The fight for power and treasure rages on.
Season 3, Episode 5
Airdate: Saturday, February 20, 2016, 9/8c on Starz
Rating:
After watching “XXIII,” I am left thinking of the words of Bertrand Russell, a famous British philosopher, logician, mathematician, historian, social critic, and political activist. “War does not determine who is right, only who is left.” Since the beginning of the season, the subject of war has been a constant theme. As Black Sails reaches the halfway mark of season three, “XXIII” represents a pivotal moment where, once again, political alliances shift, loyalties are tested, and the lives of various characters are on the line.
To Live or Die
Show creators Jonathan E. Steinberg and Robert Levine do double duty as the masterminds behind the writing of “XXIII.” With skillful precision, they waste no time building the climatic sequences of events that set the perfect pace. Flint’s (Toby Stephens) voice narrates the opening scenes that are beautifully shot by director Alik Sakharov, illustrating a dream sequence where Miranda Barlow (Louise Barnes) visits Flint while the embodiment of Death, a tall figure draped in black and ornate garb, stands before them. The dreamlike atmosphere is ominous, and reminiscent of a scene from William Shakespeare’s Macbeth.
Flint reflects on a childhood memory about the first time he thought about death and what it would feel like. As Flint literally stares at Death itself, Miranda asks him a question:
Miranda: “James, you resented me because we were so close, and I threw it all away. If you join me now, what if I resented you for the same reason?”
Flint: “What would I be throwing away?”
Miranda: “You can’t see it yet, can you? You are not alone.”
The instant I saw Flint’s stoic face, as well as the unnerving depiction of death, I felt drawn into the moment as much as Flint. Once more, Flint is at a turning point in his life and Miranda is there to help him. I don’t mind if it’s his subconscious or a ghost visiting his dreams because it gives me a better understanding of his mindset. The exchange between Miranda and Flint is crucial in setting the stage for what transpires later on. “You are not alone” becomes the theme of “XXIII” as most of the core characters reach a point where their decisions will have devastating ripple effects.
We return to the problems at hand with the men trapped on an uncharted island ruled by an unnamed Queen (Moshidi Motshegwa) after Flint awakens from his dream. Just when Flint believes their days are numbered, John Silver (Luke Arnold) and the rest of the crew notice an injured man being carried onto the island. Ben Gunn (Chris Fisher) tells them the man is the “King” of their land; when Flint gets a better look, though, he discovers the “King” is none other than Mr. Scott (Hakeem Kae-Kazim)! I’m just happy Mr. Scott is alive; I thought for sure he was DOA after being shot, but thankfully, he’s not gone yet. Kae-Kazim is a wonderful actor, who, despite having minimal scenes in “XXIII,” does a remarkable job portraying Mr. Scott as the voice of reason not just for Flint but the Queen as well. The twist of fate with Mr. Scott’s arrival becomes an advantage for Silver, who is desperate to stay alive. Eventually, he talks to Flint in order to devise a plan of action but is met with a lack of interest that forces Silver to take a different route. “I’m bothered by trading your life for the rest of the crew…right now I am bothered by it, but I understand it. I understand the allure of ensuring no one will ever think you the villain you fear you are.”
Is Silver the companion Miranda mentions in Flint’s dream? Will Silver be the ally who doesn’t make him feel “alone?” Flint remains silent but the steely look in his eyes suggests Silver has hit a nerve. Stephens’ acting is brilliant in this scene with Arnold, demonstrating Flint’s firm understanding of what motivates him, so much so, he doesn’t need dialogue to get his point across.
Silver continues to give Flint advice and some food for thought before leaving. “What a waste, it seems to me, knowing it doesn’t have to be this way…knowing the man who taught me to give a shit about this crew can talk those people out there to do anything if he wanted to…”
In many ways, being trapped on the island allows Flint to confront his demons and trauma over the loss of Miranda, as well as the betrayal Flint experienced in Charleston. Steinberg and Levine’s approach in empowering Flint is a gradual process. Flint doesn’t suddenly find self-worth and passion for a new cause. Instead, it is a steady progression, which, over the past several episodes, has led Flint to make drastic life choices once more. This time, his gaze is fixed on New Providence, and his words to the Queen are sharp.“They pledged to follow me when they thought I was alive; they turned when they thought I was gone. So, I will come back from the dead and lay claim to what I am owed…What does a colonial power do when the men, whose toil powers it, lay down their shovels, take up swords, and say ‘‘No more’? Bring down Nassau, maybe bring it all down.” I am riveted by Stephens’ performance, which holds my attention hostage with Flint’s somewhat snarling response in describing the “colonial power.” Flint’s assembly of his own army to possess Nassau is just another complexity added to the quickly growing problems in New Providence. I hope Max (Jessica P Kennedy) prepares herself for another shocking resurrection because if her reaction to Eleanor’s (Hannah New) arrival is any indication, she might just fall dead at the sight of Flint.
Vane leaves Nassau behind him, but will he be able to stay away?
No Turning Back
What episode of Black Sails is complete without Charles Vane (Zach McGowan)? Poor Vane, no matter how many times he tries to change the course of his life, it always reverts to Nassau. Despite joining Edward Teach’s (Ray Stevenson) crew, Vane doesn’t seem to be his usual aggressive self. As much as Vane would never quite admit it out loud, Eleanor and Nassau are in his blood. Moreover, Teach knows it too, so after they come across a Spanish vessel headed for Nassau, Fate intervenes, causing havoc with everyone’s lives again. After defeating the crew and captain of the Spanish ship, Teach and Vane find confidential paperwork, which Teach declares useless. Since they no longer have interest in Nassau, Vane reluctantly agrees. I love the dynamic Teach and Vane have in each other’s presence. Teach acts like a strict father and I can’t imagine how much longer Vane will go along with it. On the surface, Teach seems almost benevolent towards Vane but I hardly doubt Teach’s fearful reputation is without virtue. If I had to guess, I’d bet Vane’s betrayal of Teach is mostly due to mistreatment; Eleanor is just the match to light the fuse, so to speak. As long as both Eleanor and Vane live, they will always find a way to enter each other’s orbit. Teach sees it as a threat and wants to pull Vane away from anything that might compromise whatever plans he has for him.
Nine Lives
Eleanor is one of my favorite characters, and not just because she’s got more lives than a cat. Eleanor has been more collected and calm this season; I don’t know if this is due to some master scheme or if the effects of her imprisonment have made her more submissive. When Eleanor sees Max for the first time since her release from prison, I didn’t get the explosive scene I was hoping for, along with a few deserved exchange of punches. Instead, their scene is rich with tension and mutual animosity. Eleanor is without friends or power, and Max makes it known she’s in charge. Meanwhile, Woodes Rodgers (Luke Roberts) reveals more of his past to Eleanor. Now, I interpret their intimate interaction in one of two ways—Eleanor is using her sexual prowess to gain control over Woodes in the same way she manipulated Vane, or, she genuinely wants to be a part of Team Woodes forever.
Speaking of Woodes, his best-laid plans are thwarted when a traitor is found in their ranks. Sakharov sets up the scene in an entrancing way, from how Roberts is framed in the shot to the dim lighting that allows shadows to cover half his face. Woodes’ dialogue is simplistic, but the direction of Roberts’ performance, along with the visuals, lend themselves to different interpretations. The most apparent one being Woodes isn’t at all who he seems to be; we’re only scraping the surface.
Overall
Although there is significantly less action in “XXIII” than other episodes, the emphasis remains on plot development, which is what I love most about Black Sails. For every jarring and surprising plot twist, the quality of the story lines remains intact, often connecting events from previous seasons to the present. The script is exceptionally well written with the dialogue matched perfectly to the strengths of each actor, thus resulting in some of the most memorable moments in Black Sails so far.
“XXIII” continues to raise the bar in quality television with wonderfully crafted sets, powerful performances by its actors, and suspenseful storytelling that leaves me wanting more.
What did you think of “XXIII?” Post your comments below or on Twitter @conallen.
Tune in to Black Sails Saturdays at 9/8c, only on Starz.
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Follow Black Sails on Twitter: @BlkSails_Starz, along with the cast and crew:
@BlkSailsCreatrs (Black Sails Creators), @ScrambledLuke (Luke Arnold/John Silver), @ClaraPaget (Clara Paget/Anne Bonny), @hannahnewuk (Hannah New/Eleanor Guthrie), @JParkerK (Jessica P Kennedy/Max), @Zach_McGowan (Zach McGowan/Captain Vane), @fallofasparrow (Toby Schmitz/Jack Rackham), and @hakeemkaekazim (Hakeem Kae-Kazim/Mr. Scott), @luke_j_roberts (Luke Roberts/Woodes Rogers).
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Photos: ©2016 Starz Network. All Rights Reserved.
Connie Allen
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