(That would mean that Morgen would have had to get back to the camp to tell him, when he probably tried to return to Nassau first, but maybe he heard about the Spanish coming to Nassau and came to the right conclusion.
Or he got back to Nassau when Silver was off at the Underhill plantation, and escaped with Featherstone on the Walrus.
that would make it easier to point at that moment and say "that's (probably) where he changed his mind."
Though he's still pretty committed to the war -- actually, the period when Madi's "dead" may be when he's most committed to it on a personal level. He's got that agonizing speech about how she died for this so it has to mean something.
(Here the problem comes into play that we don't see enough of the maroons and escaped slaves to be able to tell how many of them wanted it.
Yeah, I really wanted Julius and Ruth in particular to have about twice the screentime in S4 they actually did. They're great whenever they appear; they deserved more.
(And IMHO they could have carved out at least some of the time just by cutting some of Woodes Rogers' angsting after Eleanor's death. No insult intended to Luke Roberts who gives a fine performance and seems like a charming person in interviews; it's just really not the most interesting thing at that point.)
But he seemed to not even fully understand why some people, why Madi in particular, might want it so bad, he seemed to dismiss the potential gains and what Madi (and Flint) wanted to reach, and that I found infuriating. He made a choice for other people that he had no right to make and he didn't even properly consider what that choice meant.
Yes, absolutely! I think -- Silver's never had morals or ideological beliefs of any kind. He goes from being completely isolated and avoiding attachments to being forced to care about people and becoming attached, in particular to Madi and to Flint. And he'd die for the people he cares about, and he's willing to have them hate him for the rest of time if it means they're safe and alive (which I LOVE in dramatic terms, because it's so deeply selfish and selfless at the same time).
But his emotional sphere never widens to include attachment to entire peoples, let alone abstract beliefs or principles about what's right morally/politically. He's got connections to specific individuals and that's it.
(Whereas Madi is so rooted in her connection to her people and to that "chorus of voices".)
So. Yeah. I LOVE the show's ending, because I am so torn up by it, because I find Silver's actions so painfully understandable (and also in character), because I look at Flint talking about sacking Boston and go OH GOD THIS IS SO DOOMED YOU ARE ALL GOING TO DIE and at the same time a bit of me is going "But maybe, maybe there was a chance history could have been different ..." I love it. My heart is broken for all of them, and simultaneously I love the show for weaving happy endings in, for the bits and pieces of hope for individual lives despite history.
no subject
Or he got back to Nassau when Silver was off at the Underhill plantation, and escaped with Featherstone on the Walrus.
that would make it easier to point at that moment and say "that's (probably) where he changed his mind."
Though he's still pretty committed to the war -- actually, the period when Madi's "dead" may be when he's most committed to it on a personal level. He's got that agonizing speech about how she died for this so it has to mean something.
(Here the problem comes into play that we don't see enough of the maroons and escaped slaves to be able to tell how many of them wanted it.
Yeah, I really wanted Julius and Ruth in particular to have about twice the screentime in S4 they actually did. They're great whenever they appear; they deserved more.
(And IMHO they could have carved out at least some of the time just by cutting some of Woodes Rogers' angsting after Eleanor's death. No insult intended to Luke Roberts who gives a fine performance and seems like a charming person in interviews; it's just really not the most interesting thing at that point.)
But he seemed to not even fully understand why some people, why Madi in particular, might want it so bad, he seemed to dismiss the potential gains and what Madi (and Flint) wanted to reach, and that I found infuriating. He made a choice for other people that he had no right to make and he didn't even properly consider what that choice meant.
Yes, absolutely! I think -- Silver's never had morals or ideological beliefs of any kind. He goes from being completely isolated and avoiding attachments to being forced to care about people and becoming attached, in particular to Madi and to Flint. And he'd die for the people he cares about, and he's willing to have them hate him for the rest of time if it means they're safe and alive (which I LOVE in dramatic terms, because it's so deeply selfish and selfless at the same time).
But his emotional sphere never widens to include attachment to entire peoples, let alone abstract beliefs or principles about what's right morally/politically. He's got connections to specific individuals and that's it.
(Whereas Madi is so rooted in her connection to her people and to that "chorus of voices".)
So. Yeah. I LOVE the show's ending, because I am so torn up by it, because I find Silver's actions so painfully understandable (and also in character), because I look at Flint talking about sacking Boston and go OH GOD THIS IS SO DOOMED YOU ARE ALL GOING TO DIE and at the same time a bit of me is going "But maybe, maybe there was a chance history could have been different ..." I love it. My heart is broken for all of them, and simultaneously I love the show for weaving happy endings in, for the bits and pieces of hope for individual lives despite history.
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