Hello. I'm here to talk about how #BlackSails' use of subtext is revolutionary, & how the fact that #Silverflint is KEPT AS SUBTEXT was not only a deliberate choice but the right one.

This thread no one asked for is brought to you by Steinberg's quotes validating my thoughts.

While digging into content about this show, I've noticed a (VERY) small corner of fans who hate that Silverflint is "only subtext" & think it was some cardinal sin. They've missed... several points. After yelling in DMs I'm tweeting to get it out of my system & in one place.

& to make sure there's no misunderstanding: Silverflint IS CANON via subtext. Steinberg's quotes & the show both demonstrate that. The feelings are reciprocated & shown via parallels & actions, but the characters can't discuss it.

WE'RE meant to see it. It's making a point.

I trust that if you're reading this, I don't need to elaborate on the subtext between Silver & Flint, or the multitude of cues we're given to define it as romance. Y'all already know lol. But here's one of my favorites, & the most obvious one.

https://freedom-in-the-dark.tumblr.com/post/615306521323143168/imaginingpleasantnonsense-john-silver-waiting

(To Silvermadi haters: that ship was absolutely built up in the story, its existence doesn't detract from the subtext of Silverflint & it's irrelevant to why it is kept subtextual. Plus, parallels to Silvermadi were used to blatantly highlight Silverflint as romantic, & the OT3.)

Now of course, in typical media, subtext is what makes people say "queerbaiting." But that term doesn't apply to Black Sails & anyone who uses it here doesn't know what it means.

Queerbaiting is when creators hint at queer representation & then never include any of significance.

Black Sails physically CANNOT BE queerbaiting, because the entire show's premise is queer (& it ends with UNBURYING A GAY).

Its subtext is important because it had queerness so central that it transcended the normal need of "a queer relationship hinted at must have a kiss."

Deliberate subtext that services the narrative, informs the story, & is true to the characters' repression (mostly Silver) & the complexity of the situation they find themselves in (A WAR) is actually brilliant. In & of itself, it's a commentary on different queer experiences.

To claim Silverflint "isn't canon" does the whole thing a disservice & is an oversimplification. It remains undiscussed because to portray it as easily resolvable would've been out of character, AND made their inevitable necessary split more tragic. Steinberg knew that.

They could not have the conversations needed; & because of who they are, with no conversation there could be no kiss; & if there's no kiss, then Silver delivering Flint back to his first love is less tragic–& both the split & reunion were blatantly foreshadowed for a long time.

Of course, you can argue that Silver & Flint never discussing the depth of their feelings outright is part of the tragedy of their split. I'd agree with you! But it's unequivocally GOOD STORYTELLING–not "queerbaiting," cowardice or bad writing. It's purposeful & uniquely genius.

Black Sails exists at a point that almost never happens in the entertainment industry: it had the luxury of doing right BY THE CHARACTERS & STORY ITSELF, because it depicted so many iterations of queer sexuality.

That's a standard to aspire to & why its subtext is revolutionary.

Bonus: Silverflint is the most blatant example of queer subtext in this show, rightfully so. But there's at least one other place that applies, less centrally: Charles Vane & Jack Rackham.

Subtext was just one of many ways to add layers to the story; again, a deliberate luxury.

Tune in next time for when I talk about how the same people who inaccurately claim "queerbaiting" have a problem with how there's no m/m sex scene. (Spoiler alert: it's AGAIN about what fit story & characters, & no, it doesn't diminish the representation)

Thanks for reading