen Hedvig and her white eagle on the red field.

What Witcher is actually about? It's a story about destiny, sure. It's a sword-and-sorcery style, antiheroic deconstruction of a fairy tale, too, and it's a weird mix of many culture's influences.

But it's also a story about mundane evil and mundane good. If You think about most dark, gritty problems the world of Witcher faces, it's xenophobia and discrimination, insularism and superstition. Deep-seated fear of the unknown, the powerlessness of common people in the face of danger, war, poverty and hunger. It's what makes people spit over their left shoulder when they see a witcher, it's what makes them distrust their neighbor, clinging to anything they deem safe and known. It's their misfortune and pent-up anger that make them seek scapegoats and be mindlessly, mundanely cruel to the ones weaker than themselves.

There are of course evil wizards, complicated conspiracies and crowned heads, yes. But much of the destruction and depravity is rooted in everyday mundane cycle of violence and misery. The worst monsters in the series are not those killed with a silver sword, but with steel. it's hard to explain but it's the same sort of motiveless, mundane evil that still persist in our poorer regions, born out of generations-long poverty and misery. The behaviour of peasants in Witcher, and the distrust towards authority including kings and monarchs didn't come from nowhere.

On the other hand, among those same, desperately poor people, there is always someone who will share their meal with a traveller, who will risk their safety pulling a wounded stranger off the road into safety. Inconditional kindness among inconditional hate. Most of Geralt's friends try to be decent people in the horrible world. This sort of contrasting mentalities in the recently war-ridden world is intimately familiar to Eastern and Cetral Europe.

But it doesn't end here. Nilfgaard is also a uniquely Central/Eastern European threat. It's a combination of the Third Reich in its aestetics and its sense of superiority and the Stalinist USSR with its personality cult, vast territory and huge army, and as such it's instantly recognisable by anybody whose country was unlucky enough to be caught in-between those two forces. Nilfgaard implements total war and looks upon the northerners with contempt, conscripts the conquered people forcibly, denying them the right of their own identity. It may seem familiar and relevant to many opressed people, but it's in its essence the processing of the trauma of the WW2 and subsequent occupation.

My favourite case are the nonhumans, because their treatment is in a sense a reminder of our worst traits and the worst sins in our history - the regional antisemitism and/or xenophobia, violence, local pogroms. But at the very same time, the dilemma of Scoia'Tael, their impossible choice between maintaining their identity, a small semblance of freedom and their survival, them hiding in the forests, even the fact that they are generally deemed bandits, it all touches the very traumatic parts of specifically Polish history, such as January Uprising, Warsaw Uprising, Ghetto Uprising, the underground resistance in WW2 and the subsequent complicated problem of the Cursed Soldiers all at once. They are the 'other' to the general population, but their underlying struggle is also intimately known to us.

The slavic monsters are an aestetic choice, yes, but I think they are also a reflection of our local, private sins. These are our own, insular boogeymen, fears made flesh. They reproduce due to horrors of the war or they are an unprovoked misfortune that descends from nowhere and whose appearance amplifies the local injustices.

I'm not talking about many, many tiny references that exist in the books, these are just the most blatant examples that come to mind. Anyway, the thing is, whether Sapkowski has intended it or not, Witcher is slavic and it's Polish because it contains social commentary. Many aspects of its worldbuilding reflect our traumas and our national sins. It's not exclusively Polish in its influences and philosophical motifs of course, but it's obvious it doesn't exist in a vacuum.

And it seems to me that the inherently Eastern European aspects of Witcher are what was immediately rewritten in the series. It seems to me that the subtler underlying conflicts were reshaped to be centered around servitude, class and gender disparity, and Nilfgaard is more of a fanatic terrorist state than an imposing, totalitarian empire. A lot of complexity seems to be abandoned in lieu of usual high-fantasy wordbuilding. It's especially weird to me because it was completely unnecessary. The Witcher books didn't need to be adjusted to speak about relevant problems - they already did it! The problem of acceptance and discrimination is a very prevalent theme throughout the story! They are many strong female characters too, and they are well written. Honestly I don't know if I should find it insulting towards their viewers that they thought it won't be understood as it was and has to be somehow reshaped to fit the american perpective, because the current problems are very much discussed in there and Sapkowski is not subtle in showing that genocide and discrimination is evil. Heck, anyone who has read the ending knows how tragic it makes the whole story.

It also seems quite disrespectful, because they've basically taken a well-established piece of our domestic literature and popular culture and decided that the social commentary in it is not relevant. It is as if all it referenced was just not important enough and they decided to use it as an opportunity to talk about the problems they consider important. And don't get me wrong, I'm not forcing anyone to write about Central European problems and traumas, I'm just confused that they've taken the piece of art already containing such a perspective on the popular and relevant problem and they just... disregarded it, because it wasn't their exact perspective on said problem.

And I think this homogenisation, maybe even from a certain point of view you could say it's worldview sanitisation is a problem, because it's really ironic, isn't it? To talk about inclusivity in a story which among other problems is about being different, and in the same time to get rid of motifs, themes and references because they are foreign? Because if something presents a different perspective it suddenly is less desirable?

There was a lot of talking about the showrunners travelling to Poland to understand the Witcher's slavic spirit and how to convey it. I don't think they really meant it beyond the most superficial, paper-thin facade.

.

everyone in the show being angry at WILSON during the tritter plotline is lowkey fucking insane

I've reached season 5 on my CSI rewatch and I'm a few episodes past "Swap Meet", where a woman is murdered after attending a swing party with other couples from the neighbourhood. Near the end of the episode there's a moment that made me jump from my seat:

(Grissom walks up to Sara and takes the seat next to her. He's holding two cups. He hands her a cup of tea.)

[INT. POLICE DEPARTMENT - BRASS' OFFICE]

Erin Brady: Everybody fantasizes about other people. (She glances at Grissom.)

Even you, Mr. Grissom. A neighbor, a friend ... girl at the office.

[INT. POLICE DEPARTMENT - HALLWAY]

(The door opens. Paul Brady walks out of the hallway. Erin Brady walks out into the hallway. Sara is sitting in the hallway chair watching them. She watches as they meet and kiss.)

(Grissom walks up to Sara and takes the seat next to her. He's holding two culps. He hands her a cup of tea.)

LIKE!!!!!!!

Right after Erin ends her sentence with 'girl at the office', the first time Sara and Grissom meet again, he brings her tea. This might be an innocent interaction but to me it seemed like a nod to this relationship they have where both are into each other, know about the other's feelings, but can't/won't do anything about it (although Sara has kind of given Grissom an ultimatum). I don't know if it was intentional - I'm guessing it is, because I picked it up immediately. I might or might not have squealed in delight.

for the ship ask game, have you ever thought about simm!master/eleven? would you like to?

would i ever!!!!!!

this was the basis of one of my posts about little amy so long ago. a hypothetical s5 where the master sticks with the doctor after he regenerates. but like can we talk about how insane that dynamic between him and amelia, the literal eight year old, would be. look at me. one of the defining things of eleven's run is that the first face he saw was amy's. seared onto his hearts!!! now, imagine that happens in a world where the master did everything right to be that person, and it was still amy. the tardis crashed, and the doctor went one way and the master went the other, and by the time the master drags himself soaking wet out of what was the swimming pool and into amelia's garden, the doctor is already having dinner with some random human child.

things simm!master is not above: being a little bitch to amy about this. yes, even when she's eight. (amelia pond with her stories about her magical raggedy doctor!! ...and the trash rat who crawled out of his time machine after him and threatened to eat her. wait okay hold on i know im getting distracted here but aslkjdalkjsd rory who amy makes dress up as the doctor vs mels who insists on dressing up as the master because she craves violence and an excuse to bite people.)

ANYWAY. god. eleven who is this bottomless well of grief and rage. and the master who is so much like him in this incarnation. silly goofy guys who burn too bright, burn up everything and everyone around them. what is simm!master if not a version of eleven untempered by kindness. i wonder what the master would have to say about a version of the doctor who is aware of how scared people are of him and uses it to his advantage. who scares the rest of the universe so much that they try to lock him away and kill him and do anything they can to get rid of him. when they lock the doctor up in the pandorica, does the master give him the final shove into the chair or is he a few feet away, just barely restrained, impotently snapping and snarling to prevent this?

but never looking at it directly, right? neither of them would be able to. not at what's between them, not at what came before. if you don't talk about that time you both saved each other, then maybe you can pretend it didn't happen.

i think the master would make eleven worse, no doubt about it. i think eleven might just make the master a little better, and he'd hate that but that wouldn't stop it from happening. they might find some sort of equilibrium, just this once, a little willing to bend in the aftermath of the events of the end of time. that part of the master that will be missy one day wakes up. the part of the doctor that was once the time lord victorious gets a last glorious breath. they can have that, together.

okay. okay. one last thing. gets ill thinking about eleven who is so physically affectionate being that way with the master. with mr 'im going to kiss my wife i married for political gain like im starving'. with mr 'time lord telepathy does not require physical contact but if we don't touch foreheads right now ill die'. with mr 'fuck u but also im gonna die in your arms, don't leave or let me go before everything falls quiet.' thinks about eleven touching him and hugging him and kissing him and- thinks about the master recoiling from it, hackles raised, or shoving the doctor away when he does. thinks about the doctor not stopping. thinks about the master getting accustomed to his touch, taking it greedily. (thinks about missy kissing the doctor to greet him later.)

yeag <3

[put any ship in my ask box and i’ll give my brutally honest opinion]

Sometimes I wish my “friends” or whatever who ghosted me would talk to me again just so I could bite their fucking heads off

Can I get mad on how Skids final arc went for a second?

Thanks, cause Skids is not only dead, but Nautica, with who he had an absolutely wonderful platonic dynamic, doesn't care about him anymore. Way to go, thanks for stomping on everyone's heart

Here I thought that duo can't get any more tragic. One is dead out of blue, and the other doesn't understand why she even cared about him. Way to sink deep bonds they shared and then show in your face how happy they were. I'm not sad, I'm disappointed. Imagine you died and your bff literally says she don't get what was so special about you. I'm sorry that's a bit too much

This mini arc shouldn't have to exist on the first place, it's just sad for the sake of sad, come on

Ahh, you loved this character? Let's destroy his legacy cuz because, like death wasn't enough

They deserved better, Okey?

Lost Light really didn't have to do all that silly stuff. Were that really that necessary?

Sorry, I love it, overally I truly do, but man the devil is in details and those writing decisions eat me alive. Writing sad for the sake of sad is betrayal of your reader

MTMTE felt natural and genuine, that's what story is about after all. About bunch of misfits who make their way in life. And that's beautiful. While in Lost Light suffering is not a natural part of the story, but the story itself. It wants to make reader suffer. While in MTMTE that was mere byproduct. They been doing it since first issue no surprise. The story as whole is a big chunk of suffering, that's a fact

And don't say it's been planned all along. Cuz what Nautica did contradicts previously established situation and very out of character for her. But that's for another day

Annnnnnnyways. That comment had me so fucked up that I forgot to eat for over 8 hours and now I’m gonna throw up if I don’t cause I need to take my pills :/

🌋

a redraw of smth I made a year ago ig

wtf how has it been a year already since i made that art- time is going by way too quickly dawg

the stinky old one:

yes i put them in those old outfits of theirs... I wanted to do it in their actual outfits I draw them in now as well but ehhh... too lazy