#The' you're Izzy from s1

[aucoba]

I am so sad people are being such dicks about the finale. Yes the season went freackingly (too) fast. Yes I cried and screamed and have some criticisms about how it was done. Yes I feel a bit underwhelmed after such an amazing first season

BUT

This finale wasn't a "disrespect" to us, we weren't mocked or punished or anything like that! The artists did the best they could with what they got, which was so fucking little! They brought us many fulfilling love stories and I won't care for any half wit sad hearted insults and far fetched interpretations you might cook yourself up, trying to make sense of your feelings you twats.

[thegroundhogdidit]

watching season 1: lmao izzy is gay and homophobic haha

watching season 2: i have severely misjudged the situation

[plantsjustwannahavefun]

Little did I know that seeing and appreciating the deeply homoerotic subtext of the Edizzy toe scene was preparing me for the inevitable OFMD to Hannibal pipeline.

[uselessheretic]

i know it's been said a million times before, but if you're starting to like izzy in season 2 i would HIGHLY recommend rewatching s1 and paying close attention to ed/izzy and their motivations. like try rewatching but keeping in mind the fact that they canonically do love each other. put aside the "izzy's doing this out of toxic masculinity and homophobia" lens and instead take a minute and view it from a "izzy is in deep unrequited love with ed and he doesn't even realize it yet all he knows is that ed is being taken from him be stede focking bonnet" lens.

i would pay special attention to e4! a lot of taika and con's acting is nonverbal watch their faces and look at what is not being said while they talk.

e6 and how little ed communicates to izzy or fang and ivan.

and e10 but this time think of it as a messy divorce

[temporal-discounting]

There's one line in S1 that I think is so important to understanding what Ed's life must have been like before boarding the Revenge and meeting Stede, and it's this one:

Ed is sitting around telling ghost stories with the Revenge crew, and Ivan says "This is the most open and available I've ever seen him."

This one brief line paints a picture of a life of such profound loneliness for Ed back on the Queen Anne's Revenge, in which Ed's interactions with his own crew were extremely limited. It seems that most of these interactions occurred with Izzy as conduit.

Now, of course, Izzy used that position to reinforce that separation between Ed and crew. He used it to project the image of Blackbeard (not Ed; never Ed) that he wanted to project - an insane, unstable, and reclusive genius.

But I also wonder how much of Ed's isolation was self-imposed. The show makes clear very early, that in the world of OFMD, pirates' lives are short and violent. They die in great numbers - and this exchange between Ed and Stede in 1x04 tells us that Ed feels responsible for the pirates who die under his command.

"You're gonna lose all your men. It's all gonna be your fault."

At some point, did he choose to withdraw because losing friends / chums / pals all the time is too damn hard - especially when you are directly responsible for their safety?

I can definitely see a dynamic in which Ed had largely withdrawn from his crew before Izzy entered the picture. But then Izzy's influence over the crew served to reinforce that isolation, such that Ed would have had no real way of connecting with the crew, even if he had wanted to.

This is one of the things I love about OFMD - how so much can be inferred from a handful of small moments.

(If you got this far through my rambling, you might also be interested in a fic I wrote where I really tried to pick some of this stuff apart. It's essentially an Ed character study, but told via a conversation between Ed and Fang as they mourn Ivan together)

[fuckyeahisawthat]

I love how much of OFMD s2 is about do-overs and second chances. Like obviously the message of the whole show is "you're not too old and it's not too late" and "everyone is capable of positive change." But I love how many specific moments the characters get to do over from their missed chances and fuckups in s1.

Stede tells Ed to wait for him in the woods while he goes back to the ship to convince them that Ed can stay another night, and it's so obvious that Ed is scared af that Stede is not coming back, that he'll be left waiting for Stede alone in the dark again. But Stede does come back! And invites Ed to come with him this time. "You wear fine things well" but this time they both know that's an overtly romantic line, they get a do-over of their almost-kiss missed connection and this time they do kiss and they both know how much it means. The lyrics of "This Woman's Work" that they use ("Give me these moments / Give them back to me" and "All the things we should've said that we never said / All the things we should've done that we never did") in the context of the scene get transformed into hoping against hope for another chance, just come back to me and I'll say and do all the things I was afraid of before, please give me another chance to make it right. And they get it.

Even Izzy fucking Hands gets a do-over of his worst moment from s1, acknowledging the harm he caused and getting to touch Ed's face and say "there he is" in the context of telling Ed to go live his authentic life.

And of course Ed and Stede at the end, Stede saying without hesitation that he has no second thoughts, that he's sure this time, and we know it's not about running an inn or any other scheme they might cook up together but about building a life together.

When we talk about OFMD as a kind show or a hopeful show this is the kind of stuff I think about. It's not that no one ever suffers or dies or gets hurt or fucks up; it's that the characters can fuck up massively but they get another chance to keep trying, together, keep swimming toward the light even when things look real dark. I know you've got a little life in you left.

[tizzyizzy]

Seen some talk around the interwebs about how Izzy is a totally different, or his arc happened too fast, whatever. He is my argument to the contrary.

There are three major factors driving the change in Izzy's behavior.

Default Pirate Culture → Gentleman Pirate Culture

Izzy spent his entire pirate career before Stede acting like, well, a pirate. There wasn't room for softness. Being tough was expected. Blackbeard's crew's culture in particular discouraged weakness to such an extent crew were expected to kill their pets before joining.

In S1, Izzy's relationship to the crews and captains was ambiguous. Was he training the Revenge crew to be proper pirates? Was he in charge when the captains weren't on board? Was Ed planning on killing Stede and everyone aboard, or not? So it's unsurprising Izzy held himself away from Stede's crew instead of becoming part of it, and tried without success to make the Revenge crew follow his lead.

In S2, Izzy ends up in Stede's crew, and Izzy isn't in a place emotionally or socially to try to push to change the culture of the ship. He's outnumbered. Izzy has to adapt. At the very least, all of the expectations he has been living up to his entire pirating career are gone.

Taking Care of Ed → No More Ed

Izzy said he'd been cleaning up Ed's messes his whole life. Scenes from S1 and S2 suggest that is the case. In S1, Izzy is dealing with Ed making strange choices on his search for meaning, which requires him to manage restless crew members and deal with the risky spots Ed puts them all in. Once Stede arrives on the scene, Ed is contradictory and non-communitive, leaving Izzy to wonder if the plan to kill Stede and the promised captaincy were bullshit (they were).

And because Izzy has no emotional intelligence, he thinks that Stede is seducing Ed into losing everything, and he desperately tries to pry the pair ppart.

I mean, we all know what happened in the early S2 episodes. Emotional, off-the-rails Ed trying to himself and everyone else while Izzy desperately tried to protect Ed and the crew, until he was forced to give up on Ed.

After breaking up with Ed via bullet, though, Ed is officially Not Izzy's Problem. Ed isn't a threat to the crew. Stede is incompetent, but was clever and brave enough to escape Zheng's ship and rescue them. Izzy is free to have a drunken breakdown. After, well, he gets to do whatever he wants.

What does Izzy want? Well, he's finding out.

No Trust → Trust

The major reason pirates put on such a tough facade is to protect themselves. Being tough keeps enemies from messing with you. It keeps your crew too afraid to mutiny. It's easy to recognize that Ed puts on a persona of Blackbeard, but Izzy put on a persona too. A weak link can be targeted and broken.

Just look at the scene where Izzy finally breaks down and is comforted by the crew. Izzy doesn't make the choice to be emotionally vulnerable. He is behaving the same way he always with crew who question his orders. He yells, he curses, he commands. It is only the level of his emotional distress and the crew's acknowledgement of it that make him incapable of hiding his pain.

I think it's safe to say that has been hiding grief, frustration, confusion, sadness, etc. behind the "Get back to work!" facade for years. It only crumbled under extreme pressure.

But when Izzy breaks, and is at his most pathetic and vulnerable, the crew have his back. Under Blackbeard, they comfort him, hide him away, and treat his injuries at the risk of the captain's wrath. Under Stede, when he's at his most pathetic, the crew make him a new leg and accept him into the crew without judgement.

There's almost nothing Izzy could do in front of the crew now that would make him look more weak than he was when he was crawling across the floor drunk and repeating "You're born alone, you die alone" over and over. He hit rock bottom and there was a pillow there to catch him.

So, Izzy is in the "talk it through" culture of Stede's Revenge. He is free from obsessing about Ed as a man and as a captain. He is surrounded by people who saw him at his worst and showed him compassion.

Izzy's worst behaviors in S1 were motivated by fear. Fear of the new, fear Ed was losing it, fear of what would happen if he showed weakness. In a "safe space", where he has nothing to worry about? Of course Izzy calms way down. This is the Izzy that swaggered up to Stede on the island and at Spanish Jackie's in S1. Dry, sarcastic, sassy. Some flair for the dramatic with the swordplay.

It is because Izzy feels so safe that he can put on that makeup and perform. Wee John is doing it, and Wee John wouldn't let him do anything embarrassing. He's clearly got confidence in his ability to sing.

He's still Izzy. He says fuck constantly. He's kind of a dick. He offers good advice. He's a dramatic, whether he's cutting his name into someone's shirt or singing in French from a balcony. He's just an Izzy that can be whatever he wants without fear.

[piratecaptainscaptainpirates]

I'm just curious since I absolutely adore all your trans Ed fics, what made you read Ed as being trans? Is it more of a personal headcanon since we tend to see ourselves in fictional characters, or did you notice some tiny detail on the show that made you think so?

Oh my friend, I'm so glad you ask.

The cool thing about reading Ed as trans, I think, is that you do not even have to squint to do it. Literally you need to change exactly nothing, and this read suddenly adds a lot of nuance and additional juicy layers to his story and his journey with masculinity.

Ed's whole deal with masculinity, precisely exactly all of it, makes him feel so much like a trans guy who never outgrew the "I need to be hypermasculine so I pass" phase, fitting that read so precisely that given there are trans writers on the OFMD team I would be absolutely SHOCKED if at least some of it wasn't intentional. Every single trans guy I know has been through a version of this, where you come out and you know you're a man but you need everyone else to know, too, and so you lean very hard into masculinity to make damn sure you pass. And not just pass, but pass perfectly. Ed is forcing himself into such a heavy ideal of masculinity that it feels artificial; he needs to make sure everyone sees him as this perfect ideal of a masculine man that he cannot possibly live up to because no one could.

Certainly, parts of Ed's hyper-masculine presentation seem to be things that genuinely make him happy and bring him joy. That's important. Ed's happy to be a man, the problem is that he's trying to force himself into such a narrow idea of masculinity that it's stifling him. It's preventing him from enjoying more ""feminine"" things that he genuinely loves, because he's terrified of being seen as less of a man for it, and people like Izzy reinforce the idea that if Ed fucks up in his performance of masculinity, he's going to be in danger because of that. It's very real, and the added juiciness from reading Ed as trans adds so much to the great story that's already there, I think. There's this additional element of Ed knowing he's a man but needing to make sure everyone else could never doubt it, there's an additional perceived danger to slipping up, there's a sort of jealous admiration for guys like Stede who seem, at least on the surface, so much more comfortable with a different type of masculinity that Ed wishes he could have more of.

And on top of that, there's just a lot of other little additional things, like:

Ed making his beard his whole brand, it just screams beard dysphoria and "no one could ever claim I'm not a man because the beard is my whole THING."

Something about his relationship with his name, and how hard he has to try to get people like Izzy to call him by his name in front of others

The way Ed is dehumanized when he dares to step outside a very safe, masculine gender presentation - it's why Izzy saying "this thing you've become" when Ed is wearing a robe and painted nails hits so hard for me, I think

Okay. okay. listen. You know the scene where Ed makes CJ whip him in the balls. Listen. Ed baby. It just SCREAMS "people here don't know I'm trans and I don't know how much getting hit in the balls should ACTUALLY hurt so I'm gonna lay it on really really thick just to be safe"

There's a lot to be said about Ed and his clothing in a lot of directions, but I'm gonna leave it at how he's really figured out a safe set of clothing that works for him and consistently allows him to be read as this super masculine guy, and he's scared to step away from that. Also, I really like imagining the full-fingered gloves at the end of s1 as a way to cover up the nail polish on his fingernails until it wears off.

I think it's very sweet that Ed tends to be very private when talking about his personal and sex life with others, but a very, very easy explanation for how that got started is he just doesn't want to go around sharing personal details about his body with people!

Yeah. A trans read of Ed is so shockingly easy, fits so well, and adds so much to his journey, frankly I'm amazed it's not more common.

[areyoudoingthis]

the more I think about it the more I love how they resolved the izzy situation after s1. this season has been all about turning poison into positivity, all about the effect stede has on the world through the people whose lives he touches, through his people positive management style and killing them with kindness.

and it has also been about how ed needed to learn to love himself, needed to overcome the trauma born of the violence he always felt doomed to perform so he could come to see his own value and give himself permission to become whoever Ed wants to be. but we saw last season how hard that was for him, because of the baggage he carried and because at every turn someone was trying to pull him back into performing blackbeard and wearing a mask he never wanted in the first place.

izzy was the embodiment of all that, was more there to reflect ed's struggles and his journey than anything else (he was his dad and he was hornigold and he was all of the angry men in ed's life and the angry words they kept repeating in his mind.)

and how do you set ed free? because the show is the relationship, and is deeply a story about love, it becomes possible through the effects of Stede's love and kindness on the world. stede makes the world softer around him and that softness ends up enveloping ed and giving him space to explore himself, to stop listening to his own fears and self hatred and to what everyone wants from him and take the first step into self love.

what do you do with izzy then? just kill him off? but we all wanted to hear an apology from him, we all wanted ed to hear that he wasn't better off dead and that being soft wasn't something he could never have because he wasn't those kind of people. and for that to happen, for the world to reflect some goodness back to ed instead of violence and hurt, izzy had to go through some changes himself. and so he does, because of Stede's crew.

and it's all so ed can hear "maybe you should listen to it" when he expresses hopefulness about leaving blackbeard behind, so he can hear "you're good now, you're ready. Ed, you're surrounded by family. They love you, Ed. Just be Ed."

this isn't about izzy, this is Ed allowing himself to let go, to embrace ed and retirement and love and warmth. izzy dying was symbolic of the end of an era in his life, and I can't wait to see what the rest of it looks like

[queerly-autistic]

You really can't engage meaningfully with Ed's story in S2 without firmly centring his mental illness and suicidality, because that's inherently what the story is: it's the story of a man having a severe mental breakdown and going to increasingly erratic extremes in order to achieve his end goal, which is to not be alive anymore...and then it's the story of his recovery from that.

And so much of my frustration with the way I see this being talked about (or, in many cases, not being talked about) reflects my more general frustration with how we talk about mental illness and neurodivergence, so buckle in because this got long (also I am going to be discussing suicide here, as well as very brief mentions of psychosis and ocd, so please take care). There's this trend when we talk about mental health: we go 'oh mental illness isn't an excuse' or 'mental illness doesn't make you do bad things' or variations thereof. These are, in my opinion, some of the worst things to ever happen to the discourse around mental illness. It's reductive. Absolutely mental illness can lead you to do things that you would not have otherwise done, even things that you would be absolutely appalled by, if you were mentally well. What do you think mental illness is if it's not something that impacts your brain and how your brain functions? If your mental illness doesn't directly lead to problematic behaviour, then that's fantastic, but that experience is not universal. It's not an 'excuse' - it's an explanation for certain behaviours that's vitally important to acknowledge and understand in order to try and mitigate harm.

There's also this thing that happens with discourse around mental illness where we assume that what you do in the grips of mental illness is reflective of something that's innate inside you. You were violent whilst in the middle of psychosis? Oh, it's because you're an innately abusive person and this just reveals who you really are. You have Tourette's and one of your tics is a racial slur? Oh, it's because you're an innately racist person and this just reveals who you really are. Your OCD is rooted in a fear that you're going to murder your family? Oh, it's because you inherently do want to murder your family and this just reveals who you really are. It's bullshit. What you do in your mentally ill state is not some deep philosophical reflection of your true character, and the idea that it is is something that causes really deep, dangerous harm to mentally ill and neurodivergent people.

So, now that that's over with, back to Ed.

Ed was behaving in ways that were acknowledged in canon as being extremely out of character whilst in the midst of a severe breakdown. Fang himself said that he'd 'never' seen Ed behave this way; even Izzy, who actively pushed for Ed to embody the extremes of his Blackbeard persona, ended up concerned because it became so extreme and out of character that it was impossible not to be concerned by it. The crew who mutinied on Izzy within a day didn't mutiny on him for months, not until their lives literally depended on it, because it's heavily insinuated that they were hoping he would get better. Because this wasn't the Ed that they knew (the Ed that we came to know in S1 - an inherently soft man who is caught in a culture of violence and is tired of it).

The show wasn't subtle about this. It didn't bury the lead. As well as the constant reminders that he was acting out of character in increasingly alarming ways, this was very clearly depicted as a breakdown, an almost total collapse of Ed's mental health. We saw Ed detached and numb and completely dissociated from the world around him. We saw him in private moments of despair, breaking down. We saw him behaving erratically in the grips of mania. We saw him display absolutely textbook warning signs of someone whose made the decision to die by suicide. We saw him smile and say 'finally' at the moment when he knew he was going to die.

The show basically painted a giant neon sign over his head flashing 'THIS MAN IS EXTREMELY UNWELL' in bright lights, and if you miss that, then it's because you're deliberately avoiding looking properly.

(And, important to note, that most of the people that I've watched the show with outside of fandom discourse absolutely took away from these episodes what the show was intending - they saw how unwell Ed was, they were devastated for him, and they desperately wanted him to get better.)

When Ed steered the ship into the storm, and threatened to put a cannonball through the mast, his clear goal was to create a situation where the crew had no choice but to kill him. I've seen people describe this scene as Ed 'trying to hurt the crew', and I think that's very much a misrepresentation of what the show was depicting. It was very blatantly a suicide attempt. He wanted to die, and he didn't care what he had to do in order for him to achieve that goal. That doesn't make it good behaviour, and it doesn't mean people didn't get hurt, but it does make it a very different situation than if causing harm had been his main intent.

There is a fundamental difference between 'he is doing this because he explicitly wants to cause harm to the people around him' and 'he's doing this because he's suicidal and beyond the point of being able to rationally consider who might be getting hurt in the process of ensuring that he ends up dead'. One of those is a bad person who enjoys causing pain - and the other is a deeply unwell person who can be supported and helped to recover and be better (and should be, for the good of themselves and the people around them).

And on that note, the failure to engage with this as a mental health story is also, I think, why I've seen some people get so upset about the show not doing Ed's redemption arc 'right' - because this isn't a redemption arc, and it's not trying to be. One day I'll do a separate post about how much I love that the show explicitly rejected a carceral approach, opting to essentially put him through community rehabilitation rather than punishing him, and even mocking punitive prescriptive measures (that rubbish youtuber apology speech was supposed to be rubbish and unhelpful), but that's one for another day.

The fact is that the show is telling a story about mental illness, and that inherently means that Ed's arc is a recovery arc, not a redemption arc. And if you're expecting a redemption arc, then you've fundamentally misunderstood the story that they're telling (and the revolutionary kindness at the heart of the show).

I have a lot of feelings about this because I genuinely believe that it was one of the best depictions of mental illness and suicidality that I've ever seen. Within the confines of it being a half hour, eight episode comedy show, they told a story about mental illness that was surprisingly realistic (with the obvious fantastical over the top elements of it being a pirate show - and piracy is explicitly depicted as a culture where violence is heavily normalised), and that didn't shy away from the messier, darker, more complex elements of mental illness (particularly of being suicidal).

And then, most importantly, after all that, the show took me gently by the hand said 'you are not defined by what you do in your lowest moment - you can make amends, you can recover, you are still loved, and you are worth saving'.

[amuseoffyre]

Real Pirates

Got thinking last night about Stede and what was said to him in 2x06 and 2x07.

First off, let's look at the Ned Low stuff.

"You know, if you kill me, you are a real pirate. You're not an amateur anymore. See? That's why he likes you. It's because of your bumbling amateur status. You're like a pet, I think."

There's been a running thread of Stede not being a real pirate all the way from S1 - "I'm not a pirate, I'm an idiot" (1x01), "pirates, my arse" (1x02), "what the fuck is you supposed to be?" (1x03), "you will get to see how real pirates operate in the real world" (1x05), "not one of these store-bought kinds" (1x07), "it only applies to real pirates" (1x09).

Ned has fully pressed down on the big red trauma button that other characters have been hammering all the way through S1, that Stede has been trying to ignore, but here and now, he can't: Stede's biggest fear remains that he was not and never will be enough for Ed.

It's not the first time another pirate has compared Stede to a pet either: Izzy, Fang and Ivan all said the same back in 1x06. Whether Stede has put together the pieces about Doggy Heaven, I don't know, but once again, we're shown that here is someone who definitely doesn't understand what is happening between Stede and Ed.

As much as Stede tried to convince himself "I am adequate" (1x02), the fear is still there that he's never going to be sufficient. "I think your life is better without me" (2x01).

Despite Ned saying that Ed wants to keep him an amateur, he's hurt and he's angry and he's seen his crew and his lover put in harm's way, so Ned is never going to get off that ship alive.

But it's also very telling that the instant Stede kills him, he immediately flashes back to one of his biggest and most recurring childhood traumas: the day his father told him that killing was a man's work and that he would never amount to anything because he was a soft-handed weak-hearted lily-livered little richboy.

We see/hear it or have it alluded to in 1x01, 1x02, 1x04, 1x08, 1x09, 1x10, 2x03, 2x06.

Letting Ned Low live - and have the chance to come back for vengeance - was never a choice, but this is the point where Stede has crossed a line he had never crossed before. "Killing. Having to kill" (1x01) sent him into a panic spiral in episode 1 and I have no doubt that if we get/got S3, once the panic and chaos died down, it would have snuck up on him like all his other traumas.

But let's continue into 2x07, where Stede has had a night with the man he loves, knows he's kept him safe, and isn't thinking about that stuff. Only then people start praising him for it. This is the man who hasn't been praised for anything before. He's wanted approval and acceptance his whole life and finally, now, he's got it. "Bonnet's the fuckin' dude".

It overwhelms him completely, much the same way as the attention from the party-ship people gave Ed the dopamine hits and made him escalate his behaviour. Stede starts acting up, showing off and - most significantly - chooses to spend his time in the company of an older man in a blood-soaked leather apron who won't stop telling him how fantastic he is. Our man isn't just wearing his daddy issues on his sleeve, he's taking them out and buying them a drink while they give him their approval.

Which is why Ed's departure comes as such a shock for him. For the first time in his life, Stede is accepted and appreciated. Ed even encouraged him at first, but then Ed's own traumas surrounding the pirate world reared up their ugly head. "I don't wanna go back to the old days, drinking all the time or cutting a bloke's toe off and feeding it to him for a laugh" (1x09)

And it's not that they're at odds with each other is the thing. They're at odds with themselves. Ed is panic-spiralling because he sees Stede stepping so easily into the world that he has come to hate and wants to leave behind. But for Stede, it's not about being a pirate - it's about the acceptance and appreciation of who he is, because he's never actually had that before.

He's behaving in the ways that are getting him the approval he's never had in his life and moving further and further away from "I don't like drinking til I puke or throwing coconuts at peoples' heads". He's becoming the Calico Jack kind of pirate, getting roaring drunk and throwing things - fatally - at people because "then I said a cool thing and people laughed".

Only because they don't talk to each other in ways that they can each understand, Stede is left with the belief that maybe Ed did like him as an amateur and despite doing "a man's work" he is still not enough. Meanwhile Ed thinks Stede really wants this kind of life, when he knows Ed wants away from it, because he has no idea what Stede is getting from it all.

Our lads are both so tangled up in their own fears and anxieties that they don't stop to wonder why the other is acting the way they are. Stede logically knows Ed doesn't want to be a pirate, but can't see why his own behaviour would be upsetting to Ed. Ed is fully aware of who Stede is as a person, yet the fear of him becoming more like the pirates he grew up around is overwhelming because it's been his whole life for so long.

Their own fears are crashing up against each other, but neither of them ever want to talk it through. Stede hides behind politeness and neutrality instead of saying what he's feeling (although he has made big steps on this front in S2) while Ed is so used to masking his real wants and needs in hypotheticals and metaphors.

S3 was going to see all those things come to light. Ed had already made a start, sitting with himself, but there was still more to come. Stede's issues which had been bottled up and tucked away ("that's the worst thing you can do, Frenchie!" (1x01)) but the pressure was building and it was going to fizz out like an overshaken champagne bottle in the end.

OFMD - Childhood Trauma the TV show. aka how to write the impact of PTSD and cPTSD on people and the way it impacts their behaviour, modes of communication and the decisions they make.

[ohmyglobwhatthefrickamievendoing]

dj saying izzy was like a father figure to ed & then trying to connect that to ed killing his actual father is insane but specially, specially, when you remember that last episode stede & izzy had a pretty obvious moment where they came to an understanding about what it's like to be in love with the same man

that's not the kind of conversation and look you share with your ex's father figure. It's the one you share with your ex's ex while you're both still in love with him

Then the episode before that they kept cutting from stede&ed having sex to izzy singing a love song?

And the episode before that izzy stuttered and hesitantly asked stede what ed's been saying about him??

I know found families can have parental figures whom you may still feel a sexual and/or romantic attraction to, but at no point did either season ever show such a relationship between the two. I guess if you want to reach for it you could say that in early S1 there are times when izzy tries to look out for ed & guide him but even stede (fucking stede) clocks them as 'old married couple nearing the final stages of their divorce'

You could on a technicality apply the 'mentor dies at the end' trope to izzy but that's only if you assume that izzy's somewhat significantly older than ed and so probably looked out for ed at some point when they were working under hornigold together, which again is never shown in their dynamic (the only mention we get of it is through stede but I'm almost certain that most of what stede said was just him buttering up izzy to get him to train stede)

I feel like rather than 'father-figure/mentor dies at the end' it gives more 'even as we try to move on our existences are inseparably linked to each other and you're the last part of my old life that needs to die before I can finally be free to change and we both know that, even as it hurts' Yeah yeah izzy deserved to live a happy life away from blackbeard's influence the same way ed deserves to live a happy life away from izzy's (and I really wish he could have) but they've been unhealthily connected from the beginning (much more obvious in S2 seeing how neither of them could bare to get rid of the other's body) and it makes sense that eventually that's the trope & ending izzy fell into

point being:

david jenkins, sir, i respect your writing and love your show but that was absolutely NOT what was going on there

Izzy wanted to get fucked nasty but Ed's a bottom so it never worked out

[pastryjay]

No, OFMD did not 'promise' the viewers a safe time (only happiness, no angst or death) then 'betray' them with Izzy's death, as i've seen some complaining.

The show is called Our Flag Means Death and there is death and angst from season 1 episode 1. At no point did the showrunners promise us 'this is a show where all characters will remain safe'.

Being a comedy doesn't mean the story will be all joy and light. Comedies using upsetting topics and death is not unusual. It's actually quite common! If done well, comedy can give a contrast to angsty moments making them more heartbreaking.

The writers have a story they wanted to tell and have said since season 1 aired that there is a 3 season plan for the show. It's likely that they planned major plot points for each season (like Izzy's death) before S1 was filmed. They didn't change the plot to kill Izzy because they wanted to make the show darker or to spite fans. You are not owed a perfectly happy story when the writers have set out to tell something different.

If you're a person who can only handle stories where everyone is always happy, that's fine! Stories like that exist! It just makes no sense to watch a show with death in the title then blame the writers for 'betraying' you when death happens.

[canonizzyhours]

One thing I do find fascinating, is that everyone who watches ofmd for the first time has the opportunity to interpret the show however they see fit. And while everyone is different, and will connect with different characters for different reasons. There are certain aspects that, once you decide to delve deeper, have to be viewed in either good faith or bad.

When I first watched the show, I didn't really have many opinions of it, other than the normal kinda baseline interpretations. Of course I loved it, which is why I'm here now, but I'd not considered any of what was shown, further than the surface level.

I maybe had a unique experience, having been able to power through s1 and s2 without pause. But it got me thinking, could I have had the opportunity to join the canyon, had I been subjected to more of it once I entered the fandom space? After all, if it is merely an interpretation that is supported by the text of the show, then it is valid for me to look at both arguments and decide where I see myself fitting no?

The problem with that is, I simply couldn't make my brain comprehend why anyone would come away from the show seeing Izzy as the "special guy", "the main character", "the most interesting in the show" etc. I would have to have gone so far against the text to make myself believe and feel comfortable with those interpretations, that it wouldn't have felt like my thoughts anymore.

Once I started reading meta, I saw takes from both sides. And it just became very noticeable that some people are just good at arguing, using big words or complicating sentences to make you think like you're reading a good analysis whereas really, they're just media illiterate. And once you realise that, reading meta about the actual show becomes a lot more enjoyable.

I'm not exactly sure where I was going with this, I guess I'm just baffled how some people can come away from watching the show and end up in the canyon despite what they're shown in text, and having plenty of excellent meta analysis at their disposal. I didn't have to search hard for good takes, they were just there. In my opinion, it would be harder to avoid them.

#431.

[carrymelikeimcute]

Lets talk about Izzy and why being in drag is (potentially) huge for his arc.

The verdict on Izzy in S1 seems to be either 1. he's an angry, repressed queer guy with internalised homophobia or 2. he's an angry guy with homophobia. I would like to present to you - secret option number 3. Neither of the above (but a bit of 1).

I think he's an angry queer guy, who's terrified of the danger that lurks outside of appearing constantly masc and strong, and seeing other people apparently not realise or care how vulnerable they are, drives him absolutely spare. It's more complicated than simply internalising homophobia, it's misogyny and self-loathing and a response to being at sea for his entire life and struggling to survive - and we see what just a few months of that does to Lucius.

This is reflected in his talks with Ed in S1 - Ed's whimsy in the face of the approaching Spanish ship might get them all killed. Ed's public breakdown, if it got out, would destroy the reputation that protects Ed, Izzy and their entire crew. Stede is a pet, he's a weakness, and so he needs to be eliminated. That's how Izzy functions - he has like two bits of exposed skin, one outward emotion and he's lived for a long time like that - it works. It's the kind of strength he understands. He's convinced that him reining Ed in is what's keeping them alive.

BUT in S1 he sees that being open, being yourself, isn't a death sentence - and he HATES it. Because if that's true, look how much time he's wasted.

Ed and Stede's very whimsical lighthouse fuckery WORKS. Stede, in his frilly suits with his rec room and his fucking library, skates past death over and over again like he's scotch guarded from consequences. Ed and Stede make moon-eyes at each other and no one uses that against them - until Izzy does, because it's going to happen sometime (he thinks) so it's better it's him, because at least then Ed will survive.

Lucius is just hooking up with Pete in the galley while Wee John is right there - this is something that's an unspoken part of ship life, a shameful thing, and Izzy's the only one it bothers. Lucius uses flirtation to get out of scraping barnacles under armed guard, and uses it again to shut Izzy down. Lucius isn't ashamed of being flirtatious, seductive and femme - and Izzy loses to that tactic. He can't beat it with yelling and anger. It's a sort of strength he doesn't expect or understand - the strength that comes from knowing who you are. Of 'carrying yourself like you're cute' - because if you're confident, it'll work.

But he still has a huge amount of resentment for anyone who is allowed to be themselves - because he can't be. Especially in Ed's case - one of them has to be 'the strong one' and he thinks that's him.

Then, Season 2 happens.

In the space of a few episodes, Izzy learned that sharing your feelings is fucking difficult, painful and takes a lot of courage. He's had no choice but to be weak, spilling out all these ugly emotions and being physically dependant on others and in that weakness he wasn't destroyed - he was rebuilt. A little bit of that guard comes down and it doesn't kill him. So, he takes his shirt off and no one stabs him in the back. He's got a gold unicorn leg and he still absolutely wrecks shit up on a raid. He does something a little arty, opens up a tiny bit to Lucius, and he still doesn't die. It doesn't make things worse, it makes them better.

Enter, the drag episode. Suddenly, we've got Izzy in drag. A masculine style of drag, but still, drag. All that internal change, the shifting meaning of strength and masculinity, is externalised, but he's still himself - his face tattoo is redrawn as part of the makeup because it's still his face, if anything, it's MORE his than ever - AND THEN THE SHIP GETS ATTACKED, his worst nightmare - he's as far from hyper-masc as he can be, and now he's in danger.

BUT

In the teaser, we see Izzy telling people who are, presumably there to torture him and the crew, that it's just going to turn him on. He's using Lucius' technique of disarming people with flirty banter. I can't see S1 Izzy being able to do that.

He gets to dress in drag, be sassy and still win a fight because he's strong as shit and that doesn't go away just because he allows himself to be other things too.

[ladyluscinia]

"What if it weren't like that?"

...or I'd like to propose a different theory of what's going on in Edward's head.

Going into the S2 finale, I feel like there's once again a huge consensus that Edward and piracy are an unsustainable mix, and he has to quit. Specifically after 2x07 he knows for sure, 100% that he wants to quit, and he's pulling away from Stede because he doesn't know how to communicate that certainty to him.

There's a very established meta framework backing up this belief. It's not new, just everyone pointing and saying "look! - the show is affirming us" at the same time. And it does make a lot of points about foundational trauma, the violence of the lifestyle, etc. I don't need to break it down for you. If you're seeing this post then you've seen the arguments before.

The thing is... I'm not actually sold on this read.

Edward is a complicated guy and I love to try and peel back his layers, and I'm not sure that retirement is truly his endgame. And maybe more importantly... I'm not sure retirement endgame is quite the thematic crescendo it's being presented as.

So let's talk a bit about Edward, particularly in 2x06 and 2x07.

---

Edward's Ongoing Depression Spiral

The thing about backsliding - and the Kraken was a pretty monumental backslide - is that even if you gain a lot of ground afterward, you still might not be much further than where you started.

Edward believing change is possible with Button's 2x04 guidance + his & Stede's conversation about taking it slow at the end of 2x05 are both huge steps for a guy that was openly suicidal at the beginning of the season. However, in the grand scheme of things, he's pretty much cycled back to the dilemma he was facing in S1 - continuing life as it was is intolerable, but he doesn't actually have a solid idea of what he wants. "Stede" is not a real, actionable answer.

In S1, this caused him to run recklessly into extremes of vulnerability with Stede because Stede was doing something different. He tried to metaphorically cut loose his entire history - as a pirate, as Blackbeard, as Edward Teach - and become a new "Ed" with no baggage, who was free to live an endless vacation honeymoon with his new boyfriend. And when the consequences of their own actions came crashing back in - an abandoned Izzy, Spanish Jackie, and Chauncey Badminton - Edward's desperate actions to save Stede turned into over-commitment to a guy he barely knows, a reckless plan to run halfway around the world to escape himself, and then a truly disastrous downturn when that blew up in his face.

Wherever you go, there you are - except Edward hates that guy. Edward's only concrete want so far for the new direction of his life is the one thing that's impossible - to not be Edward Teach.

So now, back to contemplating the same unknown future he was trying to chase in S1, the Kraken Era has given Edward new perspective, for better and worse. (I'm gonna link my rambling BlackHands / Kraken Era thoughts from 2x01 - 2x03 just because.) He's learned caution and is dipping his toes in self-reflection - Stede's love alone is not enough to save him, and his self-loathing has been acknowledged. Reckless pursuit of change without growth was doomed - an important lesson both Stede and Edward have started to learn.

Unfortunately, growth requires looking backwards, and if Edward was already disinclined to that due to killing his dad, he's struggling so much worse now that he's got months of fresh atrocities that he absolutely did not need to commit.

---

Drowning in Guilt

Edward's core trauma that he flashes to constantly goes back to killing his dad that night - something notably not associated with piracy. That guilt is the root of his self-loathing, but Edward is a rather troubled grown man with guilt aplenty, especially after the first two episodes of S2.

In 2x05 Edward starts with a CEO scripted non-apology firmly recategorizing all of his Kraken actions as "whatever that nasty dark stuff was that brought us here... it's in the past", and then his discussion with Stede does not involve too much reflection on why this probation is necessary and drops this gem:

"Oh fuck no. Apologizing? Nah. Didn't apologize for jack shit."

However - demonstrating self awareness / growth - he's also clearly projecting guilt and a desire (that's almost too big to look at) to apologize to Izzy for everything, and then he honestly talks with Fang (who he's known for 20 years!) about how he can not be understandably mad at him, after Fang pushes back on Edward's toxic rewriting of Knife Parade. He even learns to sit with himself!

All of which makes the start of 2x06 so layered.

We open with Edward sitting with himself, looking out over the ocean and stewing in guilt - in order: his dad, the storm, Izzy's toe, shooting Izzy, driving the crew to mutiny - and then the conversation that Edward was haunted by all last episode comes to him. He's back in his leathers - playacting the penitent with the onesie and cat bell got old after a day, and he had never truly linked his probation rules with any of his earnest feelings of remorse. Just a necessary performance to appease the crew.

Now he's himself again, as uncomfortable in his own skin as ever, and Edward Teach apologizes for Izzy's leg. He isn't being demanded to apologize by Izzy (no matter how much he may deserve it). Izzy is fully prepared to pretend it never happened despite the evidence of his body. But Edward wants to - needs to for the babiest step toward his own peace of mind - and so he does.

And then he flees from one guilt and accidentally stumbles into another. Stede has so helpfully pulled all Edward's Kraken treasure into one place, and Edward lampshades it:

"Excellent. A reminder of all my guilt. A guilt room."

Now, Stede has a decent idea here. His "poison into positivity" bit is not bad (and it echoes the language Izzy and Edward used - though I think it's a tossup whether Stede heard about that or if the parallel is purely on a Doylist level). It definitely lifts Edward's mood for the day and pulls him out of his guilt spiral for a bit.

Until it comes back so much worse.

Ned Low. Oh fuck the implications of Ned Low.

So here's the thing. People have rightly observed that Edward broke Ned's record intentionally during Kraken Era. In fact, since he makes the comment about "We got a record to break" after the wedding boat aka the last ship he takes, and Ned isn't coming after him for a tie, presumably he set the new record and then proceeded to break it over and over again. Just to rub it in. Just to really piss the sadist off.

And if Edward's attempt to take the whole ship and crew down with a storm at his lowest point was bad, what he was courting by baiting Ned before the season even started was worse. This is a man who would have tortured everyone on the breakup boat to death when he caught up to them, and Edward was passively planning on letting him do it.

Edward knows this.

Poison into positivity just became "oh shit I forgot I'm the most poisonous thing any of these people have ever run into," and he's just getting started. It's hard to shove it down and brush it off and pretend it was no big deal when Stede starts getting the hot poker to the chest.

He doesn't want to kill Ned because he's not worth the poison, but the poison is already here.

When Stede kills Ned, Edward has already spiraled. He's already got a whole narrative in his head about how this is all his fault, how this is his poison, his guilt, his Kraken surfacing to ruin Stede too.

"I'm not a good person, Stede. That's why I don't have any friends," Edward chokes out.

"It all boils down to this - You're afraid you're unlovable," snarls Hornigold's ghost in the gravy basket.

"I hate myself," Edward realizes.

"Don't do it, Stede. Killing in cold blood" - like I did - "you can't come back from that" - like I haven't.

Edward's guilt is projecting all over this scene. He's made some baby steps toward seeing Stede as a flawed person vs mythical mermaid whose love can save him, but the idealization is still coloring both their views. Stede still hasn't told Edward about any of his childhood traumas or deep seated insecurities, and Edward has continuously avoided putting together that Stede is fucked up as well. He's convinced himself that killing Ned Low is a great tragedy that will permanently scar Stede's previously unblemished goodness in a way that is all Edward's fault, and he's sticking to it despite how completely it does not apply.

Reality has never been much good at breaking through his self-loathing before.

Izzy tries to warn him to give Stede a minute, but Edward doesn't listen. And while there's a good amount of concerned boyfriend in that act, I also suspect there's more than a little self-harm. Edward's spiraling about what he's wrought. He shows up at Stede's door already paralleling this to killing his dad. Of course he wants to be in the blast radius.

Apparently, having sex about it.

---

"Bye-Bye" Blackbeard, See You Again Soon

Last season, when Edward's ignoring his past went poorly, he tried to metaphorically bundle Blackbeard and all his traumas up and cast them into the sea. He was "Edward Teach Born-on-a-Beach," and then "No-Beard" who found folding stuff in prison fun, and then he's kissing Stede and getting excited about picking new, cool names for China, because:

"Our old lives would be gone. Dead. Never were."

Edward, babygirl, that is not how that works.

Now, he's actively backsliding down a guilt spiral, just had ill-advised sex a day after the "take it slow" talk that he's already regretting, and he gets up in the morning, pulls on another goddamn robe, and goes to literally bundle Blackbeard up and cast him into the sea.

Babe you already tried this.

I don't think it's a coincidence that disposing of his leathers signals Edward is back to reckless change instead of intentional change. He tries to make breakfast in bed despite never having ever made breakfast before and explains his twine as a panicked decision. The idealization of Stede is back in force - he chooses now to tell him about the mermaid vision - "fantastic," he describes him - and thanks him for saving his life. (Once again, in times of trouble, Edward is the one offering up rosy imaginations for their relationship that swallow him whole and Stede is shoving his recent childhood trauma flashbacks down to be Normal™.)

In the Republic, Edward does avoid becoming straight up jealous of all Stede's positive infamy, but he's also doing his hardcore all or nothing thing again - this time running away from himself toward a grubby, poor, "nobody" version of Ed (or do we think he's gonna try "Jeff" again?). Jackie calls his attention to how his new life direction (as of 6 hours ago) is not necessarily aligned with Stede's, and - rather than doing something as crazy as talking - he mutters "shit" and heads to the docks where Izzy finds him.

For a guy who felt "Fucking great" throwing away his leathers, Edward sounds kind of sarcastic, even if I'm sure he's feeling just as light as he was on that Naval Academy beach. But Izzy - going through his own shit but still trying to be supportive - opened this conversation with a joke about Stede and I suspect thinks they are talking about putting the "Edward retiring to be with Stede" plan back on the table. (Edward could clear this up, but he's still not communicating his emotions to Izzy.) So Izzy encourages him:

"Maybe you should listen to it."

Edward's face falls, he looks back down at the fishing boat, and apparently gets himself a new job. He just needs to go dump his boyfriend about it. They're simply incompatible, you see?

Edward's a fisherman now. He's gonna sit with himself until he finds a better guy in there, just like Fang taught him. (Don't blame Fang for this 😆 he just wanted Edward to stop talking!)

Now there's a lot going on in the breakup scene, but I want to talk about one statement Edward makes (keeping in mind he's already spiraled all the way into his new fisherman identity):

"I don't even know who I am! Alright, I know I don't want to be a pirate, but you..."

Because, see - I don't think the second part of that is necessarily true.

It's not that Edward doesn't want to be "a pirate". That's what he's using as shorthand (and a way to strongly delineate his new career from Stede: "Fishermen and pirates - they're nothing alike.").

What he's not saying is, once again, I know I don't want to be Edward Teach.

And, babygirl, I love you... but too fucking bad.

---

Better Piracy as a Theme

There's a lot of meta around about how Edward views piracy as a kind of enforced toxic masculinity. How his traumas are woven so thoroughly into his Blackbeard career that the thought of continuing as a pirate is killing him. He has to retire. It's the only way he'll truly be happy as "just Edward."

And I question that framing.

Like... Edward clearly has trauma tied up in piracy. His time on Hornigold's ship appears to have defined his (and Calico's Jack's) fairly fucked up approach to casual violence. His time as Blackbeard has enabled his poor impulses, and he is absolutely sick of piracy as he's experienced it the first time we meet him. That's not in question.

But while leaving is one solution, I think change is another.

In the OFMD universe, piracy is not a stand-in for toxic masculinity. Stede, an outsider, describes it as a "culture of abuse" in the first episode, but it's the culture of piracy where we see openly gay relationships, polyamory, freedom of expression in clothing and presentation, the oppressed having power... to treat piracy as inherently toxic is to deny that the culture of piracy is what gave life to Calypso's Birthday party. Our main characters are pirates.

There is a lot of violence and most pirates are very troubled people, but it's not piracy's fault. That's getting the cause and effect reversed. The "problem" with piracy and pirate culture is that the people coming into it and building this community are already traumatized.

As Edward points out to Stede:

"It's usually something like that. It's often family-based stuff."

(Also the problem might be the pirate Captains, lol. I mean, if you start listing the major drivers and enablers of toxic culture... Hornigold, Ned Low, Calico Jack, Blackbeard. Fortunate, then, that the crew of the Revenge is demonstrating that piracy can also be about workers' unions and supporting each other against your shitty boss while operating in a thriving community. He can play nice or get out.)

Oluwande tells us from the start that people don't choose to be pirates - they get forced into it by terrible circumstances in a terrible society. Piracy is the community that accepts the outcasts, but it can't magically fix them. They have to do that themselves, which our crew is showing can be done.

Stede did not swan in with all the answers, but he gave his crew the space and all the confused-yet-well-meant support they needed to strengthen their own bonds and community. Oluwande and Frenchie especially have been really stepping up in leadership positions. Like, the whole plot of 2x05 was showing they have successfully formed a union and that they will operate as a united front against their captains if need arises. It's so good!

They are living that better culture that Stede wanted so bad, and it's not just our crew.

Piracy influenced by the Revenge crew has been shown as helpful and even desirable to chase.

Hellcat Maggie and the rest of Low's crew don't sail off to get new jobs - they are resuming piracy but this time talking about profit sharing. Anne and Mary, our oh so aggressive BlackBonnet mirrors, retired from piracy together like Edward was dreaming of in 1x09, and what "fixes" them is burning it all down and returning to piracy (rejecting Mary's fears) with their love at the forefront of their minds.

Edward wants to leave piracy behind forever because he has depression and hates himself, but the biggest thing he hates himself for isn't even a thing he did as a pirate. He's pushing back on his Hornigold trauma from the moment we meet him - in fact, I have a whole other meta idea I need to pull together after the season about how he has potentially thought he was doing "soft piracy" in spite of Hornigold this whole time - but the guilt he feels about killing his dad is still too big for him to even look at. And that won't go away even if he could cut 20+ years of Blackbeard out of his chest.

He's bored. He was stagnating. He needs to address that knot of self-loathing before it successfully drowns him.

Maybe people are right and he could be the one pirate to find peace operating a bed and breakfast? Maybe he'll follow in Jackie's footsteps and stay connected to the community by running a gay bar or something?

But I also think, maybe, he has a community surrounding him, a home and love on the sea, and a career with plenty of aspects he did enjoy - sailing, fuckeries, luxuries, creative problem solving - and he might just need to join everyone in striving for a better culture?

And step one would be realizing that wherever he goes, he's still Edward Teach, and he's got to stop running from that fact.