#he sees in stede so many things he’s never had
Text
Ed AND Stede both mask and I wanna talk about it
I know the fandom talks A LOT about Ed being a chameleon, flipping his entire personality on a dime to fit into the current situation and company, to the point that he can't even really recognize when it's happened and how far he's gone.
But I wanna look at it with Stede too. He literally asks his crew in the very first episode to give him constructive criticism so he can change what he is doing to better serve them, but he cannot fathom behaving different on a personality level.
They both mask so heavily, but in different ways. Edward masks with his personality, whereas Stede masks with his actions. And it is absolutely because of where they came from before they meet each other.
-Edward's Mask and His Struggles-
Edward learned to survive as a lower-class, mixed-raced, son of a physically abusive father and indentured mother. When he became a pirate, his survival on the water hinged on performing in a way that pirates approve. It isn't the mainland where you're protected by certain laws, if pirates don't like you, they can just kill you. It's important to be liked on the water. So, being hard, being cruel, being Blackbeard, when the company was right, it allowed him safe passage to climb the ladder and build his legend. He succeeded with that carefully crafted persona entirely devoted to this job.
In contrast, he is allowed mistakes. He may mess up a bit, but we all like Blackbeard. If a raid goes bad, if he gets too drunk, if he acts a bit erratic, if he loses sight of it all, if he faces critique? He's fine. His crew are loyal to the persona he displays and they allow him room to be imperfect because of it.
He is allowed to make mistakes as long as he is good company.
He can put on the right face and say the right things until he goes into crisis because he doesn't know what to do with himself. Because everything is boring to him that he can't force himself to keep doing it any longer. He's so tired.
-Stede's Mask and His Struggles-
Stede learned to survive as a upper-class, white, son of an emotionally abusive father and, as fas as we can tell, complete lack of mother-figure. His entire life has hinged on doing the right things. It's the aristocratic society, he has responsibilities he simply does not have any choice in abandoning. And, as long as he does as he's supposed to, he cannot be harmed. So, he'll be bullied, he'll get married, he'll inherit his family's fortune, he'll father children, he does all the things he has to do to just hold his position in high society and survive in that sort of world. And he does it well enough.
In contrast, he cannot figure out his personality. He cannot master what is it he's suppose to be to make people like him. It's no matter though, he does his job so there's nothing anyone else can do about it. If he's annoying, if he's too soft, if he's dandy, if he's an outcast, if he's not like the other boys? He's fine. He's safe under the veil of a rich man in mainland high society.
He is allowed to be disliked as long as he does what he's supposed to.
He can follow the rules and do all the right things until he can't be Mr. Bonnet because day in and day out he's alienated in his own home. Because he's been trying to find a way to make himself fit with his family and he can't keep trying any more. He's so tired.
-What Their Masks do to Each Other-
So - while Ed comfortably slips between "Blackbeard", "The Mad Devil", "Ed", "Jeff the Accountant", "Captain", "Beardie*", "Edward Teach", "Eddie", "The Kraken" - Stede cannot understand how one files down parts of themselves to fit in different places, to constantly act like someone they're not. He has always been completely himself, even when it doesn't work.
And - while Stede is able to navigate being a family man, starting a pirate crew, inventing people positive management, accepting critique and adjusting to it, smiling in the face of his abusers, learning to stun and kill, understanding and using passive aggression, throwing a fuckery, learning to duel, starting a treasure hunt for Ed, promising to do things he's not sure he can handle - Ed doesn't get how someone just makes themselves do all these different things, half of them things they didn't want to do at all. He has always done as he's wanted, even when it gets risky.
Which is why is it so fascinating that these two forms of masking, the gap between their communication, is what leads them to hurt each other in the last episodes.
Ed tries to be what he thinks Stede wants him to be, throwing away the Blackbeard title and trying to settle down into complete softness... and Stede tries to do what he thinks Ed wants him to do, promises to follow his plan and run away to China despite his anxiety about his family... But these things aren't authentic to themselves.
Edward Teach is a little bit of every persona he wears and a little bit done with the pieces he has grown from. They are all a part of him. And Stede would love them all if Ed shared it. If he trusted him enough to let down the curtain and shake off the performance.
Stede wants to do so many things that he's never spoken of and doesn't want to do so many things he thinks he has to. He just wants to get to chose. And Ed would support him in whatever he wanted if Stede would just tell him how he feels. If he would just be honest and stop forcing himself to do things for other people.
They have both been trying to please each other with the tools they've mastered to please the worlds they came from, but they were effectively lying to each other in a hundred tiny ways. Because they loved each other so much, but they didn't believe they were good enough as they really were.
They thought they needed the masks to keep their lover's affections - But they need to put them down so they can truly see one another.
More OFMD
#Another post analyzing the effects of Ed and Stede's very different traumas and how it shaped them in opposite ways?#it's more likely than you think#They are BOTH autistic and they BOTH heavily mask through out the entire season#They follow different systems and have learned different rules to survive the worlds they were born in#But I only see people wanting to talk about Ed's masking WHEN STEDE DOES IT TOO AND IT'S EQUALLY AS INTERESTING#LEMME TALK ABOUT STEDE AND HOW HE WALKS THROUGH THE WORLD TRYING TO EARN PEOPLE'S APPROVAL TOO#So yeah - I just really wanted a chance to explore all the 'actions' Stede has done over the season#and how - in a lot of them - he is clearly uncomfortable but doesn't allow himself to say no or fight against it#And it's so clear that he just does things that are expected of him - even if he struggles in being the 'person' he's supposed to be#A lot of Stede's life just happens to him - he never had much of a choice in so many parts of it and that doesn't change at sea#And in the exact opposite position#Edward just throws himself into becoming every different person he thinks people want him to be - whether he likes it or not#He doesn't know how to be himself and risk letting people down when they see who that is#so he plays the roles - even does them quite well - even if he struggles with what he things he's 'supposed' to be doing#And he doesn't just 'get fixed' the second he meets Stede - he needs time to understand he's safe#I'm typing a lot of stuff tonight guys#didn't sleep - must keep analyzing OFMD#I'm in THE ZONE#Our Flag Means Death#Our Flag Means Death Spoilers#ofmd#ofmd spoilers#hbo#Stede Bonnet#Edward Teach#Gentleman Pirate#Blackbeard#blackbeard x stede#gentlebeard#blackbonnet
73 notes
·
View notes
Text
Keep It In The Box : An Essay on OFMD Season 2 and the Failure to Heal
(here in is my season two reaction. It contains many many spoilers. It's also about 3k words long so you know what you're getting into.)
“See, I have a system for dealing with all the terrible things I've seen. There's a box in my mind, and I put the things in the box..” -Frenchie, Season 2 of Our Flag Means Death
…..and then he never opens it. Chekov’s locked box has no key in season two.
On first watch, it seemed clear to me that Frenchie’s declaration was a narrative plant. Clearly the whole season would be about that box of pain and trauma being opened, sorted through and at least the beginning of healing. The show had developed a reputation after season one of being kind and focused on queer narratives of healing from childhood. Ed and Stede’s parallels in their childhood traumas were frequently on display through season one and were repeated in flashback throughout season two. Jim’s season one arc about becoming someone who doesn’t think just of revenge and can now forge meaningful connections was profound, beautiful and often funny. Izzy is an antagonist because he doesn’t want Ed to move on or stop acting like the trauma-response version of himself. The antagonist wants to stop healing. The point is to grow, to change, to learn how to love. It’s one of the things that made season one work for me at the time, despite reservations about pacing and tone.
So naturally season two should follow suit. It’s a kind show! About healing and falling in love!
For the first several episodes, the remaining crew on the Revenge go through a gauntlet of trauma, forced to do and receive violence at Ed’s whims as he careens from self-destructive behavior to self-destructive behavior. This is the wounding setup. It was dark, but it seemed like it would have a payoff and at first it did.
Perhaps one of the most beautiful moments of the season comes in one of the small respites in those early episodes as Jim recounts Pinnochio to Fang to soothe him through his grief. That was the show that I expected. The kindness of that moment struck me very deeply. It gave me some understanding of Archie too, who seems to fall for Jim right at that moment.
That scene is the show season one promised. Season two led with packing Frenchie’s box full to bursting. Here is the fight to the death between lovers, there is a first mate who is mutilated and rotting in the very walls (the rot of the Revenge itself), and there is the storm of Ed’s rage and pain that threatens to consume all of them.
So surely these remaining episodes would concentrate on finding the humor in healing from those moments. That is the setup. Frenchie has a box. The box must eventually open.
Except time and again, all the characters who suffered are told that the only way to deal with what they’ve been through is to stick it in the box and never open it again.
Pete tells Lucius that he’s unable to move on and needs to let it go. Izzy has a story about a shark. Ed’s apology to the crew which doesn’t even contain the words ‘I’m sorry’ is just…accepted. I kept waiting and waiting for a meaningful apology to the people Ed had hurt the worst with his actions, but it seems all we get is Fang saying ‘eh, no problem, I got to hit you back so I feel better’.
The playful theme of ‘pirates are just violent sometimes’ from season one becomes a grinding horror machine in season two when every atrocity visited on someone is forgiven because the narrative needs it to be. Ed and Stede spend more time making amends with each other over the bloodless night on the beach than either of them spend trying to repent for their actions towards anyone else.
And let’s talk about Ed. Arguably this season pivots on his narrative, on his path to healing and growth. A path that starts at a very low point. His moment in the gravy basket, deciding he wants to live because there are still things to live for is so great! So one might assume that what would follow would be him pursuing those things, making amends, making connections. He and Stede have a wonderful moment, talking about being whim prone and how they’ll work to avoid that, build a relationship by going slower.
Yet, at no point do either of them stop following whims. They never heal or learn from what’s happened to them. They both keep running from thing to thing, particularly Ed. It’s a whim to sleep with Stede, it’s a whim to run off to fish, and the finale gives us just more of their whims. Ed drops fishing as fast as he picked it up. He finds those leathers in the ocean, murdering the symbolism of leaving them behind. Even the inn is a whim, one of those things Ed decided he’d be good at without evidence. And Stede joins him in that without a single on screen conversation about it ahead of the moment.
Ed needs to heal himself and to do that he needs to confront what he’s done and do the work to heal the wound. Instead, he doesn’t meaningfully apologize to anyone, besides Stede and Fang. Despite Izzy’s dying words (we’ll get to that), not only do we never see the crew caring about Ed, working to make him family in the same way they do with Fang and even Izzy, he also doesn’t choose to stay with them. So what is the point? Where is the healing? Or does even Ed, beloved main character, have to live with it all stuffed in a box?
He ends the season in the leathers he threw away, in a relationship that’s barely stabilized, going to live in a house which we are told by the narrative (in that they are very very clearly paralleling Anne and Mary with Ed and Stede or why do we even get that whole Who’s Afraid of Virginia Woolf? episode) will only end in them setting fire to each other to stay warm.
But Vee, I hear you cry, it’s a ROM-COM. This is all meant to be ha-ha funny and you are taking it so seriously!
Cool beans. Then why the hell isn’t it funny? Healing is often filled with comedy because people deal with pain with humor. You can heal and laugh at the same time. The finale especially is almost entirely devoid of laughs, almost entirely devoid of joy until the last minute for that matter. The episode that should show off with a flourish how far everyone’s come, mostly serves to show that no one has grown.
Okay that’s Ed. I want to talk about Lucius next. Our former audience surrogate (that’s taken away in season two when he doesn’t get enough screen time to perform that role and no one takes his place) really goes through the wringer. He experiences many many terrible things, including sexual assault (which is made into a grimace-laugh line that doesn’t take away from it’s seriousness because oh hey, that can be done as it turns out). He’s nervous, he’s smoking, it’s clear he’s suffering.
There’s a beautiful moment where Pete tells him ‘hey, I was also in pain. I grieved’ and that’s great. It’s good that Pete sets a boundary about Lucius not obsessing over the past to the point of occluding their future.
We even get our comedic moment where Lucius pushes Ed off the boat (still not apology, but I’d lost hope for that by then) and that doesn’t help enough. So Izzy comes in with a shark and the advice that you just have to move on.
Just…you know. Play pretend. Forget.
Shove it in a box. Ed didn’t take my leg, a shark did. Ed didn’t kill you, a shark did. Live with the person that tried to murder you because it’s your fault you dangled your leg over the side of a boat. That is the show’s message. I thought on first watch, that surely this would also come back up and be explained that you can’t live that way, that that is no way to heal. That it would become clear that this was no way through. You cannot make everything into sharks.
Lucius can move forward and still carry pain. He can still want a meaningful apology and still want to talk to his lover about what he’s dealing with while moving forward toward a brighter future.
And what of the flirtatious promise of relationships and connections being the way to heal?
Look to Oluwande and Jim, whose heartfelt romance from season one was relegated to the bins of history in favor of a narrative that made him a brother Jim once had sex with. They could have had Archie AND Oluwande, who in turn could also have Zheng, but that never seems to be an option. With a single short conversation, they are broken up with, despite a brief tease at the birthday that they still ‘dance’ together, it never actually manifests. Jim and Archie never talk about what they went through. It’s swept under the rug as fast as knives are lowered.
Lucius also no longer flirts with other people, the solution to his pain is to propose and get married (but not too married, lest we forget that they’re two men, they don’t even get to be husbands or even the more respectful mates, no. They’re mateys.) This season proposes that the only happy endings are monogamous ones, where no one talks about anything painful that went before.
To ensure that message, beyond assuring the success of Oluwande and Zheng’s relationship, Jim and Archie almost entirely disappear from the narrative. Sorry you guys were given layers of trauma and no growth and not even much to do this season, we need to make sure that everyone remembers Oluwande is the break in Zheng’s day so when he says that to her five minutes later we know exactly what he’s referencing. No time for Archie to learn what an apology is or for Jim to get one line in with Oluwande that isn’t affirming their newfound broship. Must do more flashbacks to things we just did two episodes ago!
The show even dangles the conversation of the Revenge being a safe space. Why would any of them ever feel safe when the man who tortured them is allowed to walk among them and they are expected to forgive and forget? What’s safe about that? The ship is never made safe for any of them, but that’s never addressed.
And Zheng! Amazing, hysterically funny Zheng! She loses her ships, her entire way of life, the kingdom she built for herself and then…she doesn’t even get to captain the Revenge. We don’t know what becomes of her fleet, of her plans, her ambitions. Don’t worry about it, she has a romantic partner and isn’t that what every lady wants in the end?
(But Vee, I hear you cry again, there will be a season three! Maybe it will be All About Zheng! To which I say: then why did they present us with the most series finale feeling episode ever? If there’s more, I have no idea where it’s going. BUT VEE: BUTTONS AS SEAGULL ON THE GR- Fine. It’s time.)
Let’s talk about Izzy Hands.
Izzy manages more healing than anyone else this season. He reaches his lowest point, suicidal in the bowels of a ship that’s become a prison (very much in contrast to Ed’s suicidal low). The person he loves most in the world has shredded him physically and emotionally (and if you’re in the camp that thinks Izzy deserves the abuse that Ed gave to him, I would really like you to sit quietly with yourself and ask why you think there is ever anything anyone can do to deserve that treatment). He’s low, he shoots Ed to protect everyone, and then seems to plan to drink himself to death, mourning his losses.
And then another beautiful moment! The crew move past their own pain to help him. They work together for the first time and it’s to give Izzy mobility back. He treasures it. He cries over it. He uses that kindness extended to him to reach a new understanding of Stede and help him succeed, doing the work to make real amends. He sings in drag, he’s vulnerable and beautiful, celebrating the side of himself that he must’ve loathed in the first season. He’s an elder queer man, coming into himself.
He never gets an apology though. (‘Sorry about your leg’ without eye contact is not an apology. There is no responsibility taking, no acknowledgement of the weeks of torture that came with it.) Izzy also never really has an honest conversation with anyone about what it means that the man he loves punished him so severely for the crime of trying to protect the crew (yes, lest we forget, Izzy lost his leg because he was trying to keep Ed from re-traumatizing the crew and himself).
Izzy does all this work, but even he’s not allowed to take it out of the box. It’s a shark, not Ed. Ed is just ‘complicated’ (the language of abuse here is so upsetting and I think not even intentional).
And then he dies. His last act? To apologize to the man who tortured him and shot at him. To have done all this work, to take on all the blame. And then die.
In a rom com.
This show ends in a profoundly unfunny moment of telling the audience: this is the one character that did the work, that made amends, that tried his hardest to accept the parts of himself that he had a hard time embracing and formerly embittered him. He’s fully accepted his queerness and turned it into beautiful music. He’s disabled, and he worked hard to accept that. The man he loves will never love him back, so he worked hard to make Stede able to meet Ed on an even playing field. The Giving Tree gave up its limbs and its trunk, and it’s not even allowed to be a stump to sit on.
Kill the queer elder, who has managed to figure out how to live and in his own way how to heal. Kill him before he manages to teach anyone else how to meaningfully move forward (he almost gets it with Lucius, almost, but it’s meant to be rule of three, you know. Cigarette..shark…and then…and then fuck it, Lucius doesn’t even get to say a word at his funeral).
The message of this season again and again is that there is no healing, just moving forward. Like a shark. Like a bird that never lands.
That is not a kind show.
Season two is not a kind season.
It splinters people up and jams them back together without purpose or reason. It tells everyone who experiences pain that they should shove it in a box and not deal with it. No one who really needs one gets an apology of any sincerity. No one puts in the work to gain forgiveness. (Ed wearing a onesie is not The Work. Ed fixing a door is not The Work. Ed broke people that the show wants us to care about. Ed never does the work of making those amends. He fires off a Notes app apology at best. After all, it’s what he told himself via Hornigold in the gravy basket: you move on or you blow your brains out! Good thing he took his own advice and therefore had to change nothing to get his just rewards.
I would’ve taken just fifteen minutes of Ed trying to actually make amends. It could’ve been hilarious! Imagine awkward Ed trying to dance around what he’s doing with Jim and the two of them having a knife throwing competition about it. Or him and Frenchie attempting to make music together, writing a song about the raids they went on! It’s not just the crew robbed of their healing because of this, it’s Ed himself. He never meaningfully changes or makes amends. How is he any different at the end of the finale then he is standing on the edge of that cliff with Hornigold? He hasn’t moved on, he hasn’t healed. He tried one thing (fishing) that doesn’t fucking work and then he runs right back.
No one leaves this season better than they went into it. They’ve lost an elder queer, they’ve lost their joyous and queer polyamory, they’ve lost a chance for meaningful reconciliation with Ed and Ed lost any chance of looking like he gave shit if they did. Stede grows enough to accept the crew’s beliefs as important and then leaves them behind without a care.
Izzy gets a beautiful speech about piracy being larger than yourself. Ed and Stede, within twenty minutes of that speech, leave piracy. They are incapable of giving themselves to something bigger, apparently. They haven’t learned to be a part of a community. They haven’t healed from their childhood trauma or their fresher wounds. They are still just following their own whims.
Zheng’s life work is in tatters, but it’s fine, she has love. Oluwande and Jim aren’t together, but it's fine because they both have dedicated monogamous partners. Lucius was deeply scarred by what happened, never recovers much of his first season personality, but hey he got-well it’s not married exactly- but you know good enough!
Frenchie, who has a box forever locked in his head, is captain. Because the key to success is to lock it all in a box and never open it. What a message. What a show. Conceal, don’t feel. Smile because it’s a happy ending. Don’t mourn the dead, don’t try to tell people what happened to you (they will literally run away or cry too hard to listen and really you’re just bumming them out), and any meaningful change you make is only rewarded with death.
Frenchie is now a pirate captain with a box in his head full of trauma that’s never been opened, leading a crew with more wounds than scars. Wonder how that could turn out? Wonder how many years before he might want to retire and then happen to run across a gentleman pirate. As if no one learned anything at all.
#our flag means death#ofmd#ofmd spoilers#the strangest message sent#and no idea if it was on purpose#I kind of think it wasn't somehow#but boy howedy did it come across
1K notes
·
View notes
Text
so part of me wants to blame this entirely on wbd, right? bloys said he was cool with the show getting shopped around, so assuming he was telling the truth (not that im abt to start blindly trusting anything a CEO says lol), that means it’s not an hbo problem. and we already know wbd has an awful track record with refusing to sell their properties—altho unlike coyote v acme, s3 of ofmd isn’t a completed work and therefore there isn’t the same tax writeoff incentive to bury the thing. i just can’t see any reason to hold on to ofmd except for worrying about image, bc it would be embarrassing if they let this show go with such a devoted fanbase and recognizable celebrities and it went somewhere else and did really well (which it would undoubtedly do really well, we’ve long since proven that). it feels kinda tinfoil hat of me to making assumptions abt what’s going on in wbd behind the scenes, but i also feel like there are hints that i’m onto something w my suspicions: suddenly cracking down on fan merch on etsy doesn’t seem like something a studio looking to sell their property would bother with, and we know someone was paying to track the viewing stats on ofmd’s bbc airing, which isn’t finished yet, so i’d expect whoever is monitoring that to not make a decision abt buying ofmd until the s2 finale dropped.
but also i think part of me just wants there to be a clear villain in the situation. it’s kinda comforting to have a face to blame, a clear target to shake my fist at. but the truth is that the entire streaming industry is in the shitter. streaming is not pulling in the kind of profit that investors were promised, and we’re seeing the bubble that was propped up w investor money finally start to pop. studios aren’t leaving much room in their budgets for acquiring new properties, and they’re whittling down what they already have. especially w the strikes last year, they’re all penny pinching like hell. and that’s much a much harder thing to rage against than just one studio or one CEO being shitty. that’s disheartening in a way that’s much bigger and more frightening than if there was just one guy to blame.
my guess is that the truth of the situation is probably somewhere in the middle. wbd is following the same shitty pattern they’ve been following since the merger, and it’s just a hard time for anyone trying to get their story picked up by any studio. ofmd is just one of many shows that are unlucky enough to exist at this very unstable time for the tv/streaming industry.
when i think abt it that way, tho, i’m struck by how lucky we are that ofmd even got to exist at all. if the wbd merger had happened a year earlier, or if djenks and tw tried to pitch this show a year later, there’s no way this show would’ve been made. s1 was given the runtime and the creative freedom needed to tell the story the way the showrunners wanted to, and the final product benefited from it so much that it became a huge hit from sheer gay word of mouth. and for all the imperfections with s2—the shorter episode order, the hard 30 minute per episode limit, the last-minute script changes, the finale a butchered mess of the intended creative vision—the team behind ofmd managed to tell a beautiful story despite the uphill battle they undoubtedly were up against. they ended the season with the main characters in a happy place. ed and stede are together, and our last shot of ed isn’t of him sobbing uncontrollably (like i rlly can’t stress enough how much i would have never been able to acknowledge the existence of this show again if s1 was all we got)
like. y’all. we were this close to a world where ofmd never got to exist. for me, at least, the pain of an undue cancellation is worth getting to have this story at all. so rather than taking my comfort in the form of righteous anger at david zaslav or at wbd or at the entire streaming industry as a whole, i’m trying to focus on how lucky i am to get to have the show in the first place.
bc really, even as i’m reeling in grief to know this is the end of the road for ofmd, a part of me still can’t quite wrap my head around that this show is real. a queer romcom about middle-aged men, a rejection of washboard abs and facetuned beauty standards, a masterful deconstruction and criticism of toxic masculinity, well-written female characters who get to shine despite being in a show that is primarily about manhood and masculinity, diverse characters whose stories never center around oppression and bigotry, a casually nonbinary character, violent revenge fantasies against oppressors that are cathartic but at the same time are not what brings the characters healing and joy, a queer found family, a strong theme of anti colonialism throughout the entire show. a diverse writers room that got to use their perspectives and experiences to inform the story. the fact that above all else, this show is about the love story between ed and stede, which means the character arcs, the thoughts, the feelings, the motivations, the backstories, and everything else that make up the characters of ed and stede are given the most focus and the most care.
bc there rlly aren’t a lot of shows where a character like stede—a flamboyant and overtly gay middle-aged man who abandoned his family to live his life authentically—gets to be the main character of a romcom, gets to be the hero who the show is rooting for.
and god, there definitely aren’t a lot of shows where a character like ed—a queer indigenous man who is famous, successful, hyper-competent, who feels trapped by rigid standards of toxic hypermasculinity, who yearns for softness and gentleness and genuine interpersonal connection and vulnerability, whose mental health struggles and suicidal intentions are given such a huge degree of attention and delicate care in their depiction, who messes up and hurts people when he’s in pain but who the show is still endlessly sympathetic towards—gets to exist at all, much less as the romantic lead and the second protagonist of the show.
so fuck the studios, fuck capitalism, fuck everything that brought the show to an end before the story was told all the way through. because the forces that are keeping s3 from being made are the same forces that would’ve seen the entire show canceled before it even began. s3 is canceled, and s2 suffered from studio meddling, but we still won. we got to have this show. we got to have these characters. there’s been so much working against this show from the very beginning but here we are, two years later, lives changed bc despite all odds, ofmd exists. they can’t take that away from us. they can’t make us stop talking abt or stop caring abt this show. i’m gonna be a fan of this show til the day i die, and the studios hate that. they hate that we care about things that don’t fit into their business strategy, they hate that not everyone will blindly consume endless IP reboots and spin-offs and cheap reality tv.
anyway i dont rlly have a neat way to end this post. sorta just rambling abt my feelings. idk, i know this sucks but im not rlly feeling like wallowing in it. i think my gratitude for the show is outweighing my grief and anger, at least for right now. most important thing tho is im not going anywhere. and my love for this show is certainly not fucking going anywhere.
#ofmd#our flag means death#save ofmd#s3 renewal hell#txt#mine#og#studio crit#edward teach#stede bonnet#gentlebeard
325 notes
·
View notes
Text
Things worth remembering:
All Stede knows about Ed's breakdown is that it was because of him (You broke him/he took my leg cos I mentioned your name), He doesn't know about Ed's other trauma aside from his dad and while he knows Ed is disillusioned with pirating, he doesn't know the specifics about why.
Ed tends to speak in metaphors and while Stede tries to understand them, it's clear that sometimes he's missing the mark. Sometimes Ed isn't even sure of the metaphors himself, but once he has them, he holds onto them - the fish thing has got him especially.
And the thing is that Ed's only just learned to sit with himself in episode 5 and it's overwhelming him. At the beginning of 6, he's the stillest and quietest we've seen him and is gazing out to sea while having flashbacks to things he's done and people he's hurt (hello 1x09 callback).
And the thing is he's okay at the start of 7. He's made a decision about shedding the Blackbeard stuff. He doesn't say anything to anyone and he's ok until Jackie points out Stede is the rising star just when Ed wants out
He doesn't begrudge Stede being excited and happy with his new fame. He is afraid of what his presence has led Stede to: the conversation with Jackie is very much his "you defile beautiful things" moment, especially his presence brought Ned to Stede ("It's me you want").
He also doesn't understand why Stede killed Ned because Stede bottled up his trauma like his love letters. He doesn't even know why Stede a) became a pirate or b) went back to Mary, especially since Stede never actually told him where he'd been directly. He had to hear it from Anne - and Stede is betrayed by that as well ("I told you that in confidence")
Right now, he's feeling unmoored by his own identity and now Stede has taken a step that has fully changed him as a person too and dragged him straight back into the heart of piracy. He tells Jackie he wants out and she asks if Stede knows that and Ed's face just drops and he whispers "shit".
And he spends of the rest of the day thinking and quiet and realises that to process any of this mess, he needs to be away from the pirate world for a bit so he can get his head on straight because now it's roaring back in for him. He sits, he thinks, he realises he needs that space - he should speak to Stede but he tried that the day before and Stede still killed Ned.
Stede also lashes out, which definitely doesn't help. He's right. Ed is panicking, but Stede is also missing so many little clues. Ed never told him about dropping his leathers and Stede just sees him as Ed in other clothes. He doesn't understand the significance, even when everyone around them realises something is off. If even the Swede picks up on it, you know it's an obvious flag.
They both need to use their words and explain wtf is happening with both of them, but they are also both ridiculously traumatised by their past experience. Ed is afraid he's unlovable and now Stede is talking down his coping mechanism, so maybe he's right and Ed-as-Ed is unlovable, while Stede has been told his entire life he isn't enough, so becoming the ultimate pirate should be the win he's been looking for, only Ed isn't happy and Ed is leaving him, so maybe it's him that isn't enough after all.
They are both tangled up so much in their own histories and don't know enough about each others and that's why they keep lashing out and hurting each other so much - they each don't realise what they're saying is a different kind of weapon to the other.
511 notes
·
View notes
Text
Going off of this post, which has so many good points: I think two other things are also happening with Stede, in addition to everything else, and they have to do with his understanding of what love is.
We know that Stede's fairly intellectual and often retreats into fantasies. But he also just reads a lot, and most of his experience and understanding of love would likely be filtered through what he has read. While, yes, there was gay porn in the 18th century, and Stede would likely know about Greek attitudes to sex between men, sodomy itself was illegal and very likely, as @teeny-tiny-revenge points out, never treated as part of love or romance, but as an act (we see this in Calico Jack’s discussion of buggery). So Stede is very unlikely to associate the act of gay sex as anything to do with love.
But Stede does know about the concept of love as transcendent and courtly. We know he reads Shakespeare and fairy tales; he’s likely to read Donne, Milton, and Pope, Greek epics, and medieval romances. The point being that love, in his worldview, would be something high and passionate, something almost not of this world, and even possibly disconnected from sex entirely—which would, for him, relate to his lack of sexual desire for his wife or for women generally. I think Stede's desire to marry for love is not really about sexual desire at all, because he's not quite aware that he can feel sexual desire for men and he knows he doesn't feel it for women. It's about finding the more transcendent, courtly love that he reads about.
When he meets Ed, Stede does develop feelings. They have an immediate kinship. But Stede has also never had a close friend. What he’s experiencing with Ed, initially, is not the high-flown emotions he’d associate with literary depictions of romantic love, but something simpler—he and Ed are friends, they like being around each other, they care for each other. When Ed leaves, Stede is jealous and devastated, and he's overjoyed when Ed comes back. But none of those feelings click as romantic love until Mary tells him what love really feels like.
The other element are the two times Stede and Ed kiss, or nearly do—first on the deck in the moonlight, and then on the beach. The kiss on deck is something that doesn’t actually happen, just nearly does, and we have no scene afterwards with either of them to further parse out their emotions. Certainly Ed and Stede see it as a memorable moment in their relationship later, after both are aware of their love for each other, but at the time it's a step not taken. This seems to be more of a “love that dare not speak its name” moment, that neither of them are yet willing or able to put a label on. However it’s of note that when Stede remembers it, he doesn’t remember the near kiss—he remembers putting the silk in Ed’s pocket. And that act is one that he would understand as deeply intimate, a chaste physical touch (and exchanged of a beloved object) that could be associated with courtly love.
The kiss on the beach is the start of Stede’s awakening to his sexuality. But again, there is a small move there between friendship and romantic love, and the kiss is not expressive of intense passions. What both Ed and Stede are able to articulate is simple happiness. One could even argue that neither of them are fully aware of the depth of their romantic and sexual feelings at that point—Ed because he’s felt sexual attraction but never really paired that with love, Stede because he’s never felt either.
So I don't think that Stede is fully aware of his sexuality as sexuality, not until Mary puts it into clearer terms for him—his love for Ed may be friendship, it may be more chaste, transcendent love, but he's not yet tied those feelings to the reality that he can desire Ed.
#ofmd#our flag means death#stede bonnet#edward teach#ed teach#hope this makes sense#i know what i'm trying to say#but articulating it is a bit difficult#ofmd meta#gentlebeard#blackbonnet#gif#long post#queer
381 notes
·
View notes
Text
Just a small thing I noticed while being totally normal about the gay pirates:
I've watched The Kiss™ way too many times a normal number of times and my favorite moment is the series of microexpressions Rhys cycles through while Stede is reacting to "what makes Ed happy is...you" because it's just so lovely and masterfully done. While trying to find a good gif of just that moment (no luck so far!) I noticed something that happens while Ed is pulling Stede in.
Stede, darling honey light of my life, clueless useless "oblivious" gay that he is, tilts his head a bit and leans into the kiss too. Before it's even started. On some level he registers that This Is Happening in time to react in a positive way, even before their lips have touched.
Our boy is a creature of instinct, and when he acts on his emotional instincts without thinking too much he knocks so much shit out of the park. Instinct is part of why "you wear fine things well" hits as hard as it does. Instinct is how he can woo Ed as easily as he does. Instinct is how they were able connect so deeply so quickly, because his instinct is to be open and non-judgemental to this beautiful man waiting beside his sickbed and asking about fine fabrics.
Stede's thoughts are still too clouded by his trauma and self-loathing to be useful for him, and he can end up thinking too much about what he "should" do or what other people do. Thinking is part of the reason he's so quick to believe Chauncey in the woods. Thinking means succumbing to beliefs about his perceived worthlessness, which leads to his biggest mistakes. Thinking tells him to adjust what he says about Blackbeard in that tavern of townies, when his instinct was to say how "absolutely lovely" Ed is.
Obviously man cannot live by instinct alone, like he definitely should have thought for a minute about making a deal with Geraldo to fence the hostage. Stede needs to learn to balance the two and when to listen to either/both of them. But I was just so excited to see him leaning in the way he does because it underlines a feeling I've had for a minute, which is that Stede's instincts are those of someone crushing and then falling in love, and that never wavers.
He lacks the context and vocabulary to identify what's going on without outside intervention, but he also deeply gets it in a way that's extremely queer and that I hope starts showing up more in the fanon. I do a little happy dance every time I see this in people's fics and I just need so many more of them! Give me more eager Stede who is Ready To Go once he's given the right context for his feelings about Ed!
#ofmd#our flag means death#ofmd meta#our flag means death meta#meta#no but for real Eager Stede Bonnet is a fucking delight to encounter#no thoughts detected in that well-coiffed little head of his#and when it comes to emotions at least things work out better for him#gentlebeard#blackbonnet#stede bonnet#I think I've also written meta before about how Stede Bonnet Sex God™ isn't a joke and it's his instincts!#it's why so many fics have him lacking in previous experience but not in creativity or enthusiasm#his relationship to instinct also feels autistic to me for relatable reasons but that's a whole other thing#ofmd spoilers#The Kiss™
589 notes
·
View notes
Text
I don't even know what you can say to the people who somehow missed that all of Ed's violence is a) anti-imperial, b) protective against direct repeated threats to himself and his loved ones, or c) self-destructive in the hopes someone will respond by killing him during his suicidal spiral. (That last example is fairly indirect and performative and comes from a place of severe nihilistic suffering.)
I don't know what you can say to the people who somehow missed that the violence is triggering and traumatic and exhausting for Ed, and that he is desperate for a chance to live differently but has also never known any other life. Stede gave him the one true glimpse he's had of something gentler! Ed didn't fully know how fucked up his life was before because that was normal to him. That's what growing up traumatized does to you.
I don't know what you can say to the people who somehow missed that the suicidal spiral is a result of Ed's circumstances: of Ed being threatened by Izzy after Izzy repeatedly found ways to force Ed back towards the violent life Ed wants so much to escape, of Ed losing his one glimpse at safety and happiness through Stede and now having to face the darkness knowing he nearly found something different, of Ed feeling like the only way he can survive in this world is by being an "unlovable" monster he hates--and then he's confronted by Izzy telling him he's still not getting it right. Of course Ed gives up then.
I don't know what you can say to the people who somehow missed the show's themes about how much harm is caused by toxic masculinity and by masking your true self and by cultures founded on trauma and self-hate and burnout. (You do see the burnout in Ed, yeah?)
I do get why some people might not understand the complexities of Ed's relationship with Izzy--how codependent and enmeshed their identities are--or the layers of symbolism that position Izzy in the story as a metaphor for traditional pirate culture and its harmful impact. (Which is particularly triggering for Ed on a daddy issues level because that's his original trauma.) If you understand those things, the unique nature of the physical harm Ed does to Izzy in this story makes even more sense.
Ed also frequently communicates through metaphor himself. Him cutting off Izzy's toes is not only a show trying to convince Izzy he's playing Blackbeard right and not only a response to Izzy repeatedly threatening Stede/continuing to threaten Ed, but also is meant to physically represent the harm that Izzy has done emotionally to Ed. Ed is communicating to Izzy the only way he knows how anymore: "See how it feels to be forced to lose parts of yourself? Stede was a part of me. My hopes of softness and joy were a part of me. You cut those off too."
There is so much evidence against the thought that Ed is some irredemable, monstrous lover of violence who will hurt Stede someday. Stede would have to repeatedly and directly threaten someone else Ed loves first (which Stede won't do), and even then, Ed would really have to fight with himself.
It's not his nature, y'all, and I'm so frustrated that some people keep insisting it is. I'm frustrated about what that says about people's ability to empathize and consider reasons for or contexts behind behaviors--particularly when the character in question is an openly queer and likely neurodivergent indigenous man. Is it so hard to have compassion and forgiveness for him? Please don't get stuck in that punitive, dehumanizing mindset.
Redemption is so important, which is why I appreciate that Izzy gets a growth arc once he stops centering his entire identity on the Blackbeard persona and clinging to toxic masculinity. (Seeing Stede's impact, how different things could be, vs. the harm caused by the traditional ways, changes Izzy too!) Izzy's time, as a side character and mentor figure and piracy metaphor, does end, but first he gets to live with more meaning and unlearn many of the negative behaviors. That's the goal, right? To move forward.
#i try to avoid negative discourse but damn guys#edward teach#our flag means death#izzy hands#stede bonnet#my stuff
294 notes
·
View notes
Note
why do so many people keep calling ed izzy's abuser? I thought it was kind of funny how wrong they were at first because I love being right but at this point I feel like, if you really believe that why do you even like this show? where the main love interest is a violently abusive indigenous man? that sounds boring as shit. what would possess the writers of the show for them to make such an awful decision?
but then I think, if this many people believe it does that mean I'm the one who's wrong? or is it that the creators fumbled that storyline when they should have been clearer about it? or maybe it's just that most people on here have had their reading comprehension scorched away by Sherlock Holmes conspiracy theories and Steven Universe discourse. I can't tell. sometimes I think the internet may have been a mistake.
No they're wrong here's what's going on. People all read this shitty fic called Hell or High Water where Ed was everything the Izzy stans say he was and then instead of realizing that Ed is sad everyone regressed into thinking that the Kraken Era TM was going to be incredibly violent, like serial killing blond men because they look like Stede levels of violence. Even if you didn't read HoHW you saw art or read fic from people who had engaged with this fic and succumbed to it's premise. So there's been this background radiation of misunderstanding what the Kraken is on the fandom for several months. So inevitably when Ed did some mild violence and then attempted suicide by threatening murder until the crew took matters into their own hands, which is not abuse or torture by any stretch, btw, it's a murder-suicide at worst (I say at worst because I consider it fuckery-suicide I don't think Ed was trying to kill people I think he was trying to force them into a situation where they thought it was kill or be killed so that they would choose to kill him, but that is my interpretation and you are free to think it's a botched murder-suicide I have no problem with that), which, murder is something the show has never condemned and if it did it would be horribly inconsistent. So anyway, Ed's whole Kraken Era was categorized in the show by him being sad and doing so many drugs and begging someone please god anyone to kill him and trying to break Ned Low's record out of the evil boredom, but because it had a murder-suicide element to it and Izzy's toes were getting removed and he waved a gun around at everyone once (in a way that felt to me like he was trying and failing to work up the nerve to blow his own brains out but I digress) people who liked HoHW and were mad that people had called it out were like "see hes being violent HoHW author vindicated" as if anything Ed did rose to the level of that fic
And you want to know how I know this read is bullshit? Because when I watch the show with people who don't read fic or interact with the fandom and then I gauge their reactions without showing my hand they all implicitly understand that Ed is reacting to Izzy in a way appropriate to how pirate captains react to threats from subordinates. The spectrum of reactions has been from "hey isn't it weird how Ed was the Kraken because his dad was abusive and now he's the kraken because of Izzy? Maybe there's something there but idk" to "I don't think you can apply the logic of domestic abuse to a pirate captain and first mate but also Izzy had it coming" to "I cannot feel bad for Izzy after last season, I'm sorry." To "lmao Izcel" and I've showed this show to roughly everyone I know. The only thing I can conclude from the fact that people who don't engage with OFMD fic almost unilaterally thinking that Izzy is in the wrong and then coming online to see people thinking the opposite is that Izzy as victim and Ed as abuser is pure fanon, like how Stede is a cinnamon roll who talks like Azeriphael.
But anyway yeah you're completely right about the fact that this would be a bad show if they decided to make Ed into a domestic abuser. I don't want to watch a rom com about a domestic abuser falling in love and I don't want a show that decided to make it's indigenous lead abusive when the stereotype of indigenous men as abusers is still to this day used as an excuse to separate indigenous children from their families and put them with white Christians in order to erase their culture. Good thing OFMD didn't make Ed abusive, so I still like the show.
268 notes
·
View notes
Text
Izzy, Ed and abuse
okay, so I’ve seen a few people talking about Izzy and Ed, and it genuinely disturbs me that I’ve seen people deny that Izzy is a victim of abuse. By most definitions, physical abuse is categorised as causing physical harm to another person’s body with intent to hurt them. Some things, like punching Izzy for selling Stede out, or choking him for saying hateful stuff when Ed was at his lowest, whilst not acceptable in the real world, are perfectly normal reactions for a pirate to have toward a member of his crew, so I’m not talking about things like that.
But the toe scene and the early parts of season 2 are clearly abusive, and only by sheer character bias (framing Ed as someone who could never do anything wrong) can you look at the way Ed treats Izzy and not consider Izzy a victim. Izzy and Ed have had a mutually toxic relationship for a long time, judging by their interactions, but I personally only see abusive behaviour starting with the toe scene. And the abusive one is Ed. Which shouldn’t be a controversial thing to say, considering what we see on screen, and yet…
Even at the end of season one, we saw Ed cut Izzy’s toe off and force him to eat it, and it is confirmed in season 2 that he took two more toes. He is even about to take a fourth toe when Izzy reports that the crew refused to throw their treasure overboard, and Izzy doesn’t argue, much unlike in season 1, when he often bitched at Ed for his decisions. Now, Izzy just takes the punishment.
Things between them come to a head when Ed shoots Izzy in the leg, leading to infection, and the amputation of his leg. He even puts a gun in Izzy’s hand, directly leading to Izzy’s suicide attempt. And in the end, all Izzy gets is a mumbled apology and that's that.
I know many people don’t like Izzy, but do they not sympathise with him? I’ll be first to admit that I don’t like Ed and Stede (I used to, but season 2 made me dislike them more and more for reasons too complicated to go into now), but I feel bad for them when bad things happen to them. I got bullied as a child, so I sympathise with Stede in the flashbacks to his childhood, and I was horrified when I learned what Ed's father was like. I don't particularly like either of them, but I feel bad for them when they're suffering. Which is why I found it so strange and appalling that people who dislike Izzy seemed to find it funny when Izzy was crawling along the floor, or died a painful death.
Even ignoring Ed's treatment of Izzy, the way he treats the crew is abusive too. He overworks them, pushing them into three months of consecutive raids (assuming they did one raid a day), leaving them all so stressed that Fang seems to always be crying. He forces Jim and Archie to fight to the death for no reason other than he said so. He expects Frenchie to kill Izzy, and it is clear how terrified Frenchie is the entire time he lies to Ed. The whole crew walk on eggshells around Ed because they don't know when he'll explode again. Basically, even if Izzy isn't being mentioned (and he should for the record, because he got the worst treatment - and he didn't deserve it, despite that some people seem to think being mutilated is a fair punishment for yelling at Ed), Ed was still abusive towards the crew. During that time period, Ed is incredibly unstable. He wants the world to burn and doesn't care who gets hurt along with him. Which is why the crew still show signs of trauma after Stede returns. Because they are traumatised by Ed's behaviour.
I know that Ed is a victim of abuse, and I have seen people bring this up when his abusive behaviour is mentioned. The thing is, it's perfectly possible for a victim to become an abuser themself, because they're a human being and are capable of doing bad things. Yes, survivors don't have to become abusive (see: my mum, who was smacked as a child but never raised a hand to her own children, because she didn't turn out like her parents), but it can happen. And that is what happened with Ed. There is even a direct parallel between Ed's dad throwing a plate against the wall, scaring Ed's mother, and the scene where Ed throws a chair against the wall, making Stede visibly flinched. If you want someone to be annoyed with about this comparison, don't pick the fans who are just noticing something in canon - blame the show for writing Ed doing the same thing his abusive father did.
In conclusion, Izzy fans aren't just making things up. We're pointing out things that canon showed onscreen and how Ed's behaviour toward Izzy is abusive. I wanted to like Ed this season, but the way the show wrote him made it impossible for me to tolerate him, because he treated everyone badly and they were expected to just move on. I understand that Ed is a romantic lead, but perhaps it wasn't a good idea to make your romantic lead act so abusive toward his subordinates and then never show any real consequences of that.
#ofmd#ofmd s2 spoilers#izzy hands#the izcourse#ofmd critical#abuse tw#child abuse mention#discourse#fandom wank#ed teach critical#(although it's more about the show's writing than his character)
253 notes
·
View notes
Text
Went through some of the fics I'd marked to read later this morning and I've gotta say, I'm just...really dissapointed with two persistent things about Ed I read all the time.
I've been noticing a lot, especially lately, that a lot of fics downplay Ed's abilities (usually so they can exaggerate Izzy's). One I read this morning straight-up had a plot point that Ed isn't a good sailor - huh?? I get a little bit of mischaracterization in fics but that's, like, did we even watch the same show level shit. Ed is literally the only character in the show who we actually see putting thought into planning their course, and he's shown to be so expert at it that he can calculate weather changes to the second. Ed is literally a genius, why in the hell did I just read a fic where he describes himself as "not as smart" and no one challenged that?
Why ignore that just so you can give the same ability to Izzy instead? I'm fine with fics that make Izzy into a good sailor on his own terms, of course, but we never really see that in the show from him while we do see it from Ed.
And the other thing, that genuinely shocked me how much I see it when I started paying attention to it, is claiming that Ed "isn't good with words" or "doesn't know as many words" as Stede (and, surprisingly often, Izzy). Ed's vocabulary isn't small; he's got a casual way of speaking that most other characters on the show also share but his vocabulary is in no way limited. We see him show confusion about concepts he's not familiar with (like retirement) and he once mistakes "passive aggression" for "massive aggression" - if mixing up one very similar-sounding word for another is a sign of a limited vocabulary, I think we're all guilty.
I'm just begging some fic writers to think about why they're so deadset on portraying Ed as unintelligent, not good at his job, or as someone with a small vocabulary.
#ofmd#and because apparently a disclaimer is required lol: i like izzy! i think he's a great character and i love seeing what people do with him!#but if you're always putting down ed in order to lift izzy up you might need to think about that
348 notes
·
View notes
Text
Hey OFMD friends! There’s a few little things (and one big thing) I’d like to try to clear up based on a number of discussions I’ve seen in various places.
1. Stede understands sex & sex references. When he responds with “I don’t know what you’re talking about,” or something similar, that’s a posh people thing. They pretend they’ve never heard of sex whenever it’s brought up in public or with strangers. Just weird aristocrat things! But Stede knows. He’d definitely had plenty of (likely not very pleasant) sex with his wife, and he’d very likely had other sexual experiences as well. More importantly, though, he’s a voracious reader! The man likely had a whole stash of filthy, bawdy novels & books of poetry. There was PLENTY of it, even back then!
2. Ed & Stede’s inn is NOT on the same island as the Republic of Pirates. They’d never settle on an island currently occupied by British military. They sailed away from the Republic of Pirates & went to a totally different island.
3. Frenchie is the new Captain because he was already First Mate, so there was no reason for them to take a vote. Yes, the crew chose Olu in 1x9, but that was when they were mutinying against Izzy & there was no official First Mate in place. The crew don’t seem to have any qualms about Frenchie’s abilities (so far anyway!) It will be a lot of fun to explore that dynamic in S3.
4. Zheng’s very likely only going to be with The Revenge until she finds one of her remaining ships that weren’t in the Republic of Lirates harbor when Ricky attacked.
I’m hoping, though, that we, the audience, will get lucky enough to keep Zheng with them for a while before she does find one of her own ships. I definitely want to see some shenanigans with The Crew, Zheng, & Auntie, including at least one raid. Fingers crossed!
The one BIG thing:
There are MANY disabled characters on the show. Wee John has mobility issues & chronic pain. Lucius is an artist & scribe w an amputated finger & also has chronic back pain. Swede has scurvy. Jackie’s right hand is a prosthetic.
It’s extremely important to understand that all disabilities are relevant no matter how visible they are. There has been some very harmful discourse about disability representation surrounding Izzy’s death & it really needs to stop. A HUGE percentage of disabilities are invisible. Those of us (yep, myself included) with invisible disabilities have had to fight tooth & nail for basic recognition & acknowledgement, let alone benefits & proper medical treatment. We’re still fighting & it’s a major uphill battle!
Let’s not give more ammunition to those fighting against us by claiming that Izzy’s disability was the only important one.
Thank you for coming to my TED talk! 💞
224 notes
·
View notes
Text
Izzy Arc Thoughts, the post!
Having now watched the three episodes three times over (some of them more than that shhhhh), I still have a BUNCH of thoughts about the rest of the crew I want to percolate on, but I had some thoughts on Izzy that I finally feel confident in, as to what's going on in with his character since the end of season 1, and especially the arc he has between Impossible Birds and The Innkeeper.
Being upfront: I wasn't sure what kind of arc the show would do with Izzy and we still obviously don't know the full scope of it, as we have five more episodes to go, but it's definitely been intriguing in a way I didn't anticipate. I figured Izzy would continue on with his antagonistic role, and he still might, but it seems like D Jenks is having fun letting Con have a role with more emotional nuance than in season one, and seeing as that role has an impact on everyone else, I wanted to share my thoughts on what I think is going on with him in the episodes that we've seen so far. I also wanted to start my in depth analysis with a character I don't care about nearly as much (being honest!) as I do the rest of the crew, but who also has a huge impact on two characters I do care very much about, Ed and Stede. I'm planning to analyze Ed and Stede in each episode before we get eps 4 and 5!
This is a long post! It features many quotes directly , transcribed by me and taken from the captions by Max. I used a read more because the whole thing is over 6k in length and analyzes the dynamic presented between Izzy and Ed and Izzy and Stede presented in episodes 1-3 of season 2 of Our Flag Means Death. If the read more doesn't work, that is not on me, sorry.
Alright, so recap: when we left Izzy, he had lashed out at Ed for the person he was choosing to become and the manner in which he was expressing himself and his feelings - the blanket fort, the binging sweets, the singing for the crew, the sharing his feelings and asking to be called Edward, the encouraging a talent show, and then, the cleaning up and comfortably wearing a colorful printed robe of nice, soft fabric. (Quotes: "I should have let the English kill you. This, whatever it is that you've become... is a fate worse than death." "(growled) No. This, this is Blackbeard. Not some (breath) namby-pamby in a silk gown, pining for his boyfriend.”) When these insults get the aggressive reaction from Ed that Izzy associates with the version of Ed he prefers, he encourages him with a smile, hand cupping Ed's cheek, and choking out "There he is." Ed shoves his hand away, backing away with a closed off expression, and Izzy's smile dies and he closes the distance between them. He states what he wants from Ed, makes a threat, and walks away without waiting for a response. (Quote: "Blackbeard is my captain. I serve Blackbeard. Not Edward. Edward better watch his fuckin' step.”)
The next time we see Izzy, Ed has donned his leathers, made his face up with dark make up to look more fierce, and is cutting off Izzy's pink toe and feeding it to him. We know from episode 9 that cutting off toes and feeding it to people was a classic Blackbeard move. For Izzy, this is several things: 1) confirmation that Blackbeard is back, the one who would never let a threat stand and does a good maim 2) a punishment for said threat (Quote: "Threaten me again, ever... I'll feed you the rest. Understand?" "Y-Yes, Blackbeard.") 3) a confirmation that he has his boss back, that whatever Stede has done to his boss' brain is over.
We get confirmation of that third point when Izzy speaks with the crew as they're getting rid of Stede's books and possessions - "Blackbeard is himself again," with a broad smile. Later, we see Izzy abandon the crew on a small island, presumably on Ed's direct orders, as he waves goodbye to Bonnet's playthings - them - as they depart. Izzy has a gun as he stands beside Ed, and they're watching as Frenchie finishes the new flag and hoists it.
That's where we left Izzy in Season 1: standing besides Ed as Blackbird returns to being Blackbeard for a brand new era of being Blackbeard, greatest pirate who ever lived, terror of the seas.
And when we return to the show, that's kind of what we get. Edward is being Blackbeard and Blackbeard is the terror of the seas, a Wanted Poster with so many crimes they're covering both sides of the poster (and yeah some of them are very silly, what midwifery was Ed up to, exactly-), and yet, Izzy is not happy when we see him.
What I think the show works to establish in episode 1 is that what Izzy wanted back was the man he saw as the old Blackbeard, who wasn't afflicted by these feelings of love or softness or "weakness", which he views as something that Stede Bonnet inflicted upon Edward. We know that, because it's how he phrased it to Chauncey - that "[Stede] had done something to [his] boss's brain". He seemed to view these feelings as something akin to an infection from Stede, that was corrupting the Blackbeard he knew and respected to something less than. Izzy wanted the old Blackbeard back and he thought that when Ed took his toe and fed it to him, said he'd killed Lucius, all that I recapped, that he'd gotten just that. A return to his preferred normal, where everything makes sense exactly as he thinks it should. Ed back to normal, it's Blackbeard time, getting rid of the dead weight and all that.
Except that's not what he's gotten at all, and I don't think Izzy had fully grasped why prior to episode 1. He has suspicions, of course, but it takes him a while to build to a confrontation about it.
Because see, Ed switched from healthier coping mechanisms like crying, eating sweets, creative outlets, and talking to people about his feelings to much more acceptably pirate means of coping with his feelings - violence in the form of raids and drugs (rhino horn, which thought people joke about it being an aphrodisiac, has a variety of believed medical uses in Vietnamese medicine, treating ailments including hangovers, fever, gout and potentially terminal illnesses, like cancer or stroke). Raids and drug use should be totally acceptable means of managing your feelings as a pirate, except that Ed is going too far with them, pushing the crew to the breaking point and beyond. They're raiding every day, they're not taking breaks, they're not having days off, they're chasing down ships as fast as they can take them down and now they're going to be throwing away loot. Izzy is realizing that actually he has not gotten the Blackbeard he wanted and things are not great. He's also lost at least two more toes.
He and Ed have an early exchange - Izzy looking sickly, skin sallow, what appears to be hair dye or make up trickling from his hairline, Ed prepping and snorting rhino horn like it's cocaine:
Izzy: "The crew are lookin' a tad worse for wear.”
Ed: "Did everyone get cake?"
Izzy: "Yeah, they got cake."
Ed: "Well they're, they're welcome to have some rhino horn. Just ground up a fresh batch." (snorts rhino horn) "Oh fuck! You want some?"
Izzy: "No, not right now, no."
Ed: "Well then, get back to work ya fuckin' lightweight!"
[cut to Izzy among the crew]
Ed voiceover: "Can't do the job, someone else will."
Throughout this scene, Izzy looks increasingly distressed as Ed does drugs - he looks his most distressed during the voice over however, his jaw flexing, his eyes watery.
This is what appears to have shaken him the most - the idea that he's replaceable, that Ed can and would get rid of him in favor of someone else. It's obviously incredibly distressing to Izzy, in a way that I genuinely don't think the loss of his toes was. Izzy clearly values his relationship with Edward - while in season 1 he definitely wanted a promotion and liked the idea of authority, of being captain, the fact that he was swiftly mutinied and nearly murdered seemed to put a kabosh on his ambitions, and reoriented him to staying at Ed's side. We know that Izzy at least believes that loyalty is important - we know that he thinks he's acting from loyalty when he tries to make Ed watch as his boyfriend (in Izzy's words) is murdered.
Izzy values his position with Blackbeard. He serves Blackbeard, respects him, was honored to work for a legend. And while this is supposition, he seems to have considered himself and Edward as having a close, intimate relationship that did not require words or confessions or honest expression of feeling, this kind of bond where words aren't necessary, because they're tough, manly men who don't need to express their feelings.
But.
Then we get this line. Then we get, "can't do the job, someone else will." Seven words, and they shake Izzy to his core, make him finally start questioning his until then unquestioned belief in the ways of the world and his relationship with Edward. It shakes him enough that he actually breaks in front of the crew, in a scene that's incredibly funny, but also leads to them extending him some genuinely unearned compassion, as they question the healthiness of his relationship with Blackbeard - even as Izzy is finally questioning if he has a relationship with Blackbeard.
Following his breakdown, Izzy has the crew bring the treasure above deck, but doesn't go through with making them throw it overboard. Instead, he takes those new doubts and brings them to Ed, pushing for a conversation where he is clearly for the first time in their working relationship expressing his thoughts on said relationship in word form.
Izzy: "The crew are refusing to part with any treasure."
Ed: "Why?"
Izzy: "Because it's fuckin' treasure."
Ed: "Not good enough. (stops toying with knife, slides it in Izzy's direction.) And that's another toe. Take your boot off." (stands from seated position, walks over to Izzy.)
Izzy: (starts by looking down at the ground, then slowly raises gaze to Ed's face as he speaks.) "Who am I to you?"
Ed: “...What?”
Izzy: “We’ve worked together for years. (sniff) You know me better than anyone has ever known me, and I daresay the same is true for me about you.”
(a musical beat plays. Izzy lowers his eyes from Ed’s face, looking in the middle distance.)
Izzy: I have (several second long pause) love for you, Edward.”
Ed: (starting as Izzy is speaking, right after the word love) “Oh, come on.” (walks away from Izzy, circling around him.)
Izzy: I’m worried about you. We all are. The atmosphere on this ship is completely poisoned.” (pause) “But if we could all just maybe (pause, swallow, visibly struggling with words) talk it through.”
(musical beat)
Ed: (slowly looks up) “As a crew?”
Izzy: (face falls subtly, taking on a starker look of upset)
The scene transitions away, but let’s really dig into all of this for a second, because this is crucial. This is Izzy going from matters between us are unspoken but profound to I have doubts and I am verbalizing my thoughts in the hope that they will be assuaged. Izzy is expressing aloud his thoughts on their relationship for the first time, because as Izzy puts it, he thought he knew Edward better than anyone. He thought he understood him better than anyone else alive. Now, we know that Izzy doesn’t understand Edward already - we’ve known that he doesn’t actually see the person Edward all along, but this was made especially clear in episode 6, where his voiceover notes that he is “starting to suspect that Edward has no intention of ending Stede Bonnet’s life”, at a point in time when Ivan and Fang are confident the plan is off and everyone else seems pretty clear there’s a co-captaining effect going on.
The point is that all this time, Izzy has been acting from a place of assuming he knows Edward best of anyone in the world, that he understands him, that he can follow what’s going on with him and that they are intimately bound together, in this deep and unspoken love for each other that doesn’t have to be said allowed, but only has to exist, unacknowledged but deeply felt.
But then Ed said that he could be replaced. Then Ed said that he could find someone else to do Izzy’s job.
And this introduced doubt into Izzy’s mind, for the first time. This is what made Izzy verbalize all these things - what made him ask who he is to Ed, what made him state that he has love for Ed, that he worries for Ed, that he and Ed understand each other better than anyone else… because now he has to say them aloud, because he has to be reassured that these things are true.
That he is someone important to Ed. That Ed has love for Izzy and knows that Izzy has love for Ed. That Ed understands Izzy, that Ed knows that Izzy understands Ed. For years, he has thought that he and Ed understood each other in this profound way, that they alone truly knew the other, and he has to question if that’s true.
He’s being vulnerable, in a way vaguely akin to the vulnerability Ed offered in episode 10, and it clearly doesn’t land. He wants reassurance that this deep and profound love and intimacy he was so sure was there, is real, and Ed can’t give him that reassurance because it’s not true. Not in the way Izzy was so sure it was. Not in the way he ruined Ed’s life to believe.
Izzy finally decides to put himself out there, and all that Ed gets out of it is the echo of Stede Bonnet, and it makes Izzy’s face fall like a rock. There’s the answer he didn’t want: the relationship he believed he had with Ed is not there, and Ed is still, utterly, truly, fixed in his feelings for Stede Bonnet.
(and like just to clarify, I really don’t feel bad for Izzy here - he doesn’t have the relationship he wants with Ed because he’s never tried to really understand Ed, or listen to him, and he isn’t what Ed wants in a partner, but, objectively, Izzy does make himself vulnerable here, and he’s shot down, because Ed just doesn’t return his feelings)
Which leads us into the continuing scene. Ed goes to confront the crew about the atmosphere of the ship being poisoned, which everyone denies at gun point, leading Ed to shoving the gun under his chin and having a little conversation with himself, unsettling everyone around.
Ed: “I know who we should ask, ol’ Blackbeard. Hello mate. You think the vibe on the ship is poisoned? I don’t know, Blackbeard. Maybe a little toxic sometimes. Maybe it’s a bit uncomfortable sometimes. You do make the crew a little bit uncomfortable sometimes. They think you’re crazy. Well, I’m not crazy. I don’t feel crazy. I feel pretty fucking good actually.” (the camera is focusing on the faces of all the crew as he gives this monologue, gun still cocked under his chin.)
Izzy: “Fucking End!” (Screamed at Ed’s back)
Ed: (slowly turns to Izzy.)
Crew: (Fang looking shocked and saddened. Frenchie shakes his head very minutely, looking at Izzy.)
Izzy: “The atmosphere on this ship is (word drawn out) fucked.” (working his jaw, looking down and to the side as he says this.) “Everyone knows why.”
Ed: (nods once, sets his chin, walks forward.) “Well I don’t. Enlighten me.”
Izzy: (smiling with mouth shut, suppressing a laugh. Shrugs.) Your feelings for Stede fuckin’ Bonnet.”
Ed: (Nods as soon as Izzy says Stede’s name. Shoots him in the leg.)
Izzy: (cries out in pain drops, clutching his knee.)
Ed: “Frenchie.”
Frenchie: “Yes?”
Ed: “Congratulations, you are now first mate.”
Frenchie: “Oh, no. I don’t, I don’t think I’m qualified.”
Ed: “‘course you are mate. You can start by cleaning up that mess.” (tilts head towards Izzy. Turns to rest of crew, onlooking.) “And the rest of you, you throw this shit overboard and get suited up.” (claps twice, turns away.) “We’ve got a record to break.”
Izzy: (still groaning in pain.)
So that was a lot.
Izzy has realized, over the course of this episode, that his relationship with Ed is not what he thought it was, is not what he wants it to be, and that Ed is still and probably always will be, in love with Stede fuckin’ Bonnet. This is why Izzy decides to say what he believes to be true - that the atmosphere is fucked because of Ed’s feelings for Stede. It’s important that we know this is not actually true - while Ed being ghosted by Stede did start his spiral, Ed was able to stop that spiral with the help of community and reaching for healthy coping mechanisms. Ed spiraled again after Izzy intervened, insulting, threatening, and demeaning him as discussed in the recap, and the spiral isn’t about his romantic feelings - it’s about, as s2e3 The Innkeeper firmly establishes, his feeling fundamentally unloveable and monstrous. Throughout s2e1, Ed is clearly denying the crew days off and meaningful rest out of pursuit of as many raids as possible. He’s trying not to touch the ground, flying high both via drugs and adrenaline, and his exchange with Frenchie at the end of the impossible makes it clear he doesn’t want to stop.
It’s also very important, that throughout this entire thing, the only crew member Ed actually hurts is Izzy, who doesn’t actually object to losing his toes. Now, I’m on record for being one of the many people who think Izzy is actually glad that the toe scene happens - I don’t think he actually especially wanted to lose his toes, but, he was glad to get back the Blackbeard who would cut off toes, and I do think he felt there was a certain intimacy in being the only one experiencing violence. Izzy is a masochist and has previously expressed delight in being the subject of violence - was very happy to be choked by Ed in s1ep10 - so while this is not safe or sane, I do think it’s consensual, in the sense that Izzy thinks this is part of their mutual love, their unspoken but deep and crucially intimate togetherness that leads them to know each other on the deepest level.
And then Ed says he can be replaced. And then Ed makes it clear that even when Izzy is emotionally vulnerable, Ed’s heart is with Stede. And Izzy realizes, he doesn’t have that place with Edward that he thought he did. He doesn’t have that special relationship. This is not intimacy, for Ed. And Ed shooting him and turning away isn’t even the final nail in that door.
Because, in s2e2, Izzy is still alive. The crew has hidden him in the walls and are trying to preserve his life, even as Izzy screams for them to kill him and calls them cowards for not doing so. The crew is gathering medicine, preparing an amputation, figuring out what to do with Izzy to try and keep him alive, and Izzy wants them to kill him. (Quote: “Kill me you fucking cowards! Kill me -”)
I would say it’s because he’s realized the relationship he devoted his life too and considered sacred, the relationship he considers most valuable… is not that to the man he loves. Ed replaced him and pirate code says the first mate should kill him. The first mate (Frenchie) refuses to kill him. Frenchie is not much for that, and neither is JIm. Both of them, having experienced a better life and place of work when Stede was captain and Ed was their co-captain, are trying to preserve Izzy’s life the best they can. Jim especially clings to the memory of when life meant something on this ship, even Izzy’s life.
Which - this makes sense coming from Jim, and I think it’s why they chose Jim, because Jim wasn’t present for Izzy being captain or the mutiny. Jim has the least complicated relationship with Izzy aside from Fang, who is notably not present in any of the scenes to do with rescuing Izzy, despite having been clearly shocked and appalled that Izzy was shot.
Izzy, is not thrilled to be being kept alive, but the fact that Izzy is kept alive, means that Izzy has to process his feelings - and face Ed again, who, having shot Izzy, mourned and sobbed, has woken up, cleaned himself up, cleaned his space out, and decided to seek death.
From Izzy.
This, I think, is the second most crucial moment in Izzy’s arc and transition, because Izzy thought he was someone of incredible importance to Ed, and he also thought that he knew and understood Ed better than anyone, and that Ed crucially, understood him just as well. He thought that even without any emotional honesty or vulnerability, they knew each other more than anyone else possibly could.
He thinks that Ed knows him.
And Ed comes to him, and they have the following exchange:
Ed: “Morning.”
Izzy: “My leg?” (looking down his body.)
Ed: (laughing) “Yeah. Oh, no, that’s gone now. Up in Leg Heaven.” (sets the smelling salts down, turns to look down at Izzy.)
Izzy: (looks up at Ed.) “Have you come to take the other one?”
Ed: “I think one’s quite enough. I just popped down to say a proper goodbye.” (reaches behind him, draws gun.
Izzy: (watches the gun, looks down from Ed’s face to gun and back as Ed cocks and loads it.)
Ed: (looking at the gun, not Izzy.) “Had a dream about you last night.” (flips gun to offer the handle to Izzy.) “Take it.”
Izzy: “Oh, fuck off. Fuck off. Fuck off.” (slaps at Ed’s hand, looking away from Ed.)
Ed: “Hold it! Hold it.” (they are speaking over each other. Gets the gun in Izzy’s hand, directs it at Ed’s head. Looking at Izzy.) “I dreamt that ya killed me. Shot me right through the skull.” (moving the gun and Izzy’s hand, drawing it to his forehead, leaning closer. The camera moves between Ed’s face and Izzy’s.)
Izzy: (smiles slowly then sneers.) “Good for you.”
Ed: (blinks and nods slowly.) “It was good for me. It’s just what the doctor ordered.” (The camera moves from Ed’s face to Izzy’s showing him with that frown as Ed stands over him, leaving the gun in Izzy’s hand.) “Anyway, it wasn’t even like that.” (walks away from Izzy.)
Izzy: (eyes tracking Ed as he walks away.)
Ed: “Not in my dream.” (moves to stand at the foot of Izzy’s bed, back to Izzy.) “I was standing.” (inhales). “Just like this.” (Closes eyes. Spreads arms.)
Izzy: (from his view, Ed is standing against the light, back open, arms spread. He blinks and raises the gun audibly.)
Ed: (Swallows, holding his arms out.)
Izzy: (smiles, sniffs audibly, dropping the smile as he clenches his teeth. Laughs harshly, mockingly, gun raised.) “Ohhhhh, ah, you scared, Eddie? Too scared - too scared to do it yourself? Ay.” (laughs) “Go on, clean up your own fucking mess. I’m not doin’ it. I’ve been doin’ it all my fucking life.”
Ed: (looks down, disappointed. blinks.)
Izzy: Fuck off.
Ed: (nods, swallows.) “Farewell, old chum.” (whispered. He walks up the stairs and away from Izzy.)
Izzy: (watches, shaking, nodding slowly himself, breath hitching.)
Ed: (reaches the top of the stairs. A gunshot sounds. A creak. Ed lowers his eyes, looking down at something off camera. Nods. Exhales.) “I loved you” (a pause) “best I could.”
The scene transitions from there, and the next we see of Ed, he is initiating plan two of suicide attempts: steering the ship into a storm and goading the ship to kill him or die with him.
But Ed’s deal is so many more posts from here. No, we’re focused on Izzy for the moment, so what did this whole exchange mean for him?
First, the thought that Ed had come to do more damage. That Ed was there for Izzy, that this was about Izzy. But it’s not. Ed has had enough of that. He notably does not apologize. Izzy notably does not seem to expect one. There is history here, and the last time they were in positions like this, the camera angle was flipped - Ed at Izzy’s right, a hand covering Izzy’s mouth, making him eat his toe and the idea that things could go as they had been, that the Blackbeard Izzy had schemed and tried to have a man killed over was back. This time, Ed is at Izzy’s left, with a gun, and he doesn’t touch Izzy except to hand over the gun.
This is where it’s so important that Izzy believed he and Ed knew each other best of all. Because in episode one, Izzy was getting worried for Ed, but it’s in episode 2, in this moment, as Ed hands him a gun, that he realizes Ed wants to die. And it’s in this moment that he realizes that Ed fully believes Izzy could. That Ed has taken these actions believing that they would lead Izzy to kill him. That Ed wants to commit suicide via Izzy, that he thinks killing Ed is something that Izzy wants, could want, could do.
This is Izzy, realizing that he and Ed don’t understand each other nearly as well as he thought. This is Izzy, realizing that Ed looks at him and sees a man who could and would kill him, when Izzy thinks that he couldn’t ever do that. This is Izzy, having the true final death knell on that relationship he believed they had, the intimacy he believed they had, the lack of a need for words. He thought all this time that he knew Ed best and that Ed knew him, and he doesn’t want to kill Ed - and he’s also hurt and angry and upset to know Ed genuinely thought he would. That Ed would come to him for this, because Izzy doesn’t think he could kill Ed, but Ed thinks he could.
In his mind, Ed should know that Izzy could never kill him, should trust him, should know without having to be told that it would never happen, but here’s Ed in the flesh, asking him to kill him.
It’s over, everything he thought was there.
And Ed? Ed did care about Izzy, in his own way, but every overture he made was denied, shot down, Izzy not interested in the bird guy, the ship, the clouds and how they contribute to a plan, the drugs, and like, Izzy is allowed to not be interested in any of those things - but these are the things Ed was interested in. These are the ways Ed tried to connect most recently, and Izzy shot them all down. To Izzy, there was a deep and intimate connection in spite of all of that. To Ed, every way he could connect with Izzy was shot down. He loved him the best he could, which wasn’t a way that could provide either of them what they wanted. Izzy had love for Ed, but that love could not be fruitful or nurturing to either of them, because it was unspoken and therefore ripe for misunderstanding.
Izzy stews down there in the ship, in his own thoughts, while Ed steers the ship into a storm and makes his last effort to die, to have it all end - to push the crew to killing him, or dying with him. And then he ties his leg up, makes his way above deck, shoots Ed in the arm to keep him from killing them all, and tries to kill himself instead, staring at Ed as he tries to shoot himself with the gun Ed wanted Izzy to kill him with. Despite the gun being aimed for the temple, he fails and falls back, leaving himself staring up as it rains on him, hiding any tears. Fang brings Ed down, and the crew gather together, Fang supporting Izzy’s weight, as Jim lifts a cannonball with a scream and prepares to bring it down on Ed’s head. Izzy watches without interfering.
EDIT: ADDED THIS SECTION:
A quick addendum: even though I watched episode 2 so many times, I didn't realize that Izzy tried to kill himself after Ed left the room! The gunshot that Ed hears is in fact Izzy trying and failing to shoot himself right then and there, in that moment that Ed departs. Izzy's forehead was so wet and the background of him falling back and water splashing was such that I truly thought that took place in the rain, and that he tried to shoot himself after shooting Ed. Thanks to @glamaphonic for letting me know.
This does leave me even more certain that Izzy is motivated to do this because he has finally understood both that Edward wants to die, and that he and Edward never understood each other as well as he thought, which brings the last years of his life into question. He tried to kill himself, failed, and came up to stop Ed from bringing down the ship. It's not just that Izzy stews down there - as Ed departs, leaving Izzy behind, Izzy takes the shot. He tries and fails to kill himself, and wakes and climbs the steps to take the shot at Ed he couldn't before.
The next time we see Izzy is s1e3, The Innkeeper, when Stede crosses over to the Revenge and finds the crew amidst the wreckage. He’s eating a raw bird with the rest of the crew, and then is brought aboard the Red Flag. As Stede asks the crew about Ed’s location, Izzy watches him. He’s the only one not eating soup, hands tucked over his chest.
As Stede starts asking questions - dangerous questions for Izzy and the former crew of the Revenge - he walks over with a crutch.
Izzy: “Bonnet. Good to see you.”
Stede: “Piss off, Izzy. I don’t wanna hear from you.”
Stede talks to the rest of the crew, as Izzy grimaces. Stede pays him no attention. The next time Izzy speaks up:
Stede: “What about my painting? Why is it all stabbed up?”
Izzy: (looking up through his hair, smiling.) “That was me.”
Stede: (sighs and walks away without response.)
Izzy: (blinks slowly, looking dismayed. We see him start to turn his head in Stede’s direction.)
Well, that seemed like someone trying to pick a fight, and disappointed he didn’t get one, too me. In Izzy’s mind, Stede is his romantic rival, the man Ed loves where he didn’t love Izzy, and, currently, also a threat, because if he keeps asking questions and reveals the mutiny, they’ll all be killed.
But Stede is one more thing. Stede is another dagger in Izzy’s heart, as we continue transcribing:
Izzy: “Don’t cry Bonnet. We just redecorated.” (has clearly been following Stede.)
Stede: “I don’t mind, actually. I think the knives really help bring the place together.” (calmly stated before he walks away to look at the rest of the furniture.)
Izzy: (drops his head, looking away as though trying to gather words.)
Stede: (turns to look at Izzy.) “What’d you do with him? I know he wouldn’t have left by choice.”
Izzy: (sniffles) I know you think you understand him.
Stede: (interrupting) “He was either gonna watch the world burn or die trying, so which was it?” (leaning forward despite the considerable distance, still calm.)
Izzy: (swallows, dips head. Starts moving forward, gritting teeth through words.) “Alright Bonnet. Have it your own way.” (stalking forward to Stede on his crutch.) “He went mad. He tortured the crew. He took my fuckin’ leg ‘cause I dared to mention your fuckin’ name.” (emphasis on the curses, slams fist when he says your name.)
Stede: (in drawn breath, turns away)
Izzy: “He was a wild dog, and we dealt with him like one.”
Stede: “You sent him to Doggy Heaven.”
Izzy: (stares in silence, head shaking. Flashes back to Ed laying in the rain, breathing out “Finally,” and laughing as Jim brings a cannonball down on him as Izzy watches. Stares. Turns to look away from Stede, face twisting. Shakes his head. Shuts his eyes. Breathes the word:) “No.”
Stede: (turns to look back at him.)
Izzy: “I could never do that.” (looks away, still not looking Stede in the face). “We deserved him on a beach (sniffles) left nature to do the rest. More than he would have done for us.”
Stede: (turns away, breathing out.)
Izzy: (continuing) “You and me did this to him. And we cannot let this crew suffer anymore for our mistakes.”
Stede: (turns to look at Izzy) “Why would they suffer?”
Izzy: “If your captain senses mutiny, she’ll kill us all. That’s pirate code.”
Stede: (camera lingers on his face as he swallows.)
Doggy Heaven has a heavy meaning in this series, considering that Ed was supposed to send Stede to Doggy Heaven, and couldn’t because of his love for Stede. Ed couldn’t bring himself to kill Stede, but here is Stede, who Izzy views as a romantic rival, guessing that Izzy could kill Ed. Acknowledging that he, like Ed, believes that Izzy could kill Ed. Izzy, who thinks he couldn’t and wouldn’t and has love for Ed, and sees himself as loyal.
But Izzy did stand back as Ed was killed, and that’s why he reaches for dehumanizing language to defend the action - he calls Ed a wild dog and that they dealt with him like one.
(It’s the first time in the show that a white character makes a racist remark without immediate consequences. Before anyway says otherwise, yes it is always racist for white people to dehumanize a man of color. It is always racist to say a person of color is or was an animal or liken them to being an animal. He could have said that Ed was a danger to the crew in any number of ways but he reached for likening him to a creature less than human and yeah that’s a racist thing to do. I believe the show did not follow through with consequences for this action because it’s clear that Izzy is STILL trying to pick a fight with Stede.)
The commonality in all of these scenes with Stede are twofold. One, Izzy is trying to distract Stede from the truth of the mutiny and what the crew did (and the fact that Ed is still aboard the Revenge, left for dead [or as Izzy put it, for nature to do the rest]). The second is that Izzy is trying and failing to pick a fight - failing, because Stede won’t take him up on it. At all. Stede is not engaging with Izzy at this point outside of the practical matter of seeking information, and that’s all he has to spare for Izzy - he’s already told him to piss off once, and that’s as much energy as he spends on it, but Izzy comes at Stede antagonistically more than once - three times, actually, and I think it’s because if he has a fight with Stede, and Stede says all the things he’s thinking, about how awful Izzy is, how he’s a traitor, how could he have hurt Ed, any of those things, then Izzy can fight about it, and he can justify it to himself, and he can ignore the thought from now on, because it’s the same thought that Stede fuckin’ Bonnet is having, and those thoughts are worthless.
But Stede doesn’t give him that. Stede doesn’t give him a fight at all. Stede walks away from Izzy again and again and again and in doing so does not grant Izzy an out, an out that can ONLY come from Stede, because no one else is going to disagree with the mutiny.
Stede is the only one who could give him that fight, and Stede refuses. And Izzy continues to have to sit with his own thoughts and justifications and they clearly aren’t enough for him, because he’s continuing to push.
Izzy is also trying to protect himself and the crew, here. It’s very much about that. He is trying to keep himself and them from dying by being caught out for mutiny, but I think it’s interesting that it’s only here that he tries to take accountability for what he said and did to Ed, and it’s in service of avoiding what he’s actually done. Izzy says that he and Stede did this to Ed - this that resulted in, as he says, Ed going mad and torturing the crew and having to be mutinied and abandoned on the beach. Izzy needs Stede to feel equally responsible - so that Stede will help protect the crew, but also because I think Izzy is feeling guilty and has been, because he could watch Ed die, and he could hurt Ed, and he didn’t think of himself as that person, but he is and was, and thinking that he caused all of this himself is too much. Better to give some of it to Stede, and help the crew out as well as himself.
He had love for Ed, in his own way, and he thought they understood each other and had a partnership, but here’s Stede fuckin’ Bonnet, who only knew Ed for a matter of weeks, and understood him better than Izzy did and wouldn’t do the thing that Izzy did, and this is the final nail for Izzy, the thing he’s struggling with in this whole revelation that Ed didn’t have any romantic love for him, that there was no special intimate romance between them that didn’t need to be said or expressed or acknowledged with words or vulnerability to exist, because Stede takes one look at the situation and can summarize what happened. Stede knew that Ed would want to die, because you can’t actually burn the world down. You can say “burn the world or die trying”, but the only end result is dying trying.
And Izzy, I genuinely don’t think, understood that Ed wanted to die. Not until Ed offered him the gun. Not until Ed spelled it out. Izzy knew that Ed was fucked up over his feelings, but I don’t think he understood where they were leading.
But here’s Stede, and he did, and Izzy can’t take that, which is why once the truth is out and the mutineers are locked in the brig awaiting probable execution, Izzy tries to pick a fight one more time, even now that there’s nothing to distract Stede from.
Izzy: (hears footsteps and turns his head.)
Stede: (comes to the brig, staring through the bars at Izzy, then the rest of the crew.)
Izzy: (smiles) “Go on Bonnet, give me your worst.”
Crew: (looks up at Stede slowly.)
Stede: (Looks at all of them, silent and not visibly angry, somber. Tilts his head down, eyes closed. Opens his eyes, shoves against the bars and turns and walks away without a word.)
Izzy: (Drops the smile. Stares forward into the distance, eyes visibly wet with tears, blinks several times).
So, clearly trying for a fight, wanting one, and continually being denied. Izzy is almost certainly grieving Ed, the relationship he thought they had, and also his leg, and Stede is the only other person here who would even possibly mourn Ed too, and Stede refuses to give him any response. Even when goaded, even knowing the truth, he has nothing to say to him. The next time Stede and Izzy are in the same room, Stede has concocted an escape plan, and doesn’t look at or speak to Izzy at all as he gives instructions and organizes the escape.
And when they have made it back to their ship, when they’re getting the wheel and rigging set for escape, they have a final conversation:
Izzy: (walks up behind Stede, who is watching the Red Flag.) “I just wanted to thank you for-”
Stede: (walks away without letting him finish.)
Izzy: (looks down, is left standing alone as live moves on the ship.)
Over the course of these three episodes, Izzy’s plot is realizing that he was fundamentally wrong about his relationship with Ed, his understanding of Ed as a person, and the depths of Ed’s feelings and despair. I think he’s also realizing that he was wrong about his relationship with Stede - he saw Stede as a romantic rival, and someone who hated him as much as he hates Stede, but given the opportunity to antagonize Izzy again and again, Stede refuses, because he doesn’t care about Izzy nearly enough.
Izzy has misunderstood the nature of his relationship as it were with both of these men, who are, and always were, predominantly, chiefly, and only, interested in each other.
367 notes
·
View notes
Text
Giving Them the Moment: How Our Flag Means Death and it's Portrayal of Black Men is the Most Important Thing on Television Right Now
Note: written April 20, 2022
Media is an incredibly distinct way of communicating. It has a wide reach, and each person has their own interpretation of what they see. That’s the beauty of the medium as a whole. However, there are often downsides, especially when it pertains to the West. In the US in particular, there is a trend within popular media to lean towards propagandization. Whether it’s the idea that communism and socialism are products of the ‘Evil East’ or the lingering effects of the Motion Picture Production Code - also known as the Hays Code, the media monopolies have a firm grasp on what we as a society watch and enjoy.
When you begin to play close attention to how the media portrays Black men, this becomes abundantly clear.
It is a rare thing when we see Black men whose characters aren’t portrayed as being the object nor the perpetrators of violence. In fact, only one mainstream popular show comes to mind: The Fresh Prince of Bel Air. But even then, the given circumstances of Fresh Prince revolve around Will’s escape from the violence of the ‘urban’ inner city. This vilification of Black men dates back to the 1910s with D. W. Griffith’s Birth of a Nation, and continued into the 1930s, where Black people were often personified as the monsters, representing the ‘exciticism’ of the world beyond the West. It is the ‘exoticism’ that has played a huge part in the dehumanization of Black men as a whole. But as a Black Queer person watching Our Flag Means Death, it is breaking that mold in an incredibly important way.
The Black men in the show are allowed to have fun.
This show is breaking barriers left and right. Of the major recurring cast of 15, over half of them are people of color. It’s overt and unflinching portrayal of Queerness when so many of its older viewers - myself included - have lived through the Bury Your Gays and Dead Lesbians tropes time and time again is overwhelmingly refreshing. Nearly all characters are Queer until proven straight and represent all parts under the umbrella, including Leslie Jones’ polyamorous pirate queen and Vico Ortiz - a non-binary actor - playing a non-binary character.
But in a world where the narratives of Black men are so often framed around violence and brutality, the Black crewmates of the Queen Anne’s Revenge - Frenchie, Oluwande, and Roach - are allowed to be funny and vulnerable. Each one of them is starkly different from the other with identifiable characteristics that allow the audience to humanize them. The trio quickly became my favorites among the crew, with Roach being the stand-out amongst them. Samba Schutte’s often deadpan delivery never fails to draw a laugh from me, in particular the assertion that “meat is meat”. Frenchie, played by Joel Fry, is the quickest on the draw where his intellect is concerned, being posited in the show’s fifth episode as having had a hand in inventing the pyramid scheme while spouting the wildest of conspiracy theories and being afraid of cats (they’re witches, they steal your breath, and have knives in their feet, you know). The softness and constant vulnerability of Samson Kayo’s Oluwande may be one of the most important aspects of the show, as it establishes him as a reliable and trustworthy confidante to not just Jim, but to Rhys Darby’s Stede Bonnet as well.
They exist in their own separate spheres on the ship, going about their own separate business completely unbothered. While it is implied they lead violent lives as pirates, this violence isn’t used to define them as characters. In fact, Oluwande stated that both he and Jim engaged in piracy because they “had no choice”. The brief mention we get of Frenchie’s backstory implies that he lives a life of servitude, though whether that was as an enslaved person or a freed Black domestic worker is not mentioned. While there is little known about Roach so far, it is implied that his culinary skills are far beyond the levels of what is needed aboard a pirate ship.
The friendships and relationships they form within the crew aren’t built on violence either, but on open and honest communication. Most notably, the friendship of Frenchie and Wee John Feeny, played by Kristian Nairn. Fry and Nairn are an impeccable comic duo when their characters become ‘room people’, and the scene where they begin to design their new space is a personal highlight of the episode. Oluwande and Jim’s romance - played to perfection by Kayo and Ortiz - is one that revolves around both characters being almost devastatingly open with each other. Both actors play the emotional vulnerability of the characters well, and it is important to emphasize that it is Kayo’s Oluwande that moves to meet Jim where they are.
While the show allows all its men to show varying levels of emotional vulnerability - an exception being offered to the emotionally constipated Izzy Hands, played by Con O’Neill - there is something so special about seeing that luxury afforded to Black men. This show has, in just ten episodes, has become a game changer for the television industry. It has proved that a show with explicitly Queer characters can become a massive sleeper hit, and that sometimes the best kind of historical show is one that is historical fiction. But it has also proved that you can create a narrative with Black men that doesn’t include their stories being framed in violence or brutality, that they can be funny, charming, witty, vulnerable, intelligent, complex characters with their own narratives that serve a purpose outside of a device of exoticism. It is this rare thing that makes these characters, and indeed the show as a whole, so important to its viewers.
We deserve more vulnerability, more humor, and more humanizing content from these three men, and this show is one that is truly deserving of a glorious second season.
Sources:
Donaldson, Leigh. “When the media misrepresents Black men, the effects are felt in the real world.”
https://www.theguardian.com/commentisfree/2015/aug/12/media-misrepresents-black-men-effects-felt-real-world.
Kumah-Abiwu, Felix. “Media Gatekeeping and Portrayal of Black Men in America.”
Opportunity Agenda. “Media Portrayals and Black Male Outcomes.”
https://www.opportunityagenda.org/explore/resources-publications/media-representation-impact-black-men/media-portrayals.
Our Flag Means Death, (2022-). HBO Max.
#not horror but its relevant#our flag means death#ofmd#ofmd s2#roach#frenchie#oluwande boodhari#david jenkins#black men in media#let black men be silly in things!!!!!!#our flag means death season 2
378 notes
·
View notes
Text
Let's talk about "doggy heaven" and "he was either gonna watch the world burn or die trying."
This is the moment that Izzy realizes that he doesn't know Ed the best. That Ed and Stede talked about everything, that Ed trusted Stede beyond Izzy's imagination. He always felt like he knew Ed the best. He fell in love with Blackbeard, with the persona of Blackbeard, with being first mate to Blackbeard. He was above the crew and always by Ed's side no matter what. Even when he calls Ed crazy and when he turns toxic. He fed Blackbeard.
But Izzy realized that Ed as the Kraken was too much. That his love for Ed was not returned the way he wanted, that the man he loved was no longer there. And the crew come to him, comfort him. And Izzy switches sides, he is now on the side of the crew. (And possibly first mate to Stede in the future.)
This moment when Izzy and Stede talk for the first time one-on-one is when the illusion drops again. And Con conveys it so well. The realization, the heartbreak, the bafflement.
Izzy tried to explain to Stede how far gone Ed was, but Stede replies with wisdom. "He was either gonna watch the world burn or die trying." And Izzy stops trying to explain, switches tones and tactics. He realizes that Stede (to a certain extent) does understand.
Then when Izzy finally tells him the partial truth of what happened, he doesn't get yelled at; instead Stede responds with "you sent him to doggy heaven."
To Stede, this is an innocent statement. It's him using what he thinks is a pirate term, but to Izzy. To Izzy, it's the fucking world crashing. And Con's performance is beautiful.
Because this can mean two things. One, Izzy realizing and semi dealing with what happened. That they supposedly put Ed down. But he knows he can't do that, says it aloud. Two, that Stede understands what and why it happened.
But it also is the moment Izzy realizes that Stede actually knows Ed. That Ed talked to Stede, trusted him, even more than he trusted Izzy. Stede knows the term, so he knows the plan to kill him.
There is the underlying story of the truth of the kraken, that Izzy doesn't know, but the audience does and makes that connection.
Izzy has to reassess everything that he's thought, that happened not only over the past months but years, decades.
And then in the jail cell, he still provokes Stede. Probably from his own guilt and this realization of how well Stede knew Ed & how he (Izzy) ultimately didn't know as much. Wasn't allowed to those recesses of Ed's mind and feelings.
But instead of anger, or Stede talking a lot, he gets silence, and a look of heartbreak. Izzy can't hold back tears.
Then Stede comes back, with a plan to save the crew. Unlike Ed, Stede is holding it together, he is putting the crew first. A thing that Izzy just learned to do in many ways. And Stede's plan works, the crew escapes, and that includes Izzy.
He sees the real Stede now, not the threat to his way of life, to the person he loves, but the Stede that Ed and the crew have defended, saved, trust. Stede changed all of them into better people. People that talked to Izzy, hugged him, comforted him, didn't kill him but kept him hidden and alive.
And Izzy tries to thank Stede (at the worst time of course) but season one Izzy would have never done that.
Izzy is part of the crew now with Stede as the captain.
He had to learn so much in such a short conversation.
Izzy couldn't save Ed, not alone, Izzy's love was based on a facade, and that fed toxicity.
But Stede will save Ed. Can save Ed. Because Stede was privy to the real Ed coming out from the Blackbeard facade. To sides of him Izzy could never see.
#ofmd#our flag means death#ofmd spoilers#ofmd s2#ofmd season 2#our flag means death s2 spoilers#stede bonnet#ofmd stede#ofmd edward teach#izzy hands#gentlebeard#ofmd season two meta analysis#ofmd meta#izzy hands meta
225 notes
·
View notes
Text
I have been trying to write this on and off for a while. I figure the second anniversary of the show is as fine an occasion as any to shove it out into the world. It is not everything I want to say about it, but I think the important bits are there.
It is a human impulse to be seen. To be told, through art, you are not alone. It is universal, but of special importance to people who are not well-represented in media (i.e. everybody who isn’t cis, white, able-bodied, skinny, and conventionally attractive).
This show speaks to me as a queer person who figured things out later than most of my peers. (Not quite as late as Ed and Stede but not terribly far off either.) It’s not super common to see queer media address this, and I didn’t realize how much I needed that reassurance until I got it. That it’s okay to find these things any time in your life. To be told “A queer is never late, they’re always fashionably on-time.”
They’re not my first canon queer ship. But they are the first ones where I knew it was true from the get-go. Multiple people assured me this was the case. And yet, I still didn’t believe it until I saw it with my own two eyes. This experience is not unusual for fans around my age.
After I finished up season one, I laid in bed and cried. It’s not something I thought would affect me so much, but it feels like a weight I’d carried so long I didn’t realize it wasn’t supposed to be part of me is gone.
One of the reasons people unfamiliar with the fandom seem to think it’s absolutely crazy (which some of it is, to be fair, but every fandom has that) is the way fans of the show get extremely super intense about it. It took me a few weeks to realize this is a trauma response. I’m not even sure “trauma” is the right word. It doesn’t interfere with my day to day function, but it lasted for years. Decades. So it was definitely something that fucked me up. And in the way you can only start to see something as you’re moving past it, I’ve spent a lot of time trying to get my head around this. (I don’t know if I have anything to say about it yet. Maybe I need more time to sit with it.)
I know this sounds contrary, but I’m really glad David Jenkins does not come from fandom. Sometimes it’s good to know where a line is, and others it’s better to not know there’s a line at all. And this is, sad to say, remarkable to somebody who has had to deal with this for so long. With so many writers and showrunners aware of the line, and getting right up next to it, but never crossing it.
Imagine doing a show with a queer romance and not understanding why this was received with such emotion and fervor, because it’s just two people in love right? What blissful ignorance that this needed to be explained to him! And then he listened to people’s experiences with queerbaiting, and went “Oh my god you thought I was going to do WHAT?” And then you go “Huh. That is really fucked up.”
The problem with being told something enough, even though you know it’s wrong, is you start to believe it regardless. All the excuses and hedging. It’s so very difficult to do they tell us, when we hear from queer creators how they had fight tooth and nail to make it as gay as it already was.
And then comes Jenks, just yeeting it out there: majority queer and (not and/or. and) POC cast, an openly non-binary person playing an openly non-binary character. The ability to not have to make one queer (and/or) POC character speak for everybody, so you can inject a tiny bit of nuance into the conversation. The way you can tell more kinds of stories, like the one where the smol angry internalized homophobe comes into his own with the support of a queer community, even though he was a giant fucking asshole to them before.
So many people were like “You can just DO that? It’s really that easy?” And wasn’t that a fucking Situation, to have that curtain pulled aside. What next? Majority POC casts with stories about POC written by POC? Absolute madness. (Please please watch The Brothers Sun on Netflix. It’s so fucking good.)
And people will scoff and say “Of course a cishet(?) white man would be able to get this pushed through.” But do they usually? The thing I don’t think people understand about allies is they use their privilege to wedge the door open. You still have to do the work to get through, but at least you have a place to start. And it really fucking matters.
The press keeps trying to tell me The Completely Made-Up Adventures of Dick Turpin is the OFMD substitute we need while we float in the gravy basket. I’m sure it’s a perfectly fine show, but I don’t know who has watched OFMD and decided the itch we needed scratched was anachronistic historical comedy.
I want stories written by people that reflect their lived experiences, with actors and crew committed to bringing that to life. And I would like streamers and studios to commit to giving them a chance, and marketing them properly so people know they exist.
You can keep people satisficed with scraps for only so long. At some point, somebody is going to give them a whole seven course dinner and people will wonder why they’ve been putting up with starving this entire time.
130 notes
·
View notes
Text
This scene is so good in so many ways, but I want to talk about how it's the first time, in Season 2, that we see Ed desiring Stede and expressing that desire to him.
Through the first few episodes, we see a lot of how Stede wants Ed—we know he's having sex dreams that keep the crew awake—but most of what we see from Ed’s perspective are romantic fantasies about marriage and commitment, and despair at having lost the man he loves.
This makes sense to their characterizations—Ed is spiraling. He believes Stede has left him, perhaps never loved him. There are other things going on with the shame he's been made to feel about his own more tender emotions, his "unlovability," and how he's unable to express his grief openly to others. We also know that Ed is the more sexually experienced of the two, but that his sexuality has always been filtered through violence and pain. Ed's relationship to sex, like Stede's, is complicated by the culture that surrounds him and by the desires that he's been told are shameful.
Stede has only just fully awakened to his sexuality. He's realized that he's in love with Ed and that Ed is in love with him. His fantasies are about conquering the foe and getting Ed back; he's very much trying to put himself into the romantic hero role. He's scared that Ed won't want him anymore, but he seems very confident in his desires now.
We see the beginnings of Ed's own desires being expressed in the "captain's voice" moment, when he's obviously aroused by Stede taking a dominant stance. It's a shift from the "teenagers in love" fantasies and games of Season 1 and how they relate in "Fun and Games," with Ed beginning to both acknowledge and show that he desires Stede sexually and is safe to do so. Stede's oblivious at this point, but he's not by the time we get to the second moonlight scene.
After telling his fish story, Ed pauses to look Stede up and down: "I like that shirt."
Stede is actually a bit embarrassed, just as Ed is when Stede later takes his hand. He doesn't know how to react. When has Stede ever been told that he’s attractive? That someone else wants him physically? He's had other men tell him he’s weak and soft, and Mary was never attracted to him. But Ed is saying that openly—that he likes the way Stede looks. He finds him attractive.
Ed ties this to who Stede is as a person—he wants to hear more of the cursed suit story, and he's disappointed when Stede doesn't continue. Again, as with his physical attractions, Stede has often been mocked (including by Ed) for talking too much and telling boring stories. In effect, this is both an apology and a compliment: Ed wants to hear him talk.
Finally, Ed brings this back to the moment that had deep meaning for them both. He looks at Stede's body again and repeats the "you wear fine things well line." The exchanges that come before that give it further resonance—not just that it meant something to Ed, but that he knows what it meant to Stede, then and now. Stede gave him something then that made him feel cared for and desired, and Ed is doing the same for him.
Their relationship is not at all shallow or only based in physical attraction, but by the physical attraction is there. It’s real. There’s a carnality for them both that is very present, and it’s a part of their love for each other.
The way Ed talks about Stede is more subtle than the way Stede talks about Ed. Ed doesn’t write love letters, but he does look Stede up and down and go “you’re beautiful. You’re interesting. I love hearing you talk. I love looking at you.”
This acts as both reassurance and a movement forward in their relationship as it matures and becomes more real. Ed might not be ready to make out or have sex yet, but there's a pretty clear emphasis on yet. He tells Stede that sometimes it's better to be patient and wait—he's not rejecting Stede at all, but asking for them to move slower.
Stede's relationship to sex and desire has always been distanced, but now it's being brought to bear on the reality of his relationship with Ed. Ed's knowledge of sex has been confined to games connected to violence and pain. Both of them are now finding their way towards each other with the understanding that their relationship is indeed romantic, it is passionate, it is sexual, and it's not connected either to shame or to violence.
They want each other.
#ofmd#our flag means death#ed teach#edward teach#stede bonnet#gentlebeard#gif#ofmd meta#long post#also just any excuse to use that last gif#ofmd season 2#you wear fine things well
222 notes
·
View notes
Last Seen Blogs
nineportal-blog
open the portal
dusk-rainfall
Dusk Rainfall
luos-ytpme
LUOS YTPME
lacozanostrastuff
NFTW
that-rodeo-drive-style
Untitled