“Not moving on is worse.”

In the context of season two, I struggle to reconcile the intersection of sincerity and comedy, and the idea of what pains and traumas we are meant to understand at the deeper level of what trauma is with those that serve only the purpose of comedic timing. This isn’t limited to one character, but rather to the season as a whole.

Season one highlighted childhood trauma and the ability to move on from that, becoming the best adult version of oneself possible. We see this evident in Ed, Stede, and Jim specifically as we are allowed to explore their pasts and their traumas — and we can presume that no one on the crew of the Revenge is without trauma (Fang’s dog, anyone?) of some kind that they carry with them. Stede handles his traumas and how to process them through running away and avoiding the issue until he no longer can. Ed does something similar, though he is able to craft a facade to use as a shield and a weapon, even if he never delivers a killing blow himself. Jim dedicates their life to revenge.

We witness all of these characters allow the defining characteristic of love to be allowing themselves to be saved and valued for who they are — not for what they can offer.

When season two opens, we as an audience see Ed at, arguably, his worst (I say arguably because we didn’t see Blackbeard in his prime, so… do with that what you will, I suppose). We see how this affects beloved and treasured characters, as well as new characters that we have yet to fall in love with. We see Fang fall apart not once but twice within the first two episodes alone. In episode two, we see Ed — a much beloved and adored character who we know intimately — lash out when confronted for his behavior. He lashes out at his crew and physically mutilates his closest confidant for daring to question him. “But that’s piracy!” And you’re right! But don’t we watch the first episode of season one highlight how much Stede Bonnet wants to change piracy? Isn’t this show supposed to be about found family, and getting better, and finding healing? In which case, we’re watching Ed behave abusively in the wake of his mental struggles as he once again attempts to hide behind the same facade that has protected him in the past. Ed suffers this breakdown in response to not one but two perceived rejections from the two people he would claim to be the most important in his life, and in a classic mental illness fashion, he barricades himself off and settles into the persona that is everything he doesn’t want to be.

His crew fears him. They’ve been kidnapped and essentially held hostage under the man they believe to have murdered their crew — their friends — and are watching him continue to devolve. Enter Izzy Hands and Jim Jimenez. Izzy is well aware of his hand in Ed’s state. “Well, he instigated it!” He did. He wanted back a version of Blackbeard who he saw as safe territory: a necessary evil for the continued survival and safety of the crew, ship, and Ed and Izzy themselves. And then he watched Edward “Only Ever Killed One Person Personally” Teach fulfill the legend he’s always been known as, and watched him become someone who couldn’t care less about life or death or anything in between. Ed surpassed and buried the version of Blackbeard that Izzy wanted to return, and he was force-fed the consequences of this with an unavoidable cruelty. “Well, he deserved what he got! Violence was always on the table, because it’s piracy!” But once again, we’re operating under the assumption that the big themes of this show are healing from trauma and being worthy of being loved even if we’ve done bad things. 

While we’re on that topic, though, let’s explore that. Ed’s childhood trauma comes from his abusive father. He carries the weight of that abuse with him well into adulthood, as well as the weight of what he had to do to survive it. What he had to do to save his mother. This season sees him abusing those around him. Despite this, despite his erratic behavior and the mistreatment of his crew, he is still loved (by crew and fandom both, if I may add). He is still loved by Stede, despite the trail of blood he leaves in his wake. Stede is still longing to find him, despite knowing what he’s done and what he’s now capable of, and this continues to reiterate that idea of you deserve to be loved even when you’ve done wrong.

And then, Stede finds him.

We as an audience witness Ed make the choice to stay alive. We watch the thought process, we see that he chooses to fight for that love that comes alongside being saved. Being wanted. Being seen for who you are and loved because of it. And up to here, I’m on board. I’m excited to see what’s next and how Ed will reconcile for what he’s done and the harm he’s caused at the hands of his mental illness — because the truth is, we harm people when we aren’t adequately being responsible for our mental illness. This is a real-world thing. We lash out when we’re hurt, or when we’re rejected, or when we’re struggling. When we’re suffering, we often can’t see past ourselves to see whether or not we’re also causing others to suffer. This does not make us bad people — and it didn’t make Ed one. And then the “apology” came and went. The only member of the crew Ed really sits and ever has a drawn out conversation with about anything is Fang, and even this is somewhat shallow. Fang absolves him and moves on. We don’t get to see whether or not Ed ponders this conversation long-term or whether or not he battles with himself over how to move on. 

We’re left with a traumatized crew who semi-accepted a half-hearted apology and a beloved character who hasn’t actually been held accountable at all. “But he apologized and wore the bell and fixed that door latch!” Yes, and? He physically mutilated his first mate, instructed him to be killed, traumatized an entire crew — and this all takes a backseat to his relationship with Stede. And what a stunning scene between the two of them in the moonlight, where Ed finds it in him to ask to take things slow. Where he recognizes his needs and vocalizes them. I left this episode feeling so hopeful, because half-baked apology aside, Ed is actively learning to vocalize his thoughts and ask for what he needs when he recognizes in himself that something is going to be harmful to him. We had a kiss, we had Ed asking for help when he needed it, we had a proposal, we had “not moving on is worse,” and even knowing only three episodes remained, I left feeling like we had been so perfectly set up to see how things were only going to keep improving. 

In the first episodes of the season, we see murderous raids and mutilated first mates and two suicide attempts (though I suppose one was more of a mass murder-suicide attempt?) and these are all thrown together. In episode six, Stede deescalates a raid from a bloodbath of his own crew and sends another crew on their way with the lessons and values that he has been pursuing since the first episode of the first season. He then, in a parallel to the French ship of season one, causes a man’s death. This is highlighted as a turning point, something that can’t be ever moved on from. (“There’s no coming back from that.”) But what about the other traumatic events of the season that are treated as jokes? Izzy’s drinking, day in and day out, bottle after bottle after bottle — coping with the reality of his life and the way it’s been altered beyond recognition. The mop he used as a makeshift leg snapping, forcing him to pull himself away from the crew with his own hands. Lucius’s mention of being sexually assaulted and Stede’s look of disgust, the way he literally runs away from the conversation. Lucius never gets to air out his traumas, not really, not with someone who listens and tells him he’s safe and allows him to talk things through. Even Pete gets ill instead of being able to offer support.

I struggle to reconcile what is and isn’t comedy in this season, or what violence is meant to be taken for what it is. The Ed and Izzy breakdowns in episodes one and two sat far too close to my chest for me to look past them into comedy — and the suicidality of both men was glossed over and moved on from so quickly, never explored. Did Izzy’s “I wanna go” in the final episode mean he never moved on? That some part of him was still lying in that room with a gun to his head? You don’t become non-suicidal in a matter of days — is there still something lingering in the back of Ed’s mind? There was never a conversation about it, and there was never anything between the two of them that could allow me comfort in knowing that they had reached some sort of understanding. This season pulled domestic abuse, alcohol abuse, and suicidal tendencies straight from my own traumas and never held anyone accountable for any of them. There was no healing. There was no real talking it through. “Well, it’s not a rom-com, so—” Except it continues to be presented as one. Shortcomings of storylines of characters that seem to have been cast aside or mischaracterized this season aside, I cannot for the life of me reconcile how a show about kindness and moving on and being loved amidst all of your flaws could have a season so wrought with traumas and yet never discuss them. Never explore them in a way that allows me to move on. I love this show and there were so many good things about this season; I love these characters, and yet I feel so disconnected from it for the first time in over a year. Not moving on is worse, sure, but moving on without accountability leaves wounds unable to heal. How do you move on from that?

Izzy Hands and Mary Bonnet have so many parallels between them that it’s wild. Emotionally distant husband (Izzy is wife-coded AF so it’s fair to make this comparison with Ed) who they’ve been with for a long time. Their husbands are very unhappy with their life. They’re both having to tell their husbands to pay attention to them, do what they’re supposed to, stop being so whim-prone. Izzy is the one tending to the crew, reminding Ed about their welfare, and Ed seems too distracted to really care. Mary is the one taking care of the kids and has to ask Stede multiple times to play with them, and he seems far too distracted to care (though he does briefly). Neither Izzy nor Mary are happy either, but they’re still trying to make it work beyond what their husbands are. And eventually, Izzy and Mary’s husbands leave them for something ‘better’ unexpectedly, and in a way that’s a betrayal to Izzy and Mary. When Stede panics after Chauncey kidnaps him in s1, he goes back to Mary and tries to pick up where he left off but it’s clear he’s not wanted by Mary. When Stede doesn’t show up on the beach, Ed goes back to Izzy and tries to pick up where he left off, but it’s clear this gentle version of Ed isn’t who Izzy wants him to be. When they finally have distance between themselves and their husbands, they both find themselves and are finally happy toward their end of the time on the show. Mary has her painting and her found family of widows and Doug. Izzy does drag and sings and whittles and has his found family of the crew. They both support their former husbands’ new love at the end of their arcs.

Izzy and Mary’s husbands fell in love with each other, but only one of these characters got to be happy at the end of their very parallel arcs in a way where it felt complete to end their time on the show.

Idk. It’s something.

you know what? I am genuinely baffled. I know that izzy's death made sense narratively and a lot of people were saying that they're worried because they think the writers will kill izzy off. but it comes as such a shock for me because they tortured him so much this season, he was shot, his leg was cut off, nearly drunk himself to death. but he healed and found a family he could belong to. and to take it away it just seems so cruel.

it made sense narratively but they could have made it a different narrative. because I feel betrayed that a series that was the first one to finally make me feel seen as a queer person would be so unkind to the narrative surrounding a broken queer man.

and one can argue that izzy says that he wants to go in the end. but did the creators really thought that izzy had nothing else to give to the show? that they had to reduce him to being a part of blackbeard and only with his death would ed finally be free from that title? because let's face it, that seems cruel. in my eyes they made him a symbol, rather than a person. and i don't know if my heart can find it in itself to forgive that. he fell in love with life again and they took it from him.

the fact that we’re even having izzy hands problematic death discourse at all is a testament to how chronically online we have become as a society

characters die all the time?? just bc it’s a queer show doesn’t take away from the fact that it’s also a pirate show?? and people die in pirate media all the time???

can we not just be heartbroken like normal people? where my fred weasley girls at?? u know how it is

i think some of y’all just need to admit you don’t like ofmd. like it’s silly and campy and murder-y which isn’t everyone’s cup of tea and that’s fine, but complaining about it being silly and campy and murder-y is completely nonsensical. it’s literally an explicitly queer comedy about pirates! they’re gonna kill people and there are times when it’ll be absolutely ridiculous because that is what it’s about!!

I will say the ed and izzy “reunion” as it were did feel a bit rushed and I think that’s just one of the casualties of having two fewer episodes. There seems to be quite a bit that’s going unsaid/said off screen kind of in general, but with this dynamic I’m just more intensely focused on it so it hit me much easier just how abrupt that all seemed.

ok so i completely get people being mad about izzy's death, hell I'M mad about it!!! it constantly frustrates me that so many characters are given a glimpse of happiness & redemption only to be then killed straight after (cough cas cough dean cough villanelle cough cough), but can we PLEASE not call this bury your gays lol???

bury your gays is very specifically a trope where within media that features only a few queer people, the queer people are the first or the ONLY people to die! it's a remnant of the hays code where queer people could only be in media in they were villains or if they were dead (or dead villains lol!)

ofmd isnt one of those shows, it has SO much queerness written into the fabric of the show and to write this off as bury your gays is just a shitty thing to do imo...

it sucks that they went that route for a multitude of OTHER reasons that arent about bury your gays so like... plz stop using it lol

Hmm. Dissatisfied with some of the writing choices made in ofmd S2

I might do a little textural analysis later once I've had time to ruminate, but overall I'm disappointed with the direction taken in the finale/last few episodes. I think this season was trying to do too much in too small a time, some things that deserved better set up and payoff felt rushed and cheap as a result - specifically everything surrounding Izzy. might do a deep dive into my feelings on it later

see the thing about ofmd is that i love me a good long rambling meta post, but i have kind of a hard time making them for this show because i went into it knowing i'm not really the target audience — i'm queer but in a romance-indifferent aroace way and while i occasionally enjoy comedies, they're not my preferred genre — and so most of the time when i start analyzing the writing or the character arcs or whatever my conclusion is that i can't reliably tell what was or wasn't a good narrative choice because i, like season 1 izzy hands, would have preferred ofmd if it was in a different genre. (which isn't to say it should have been in a different genre, just that i'm not the best at assessing comedies on their own terms)

(Alt. Text. First Image. Person A. Look at Me OFMD Fandom.Second image. Words Angry OFMD Fans after S2 Finale sit on Tom Hanks head. Third Image. Person A says " We will not blame David Jenkins nor the Writers of OFMD for however fast paced or choppy the last episodes felt. If you angry blame HBO Max. They cut 10 episodes down to 8.)

You can be angry. You can shout. But dont nobody yell at David Jenkins or the Writers of OFMD. They got screwed over by HBO. @HBO.... Not @davidjenkins. We will not be ungrateful the people that made this show possible. Pls and thank you.

Edit: yes there is somethings that you can critique the writers for but please make sure your criticism takes in account for HBO cutting the episodes down.

Edit 2.0: They also had a 40% budget cut

I admittedly haven’t seen much OFMD S2 criticism but I did masochistically go looking to see what the major complaints were.

I’m not all that interested in addressing individual critiques. Some of them made sense to me. Some of them were a bit silly. Some were clearly based on the show not being the fanfic people had written in their heads after they watched S1. Some were mad for the inevitable shipping reasons.

But what I think is the most important thing for OFMD fans and fans of any ongoing story to remember is this:

The sequel will never be able to match the fact you watched the first part without preconceived expectations.

No second season of OFMD could ever match the fact that no one was expecting Season 1. They weren’t expecting the kiss. They can’t recapture the uncertainty and euphoria of that relationship becoming canon. They can’t recreate the audience discovering its unique mix of Muppet humor and heartfelt drama with glancing moments of historical accuracy, all awash in stageplay level special effects as a love letter to old-school pirate plays and musicals. You can’t ever experience that again for the first time.

If these two seasons had aired back to back, far from seeing a decrease in quality or change in tone, I think you’d find they match one another very closely and seamlessly throughout. It was only the long break that allowed people to imagine certain story beats or characterizations or threads like historical accuracy as being more important than they were.

If Season 1 had ended, say, with the, “Never left.” beat while “The Chain” played as the last thing we saw before the credits rolled and the wait for S2 began, the fandom landscape and expectations would have been wildly different. But then, every OFMD episode adds wildly new elements, they’re all very different from each other, and anyone who thought any one those elements would be the new constant tone of the show going forward would be wrong. And yet, that’s what happened inevitably after the last episode of S1.

Honestly, I thought it was a bit of a shame, from a fanfic writer perspective only, that S1 ended on such a dark note because it was so out of keeping with 90% of the rest of the show but inevitably, I knew the fandom and fan writers would latch onto that dark thread in an effort to continue the story, since it’s where S1 left off. But OFMD was always going to resolve that separation quickly then return to humor and hijinks (albeit with notes of drama and more serious emotions, as it always has) , it’s right there in the romcom plot structure, a structure which owes much more to OFMD’s DNA than any historical pirate drama.

*Sigh* Anyway, I’m excited for the season finale. And truly I haven’t seen much criticism, but I’ve been chewing on these thoughts since I woke up to critiques of ep 6-7 last week and was then baffled by it once I saw the episodes myself. So there it is.

dangerous words I fear but I’m craving some OFMD critical but civil discourse… s2 finale spoilers included below the cut. this is incredibly long FYI bc I’m truly desperate to get all my thoughts out

I want to preface by saying I loved S2. I think I loved it more than s1, I think there were some absolute GENIUS moments this season (the entire Calypso episode was *chef’s kiss* my favorite), and I think the cast, crew, and DJ deserve a lot of love and, of course, a renewal for another season.

I know there’s been a lot of anti-finale-critiquing posts out there (and yeah, I also don’t want to see baseless hate or, god forbid, people trying to interact with the cast/crew with anything less than love and respect) but personally, I think the biggest sign that I love a show is me wanting to pick it apart. I think digging into the writing and decision-making and characters of a show means you really appreciate the choices that were made even if you don’t agree with them, because you’re working to understand the story on a level most people only dive to if they’re forced to in an English class. No story is going to be perfect. No story is going to be written specifically for me unless it’s literally by me. But sometimes I still want to study it like a bug under a microscope, you know?

So here we go: I didn’t like the finale, and I didn’t think it fit very well with the rest of the season/show. Weirdly enough I didn’t feel a need to discuss online until I started reading the interviews DJ has been giving about the finale (specifically the choice to kill Izzy and Ed/Stede’s ending) and I’m so curious as to whether others interpreted things the same way. (Yes, they’re DJ’s characters. No, I don’t think all viewers are obligated to interpret things the same way as writers did—that’s half the beauty of storytelling and media consumption.)

Izzy’s Death

Let’s unpack the big one first. I think a lot of what DJ/finale defenders (if I may respectfully call fans who enjoyed s2e8 that) have mentioned is that Izzy’s arc was over and he’d served his narrative purpose. I’ve got a few different issues with this:

1. Part of what I love(d?) about this show is that I did not think this was a show that kills characters once they’ve served their narrative purpose, or a show that kills characters as punishment/retribution for mistakes/earlier actions. To me, OFMD symbolizes the idea that everyone is deserving of love, forgiveness, and second chances. I truly trusted that no one on the Revenge crew would die in this show, and to be proven wrong was a bit disheartening, to say the least. Will talk more on the suicide notion in the next bit because I think it was symbolic, but Izzy also now represents a suicidal character who finds the will to live again. I’d argue that a “full arc” for a character like that should be ending in happiness, not death (and especially not with a line like “I want to go” or whatever the specific words were).

2. DJ seems to describe Izzy’s role as being a mentor to Blackbeard, which I personally struggle to see at all. Despite the Captain/First Mate status difference, I think most signs have pointed towards them being roughly equals—the unrequited love Izzy feels for Ed, the way the two of them stand right up to each other when everyone else would be afraid to, the clear shared history and longevity of their friendship/companionship. (If anything, I’d argue Izzy takes on the mentor mantle for Stede in s2, though it’s a bit glossed over because of how crunched for time everything was.) I certainly have trouble seeing the “father figure” relationship that DJ mentions in interviews, because I think Izzy is the one crew member that puts himself on even ground with his captains.

But even humoring that, Ed’s story has been about shedding Blackbeard. And DJ has a great quote in the Entertainment Weekly interview where he says that Izzy and Ed are both Blackbeard, that the two of them together are what makes Blackbeard “happen.” So in theory, if we’re killing Izzy off to further Ed’s storyline, it’s to ultimately kill Blackbeard, right? Especially since his line at the end is to “just be Ed.”

Except we already have metaphorically killed Blackbeard, several times. I think S2E3 is a really interesting episode because in season 1, it can be argued (and is, by Chauncey Badminton) that Stede kills Blackbeard in his own pirate-y way—with kindness. The crew is also somewhat a part of this, as they all accept and love Ed for who he is and not only because he’s Blackbeard; the crew follows the example of their captain and it changes who Ed is as a person. S2E3 is a crew under Blackbeard, and they also kill Blackbeard following the method of their current captain—violence. And this “death” is, in my mind, the death of Blackbeard while Stede symbolically saves the part of him that is just Ed. (Bonus: we also get Ed trying to sink his leathers, and while it might just be because he’s on a damn boat, it’s interesting that Blackbeard’s clothes are drowned/sunk while Ed’s metaphorical comeback was being saved from drowning by Mer!Stede.)

So Ed’s half of Blackbeard is dead. If we stand by DJ’s idea that Blackbeard is half Izzy, we’ve still got half of Blackbeard left, right? Well, that would’ve been right immediately post-S1, but then they gave Izzy a beautiful arc that seems to be a shadow of Ed’s S1 track. Ed and Izzy are very similar characters, but in S1 Ed is on the receiving end of love, acceptance, and admiration—namely from Stede, but also from the crew. Meanwhile, Izzy is subject to contempt and hostility… once again, namely from Stede, and also from the crew. Ed blossoms under the love during S1 until that’s taken away; Izzy simply moves in the reverse direction. He continues to be an antagonist while being treated like one, but once others start treating him with kindness (Fang hugging him, Jim and Archie amputating his leg while Frenchie lies for him, the whole crew making him the unicorn leg), he too becomes a part of the family. And wouldn’t you know it—Izzy has a near death scene as well, a suicide no less. Izzy is the one who is responsible in S1 for “bringing back Blackbeard,” so the symbolism of him pulling the trigger on himself is huge. This is Izzy killing his half of Blackbeard! Because Izzy Hands continues to live, even if it takes him some time to remember how to live without Blackbeard at first, and his relationship with Ed effectively dies here.

(As a side note, this growth arc and the way Izzy fully transforms into a member of the Revenge crew afterwards—whittling Lucius a shark and talking to him about forgiveness, dressing up in drag and singing to the crew, cracking silly jokes about Ed and Stede’s relationship—are also why I find the “Izzy Hands is the symbol of traditional piracy and his death is symbolic of traditional piracy dying” argument to be weak. In season 1, he was that definition, but we’ve literally watched him grow out of it. He’s no longer symbolic of something stagnant that will remain the same or be destroyed—he’s symbolic of something that grows and adapts to the new situations, that survives when all of the rules change on him.)

And then we have the return of Blackbeard: Pop-Pop pushing Ed to go back to doing “what he’s good at,” Ed fishing his leathers out of the ocean, Ed killing a ton of people because he thinks Stede is likely dead or at minimum in captivity/grave danger. This bit seems to go against everything the season was building towards; Blackbeard was almost entirely gone, but Ed is now the one who brings him back because he thinks Blackbeard is the one who can save Stede. And that’s fair, but what does that have to do with Izzy at this point? Why does he need to die for Ed to put that part of him away again? While we’re not owed a main character having a death that serves a narrative purpose, I’d hope for that to be the case, and I struggle to interpret what happens to Izzy as beneficial to either plot or character.

3. I think the actual core arcs of the show are character arcs and not plots. I get that they might’ve been trying to wrap plots with Zheng and the British in case they aren’t renewed, but I don’t think it was necessary—the pirating has always been secondary to the rom com and the found family, IMO. In S1, we had two main characters, but I’d argue Izzy got enough focus and attention to be a third this season. Which left us with a great character-driven story: we’re watching all 3 of them come into their own and discover who they are individually, while also discovering that the changes in themselves are causing friction between them now that they’re growing into new people. Which is an amazing story to tell, if you ask me, but the fulfillment of that story requires all three characters to be there. The conflict to be resolved is how these characters can become the people they want to be and still coexist together, because on some level they’re family now. Notably each pair combination of these characters grows together or apart (or in Stede/Ed’s case, both) during this season. Ed and Izzy are growing apart because they hold each other back from becoming the person they want/need to be; to complete this narratively, I would’ve expected the next challenge to be finding a way to become friends again as their new selves while letting go of the fact that they used to have a toxic relationship when they used to be different people.

Ed and Stede’s S2 Ending

So Izzy’s death is the big talking point, but I also think DJ’s take on Ed and Stede was interesting. He said that they deserved a happy ending for the work they put in this season. I agree with him in theory, but I’m curious as to whether others agree that they put in a lot of work. I think Stede followed through with his goal to come back and tell Ed how he feels, and to stay instead of running away from his problems. I think Ed followed through with trying to understand who he is and what his needs are while also trying to find the courage to open himself up to love again. But critically, they never talk. E7 makes a point to highlight the miscommunication/lack of communication between them, and then in E8 they still aren’t shown talking.

(I realize part of the issue is the limited amount of time and the amount of plot shoved into episode 8. I get it; personally, I think the plot should’ve been sacrificed for the characters. At this point, we were 7 episodes into a very character/relationship-heavy season. Plot could’ve waited for a potential S3.)

What’s more—there’s a huge, glaring gap between where they left off and where they end up. Ed left in S2E7 after he begins panicking and realizing Stede is becoming deeper entrenched in pirate life just as he’s finally finding his way out of it. Not once do they talk about this, but suddenly they’re retiring together? And right after Ed says Izzy was his only family and Izzy calls the crew his family (which… is also an unearned line, as Ed and the crew have almost no bonding or forgiveness this season, since we focused mainly on Izzy with the crew and Ed with Stede), they leave the crew to do their own thing? They’re all relatively minor things that could be fairly easily addressed by dialogue, but they fact that they’re not only serves to underscore the way that Ed and Stede really aren’t on the same page.

I want them to get their happy ending. They deserve it. I’m just not sure that I agree that they earned it to the degree that it was received, with retirement alone together without their crew, if that makes sense.

Positivity Tax: Calypso Love 😊

I’ve probably got more to say but those were the big ones on my mind after reading the Vanity Fair and Entertainment Weekly interviews. Just to counterbalance some of the more critical things I’ve said, I wanted to share some loving analysis of the Calypso episode:

1. It’s a minor thing, but the way this episode shows that Ed’s actions as Blackbeard had consequences is amazing. Despite him arguably committing the more grievous wrongs in S1, he’s the one we get the least redemption for in this season (his apology to the crew wasn’t great, and most of his screen time is spent repairing his relationship with Stede), so for him to have to face something that happened because of his past actions is cool, especially because it was done in a way that doesn’t further damage his standing with the crew.

2. The way Stede saves the day is incredible. Competent Stede this season has been an absolute joy to watch, and his success in this episode is twofold: first he wins his way, with signature Gentleman Pirate flair. He listens to Ned’s crew, helps facilitate communication between them, and encourages them to stand up for themselves and demand better treatment. That’s a very classic Stede win. But then he wins in the traditional pirate way, and it’s absolutely glorious; he’s been working towards becoming a better pirate, both in terms of stomaching violence and building up the necessary skills. Ned’s crew can be taken down with kindness, but Ned himself is a pirate and will only be matched by another. I genuinely cannot think of a more perfect way to show that Stede is still himself while also showcasing the newer side of him that he’s been working towards this whole time.

3. Speaking of that newer side of him, the way this episode starts to open up Ed’s insecurities? The combination of seeing his least favorite parts of himself reflected in Stede as well as watching Stede grow into the career that he’s trying to leave? Amazing conflict development.

4. I’ve already talked so much about Izzy but the way this truly caps off the crew’s acceptance of him as part of the family is gorgeous. He’s an entirely new man at this point and there’s no jokes made, no friendly ribbing… just love and acceptance. It highlights both his newfound comfort and familiarity with the others as well as the extent to which they care about him.

5. Less analytical, but it’s also just a really pretty episode.

Considering the fact that I have zero OFMD mutuals and this was a whole essay (I’m on mobile and can’t see how long this is but I’m honestly scared), I would be shocked if someone made it down this far, but if somehow people are here and open to civil discussion… I’d love to know how you felt about this, if you thought DJ was right, if you were a little more on my wavelength and thinking things weren’t adding up, etc. Realistically I’m not sure if anything could change my mind as I’ve done a lot of stewing, particularly about Izzy arc, but new perspectives are always refreshing. Much love to the fandom and of course the creators, who hopefully never see this and get their s3 renewal 🤞🏼

Jim and Oluwande got the worst end of the deal. I'd even say they regressed as both characters and partners and anything they had built up in s1 was almost completely stripped away from them. The way they're portrayed together and apart in s2 is not only unlike the characters we saw in s1, but their rich storyline was reduced to extreme side characters used only as plot devices in a way they absolutely did not have to be used. I LOVED them in s1, and I was so disappointed by what s2 did to them and their potential growth, which I think applies to pretty much everything in s2, not only them.

Mind if I piggyback of this ask to go into all my critiques of the handling of Jim/Olu in Season 2? Thanks!

OFMD Critique: Tealoranges, Dropped Storylines, and Wasted Potential

God, the issues I have with the writing of Season 2 extend in so many directions. Jim's character, I felt, was well-handled for at least the first two episodes but then slowly starts skewing wrong as early as episode 3 (I am still chewing glass over the way their reunion scene with Oluwande was written- or, rather, NOT written). Episode 4 was good, but everything after that? Someone said that Jim in the back half of the season feels more like Vico than Jim, and though I do love and appreciate Vico, it's completely true. Jim doesn't feel like the same character we've come to know, whether from Season 1 or even what is set up in early season 2.

And yet, I STILL feel like they're written better than Olu, if you can believe it? So, I haven't talked about this much, but I feel like Olu is done dirty from almost the moment he is introduced in Season 2. At least Jim (through editing alone, but hey, we'll give the show the smallest benefit of the doubt) gets an acknowledgement that they miss Olu during that flashback sequences while they talk to Archie- Olu doesn't even get that. I read about a deleted scene that would have had Pete and Olu desperate to reunite with Lucius and Jim in episode 1 and I feel like that was DESPERATELY needed to make the Season 1 finale -> Season 2 jump make any sort of sense. I like Zheng, but for the love of God, her romance with Olu (which I had my own issues with for the disservice it does both their characters) is not worth destroying the tealoranges build up from Season 1. Just cut something from the first episode or one of the Zheng/Olu scenes from the second episode to make it make sense.

Then, moving onto later in the season- I've posted about how Olu and Jim deserved the grand, epic reunion otherwise 1x10 and everything set up with them in Season 1 doesn't make sense. Could the writers of the show have possibly redistributed some of the glorious cinematography from Ed and Stede over to Jim and Olu? All I need is one shot of their reunion (a proper, emotional one, not played for laughs or friendship or whatever) framed by the sun to parallel Ed and Stede's being framed by the moon and I would have been happy on that front.

And then later in the season...I was down for the poly elements if they could have been executed better. Fanfics have shown that the Archie plot could have been executed well. But the fact that Zheng is straight up NOT MENTIONED until 2x7 by Olu? And then Jim says that he's been pining for her the whole time? I'm sorry, but it doesn't compute. Show, don't tell. There's a reason why I'm down for Jim/Archie/Olu (if executed well), but can't see Zheng/Olu at all.

But of course, 2x7 comes along and we get the "family who fucked" line. And the implication that Olu could have ever left the Revenge without Jim, when in Season 1 he became a wreck because Jim left for A FEW DAYS, much less was FORCEFULLY SEPARATED from him for MONTHS. Then in the finale, at the lupete wedding, they were separated out, him with Zheng and them with Archie, and, well, at that point...I was tired. I'm not gonna lie. Because this wasn't questionable or problematic writing, it just fundamentally DIDN'T MAKE SENSE.

And this is just on a romantic relationship POV. I hated seeing Olu lose his leadership arc from Season 1 and his loyalty to Jim and his nuanced emotional level-headedness/sense of logic. Season 1 really felt like it was slowly building up the idea that the ideal Captain was neither Stede nor Blackbeard but someone a bit more rational, a bit more grounded, a bit more communicative with his crew- someone like Olu. And he gets shoved into the back in Season 2 and reduced to the guy who can't sort scrolls or know that the BOATS ON A MAP MATTER. He gets no influence on plot or major decisions when he was often the voice of reason in Season 1 (we all remember Lucius being a romantic voice of reason in Season 1, but rarely remember that Olu was a major supporting deciding factor in a number of decisions made on the Revenge).

And as for Jim, I wanted more exploration or even just acknowledgement of their trauma post episode-4. I wanted an actual organic continuation of their character arc post-vengeance quest and post-Blackbeard, not just them getting defined by "funny knife thrower with a girlfriend and an ex-boyfriend who they want to get with his crush." They were so much more than that, and it killed me to see the two people who were basically main character 3 and 4 in Season 1 get shoved aside for unneeded subplots about Ricky and Zheng or Gentlebeard's three separate breakups when Jim and Olu's plotline had so much more potential than any of that. They weren't just star-crossed lovers- they were a slow burn ship built of absolutely interesting, complicated, and well-developed characters who brought out the best in each other with a DEVASTATING midpoint to their arc and it honestly would have made a better season not just for them as characters, but for the show overall if someone had just realized that the parallels between a couple that fights and claws to stay together no matter what (tealoranges) and a main ship that was still figuring itself out (Gentlebeard) would have SLAPPED.

(I am now picturing a version of this season where instead of the Izzy fakeout death/Gentlebeard reunion in the beginning of the first episode, we get an Olu/Jim reunion in episode 3 to parallel whatever reunion the writers wanted to slap together for Stede/Ed. I would have actively cried over the Olu/Jim reunion and it would have drastically improved the season.)

OFMD S2 FINALE SPOILERS!!!!

I've seen some people saying Izzy's death as "Bury your gays," but I personally don't view it that way. There's so many gays on that ship that it's really not queerphobic if one dies. It's part of the plot. It happens. If they were all straight, cis and allo and one of them died, no one would be batting an eye.

BUT

What DOES bother me about Izzy's death is the fact that they killed off one of the few crewmates who Didn't. Have. A. Partner.

And... that trope is just sooo fucking overdone at this point. It's in almost every movie. Kill the one that doesn't have anyone waiting for him at home so it doesn't hurt the audience TOO much. And I'm honestly sick of seeing the character with no partner get treated like this.

Treated as: if you don't have a partner, you're worthless. You won't be missed as much. You're a necessary sacrifice.

If you don't have a partner, you're expendable.

And I'm so so tired of that. Normalise people feeling content with just themselves and not be alienated for not needing someone else to feel loved and happy. You don't have to be ace or aro to find this hurtful. It impacts allo people as well. People who experience societal pressure to get into a relationship every day lest they be viewed as inferior. And what makes it worse is knowing the creators are probably aware that their audience is mostly if not almost all, queer people.

Queer people who can't come out due to safety concerns, which impacts their ability to get into a relationship. Queer people who can't find a relationship due to oppression and stigma. Queer people who can't find a partner because they can't find safe spaces to meet them. It's so much more difficult for queer people to find each other, let alone click and start dating.

And to have your comfort show, throw that in your face and say what people like you are treated and viewed as. As disposable. As worthless. As someone who doesn't impact other people's lives. As someone who won't be missed. As someone who will be mourned for a bit, simply out of basic decency, but won't be given a second thought afterwards.

I love the show. But it should be remembered that you can critique the things you love all the same.

If you're over the age of 18 and if you enjoyed s2 - including the finale - and are looking for someplace to talk about it with other fans, the vibe in Our Flag Means Brainrot has been overwhelmingly positive, while still allowing space for rational critique.

My first real Fandom was for the show Oz. It was pretty queer if dated in a lot of its concepts of queer people. My favorite character was Chris Keller. He was a psychopath who murder people, betrayed Tobias Beecher, the love of his life many, many times. Still the writing makes him so compelling. I cried when he dies. I did not think it was a bad ending but I was sad.

I have thought Izzy was going to die since season one. I understand the arc for him even if it is devasting.

The point of all of this is that there are legitimate reasons why I thought the ofmd s2 finale was bad. Yes I loved Izzy. Absolutely any death would make me cry, but not every death would make me disappointed/mad.

I get it. Writers get to make whatever creative decision they want, but audiences get to analyze and critique it. Sometimes they love it, other times they have legitimate reason not to watch it again.