Neil Gaiman (W), P. Craig Russell (W/A), Scott Hampton (A), Colleen Doran (A), Glenn Fabry (Cover), and David Mack (Variant cover) Neil Gaiman! On sale June 14 • FC, 32 pages • $3.99 • Ongoing During an overnight stay at their home, Shadow awakens to a visit from the third of the Zorya sisters: Zorya Polunochnaya. The Midnight Sister’s advice is ethereal and strange, yet vital … and Shadow can’t seem to separate reality from the dream world. The Hugo, Bram Stoker, Locus, World Fantasy, and Nebula Award—winning novel and upcoming Starz television series by Neil Gaiman adapted as a comic series for the first time! A Starz TV show! “Russell’s lyrical layouts bring Gaiman’s visual, vivid prose to life like no other artist.”—Comic Book Resources
“Claire is a woman from another period. She’s not from the 18th century.
Cait and I always wanted her to have a feel of the ‘40s about her. We did
it in Season 1 but it’s much more subtle. We put pockets in her
clothing, so a lot of times when you see her, she has her hands shoved
in her pockets. We wanted to make sure that she kept a modern stride and
a modern feel to her. Then you move into something like Paris. In that
period, the costumes are very restricted, very ornate, very, very fussy,
and I knew that’s not who Claire is. So I looked back to the '40s
because that’s where she came from.That
brown dress with the flowers, that is a great story. My favorite fabric
store is in San Francisco, it’s called Britex Fabrics, and I’ve been
going there for years and years. I went in and I said, “I know you have
something down in that basement that nobody else would buy. Go down and
dig something up.” And they come back with that flowered fabric, just
magnificent! And the best part of the story is, we roll it out across
the table and there’s another shopper there. She stops and goes, “That’s
beautiful, isn’t it? Have you ever seen a show called Outlander ? It looks like something they’d use on that show.” And I said, “Guess who I am?” It
was a fabric that set off alarm bells across the Internet. People were
like, “Wait a minute, that doesn’t look period correct!” It’s not
supposed to be. We want to imagine that Claire goes into a dress salon
in Paris in the 18th century and says, “Take this off! Move this! Why
don’t we put the flowers down here like this?” She is a modern woman. So
the minute I saw that fabric I knew that it had a feel and a flavor to
it that was inaccurate. We really made a choice to go there.But
the key to all this is that we had to be even more precise about the
world around her. That has to be dead accurate, otherwise we’re just
contemporizing the 18th century. We absolutely did not want to do that,
because the 18th century is a period of fashion that’s so iconic and
amazing. [Karl] Lagerfeld has been doing it his whole career! So we
started redoing it in the '40s.
It’s a great dress. I adore it. That’s Caitriona’s favorite gown.
Spiritual anguish could be taken as a standard condition in Purgatory, and he had expected all along that the pain of separation would be his chief punishment—sufficient, he thought, to atone for anything he’d ever done: murder and betrayal included.
“Would you believe that all the gods that people have ever imagined are still with us today? And that there are new gods out there, gods of computers and telephones and whatever, and that they all seem to think there isn’t room for them both in the world. And that some kind of war is kind of likely” American Gods
Starz reports that Black Sails averages 3.6 million views per episode across all devices. As far as I can tell, that must mean that their average viewer is watching each episode 120,000 times, because nobody I’ve talked to knows anything about the show. Not my fellow writers at Cracked, not any of my nearly two friends, and not my neighbor who still pays for cable but doesn’t have window treatments. Somehow, this show has gone four seasons without anyone I have ever met hearing about it.
That’s really weird, because it’s executive produced by Michael “I’m going to make more Transformers movies than there are Transformers” Bay. And they haven’t failed to get the word out for lack of trying. It’s being sold to us with all the desperation of a man trying to offload a shipping container’s worth of PETA-branded cattle prods. It’s just that reeking of desperation isn’t necessarily the best way to sell a TV show.
I’d like to stress to any fans of the show that I’m not ragging on it, having never watched an episode. It really seems like it may be a good show doing cool shit. The trailers make it seem interesting, it’s acclaimed for having a racially diverse cast and sexually progressive characters (nominated for Best Drama in the 2016 GLAAD awards), and it’s the world’s largest gathering of people who look like they could be Hemsworths. But to all you fans of the Black Sails marketing department: Come ye at me.
“It’s such an iconic moment in the show but I struggled with it because
red is so overpowering, so totalitarian in its way. Once you start to
embellish it, it becomes a saloon girl’s dress. So I studied red dresses
throughout time, and then once again going back to the ‘40s, that’s
when you start seeing Dior and Balenciaga strip the ornamentation off so
it stands on its own. The red is the
decoration. It was absolutely essential that I not overpower her. It
needs to hold her, it needs to put her forward but not annihilate her.
It needed to be simple. And the silhouette of a ball gown isn’t that
different today than it was in the 18th century: wasp waist, full skirt.
It’ll be on the runways next year, it was last year, it’s always there.
So it was about taking it down to that basic line, that basic,
beautiful shape. It’s 15 yards of fabric, pleated in cartridge pleats so
close together you can barely get a sheet of paper between them. It’s
remarkable. Then you put her in it with a great pair of earrings. You
don’t need much more.
And about the neckline, you’ll know from reading the book—and I’ve read the book dozens of
times—that Jamie says the line about being able to see down to her third
rib. Then you go to design the dress and in the 18th century, it’s just
not possible. That could not physically happen in the architecture of
an 18th-century dress because there’s a corset in there. That was a
dilemma, so we took the corset off her. She’s uncorseted in that scene
and then I used her 1940s sensibility to open up that front, as if she’d
taken an 18th-century silhouette and opened up that seam. It has a
very, very 1940s feel and it serves what the story needs to do.”