Eddie: Buck, I beg of you. Please, PLEASE go to the hospital.
Buck: Hey, I'm sorry. Is this OUR stab wound?
Fucking CRYING IM USING THAT PHRASE FOR EVERYTHING NOW
(Feat. More Lana Del Ray) is the funniest thing I have read in parentheses in a long time.
obsessed with how taylor is comfortable enough with her music to be like. they’re my albums! i can do what i want! and start switching songs off one album to another, releasing singles for albums that were already released, cutting songs from an album that’s already out just to add a new one…….slay
i will never complain about a book seeming like a fanfic with the serial numbers filed off because that means the author had the invaluable ability to tell when their au had diverged enough that these were just straight-up different characters now
even as we speak there is probably someone out there writing a delightful 100k+ word gay romance novel about a genderqueer bisexual single parent who lives in a beach town and fixes classic cars and falls in love with the sexy tentacle monster mermaid that saved their life, and that writer could probably make pretty good money self-publishing it, but they won't because that would mean admitting that they aren't really writing destiel anymore
love that despite not being in the fandom i hit the middle of the venn diagram of 'characters that the average person would never in a million years recognize as dean winchester' and 'characters that a certain subset of fans would immediately think are dean winchester' so perfectly that i've since been told i described multiple popular fics
There are people into kink who are just there for the kink, there are people into kink who are just there for the sex, and there are people into kink who are just there for the improv
personally if i was a thirty year old woman and every time my relationship status changed there were articles chronicling all my boyfriends dating back to high school i would have committed several felonies, so i think taylor has shown unparalleled levels of restraint
"the writer's strike could stop the MCU from making new movies for months!" fuck dont dirtytalk me like that. it's only 9:34 am
I’m just a notch in your bedpost but you’re just a guy in a thong or whatever fall out boy said
if cats aren't meant to be kissed on their heads then what's that little space between their ears for
gracieabramss-deactivated202305
peace asks “the rain is always gonna come when you’re standing with me - would it be enough if i could never give you peace?” and you’re on your own kid answers, “my rain is enough, my peacelessness is enough, i am more than enough for me and i will never leave myself for stiller waters”
like midnights really is about learning to stand by yourself when you’re looking back at your life and seeing all the people who have left.
Ever notice how practically none of the pirates in Black Sails seem to actually care about, you know, stealing good shit from merchant ships in order to get rich?
To Flint, piracy is about revenge. It's about being forced out of society and made a villain. "Everyone is a monster to someone. Since you are so convinced that I am yours, I will be it." etc etc
For Vane piracy means freedom, not being beholden to anyone, living as he chooses. And also no goddamn teacups that's gay.
Jack sees piracy as a way to build a name for himself, it's all about legacy.
In conclusion: Anne Bonny is possibly the only proper pirate around this place for real. (And yes, ok, even for her it is more complicated.)
Area man first person who’s life would’ve been made easier by being queer
For real, i need people from supernatural to keep doing dumbass shit out of the blue indefinitely. My mental health depends on it.
you can leave supernatural but supernatural never leaves you. what is happening.
“’Black Sails’ reimagines representation in period dramas by making it integral to the show itself.
Flint’s internal struggle is not figuring out or discovering his sexuality – rather Flint’s character arc exists entirely because of his sexuality. His sexuality is not a prop meant to bolster another more important character or storyline. James Flint would quite simply not exist if he had not fallen in love with another man. Indeed, few plots on the show would exist if not for the fact that various women fell in love with women and men with men.
The driving narrative of this show is the battle for Nassau, a battle waged because of Flint’s love for another man and because this love was taken from him.
Flint is seen as a monster by England — he is a vicious pirate, guilty of innumerable crimes. He was a monster to them before he did any of that, though — he is told his relationship with Thomas is too loathsome and profane to be forgiven, and he is cast out because of it. The trope of the predatory homosexual is deeply rooted in our society. Homoerotic undertones in supernatural fiction have long cast gay people as monsters.
“Black Sails” takes this trope and attacks it. The show insists, rightfully so, that LGBTQ+ people have always existed, but it does not sugarcoat that existence. “They hang men for this,” Mrs. Hamilton tells Flint hours before their worlds all come crashing down, and she is right. Regardless of whether he’s a pirate or a respectable lieutenant, Flint will always be a monster to England, because of his sexuality.
In the third season, our crew is stranded on an island housing a matriarchal colony of marooned and escaped slaves. These people have formed a society entirely in secret. They exist outside the grasp of England’s fist because the crown does not know they exist. “Black Sails” is about people who have been cast out of society, it is about “monsters.” They are gay, women, marooned and escaped slaves. They don’t exist within civilization because civilization cannot allow them to exist. Their very presence challenges the entire façade, because civilization only survives if people cannot imagine it any other way.
In one of the most powerful scenes of the four-season show, Flint acknowledges this construct: “They paint the world full of shadows, and then tell their children to stay close to the light. Their light. Their reasons, their judgments. Because in the darkness, there be dragons. But it isn’t true. We can prove that it isn’t true. In the dark, there is discovery, there is possibility, there is freedom in the dark once someone has illuminated it.” The significance of an explicitly gay character making this declaration cannot be overstated.
For a shining moment, the show allows you to imagine a world in which this coalition of outcasts won. An alternate reality in which the New World was wrenched from England’s hands by an alliance of gay and black men and women. Of course, we know they did not win. Homophobia would become the law of the land in the New World, same as the Old. Slavery would flourish, and the world as we know it today would be built on the backs of enslaved peoples.
So what, then, is the point of “Black Sails”? It is just a story, with very little basis in history. Why imagine a world that could have been when we have to live in the one we have? Thinking of his happiness with his male love, author E.M. Forster once wrote “I see beyond my own happiness and intimacy, occasional glimpses of the happiness of thousands of others whose names I shall never hear, and I know that there is a great unrecorded history.”
“Black Sails” is imagining one of those thousands of unrecorded histories.
The show is an examination of the stories we create of, for and about ourselves. It is about how our narratives are wrested from us and twisted, and it is about how we fight to reclaim those narratives for ourselves. It is the lies we construct and the lies we are told, and the eternal struggle to maintain some truth in the midst of both.
The series closes with a character insisting that, “A story is true. A story is untrue. As time extends, it matters less and less. The stories we want to believe. … Those are the ones that survive, despite upheaval and transition, and progress. Those are the stories that shape history.”
We know from the beginning of the show that Flint’s war against England and civilization itself will not succeed. England’s power eventually waned, yes, but not before piracy was crushed and slavery was firmly entrenched. Homosexuality was still a criminal offense in my lifetime. Despite all of this, “Black Sails” is the power of stories we create in opposition to the stories civilization is built on. As long as we can tell those stories, we exist.
-Danielle Hilborn