#every single con o'neill character

[vicsuragi]

watching 3 steps to heaven. no idea what it’s even about so let’s see.

[vroomvroomwee]

Izzy Hands, as a character, had such potential to be a mundane, never think twice about, angry little person whose only purpose is to serve the plot like so many before him. But then Con O'Neill popped up with one goal and one goal only, and that's to serve cunt and FUCK. SHIT. UP.

Bro saw this character, showed up on set, ate and left NO crumbs, and continued to break his back every single day, strutting his ass in front of that camera and delivering one of the best performances we've seen in a TV show. This dude woke up and chose DEDICATION. He brought LIFE to a character who would have otherwise probably been unremarkable. He and David put in the work and made sure this character got the justice he deserves. Con practically inhaled this character and disected him to his core. Absolute legend

[londonspirit]

Was there ever any doubt that Our Flag Means Death Season 2 wouldn't end in thrilling fashion after taking all of us on a rollercoaster of emotions? Probably not, but show creator David Jenkins and writer John Mahone, who teamed up on the script for the finale episode, seemed distinctly driven to squeeze as many tears out of us watching as possible. With the dynamic between Stede (Rhys Darby) and Ed (Taika Waititi) seemingly fractured as of the season's penultimate installment, it was unclear how — or if — the two men might eventually reconcile, but a new threat to the Republic of Pirates, alongside Ed's realization that maybe he isn't meant to be a fisherman after all, sends the two back into each other's arms, literally.

While some characters are afforded something resembling a happy ending, with Stede and Ed deciding to try their hand at being innkeepers as they watch the Revenge sail off into the sunset under Frenchie's (Joel Fry) command, not every single crew member emerges from the finale battle unscathed, chief among them Ed's first mate and formerly ruthless right-hand Izzy Hands (Con O'Neill), whose parting words to Ed may be the very thing that the former Blackbeard needs to hear in order to fully come to terms with accepting the man inside him all along.

Ahead of the Season 2 finale premiering on Max, Collider had the opportunity to reconnect with Jenkins to discuss some of the episode's biggest moments. Over the course of the interview, which you can read below, Jenkins explains why Izzy's speech is both a eulogy for the character and a statement about the show itself, how the Season 2 premiere and finale bookend each other with those beach scenes, and why he wanted to use that Nina Simone needle drop in particular. He also discusses why the season concludes with a wedding at sea, what the finale sets up for Season 3, and more.

COLLIDER: I feel like my first question, in a completely non-serious way, is: how dare you, and my immediate follow-up is: what gives you the right?

DAVID JENKINS: I'm sorry, I'm sorry. Also, I am God to these creatures! But it was hard. It was a hard decision.

The episode kicks off with a somewhat more lighthearted moment, which is Ed realizing he's not cut out for the fishing life after all. On the heels of Stede and Ed’s big fight in the episode prior, why did it feel important to have Ed humorously have the revelation of, “This isn't what I really want after all?”

JENKINS: Well, I like the idea that Season 1 is about Stede’s midlife crisis, and Season 2 is about Ed's midlife crisis. I like that he had a little prima donna moment where he thought he could go and be a simple man, and then it's revealed that he really isn't a simple man; he’s a complicated, fussy, moody guy. No, he's not gonna be able to catch fish for a living. For him to be told that, “At your heart, you're a pirate. You have to go back and do it,” he doesn't want that to be true, but it was true.

Speaking of characters that have a revelation about themselves, Izzy's speech about piracy, about belonging to something and finding family, feels like the thesis statement of this show. Was that the intention behind it?

JENKINS: When I wrote that, I wanted to give Izzy a proper eulogy for himself. He gives a eulogy for himself, but it felt true writing it. Yeah, this is how he sees piracy, and also that's not how he would have viewed piracy in the first season. He would have viewed it as, “I'm here to dominate you, so you work for the boss.” By the end of his journey in the second season, he sees that they built him a unicorn leg, he learned to whittle, and he mentored Stede. He's learned that, actually, a pirate crew works differently than what he thought and that they are all in it together, and they do this for each other. So it felt right for Izzy’s arc, and it is kind of an overall statement about the show.

It's interesting that you call it a eulogy, because, by the time we get to the scene where we know Izzy's not going to make it, it feels like he's using his last moments for Ed more than himself. He has those final words to Ed of, “They love you for who you are. Just be Ed.” Is that the kind of the thing that Ed needs to hear in the moment — even as he's losing, arguably, someone he's known even longer than Stede and is just as close to on an emotional level?

JENKINS: Well, I like that Izzy gives that to him, and then Izzy also apologizes to him because he says that he fed his darkness and that they were both Blackbeard together — that Blackbeard wasn't just Ed, that they did it together. In a way, it's very much for Ed, that speech. The “we were Blackbeard” is claiming that he is also Blackbeard, that Blackbeard is not just Ed’s creation, and I like that for him, too, because he's worked so hard for that — and then just to say, “You can give it up.” There can never be a Blackbeard again as far as Izzy’s concerned because he's dying, and they did that together.

I wanted to ask you about the Stede/Ed reunion. We get Ed finding Stede's love letter that was written all the way at the beginning, and then also the beach fight/reunion. It's definitely a callback to the dream, but was that always the way that you wanted to bookend the season? Here's the dream and the fantasy, and then this is the real moment that we get to have?

JENKINS: It was nice. I knew that I wanted to have the Republic of Pirates at the beginning and end up with the Republic of Pirates. I think the reunion of it was a nice surprise, but it felt right. And finding the letter in a bottle — if you have a letter in a bottle, it's thrown out somewhere, it has to pop up somewhere, you have to see one of them at some point. But yeah, there's a circular nature to it, and that's why I thought it would be good to use Nina Simone at the beginning and at the end as a callback. This dream in this way did come true, and they made it come true.

When I talked to you at the beginning of the season, you mentioned the Nina Simone needle drop, but couldn't say anything about the significance of it at the time. I talked to [music supervisor] Maggie [Phillips], as well, about the needle drops throughout Season 2, and she said you always had a very clear vision for what song you wanted there. A lot of people know the original, but why did you pick Nina's cover? It strikes a different tone; there's a hopefulness to it in a lot of ways.

JENKINS: Yeah, it's wistful. There's a lovely part that sounds like church bells, which is great for the wedding part of it, and then it's just moving. I love her interpretation of it. It’s wistful, positive, and it felt like the end of the show to me. There's a size to it that, up against these images, I just was like, "Yeah, this would be really good. I want this to be in the show."

I did want to ask you about the wedding because on the heels of Izzy's death, it's bittersweet, but also, it's a sign this crew has become a family, and they can still find happy moments and reasons to celebrate. We’ve seen Black Pete and Lucius reconnect, but also reconcile and navigate through Lucius's problems and have their own, almost parallel trajectory journey as a couple alongside Stede and Ed in a way. Was that something that you always wanted to close the season on, the two of them getting hitched?

JENKINS: Yeah. We knew we wanted a matelotage in the season, which is the real term they had for marrying crew members. And yeah, they've always been in relief to Stede and Ed, and they're a little bit ahead of Stede and Ed in how much they can talk about things. So to have a bunch of family things in the season, like a funeral and a wedding, and have the parents kind of watch the kids sail away, felt right, and all of those things seem to work well together and build on each other.

Speaking of Ed and Stede watching everybody sail off, that was an outcome that was somewhat surprising, I think because where they are, you think maybe they're going to end up sailing off with everybody else.” But no, instead, it's just this sweet, lovely note of them getting to play house for a little while. What inspired that turn for them?

JENKINS: I think that they've come to the point in the relationship where they say, “Yeah, we're gonna give this a try,” and that's where the story really gets interesting. That will-they-or-won't-they is interesting to a point, but the real meat of it is always like, “Can they make the relationship, and can they do better than Anne and Mary?” That's the question that we all ask ourselves when we end up in a serious relationship is: can we make this work, and can we get through the hard times? Then they're both very damaged, and it's gonna be a challenge for them, and that's where the story gets interesting.

I'm not sure you can really tease much for a Season 3, but we talked before about how you have your vision for where you want to take this, and based on what we see at the end of Season 2, the implication is that we're going to have Stede and Ed off together, but is the plan to also continue with the other characters as well in their own places?

JENKINS: Yeah. Frenchie’s in charge of the Revenge, and I think Frenchie's Revenge would be an interesting place to work and an interesting ship to be raided by. Then I think that the Revenge means a lot to Stede, and it would be very hard for him to give it up, and he hasn't had a great track record of that. So I think the odds of them all finding each other again are quite high.

All episodes of Our Flag Means Death Season 2 are available to stream on Max.

[stedefxckingbonnet]

So this is gonna be entirely too much info but like. I've fallen into reading your reader x Izzy fics and I LOVE them! I've been going through a hard time with it getting to Christmas and having no family, and the Izzy fics just make me feel lighter. So mostly just thank you thank you thank you!

Now the cheeky bit - is there any way we could get a Male reader x Izzy with a pride and prejudice element. My friend said something about Con O'Neil as Mr Darcy and I damn near swooned. Either like a Colin Firth wet white shirt scene or like anything like the Matthew Macfayden Darcy (The hands! The sopping wet pathetic man!)

If not, that's more than okay! I still love your work so much! And again, thank you so much for it!

Hi, anon! First of all, I completely understand how rough the holidays can be, especially without family around. My heart is truly with you during these times and I hope you can still find joy, peace, and love this winter. If you ever need anything, I am always in your corner. I know I'm just a random writer on Tumblr but I truly do care for you, each and every one of you, for that matter! I'm happy I could even bring you a sliver of joy with my work. Thank you endlessly for reading, and I am sending an abundance of my love your way <3 feel free to message me if you'd like, I'd love to be your friend! My messages are always open, everyone! But if not, that's okay too. I'm just happy to share this with you!

Anyhow, I absolutely lit up at this request—I love Pride & Prejudice! OFMD and P&P intertwining is honestly heavenly, I got so excited to write this that I put a pin on another x reader I was writing (never fear! You will all get this one by the end of the week if finals don't absolutely drain me!). This one is reminiscent of Pride & Prejudice and the vibes it emits, but more so, my own spin on it, as well as twists and turns. Like, Izzy honestly exhibits more of a Lizzie in this one but it's also very clear his actions parallel Darcy. I really, truly hope you enjoy this nonetheless!

Lastly, speaking of the holidays, I'm thinking of writing some holiday headcanons for Izzy or a few x readers regarding the holidays with Izzy! So stay tuned for that! Thank you everyone for your everlasting kind words, understanding, patience, and encouragement with my slight delay with writing in the past week.

My Gem | Izzy x Male Reader

Warnings: slight angst, some strong language, slight enemies to lovers, not so in depth research of 1700's aristocracy (even though I'm a damn dramaturg, but we'll look past that for now), made up my first non-canon canon character because just referring to her as "she" felt inhumane, brief mentions of fake suicide note, kissing

Word count: 2324

Thoughts of the first mate of The Revenge were absolutely consuming you. Devouring you alive, plaguing you—you truly couldn't get him out of your head no matter how hard you tried. Oh, yes, you tried. But there was no use. Daydreams would always swirl in your mind and they would only increase tenfold throughout the course of your days.

You were grateful that you at least didn't have to carry the burden of breathing the same air as Israel Hands anymore. You would even collapse being within ten feet of him, let alone seeing him every single day. Your chest ached even at the mere thought of the man.

To say you were confused by his last actions toward you was an understatement. Confused, embarrassed, miserable, even flattered...You couldn't get Izzy Hands out of your head. You couldn't get his hands out of your head...

⋆.ೃ࿔*:･

"So you really are doing this, then."

"Yes," you nodded. "I am. I don't belong here—"

"You are a damn great pirate," Izzy almost seethed. "I'll be damned if I believe you really want to go back to that...lavish lifestyle."

You looked slightly frantically behind you in hopes that no one heard Izzy's dig at what was about to be your life again. You hesitantly looked back at Izzy, almost biting your lip in disbelief. "I just need to do this."

"Really? That's all you have to say?"

"What—what else am I supposed to say?"

Silence loomed between the two of you. He nervously fidgeted with the coat that Stede had lent him to disguise himself as an aristocrat. He couldn't wait to toss it back into Bonnet's arms, but he needed this in order to see you off safely, without any suspicions of what you had been up to in your absence from the life you were born into. He knew full well that you were making a mistake, but that you couldn't be convinced of this. His chest ached upon realizing that you wouldn't change your mind, that he wouldn't be able to change your mind.

"Goodbye, Israel."

Instead of responding, Izzy carefully intertwined his fingers with yours as you were about to step up into the carriage. You froze, yet began to melt into his touch, his warmth. You finally met his eyes just as he let go of you, and before you knew it, you were riding off into the distance, Izzy becoming a small speck fading from your sight. Before he began to fade out of view, you caught a glimpse of him flexing his hand by his side as he watched you depart.

⋆.ೃ࿔*:･

You scoffed as the yellow carnation was pinned to your coat.

"Is something wrong, sir?" one of your dressers inquired, concern washing over his expression.

You almost laughed at such a question, thinking back to all of the late nights you spent studying flowers and their meanings, dying to tell him how this marriage was going to be doomed if you had to wear a yellow carnation. At the last minute, you decided against it, holding your tongue. "Everything is perfect. Thank you."

He nodded, exiting the room as soon as he finished dressing you. You turned toward the mirror, a frown falling onto your lips upon seeing your reflection. You had never dreaded a coming day like you dreaded tomorrow. Before you could internally lament further, a rhythmic knock was heard from your door. Genevieve—future wife. How delightful. It's not like you dreaded it every time she walked into a room, let alone walked over to your side, and it's not like you could tell she dreaded you all the same.

"Yes. Come in," you sighed, plopping down onto your bed. Only, it wouldn't be your bed anymore—you would share it with her, come tomorrow. Your solitude would be interrupted and put on pause forever.

Genevieve quickly rushed in, making sure to shut and lock the door behind her. She fixed her hair a bit as she did so.

"What is it that you want?" you demanded softly, your brows furrowing.

"Hello to you too," she rolled her eyes. "I'm not looking forward to tomorrow—"

"That makes two of us, Genevieve! Finally, something we can agree upon," you laughed, falling backwards onto the bed.

"Will you let me finish?" she crossed her arms without realizing it. Once she had in fact realized, an expression of guilt overcame her as she untwisted herself. A guilt you had never once seen her bear. You sent an apologetic look her way. "I'm not looking forward to tomorrow, nor the rest of our lives together, but I just wanted to say that you are lovely. I don't hate you. I just hate this."

"I don't hate you either," you sat up carefully, your head sort of spinning as you did so. "Far from it. This is just an...unfortunate situation we've found ourselves in."

"Yes," she agreed, carefully placing herself beside you on the edge of the bed. "You know, I would love you, if you were...there's no way to dance around this. I would love you if you were not a man."

"Oh!" you realized, looking over at her, relief crashing over you. "And I would probably love you if you were not a woman, quite honestly."

Genevieve gasped in delight, wrapping her arms around you as she laughed happily. You couldn't help but smile upon her embrace.

"Who is the lucky woman?" you playfully smiled, nudging her shoulder. You watched intently as you watched the pigment of her face turn rosy.

"Well...we've known each other since we were babies," she sighed happily. "But our families have been dear friends since before we were even conceived. It would never work out."

"Take "never" out of your vocabulary this instant!" you exclaimed, shooting up off the bed and onto your two feet.

"What are you planning?" Genevieve tilted her head.

You rushed over to your desk, filing through all that had piled atop it until you found a quill, some ink, and some parchment.

"We can't say you've run away—no, that would give hope that you're still alive and then you would be seeing wanted posters with your face plastered across trees anywhere you go," you sighed. "No. We'll fake your death instead. And you'll run away tonight."

Genevieve bit her lip concernedly. "Are you sure this will work?"

"I'm certain," you assured her. "Are you able to communicate this plan to your love before midnight?"

"Yes, she is coming to the rehearsal dinner tonight and I'm sure we'll sneak off to the gardens," she nodded.

"Wait—is that why you and Alice go there every time—"

Genevieve's hands flew up to her face, covering it as she giggled.

"My goodness!" you couldn't help but share the laughter. "Wow. I am not surprised, honestly."

"What about you?"

"Have I ever snuck off to a garden to—"

"No!" Genevieve rolled her eyes playfully. "Do you love another?"

"I..." you sighed. "Well, it's complicated."

"I've got time."

"I'm kind of upset with him at the moment. And I'm not sure how he feels about me. And I didn't realize I love him until after I left—"

"One thing at a time!" Genevieve tilted her head back to laugh. She place a hand on your shoulder. "Why does he have you upset?

"He held my hand before I left." you admitted, staring out the window as you spoke. Most days, you would have the curtains closed in order to mask the view of the ocean, as it would only bring you feelings of sorrow and regret.

"And you really question how he feels for you?!"

"Well, he's not like us," you frowned. "Believe me, I'm glad he's not. Though I just don't think he understands what a touch of the hand means to someone like me."

"You may come from different worlds with different values and rules, but holding hands is still an expression of affection wherever you come from," Genevieve pointed out.

"He did wear a fancy ensemble just to see me off safely..."

Once again, Genevieve's laughter filled the room. "You are blind!"

"It's just hard to tell with him!" you protested, laughing along with her. "He's hard to read. He's...very easily irritated."

"Is he like that when he's with you?"

"Less so, but yes," you shrugged. "He is a complicated man."

"But his feelings for you are apparent."

"My god, I need to go!"

"Yes, you do!" she encouraged you, patting you on the back.

"I can't right away. I have to get in contact with someone first, and if both you and I are found missing or dead by morning, it's going to be terribly suspicious—"

"You will find a way. I know it," she assured you. "Let's go and oversee the menu for tonight. I'm starved."

You laughed as she jokingly linked arms with you, leading you out into what you were about to leave behind once again.

⋆.ೃ࿔*:･

All had gone according to plan—you saw Genevieve and Alice off safely, and falsely mourned your fiancée the next day, and for only a few days after before Stede caught wind of your message. As soon as he had, you scurried to the beach, only bothering to bring a few possessions with you. You hadn't even bothered to leave a note—nothing attached you to the aristocratic life anymore. For good this time.

"Captain!" you exclaimed, almost out of breath. "Thank you. I'm so, so sorry."

"No need to apologize to me," Stede assured you warmly. "Believe me, I get it."

"I wish you warned me—"

"Oh, you wouldn't have listened," he teased. "I do regret having done the same thing you had, but if I hadn't, I never would have gotten closure with Mary and bade farewell to that side of me fully. You had to do the same."

"And you and Blackbeard—he forgave you?"

"We're working on it," Stede laughed. "He has, mostly."

"Do you think Izzy will ever forgive me? How is he?"

"Go see for yourself," Stede suggested kindly. "He's on watch tonight. I'll be in my quarters should you need anything at all."

Before you could thank him again, he vanished into the darkness. You smiled, though you could have swore your heart stopped upon the sight of Izzy Hands. You almost choked on the breath you had taken before gaining the courage to waltz over to him. Before you knew it, you were beside him once again. Izzy jumped upon sensing your presence.

"Jesus fuck," Izzy mumbled.

"Hello to you too."

"What the fuck are you doing here?"

"Oh, Izzy, I'm happy to see you too!"

"I'm serious—what the fuck? You just up and leave and then you're back. Is this some sort of pattern? How long will your stay be this time, perhaps only a day, maybe two—"

Without much thought, you found your fingers laced between his once again. Izzy's train of thought stopped in its tracks and all he could focus on now was the feeling of warmth that had been yanked away from him ever since you left, and that now, it had been restored. A warmth he thought he would never get to experience again, nor experience at all. Whenever he spent countless days and hours reminiscing upon it, he scolded himself, convincing himself that he should be grateful he got to feel that at least once in his life. It was one more time than he ever expected he would feel it. It should have been enough, but it wasn't even close. His heart began beating out of his chest—what was this feeling he couldn't quite place? He knew it all too well and he was tired of pushing it down to drown. Eventually, you softly removed your hand, and you noticed Izzy's hand flex by his side once again.

"Did it mean something to you? When you held my hand before I left."

"I was giving you a boost onto your ride," he shrugged it off, turning away in hopes that the darkness would hide his smile.

"Right," you laughed. "Izzy, seriously. I have been going crazy. Every single day, wondering if you ever understood what such a gesture meant to me or if it meant absolutely nothing to you."

"Of course it meant something to me, dammit," Izzy sighed. "You are such a fool if you thought for a second that it didn't."

You laughed breathlessly, relief overcoming you instantly as you pressed your forehead against his. The way the moonlight shone upon his face made him even more breathtaking, even more earth-shatteringly beautiful. You couldn't believe what your eyes were allowing you to see, and you couldn't believe how warm you'd felt. You almost swore you'd never shiver once again. Your lips softly grazed his forehead before you pressed another kiss upon his cheek, before resting your forehead against his once again, your eyes fluttering shut, butterflies flying around in your stomach as you reached for his hands once again.

"Mark my words. I will never, ever leave again—"

"Shh," Izzy gently whispered against your lips. "We can talk about it later."

"Later," you nodded gently as finally, your lips collided. Your heart did pirouettes as your lips danced against one another's. In the darkness of your vision, you caught a glimpse of your future aboard The Revenge, with Izzy. You had never seen so clearly, until now, that you had finally found the place you were meant to be after denying it for so long. You had found your family and your lover, and they were all gathered in the same place. This was a luxury that would always beat the fancy balls you attended, the gold-laced coats you wore upon your back, the gems you were gifted often. Izzy was your gem, and he made your life shine brighter than it ever had.

[naranjapetrificada]

This post is making the rounds again for whatever reason and besides all of the things that like, make absolutely perfect sense about it, for whatever reason it's also made something click about Izzy characterizations in fic that do or don't work and why and how I can (in ADHD veteran fashion) "trick" myself into handling him and his nonsense more easily.

We're always reminding people about his status as a device vs an actual character, and that's something I've understood implicitly about the show but only intellectually in fic for whatever reason. Sometimes you can "know" something without truly internalizing it and you need like, the stars to align in a certain way on a certain day before you actually know what to do with that information. I guess that day was today? Anyway.

I've talked about what I will believe about an Izzy characterization and what I won't, and those things still matter, but what's behind them is the question behind any storytelling device: what's being attempted/accomplished with him here?

And when you take away everything else about it and deal with the question head-on, it's usually extremely straightforward to answer, even with portrayals that absolutely don't work for you or may not have been intentional on the author's behalf. In fact, it can even be tied to the thing I was just saying about understanding something on an intellectual level versus actually internalizing or believing or buying into it, and how that intersects with Izzy as a device instead of a character. Because here's the thing, like The Thing the thing about Izzy in fic, from the most sympathetic canyon-cooked apologia to the most excoriating condemnation:

He's still not a person, he's a tool.

And he'll never be more than that. There are writers who understand this both intellectually and implicitly, there are writers who understand it intellectually but have yet to internalize that understanding, and there are writers who reject the premise outright. But every single one of those writers still ends up treating him that way whether they mean to or not, because we're not given more than that to work with.

Whether someone is writing a nice guy OC with Con O'Neill's face and naming that guy Izzy or is making an effort to adhere as close to the text of canon as possible, they're all just using him as a tool. Maybe they're using him as a tool to reveal something about the world or the other characters, or maybe to move the plot forward. Maybe the message they want to convey is just that they think he's hot and/or they find something compelling enough about him (or Con O'Neill's portrayal of him) to make them want to build up whatever they need to to make him seem sympathetic. But you have to engage in a great deal of invention if you want him to be more than that, at which point he starts to go all ship of Theseus.

Izzy is a character in the way that the letters I'm using to form the words that make up this post are characters, in that he exists as a device for accomplishing the goal of conveying meaning. And sure, some characters are seemingly straightforward alphanumeric characters like the number 1 and the letter I, and other times characters are complex and multilayered and capable of conveying a great deal of meaning with room for rich discussion and interpretation like in some scripts that are both phonetic and ideographic (cuneiform, Egyptian hieroglyphics, Chinese characters).

If you want to extend this overstretched metaphor even further to all characters fine, but there's still a key difference between him and the actual protagonists Ed and Stede. If they're all "characters" in this sense of the word, whether or not you write Izzy with a dull pencil on wide-ruled notebook paper or paint him on silk with a calligraphy brush, he's just the number 0 or the letter O. Ed and Stede though? They're those works of figurative calligraphy where Arabic writing takes the actual shape of a bird or a boat or a tree. They're those Chinese characters written with dozens of strokes that feel like single, self-contained poems.

And that's a distinction that matters greatly when it comes to reading and writing fanfic. So next time I'm wrestling with a portrayal of Izzy in someone else's work that doesn't work for me or I'm continuing to wrestle with the struggles of trying to write him myself, I hope I remember to pause and ask myself hey, what's the point of him here? What's he meant to do? Because who he "is" doesn't matter, and isn't even the right question. I cannot tell you how easy that makes it to quiet down all the constant noise around him and put down all the baggage attached to him and just move forward with everything. It's so freeing.

[tillychmo]

S1-Izzy's Foreshadowed Road to Redemption in s2

(And me slightly gushing over Con O'Neill's acting on the way.)

Right-o. We need to talk about our man Izzy Hands. More specifically we need to talk about Izzy in ep110 and through to the second series, because I have yet to see anyone else comment with this particular angle, so here's my hot take:

(This will include obvious spoilers for all of the current two series of Our Flag Means Death)

I've seen some people talk about Izzy's character change as something that happened 'way too quickly' – I've seen others talk about Izzy not being a bad guy in series 1 at all – and I've seen a lot of people come away from the scene in ep. 110 where they're throwing out Stede's books and Fang/Kevin asks Izzy what happened to his foot with an understanding that Izzy's reaction to that question is one of gloading satisfaction, and because I kinda disagree with all of these takes (but especially the latter), here's my wee take on the lot – with particular emphasis on that 'smile' in ep. 110:

Jumping right in: The second 'Krackbeard' cuts off Izzy's toe Izzy knows that he has f*cked up and finally pushed Ed too far. Sure, Izzy has been used to Blackbeard cutting the toes off of other crew members and make them eat it "for a laugh" for years and years – but Blackbeard/Edward has never turned his violence on Izzy before.

Izzy wanted Blackbeard back, yes, and all the way through s1 he pushed and pushed and pushed him, even though Ed clearly didn't want to be 'Blackbeard' anymore.

We see this in the 'soft' manipulations – like him saying "My boss would like a word with you" to Stede, but telling Edward "I explicitly told him 'Blackbeard desires his company'" – and we see it more and more prevalent as Ed grows closer to and more and more fond of Stede – like Izzy ordering Fang/Kevin and Ivan to back him up in his demand that Edward kills Stede (based on Fang's & Ivan's reactions in the previous scene "This is the most open and available I've ever seen him", I feel OK with surmising that Izzy probably ordered them to back him up here) so that Edward will 'lose face' or even be looked at as weak if he refuses to do it; like insisting on a swordfight with Stede – directly against his captain's orderes – and choosing to not just banish Stede from the ship when it looks as though Izzy is going to win, but actually going in for the kill; like selling Stede (the man Ed loves) out to the English, while also basically treating Edward as a commodity, by making him the 'price' Izzy will earn from the British, when they've captured Stede.

The latter of which – and this is equally as important to note – literally sets the whole trajectory of Ed's fall into Krackbeard in motion.

Ed is the one who returns to the Revenge – not Blackbeard. And Izzy is continually at his wits end, because he has now done nearly every single manipulative thing he can think of (Izzy obviously doesn't think of these things as 'manipulative' – in his eyes he is still doing the 'right thing') to get Edward to 'snap out of it'. But Ed is still refusing to act the part of Izzy's preferred understanding of what masculinity is. In fact, after his return Ed slips even further into the kind of 'feminine'-masculinity that Izzy despises.

And Izzy finally cracks – insisting that 'Edward' and 'Blackbeard' are not the same, and then taunting Edward with his percieved weakness of being heartbroken. This finally goads a reaction out of Ed.

And for the glimmer of a second Izzy thinks he sees 'Blackbeard' in Ed – and you can see the sheer satisfaction on his face:

But Ed doesn't want to be Blackbeard. And the moment Izzy touches his face (other people have written brilliantly on Ed's reactions to physical touch – if I can find it, I will add a link to it here), Ed doesn't go in for the counter attack. Instead, he pushes Izzy's hand away, let's go of Izzy's neck, and takes several steps back. Even here, when he is being actively threatned, he is still refusing to 'act the part' of overt violence that Izzy is demanding of him.

And because Con O'Neill is an actor's absolute dream (side-note: seriously, I cannot get enough of watching his micro-expressions when a thought changes and you can see it so clearly in his eyes) we can see the split-second where Izzy realises this:

(Seriously that thiny change of his eyes is so easy to miss and yet it speaks VOLUMES for Izzy's character and character arc – Con O'Neill you brilliant bastard.)

So at the point where Ed is at his absolutely most vulnerable – because the crew has made him feel safe to do so – Izzy goes for the final 'trick' he has left: He threatens Ed on his life.

And this brings us back to the beginning of this post: Krackbeard cutting off Izzy's toe. Supposedly this should have been an indicator to Izzy that 'Blackbeard' is back and is "himself again" and Izzy even says this himself:

And here we arrive at the whole reason for why I've made this post (yeah, sorry, I know it took a while) :

Izzy is telling us that he finally got what he wanted: "Blackbeard is himself again". In other words: "I WON. YAY."

BUT – and I cannot stress this enough – look at the reaction that follows those words:

"I WON ... YAY?"

THIS is the look that clued me in on where Izzy's character arc was heading. Because there is only one reason to allow the antagonist of your story to crack even the flicker of an inch and acidentally show their true feelings like this – and that is if they are on their way to redemption. And with redemption more often than not also comes their inevitable demise.

THIS is not the face of a man who is happy. THIS is the face of a man who knows damn well that he just cosmically f*cked up and now has to live with the consequences.

Which is why we see him, immediately after this accidental facial honesty, putting on the face of a man who actually got what he wanted. Because he is suddenly finding himself in unchartered territory: Izzy knows who 'Blackbeard' is – but he has no clue who 'Krackbeard' is or how to handle him, because 'Krackbeard' is born from the lack of Stede, the heartbreak that followed, Ed's self-hatred, and the threats from Izzy. And Izzy didn't understand this ... Until he suddenly starts to realise it, when it is seemingly already too late.

So when series two started and we see a completely broken down Izzy, I was not surprised at all. Because not only did Izzy realise in ep. 110 that he had finally pushed Ed too far – he has, in the intervening weeks and months, seen Edward (the man Izzy was/has been/is coming to realise that he loves) deteriorate, doing more and more drugs and abusing alcohol and becoming more and more depressed and suicidal. Izzy has finally realised what antagonising Ed actually costs: Ed's attachment to life – Ed's willingness to live. And the reason why we see Izzy change his tune towards Stede fairly/incredibly quickly in s2, is because Izzy has realised that the only way to save Ed, is to accept that Stede is what brings Ed to life. Not 'Blackbeard', or 'Krackbeard', or any other performative persona, but "just Ed".

Which is why mirroring the 'attack' scene in 110 with the words "There he is" in Izzy's final words to Ed is so damn beautiful.

IZZY: "Just be Ed." Ed breaks down crying. IZZY: "There he is."

(An afterthought: Writing this I'm realising that Izzy's final scene with Edward in 208 actually beautifully mirrors their scene in 110 in more ways than "There he is". In 110 we see Izzy being pinned against the wall; he is 'finally' being touched by Edward, but it happens with violence and agression and with no hint of care or love – but in 208 Izzy asks Ed to sit with him, and not only does Ed stay with him, he is literally holding him, caringly and lovingly in his arms. No agression and no violence. Just care and love and familarity and warmth. Not telling Izzy that he loves him, but showing him. And I think that's quite a nice thought to end on.)

[suffersinfandom]

A Summary of The OFMD Meta (Part IV)

This is part four of an incomplete summary of A Meta-Discussion Of The Subtext by meratrishoslee (Mera) on AO3 (linked to, as the author requests). I’m trying to stay impartial and present the content fairly and with context. Like, I started reading this 140K beast after I saw a wild screencap and thought, "Surely there's context that makes this make sense," so I do want to provide at least that much.

This part includes interviews and a response to one of the “concern trolls that couldn't quite manage to wipe the foamy froth from their mouths long enough to keep it from dripping on their keyboards.”

No more chapter numbers because they keep being reordered.

Other posts Part I Part II Part III

Chapter The Vanity Fair Article - A Wondrous Fuckery

Here’s the article that chapter is about.

Mera suspects that the interview happened via text, giving David Jenkins time to sort out what he was going to say. They note that they’re “going on vibes and subtext, which is really more [their] wheelhouse.” You’re welcome to disagree with them.

“First off, I was trained in the House of Moftiss/BBC Sherlock fandom, where we just assumed that every word the showrunners spoke in an interview or on social media was a shameless distortion at best, and an outright lie at worst -- so that's where my mind goes first. [...] Having said that... so much of the Vanity Fair interview is an actual gift.  You do have to cherrypick somewhat... but again, DJenks just released an episode with a major character death.  He can't go back and reverse himself and suggest on any textual level that the death was less than permanent.”

VF mentions the happy endings in the finale, and Jenkins says, same-sex relationships end on a dour, downbeat note, where one of them dies and it’s unrequited or it’s unrealized; something horrible happens and they’re punished in a way.

“That's not a happy ending -- and that's exactly what you apparently fucking did with a central character.  Gosh, how weird of you to bring it up here.  So why?  Is it... is it something you left open for a third season?  That the horrible death of an unrequited love isn't what it appears?”

Jenkins says that Izzy is kind of a mentor to Blackbeard and that he is kind of a father figure. Mera says that “this is the closest he gets to queerbaiting us” because Izzy is definitely not Ed’s father figure.

“Notice we are still given the subtext here: mostly dead is slightly alive, and "kind of a father figure" feels like a limp gesture in the direction of explanation.  The rest of it... if you feel insulted on Con's behalf, that Izzy Hands was reduced to an old dog being put down at the vet's office here ("beautiful arc", "does a lot of things", "it's time", "full meal" -- god, a day at the dog park and a last fucking supper with cheeseburgers and pie and all the human food he never got to have otherwise she says sarcastically) -- YOU ARE SUPPOSED TO.”

Jenkins keeps mentioning “magic, love, turning, losing, changing, rebirth, resurrection, present tense about Izzy Hands, ghosts/life after death, or anything of those flavors.” He is “legitimizing repetition” in order “to prime your mind to see the subtext.  You can only look for something if you know what it looks like: he is giving you the key to the season.”

Jenkins reminds us that “he was not a straight white guy alone in that writers room, and he's telling you the story worked for everyone in that room of all queerness/genders.” 

“And then he brings our head back around and goes ‘hey, look at Izzy again. It's almost like he's the key to everything.  Hey, look at me using present tense on a character that's supposed to be dead and gone which would be past tense. God I love Con O'Neill, and I need you to hear that in every single interview I ever give EVER. His character IS a joy to write.’”

Mera mentions all of the “subtextual queer references and coding” put into Izzy. “You don't create a Queer Avatar by fucking accident. And these professionals certainly did not.”

Mera encourages their readers to read the Q&A that wraps the article “with the mindset that we will have an S3 where a queer self-sacrificing man rises from the dead in a damn near explicit Christ metaphor and our Izzy Hands is safe and whole and loved.”

“The Vanity Fair interview, as far as I'm concerned, is not some painful/cruel gloat. It is a subtextual love letter back to the fans, published just in time to be ready to soothe our hurting hearts -- if we know how to parse it.”

Chapter "Who Do Ya Trust If You Can't Trust God?"

“I'm finding myself tired at being the point of the spear. No one prepared me for how exhausting it is to be among the first to realize a massive truth.”

This chapter is about coping with fandom and contains some solid advice: “The block button is our friend. The unfollow button is our friend. The mute option is our friend. If someone's relentless negativity hurts your feelings or drags you down, mute/unfollow/block them as needed.”

But then:

“I choose to believe my daily-growing mountain of evidence that Izzy Hands is alive and that the writers intend that he be hollered home from the gravy basket. 

“Furthermore? If I can be painfully real for a minute? I am amazed at the trust the writers have given us. 

“Because we the Unseen Crew have been put into the position of Izzy's future lover -- to be to Izzy what Stede was to Ed.  We are called on for our audience participation now, to hold his hand and beg his return -- not for a minute, an hour, or a day... but potentially for the next several months, over a year or more, until we get Season 3. 

“I do tend to have this fatal flaw of wanting to uphold others' trust in me, and to be loyal to those who show loyalty in return.”

Mera reminds us that her word is not canon. She isn’t affiliated with the show and is just trying to provide hope and positivity.

“Even though I often will get tired... I am determined to stay positive. When I can't say something nice, I close the window or the app and say nothing at all. You will find me on my social media being as unrelentingly kind as I know how to be.”

Next: interviews and what we can take from them. “Interviews have exactly two purposes: pocket money for the subject of said interview, and promotion for the show. I was trained to never fully trust what is said in interviews.” Engagement and getting people clicking is more important than imparting useful and truthful information, and nothing engages people like anger.

That’s how we get the early “interviews that are half touching and half enraging, with seriously tone-deaf seeming self-conflicting statements from the writers/showrunners [...]. We can trust that if the interviews are live/verbal, they'll be more irritating rather than less. The showrunners would much rather say too little or say something wrong than give away something too big or too true accidentally, and in the pressure of the moment they will fall back on phrases they've memorized as safe to use.”

Don’t trust that interviews are telling you the truth (but they might be saying something truth-adjacent).

Mera has doubts about Jenkins telling O’Neill about Izzy’s death mid-season. She doesn’t think that Jenkins is that stupid. “It's not too far a stretch to think that this "mid-season" conversation occurred in the middle of filming the first season, and all DJenks is prevaricating about is the timing thereof.” 

Jenkins realized mid season one that Con is an amazing actor, so he takes him out for dinner and says, “Next season I want to kill Izzy 3 times. The first time will be Stede's dream sequence, and the next two will be actual Passion Plays, because we're setting Izzy up to be Jesus and Westley from The Princess Bride and Han Solo from Star Wars.”

“And Con takes up the challenge of being coded as an OVERT Queer Messiah (with an additional layer of subtextual HIV/AIDS)... because of course he does. Of course he fucking does. If he can pull it off -- and if anyone can, it's him -- it's the role of a fucking lifetime. It's a role for history books and media studies for the next fifty or one hundred years. 

“Doesn't that sound a bit more likely? Doesn't that sound a bit more real?”

Mera predicts that interviews and articles will start publishing ideas about Izzy still being alive, and talking about how weird and off the end of season two was. Everyone involved with the show, after all, will “know we inspect every frame and every pixel of every BTS and teaser they release,” so they’ll feed us enough to keep us guessing at the truth.

“Here is my promise to you: if/when I'm wrong about any of this, I will edit this chapter only to admit I was wrong and when and how. I will not remove my evidence.  I am comfortable being wrong.  If I was never wrong, I would never have tried and failed and learned from my failures!”

Chapter Until You Come Full Circle

This chapter is about interviews. “We’ve had, just in the last week, two very sweet and classy interviews with Con (which I did predict, although that was about as safe as saying the sun would rise in the east this morning) – and one that seemed… less so, with Taika.”

First interview with Con.

Con says to trust David Jenkins, which immediately makes Mera think of Proverbs 3:5-6: Trust in the Lord with all your heart, And lean not on your own understanding; In all your ways acknowledge Him, And He shall direct your paths. “Now. Am I delulu, as the kids are calling it these days, suggesting that Con might intentionally be throwing some religious vibes at us?”

Con is also “earnest and intense” in his praise of OFMD’s writing. This is a good sign; that means he thinks the show is written well, and that’s further evidence that Izzy will be back.

Second interview with Con.

Con “seems to me to be very reluctant to outright lie, which is awesome for a meta writer and squares with my experience of him. Lying is easy in the moment and difficult in the future – a person has to remember what lies they’ve told in order to remain sufficiently consistent in their stories. It takes more skill to tell just enough of the truth that it's both vague in the moment but pays off later.” This makes interviews with him extra valuable.

A short analysis of one of his quotes: “Everything Izzy is in Season 2 was there in Season 1, only understated and repressed. According to the actor who played him: he didn’t change who he was. Izzy just got safe enough to let what was inside him out to where others could see it too.”

One of Con’s quotes backs up Mera’s Sacred Heart meta, namely the part about Izzy trying to serve the crew that loves him. 

Now a Taika interview.

This interview bolsters Mera’s idea of Ed as Judas. 

From the article: When Consequence asks writer/director/actor Taika Waititi if he’s feeling optimistic about a third season of Our Flag Means Death, his initial response is this: “Have you seen the end?”

“I think we can safely assume that Taika’s not asking the interviewer if he’s literally seen the last episode of Season 2. This feels to me like the blunt, sardonic, dry humor Taika’s evinced (and occasionally gotten into trouble over) during other interviews, aimed at the word ‘optimistic.’ ‘Have you seen the end? How optimistic did you think it was?’��

It’s not an optimistic ending. The interview mentions the inn’s renovations, but we don’t see anyone doing any renovating. Ed and Stede don’t even have food as the Revenge sails away. 

From the article: For Waititi, though, the Season 2 finale “feels like a natural end to their story. Just because I feel like, you know, they’ve been through so much and then wind up in that nice place at a happy ending.”

What nice place? What happy ending? 

From the article: Waititi says, though, that “I don’t want it to feel like Rambo III suddenly, you know, when you’re like, ‘Oh man, they have to leave their idyllic life again.'”

“Okay, everything else was fucky as fuck… but that feels wrong enough to be a lighthouse.” So Mera went and watched Rambo III, which is more relevant than she expected. 

Rambo’s “idyllic” life isn’t that great. “We don’t see an emotional, human connection. We see a white guy who’s on tolerance in a place he doesn’t really belong, separated by a language he doesn’t fluently speak. We see a man tormenting himself with boredom and isolation.”

“When you look at John Rambo through most of this movie, you see a pretty good correlation to Edward at the start of the last episode of OFMD S2: on tolerance in a place that’s not truly his home, trying to fit a life and do a job he’s not suited to… and he gives it up without another thought because a man he cares about is in danger.” A hint to season three?

Chapter My Ridiculous Obsession With Love

In this chapter, Mera addresses one of her “haters.” 

For anyone who forgot the thesis of this meta: “The overarching hypothesis I'm building in this meta-discussion is that Izzy's death was more serious because HIV/AIDS and queer grief is serious.  He had to go into the grave and take the full journey of the passion play to be able to leave it behind him, and to re-emerge as someone that can touch, kiss, and love again.”

--

Commenter: “None of that makes this a definitive interpretation, or one that the creative team can reasonably be held responsible for.” 

Mera: “... yes?  Okay, sure? (Dear non-haters: just picture that John Travolta confusion gif again, because if I threw it in here every time I rammed up against an example of begging the question in this comment, there'd be like 30 of them and we'd all get tired of them.)”

--

Commenter: “The crew hold back because Ed is the person Izzy dedicated his life to and has not yet fully reconciled with- they're giving him space to sort things with Ed so he can go in peace. Etc etc.”

Mera: “I see a rapid parade of images and sounds. "He's a dick, but he's our dick." Jim snarling "He was your friend" up into their captain's face, even though they know for a fact that could get them killed. The crew make the unicorn's leg for him together but they leave it at his door because they know he can't (yet) let himself accept it if anyone's watching: what an incredibly emotionally intelligent maneuver. The easy way that we see Jim and Lucius and Frenchie and Fang interact with Izzy in later eps-- all touching him or letting him lean on him, just never skin to skin. The way that we see Izzy go into Wee John's arms and stay held there for a while as he commits the incredibly vulnerable act of singing for them. The way that Izzy lays his hand on Stede's knee while they're talking at Jackie's bar, and there's no real animosity from them on either side then.

“So I'll give you this one, 100%.  I can't say that you're wrong or prove it in any way.  Your reading is absolutely as valid as mine, no more and no less.”

--

Commenter: “Isn't it heavily implied that people touch him with bare hands while dealing with his leg? And if he is coded as having AIDS and being untouchable, why would the crew be so willing to dive in and get covered in his blood when they treat his leg, especially when they're also scraped up at the time?”

Mera: “I haven't had a chance to write up this meta yet, but in a nutshell: we see Jim and Archie amputate his leg (with their hands pressed together in visual union atop it).  They're covered in blood and this is one of the least realistic depictions of a survivable amputation attempt in media ever, frankly... and yet Izzy lives through it!  [...]

“Notably we do NOT see Fang cleaning up.  I need to go back and verify, but I'm like 99% sure. 

“Why? Is Fang lazy or unhelpful? No, I'd say two reasons. One, he's paralyzed with grief (and the men in this show are so emotional, as Auntie rightfully notes).  But two, certain classifications of men were more susceptible to Izzy's subtextual disease. [...]

“I think it's a direct subtextual sign post to the part that lesbians/wlw/AFAB people had to play in the care of queer men dying of AIDS. [...] Jim won't catch Izzy's subtextual HIV/AIDS, ever.  Jim's hands heal and comfort, with both Izzy and Auntie -- repetition (usually) legitimizes, as I've said elsewhere.”

--

Commenter: “...while I know I have no control over this... it's alarming to see other commenters accepting this elaborate interpretation as if it's definitive.”

Mera: “Ooooh, I'd pay a dollar to find out how many comments you leave on fix-it fics. Are they also dwelling in their delusions of a world where a fictional character in a show overcomes a fictional death in the same show? Is it a sign of mental illness to indulge in word count or WORSE -- for them to irresponsibly leave those insane words just out there online where other people can also continue their madness by READING THEM?!?! The absolute horror. We writers should be ashamed, etc etc. 

“There's every possibility all the words I'm spilling over this are worth just as much as you paid for them: exactly nothing. 

“So thank goodness we have you and others like you, willing to do the purely altruistic and entirely virtuous work of... leaving comments to tell us you didn't agree? I guess?  Honestly I don't have a full lock on what your goal was here, if something other than trying to make people feel bad but fortunately not being very skilled at it.”

--

Commenter: “I wish you and every other fan nothing but the best, and for that reason, I find this hard to watch.”

Mera: “My sibling in Shiva: the 'back' button and the 'x' to close the window are available in every single web browser I have ever used in the history of the internet, ever. But I appreciate your martyrdom in staying here and nobly suffering so hard in an attempt to save me and my readers from ourselves!”

--

Commenter: “It seems like you are setting yourself and others up for even more rage and heartbreak than there would otherwise need to be.”

Mera: “I want to point out that I've tried to be very careful in not speculating about Season 3; I think it's reasonable for any fan to assume all characters living at the end of S2x08 will return in S3 unless real life status of the actors, scheduling, or budgetary considerations prevent that. 

“I want to point out that all I have are the first two seasons, and I am telling you that Izzy Hands, inside the last second of S2x08, is "mostly dead but slightly alive" -- and he's in the house, being the cause of the smell that Edward doesn't want to recognize (as he is at least twice before shown refusing to recognize what he's done as Blackbeard after the fact) but does actually recognize all the same.”

Mera admits that there are two options: “Either I'm correctly parsing the absolute bounty of subtext available in every aspect of the show, or I'm not.”

“On the day that we get that confirmation, I will feel one of two things: either the delicious vindication that I was right -- or amazement that they could build such a wondrous sky castle of subtext, whether consciously or subconsciously, and fail to complete it satisfactorily.”

“I've been wrong before and will freely and cheerfully admit it [...]. That's also why I put in my first meta post that I had been a TJLC'er -- and why I've left it in there, actually. It's correct and it's honest. Straight off I admitted I was wrong about Something Big. 

“See, it's [...] ‘hater bait,’ and it's already caught several. Lots of concern trolls that couldn't quite manage to wipe the foamy froth from their mouths long enough to keep it from dripping on their keyboards, because all of them had mentioned it... until you.”

--

“I've cackled my way through all of the writing of this post, even as I've tried to be very kind in reply -- you should have seen some of the shots I chose not to take due to their cruelty (even though they were fucking hilarious) -- so thank you for a most diverting morning.  I even got more meta and more word count out of this, so it wasn't actually a waste of productive time!”

--

Commenter: “I urge you to reconsider this approach that you're taking.”

Mera: “Here's where I'm gonna get all the way real again. Because I'm not talking to [...] that poor dear any more. I'm talking to the ones who are here with me in the stinking dark of the Pit of Despair, holding onto Izzy's naked right hand with no glove between us any more or hopefully ever again, hollering him back home out of the gravy basket.”

“If one sound had been added, everyone would know what the author knows. “We have the house. We have the grave -- with Izzy's collar on it like the dog collars on the dog graves in Pet Sematary -- where whatever comes back often comes back wrong. We've got the concept of a bad smell. We've got Stede reacting to something awful with a scream [the one thing Mera’s adding in this scenario]. 

“DONE. 

“Now the fandom is convinced that Izzy is alive, just as most of us were convinced in the last 18 months that Lucius was still alive.”

“This is part of what convinced me in the first seconds after the episode was over that Izzy wasn't dead. If I could both change the story and prove it to everyone else with just one small addition... then he's not dead.”

After Lucius was pushed overboard in season one, “I just trusted that this soft and sweet little show wouldn't actually permanently kill one of its gays. [...] And I still trust that it didn't actually permanently forever and truly kill the most gay-coded of its gays.”

[eleonkraken]

Cucumber (2015) was a wild ride from start to finish. The first few episodes were mostly cringe but it's RTD on his Queer as Folk type shit so I was expecting it. I felt like it took until Henry's convo with the guy in the café before we actually got to see some of what the heart and soul of the story was supposed to be. That was the first turning point for me.

Then the Lance thing happened and I did not even remotely see it coming. Obviously you figure it's gonna go badly but like that? I wasn't expecting it at all. It sort of jolted me out of my casual watching experience. After that it's like, all the cringe shit starts to make sense. And then the final line of the final episode is so perfect. I guess you're supposed to kind of pick up on where Henry's issues come from before this point, but the final line spells it out for you.

I ended up feeling totally gutpunched by the whole thing after that. Sometimes you just wonder what the fuck RTD is doing but then it always makes sense eventually. What a genius weirdo.

RTD is such a unique writer/showrunner. He brings his personal perspective to most of his projects and he's always trying to get people out of their comfort zone. Can you imagine queer tv without him?? Crazy what he's been able to accomplish.

Oh and, yeah. Con O'Neill was in this show lmao. He injects his character with such vibrant personality in every single scene and it's a joy to watch. I'm sure he probably shares a lot of perspective with RTD (and Cliff) in terms of being queer in the 80s and 90s and idk, maybe it's silly to think about that while watching but I feel like it makes it feel way more personal.

[batsarebetterthanpeople]

No pressure to answer bc you said you didn't want to say more, but I feel Con is playing both sides a bit with the assertion that Izzy "loves Blackbeard but doesn't know it". He also keeps saying "Blackbeard" and not "Ed" which makes it confusing re: who Con is really referring to. The human character Edward, or the co-created fantasy persona of Blackbeard. I'm not trying to insult Con in that, he's an artist and justified to his own artistic choices. It just made me say "hmmm" quite a bit during the interview.

Ok so here's the thing about Con O'Neill. He's in a weird spot here because every single time he talks about a scene it's revealed how little direction he actually got and honestly a lot of actors don't watch the final product so I wouldn't be surprised if he hasn't watched OFMD so with that in mind my theory is that con keeps saying they weren't in love but also he did everything he did out of love and he's not bad he's just written that way etc etc because every single time Con O'Neill thinks he has a handle on what Izzy Hands' deal is some writer goes "you walk in on Ed and Stede cuddling naked in bed together and you're ok with it" and the director doesn't recontextualize it for him so he has to sit there in his trailer and rework Izzy's internal state as fast as he can before the cameras start rolling and he has to be in front of them

[izzyspussy]

Another tit ask pls rank some of your favorite famous men's/fictional character tits, detailed reviews if possible

Top 5 Fictional Men's Tits

5. Jim Kirk (Star Trek: TOS)

They are always out. Simply can't be contained. Kirk has plot armor but his shirts have whatever the opposite of plot armor is, just like when a female character wears clothing that covers her midriff. It's a guaranteed casualty. Slutty, pink little nipples. There's that one post about his mommy milkers that made that dudebro shit blood. Frequently artfully dirty. Lowest on this list because they could be bigger and hairier, and also because Shat sucks enough to interfere with the inherent horniness of his character.

4. Batfleck (DCEU)

The first superhero in twelve thousand years they didn't wax from chin to big toe. His skin isn't shrink wrapped to his muscles. Nature is healing. They were just as mad as he was that whole movie, and then in the next one they were sad like him too. I like picturing Wonder Woman motorboating them. Also frequently dirty. But tbh... also could be bigger. Other Batmans could probably deliver on that, but alas all of them are significantly less slutty and have not sent me a picture of their tits.

3. Mick Rory (DCTV)

Not slutty and has not sent me a picture of his tits, but he makes up for it with being Big and unfathomably emotionally damaged. He's like the draft horse of men, and that's how I like 'em. I think it would be really hot and also really funny to bounce those things while he sits completely frozen like maybe if he stays still enough my heat seeking sexual objectification missile won't see him.

2. M'Baku (MCU)

BIG. Fit perfectly formulated to accentuate the girls, as god intended. Is that a peek of sideboob? Maybe so. I am staring. He should have been allowed to have them out. Everyone wanted this.

1. Izzy Hands (Our Flag Means Death)

TECHNICALLY Izzy has not sent me a picture of his tits, but Con O'Neill shows me his license (left) and registration (right) every single day. Hairy. Perky. Got a nice little bit of belly to support them. Izzy's all buttoned up- no, almost- almost buttoned up. He's got a little hint of sternum showing where he didn't do the last two buttons, despite having a tie!!, wearing all black for contrast, to draw your eye in, make you think about it, make you wonder, make you yearn. He could do everything the four runners up did. Boob window sliced open in battle that's a metaphor for gay sex? He could do that with his hands tied (please let him do that with his hands tied). Sweaty, bouncy, revenge training montage? Easy-peasy lemme squeezy. Prey fear response to a much younger, sluttier, and immeasurably more well-adjusted relentless flirt? Already done. Power slouch? Coming soon (season two, and me).

[Disclaimer: Accuracy of this post not guaranteed due to author's unreliable nature and inability to answer questions that can't be found through Wikipedia (I forgot every man I've ever been attracted to in my life as soon as I read this).]

[prettybluelites]

Thoughts: Impossible Birds

Okay, to hold me over until Thursday, I'm going to rewatch and blather about each of the existing three episodes, one each, today tomorrow and Wednesday. It won't be true "reaction" because I'm on...oh, the 6th rewatch? But I'll try to cover the stuff I know I was thinking when I watched the first time.

Action right out of the gate. Love a good dream sequence. Rhys looking alarmingly Branagh-esque.

First lols of the new season: "You absolute twaaaaaaaaa..." and the tackle hug. That just looked like it hurt.

More on this bit in the previous post, where I wrote about "I Love My Baby."

This scenery was well worth the wait, goddamn

Not gonna lie, I'm not a fan of fart jokes, but it got them back to reality pretty quick. So I guess I have Wee John's farts to thank for the outstanding pacing so far.

THEY PIMPED THE SWEDE OUT TO JACKIE, omg, I fucking DIED at Roach practically pushing him into her lap. "He's single!"

Also lmao at Buttons' plaintive "May we go back to the sea now?" The flip side of "Are we there yet?" They really are just little children.

I know I'm supposed to be caught up in the "Trust No One" tattoo but I'm distracted by Taika's waist

Jesus Christ there's a lot to unpack in that wedding officiant's speech. "Elevate the common human rabble," yeeesh. I mean, I know that was a thing, like, "people of our standing" or whatever. But yeesh.

That close shot of Ed's eyes when he says "I'm the fuckin' devil"--that's something that grabbed me when I first watched the trailer. Or teaser, whichever it was. There's not a single glimmer of light there. He's so tired and broken and it's all there in his eyes.

The wedding raid is probably a vaguely inappropriate time to mention that Vico is still, as I believe Nathan Foad put it, the hottest human being on the planet

Obsessed with Archie

Obsessed with Susan/Zheng Yi Sao

Obsessed with Auntie

I'm not going to analyze the Izzy stuff much at this point because there's already been a lot of that and I haven't fully processed my feelings so right now I'm just going to leave it at, Con O'Neill is fuckin incredible

Swede has assimilated well, I see

Firm believer that everybody looks cuter when they're wet. Stede looks cuter but mostly sadder

"Could be, could be, mate" - I screamed

Ricky is obviously ew and I hated sitting there helpless while he played Stede like the proverbial fiddle

Stede's look when Swede says "husbandly duties," equal parts Oh no, TMI and Aw, that's our lil boy

Feels wrong not to say anything about Izzy's sort-of confession to Ed, but like I said, I'm still processing. Did I mention Con is incredible?

Taika is scary in the scene that follows, it's actually kinda hard for me to watch, but goddamn he nails it. When can this show win all the Emmys it deserves?

Fun fact, the lime rickey was invented in 1883 :D

Leslie Jones is awesome and gorgeous, and I love Jackie and Susan squaring off in this scene

I absolutely love that Jim, the orphan raised by a nun to be a killing machine, is the character that has made me laugh the hardest, like until I literally cried, on every single viewing of this season so far. And Fang and Archie laughing at Jim's telling of the story just adds to the moment, there's so much joy in the middle of that awful, awful situation they're all in.

And on the other hand is Ed's speech about the bird, just heartbreaking, especially the way he's gasping his way through it. Treading water, waiting to drown.

The song here is fucking gorgeous too, they just keep hitting the soundtrack out of the park

I love soup too, friends.

And here endeth the episode, not including the extended bit of Jim's Pinocchio story, but I've said all that needs saying about that.

Stay tuned for Episode 2 tomorrow!

[ourflagmeansgayrights]

9, 10, and 17

9. worst part of canon

ofmd's "slavery is happening but it's all going on *gestures vaguely* somewhere over there" is a topic that's been criticized and discussed at length by people who can talk about this way better than i can. but i will say the part where canon is egregiously brushing over this the most is the fact that mary is portrayed as sympathetic while the show just brushes over the fact that she is still benefiting from land and wealth gained via the colonization that is actively ongoing throughout the world.

10. worst part of fanon

to the surprise of nobody my answer is Fanon Izzy

like there are a lot of fandom brain warping things going on at all times, the one i mention all the time is when i realized on a rewatch that ivan and fang are barely in the show at all. i knew they were minor characters, but i forgot how minor for a while. but this is a normal part of talking about a show online for months on end.

but i swear to god almost everyone in the ofmd fandom has forgotten that izzy is not a main character

there is. so much analysis. that gives izzy's feelings the same weight as ed or stede's. which is cool, for a fandom analysis! but when this goes into how they think the rest of the show is going to play out, the izzy flashbacks they assume they're going to get and the redemption arc that's treated like an inevitability, that's when im like "oh baby you are not going to like season two i dont think." (i've seen Several posts call izzy the show's third protagonist, which is so fucking rude bc jim is right there)

like, izzy being very deeply important to ed is a headcanon. we get a few joking word of god quotes that say shit like "izzy's like a jilted spouse," but there is no hard on-screen evidence of an intense emotional bond there, or of izzy ever knowing ed outside of being blackbeard. every ounce of depth added to izzy came from con o'neill's acting choices, which is GREAT but does not give any evidence for where izzy's storyline is headed.

also, canon izzy is not loyal. canon izzy is not a jerk with a heart of gold (con o'neill HIMSELF has said all of izzy's layers are bad). canon izzy is not dedicated to serving ed. canon izzy is not sitting sadly on the sidelines just waiting for an invitation or a single kind word.

canon izzy is a freak with as much emotional depth as badminton the second. he is a very fun antagonist. he is not the secret hero of ofmd. if he died in a comedically gruesome way, that would tonally match the rest of the show.

he might get a redemption arc! not saying he won't! im saying there is currently no groundwork laid out for it to happen it's not narratively necessary for him to be redeemed.

17. there should be more of this type of fic/art

IM GOING TO REPEAT MYSELF AND SAY WE NEED MORE FRENCHIE/ED CONTENT IN THIS FANDOM

🔥choose violence ask game🔥

[mysteriouslybluepirate]

Watching Con O'Neill's old stuff cause it's fun. Day #? Soldier Soldier S06 EP.09 Asking for it (Con's Conography. 1996)

In future if you want to read all of these posts, I've added the tag 'Con's Conography'. Now they're all in one nice spot!

Warnings for: Sexual assault/rape (committed by Con's character), abuse of power within the military structure, assault, abuse of power, sexist comments(what you would expect from the military).

Should I watch this before reading this? Is it worth it?:

Con plays a military official who abuses his station, sexually assaults a female private under his care, and semi-gets away with it with barely a scuff on the wrist in the end.

It's a really fucking good story about how women are treated in the military. Especially victims of sexual assault. He uses his power to try to get her kicked out. When that fails, he knows they're onto him. Without much evidence, he can't be prosecuted so he asks for a transfer, which he receives. He's not a repeat offender, his first assault happens mid-way through the episode, but he's a fucking jackass who couldn't take no for an answer. They give him internal reasons why he thinks he didn't go too far, and it is very real. If you're still interested, watch it.

Again, cause I went into this fully blind I will be saying whoreish things about Con. If you just look at his costumes, he has some 'hot' ones in this if you don't know what he does. If you look up Soldier Soldier a good chunk of it is people rebloging hot photos/gifs of Con without context.

He did this 1 year after Scarborough Ahoy and basically has a shorter haircut. Still in the 'hot young Con era'. They literally throw him into a pool fully clothed for fucks sake. After the scene happens, my tune changes. I promise. Again, they don't define him as a man with a history of assault, but Con's character is definitely the type to think 'I only fucked up once, I'm still a good person.' just fucking gross.

If it's too much skip around my live reaction and jump to the end for my final thoughts.

------------------------------------------------------------------------

So, military. Should have guessed based on that title. This intro is very 80s for the 90s. If they kill anyone I'll kind of be surprised.

CON! IMMEDIATELY!

Angry swim coach Con, yes.

God, he pulls off military type so well.

"If you've got the energy to smile, go give me a few more laps." HELL YEAH.

God, I know that's his voice, but god it sounds like it hurts.

I hate military types...so much.

This bike tampering is dumb, and dangerous, and is going to get both of them beat up. Also, these men(E-1 privates) 'respect' women more than any vet I've met.

I'd be entertained by that shit. And fucker seems like an ass so might as well give it to him.

Con looks huggable in that jacket. It's a nice soft blue. Love it.

CON IN A HAT! With a little feather.

"I never thought of you as a romantic!" GOD FUCKING DAMN IT. Can he just be evil? Or a douche? Every single fucking project this guy needs to be sad and lonely, wanting a friend/lover. Hurt by a past relationship and just wanting justice in his life. Don't get me wrong, I eat this shit up with a goddamn spoon. But Fucking HELL. EVERY CHARACTER?

HE'S DIVORCED. THAT MEANS HE'S AVAILABLE BABY. "There's only room for one woman in my life, I joined the army, she made a man out of me." I KNOW WHAT YOU ARE.

ALSO THAT CARDIGAN, AHHHH. It's obviously cheap military clothes, but god.

CON SMILING BABY!

(The young couple we've been following all episode) They're a cute couple (I say, a military brat that got out before I was 10. They'll fuck, have a kid, and be just as unhappy as anyone else on base. Divorce before their kids fifth birthday. Love that)

OHH I think I've seen clips of this scene!

ROBERT! THEY GAVE HIM THE NAME ROBERT. :) Funny in an Ironic way. He couldn't find a date? If he's a teacher then he probably doesn't leave base often, and a divorce? This man is going to be relationship adverse as fuck.

Also, parental issues be damned, he looks nice in uniform

I love that he got all up in his space, and Robert just looked fucking dead inside. Then he ruined his meal.

Also, please tell me he isn't going to fucking go after a woman in his charge. :). Please. Fucking please. I'm holding on by the edge of my rope, if he takes advantage of his subordinate, I will be pissed.

God, Con's speech around 12:30 sounds like a good ol' time.

BOB. I know it's a shortening of Robert, but Jesus fuck.

Also, this amount of restraint is admirable. He should have gotten screamed at.

We as the audience are probably supposed to think he's an ass. Nah, he didn't humiliate him in front of the other officers, held his ground when he thought he was being made fun of. This is just good leadership. Izzy Hands could fucking learn a thing.

Bitch, he would have already heard about them fucking. The gossip would have been spread by lower-level officers. This 'damn, she got away' thing shouldn't work.

OOooooo sexist Con line. Don't like that.

Small break to talk about a fun real life military thing.

His point about some people getting ahead by passing tests is a real thing many in the military resent. (In the US you go up an E-4 on day 1 if you have a bachelor's degree in anything, to Corprol. Hell, depending on if you were reserves you could go up higher, when most start as E-1). This motivates some to join up even after they could get a job away from the civilian world. If you are poor, you're fucked. Take the long way around and don't get good pay.

Personally I see what Robert is saying here to be the main thing Izzy holds a grudge with Stede over. Stede was able to purchase being a captain where as he had to fight for it. Possibly die for it.

Now, back to this episode. There are bullshit and bigoted reasons behind this belief, not just class-based. It's used to say why women shouldn't serve, etc. Con's a sexist pig here and says these same reasons. It is exactly the reason I never followed in my family's footsteps. In male-dominated fields they will 9 times out of 10 treat you like shit. BACK TO THE SHOW.

Robert, if you fucking assault this woman I will reach into the screen and murder your ass.

Okay, a drunken apology is fun. Jackass trying to get in her pants.

EWWWW.

Forced attempted kiss/assult.

Don't like this. Mam, just scream close to the doors if you feel uncomfortable. Jesus Christ. OH THAT'S FUCKED UP.

Okay, he's forcing himself onto her. Gross.

Also, real-life examples of abuse of military power.

I DON'T CARE IF IT'S EMBARRASSING TO PAY FOR SEX, RAPE ISN'T BETTER YOU FUCKING ASSHOLE

He assaults her here.

Hey, you remember when I didn't want con to be in roles where he wasn't sympathetic. NOT LIKE THIS. This is actually one of the worst things you could have made him do.

BEAT HIS ASS UP. (This is around the 40-minute mark.)

I DON'T FUCKING CARE IF HE'S HIGH RANK, IM SWINGING.

This is where I started skipping around, thus why the rest is so short. It's all too painful and real. He's called into the office to answer for his crimes and bluff.

He threatens her in private, and thinks that he's going to get away with it.

Again, the military is in to protect their ass, but it's good to see the woman investigator standing up for the victim.

OH GOOD, FUCKING KILL HIM (he's almost drowned from the victims boyfriend, but gets stopped).

So, at the end of the day. There's not enough evidence to put him in jail or kick him out. She's left traumatized, and Robert gets away with some glares and very little else.

--------------------------------------------------------------------------

Story: 8-9/10. Very real. I was wearing Con tinted glasses, but as a military kid who grew up around this shit, I almost immediately coped with him as the type to assault an officer. Lonely, doesn't get out much and feels like women owe him something. The type.

Con: ?/10 He plays A Fucking Vile piece of shit. The worst of it is you know his character has half a dozen reasons of justification. I was tempted to write out all the ones he says in the show, but no. I've heard it all before when men come onto me, and I tell them I'm gay. 'But you looked at me and smiled?' type shit. He plays the part really fucking well. Skin crawling performance of a 'nice guy'. He just does it so realistically I don't want to say like 3/10 you know?

Characters besides Con: Realistically, and sadly, more men would have sided with Robert. He has the rank, and though not well-liked, he would have been given the benefit of the doubt more than he was in the show. Everyone's performances were realistic and semi-heartwarming with how they believed the E-1. I liked the main couple and I hope they get together in the end. This a good example of why we need high-ranking women in the military.

Editing: Of it's era but non intrusive.

Overall: ?/10. I don't know how to put this one.

Again, if I wasn't ex-military kid/grew up around vets it wouldn't hurt as much. They sell you a dream when you grow up thinking the military does no wrong. How successful your male family members are and how they are heroes. But as a little girl, I quickly saw just how fucking dangerous to live up to these expectations was as an woman. On and off the field. If the purpose in this was to reassure the public that female victims would be believed, then it kind of works as propaganda.

This show fully explores it in a military with less rigor than the one I'm used to seeing. Still the same sexism bullshit regardless of where you are.

Don't worry, I'm watching a Val (BBC Uncle) mega cut after this to soothe my head.

I'd love to hear if anyone else has watched this, and your thoughts on it!

Have a lovely day.

thanks to @ivegotnonameidea for the list :)

[our-flag-means-death-ao3feed]

The Club for Hot Sluts

by drlokiren

The door should not be there. Since he’s been forced to make the Revenge his home, Izzy Hands has made it his business to know every inch of the ship. This door in front of him should not fucking exist. Even Bonnet wouldn’t have been stupid enough to put it there. It faces the open ocean, for fuck’s sake! If Izzy opens it, he could fall in and never be seen again. Still, that option might be preferable to another day of Bonnet and Edward making goo goo eyes at each other. Izzy shrugs and steps through the door.

Well, that’s a fucking surprise. Not only is he not soaking wet, he’s been transported to another room that he doesn’t recognize. It appears to be a tavern or club of some sort. Men sit around tables having drinks and talking. The mattresses on the floor are a bit odd, but Izzy’s seen weirder shit in Spanish Jackie’s. Izzy doesn’t know if he should announce his presence or hide. Someone catches sight of him and shouts “We’ve got another one!” That’s when Izzy makes his truly shocking discovery and gasps out “What the fuck?!” Every single man in the place looks exactly like him.

Or" Izzy learns about feelings, softness and the joys of sex with hot dudes who look like you.

Words: 4062, Chapters: 1/1, Language: English

Fandoms: Our Flag Means Death (TV), Other Con O'Neill media

Rating: Explicit

Warnings: No Archive Warnings Apply

Categories: M/M

Characters: Israel Hands, Val Pearson, Cliff Costello, Ian LeFebvre, Angel Farnham, Trevor Ferguson, Ralph Stone, Peter McGeghan, Jim Caxton

Relationships: Israel Hands/Other Con characters

Additional Tags: Alternate Reality, Doppelcest, Mysterious portal, Emotions, Male intimacy, Non-Sexual Intimacy, Oral Sex, Anal Sex, Anal Fingering, Val's pregnancy wish, sexual awakening, Foursome - M/M/M/M, Actually more than four, Izzy Hands learns to feel his feelings, Singing, Daddy Kink

source https://archiveofourown.org/works/43884532

[gertlushgaming]

Nickelodeon All-Star Brawl 2 Review (PlayStation 5)

This Nickelodeon All-Star Brawl 2 Review, lets you duke it out with the biggest and best fighting character roster yet! Please choose your favorite brawlers, master their unique move sets, and use all-new powerful Supers to land the finishing blow with friends or across a fantastic, roguelike player campaign!

Nickelodeon All-Star Brawl 2 Review Pros:

- Decent cartoon-like graphics. - 12.07GB download size. - Platinum trophy. - Platform brawler gameplay. - Officially licensed. - Four ways to play - battle, online, campaign, and single-player. - The extras menu has a jukebox, credits, and a gallery. - Single-player modes - Arcade, boss Rush, mini-games, and dojo. - 26 stages from the various universes and the training stage. - Battle mode allows local multiplayer and CPU. - campaign mode is almost roguelike in that you do a series of fights, boss fights, mini-games, and interactions and if you lose then it's the end of that run and you start again on a new randomized campaign trail. - The campaign mode has a main hub where you can buy items, and power-ups, upgrade them, the dojo (training), talk with characters, etc. - As you beat characters in the campaign mode you unlock the ability to play them in a campaign trail. - Three lots of currency to earn in-game for upgrades and purchasing. - Excellent soundtrack. - All characters are voiced. - 25 playable characters - SpongeBob SquarePants, Patrick Star, Squidward, Plankton, Raphael, Donatello, April O'Neil, Danny Phantom, Ember, Grandma Gertie, Gerald, Nigel, Zim, Jenny Wakeman, Reptar, Ten and Stimpy, Azula, Korra, Aang, Garfield, Angry Beavers, Lucy Loud, Jimmy Neutron, El Tigre, and Rocko. - Fully animated backdrops. - Plays like Super Smash Brothers Brawl. - Each character in the campaign can buy, upgrade, and equip perks, and status effects to change how they play and their stats. - Every character keeps track of the arcade and the campaign clears. - Movesets are in the menu for each character. - The hub in campaign mode is open and you can freely move around. - Buy decorations to change the campaign hub area. - Six difficulties - tiny but mighty, Texas tough, master class, how tough are you, madness reigns, and prepare for doom. - The campaign has a portal to change the campaign difficulties. - Your health/damage in campaign matches carries over to each match. - Fast loading times. - Has a lot of other characters from the universes that give power-ups, buffs, etc. - A major upgrade over the last game in every way. - The campaign trail is a choose-you-own route affair with many forks in the road. Power-up choices are a choose one from three offers. Nickelodeon All-Star Brawl 2 Review Cons: - The jumping and movement still feel loose and like every jump is a coin flip on if you make it. - A lot of notable absentee characters. - When it gets going the game is so hectic and the camera is so far out that making anything out is crazy difficult. - Takes some getting used to the controls. Related Post: UFC 5 Review (PlayStation 5) Nickelodeon All-Star Brawl 2: Official website. Developer: GameMill Publisher: GameMill Store Links - PlayStation Read the full article

[catgirledteach]

okay doing my episode-a-night rewatch leading up to the premier and it is both devastating and incredible to watch episode 9, so clearly the climax of the first season.

it's the culmination in particular of our main love triangle of stede, ed, and izzy. stede and ed are an obvious one - the kiss of course, but also ed's Act of Grace giving up life as he knows it for stede at the beginning of the episode, and stede's breaking point for his season-long arc surrounding the guilt over abandoning his family at the end of the ep. it makes for such nice symmetry within the episode: ed and stede starting and ending at points opposite from one another. they only meet for a brief moment mid-episode for that kiss, the brief moment where they are on the same page emotionally and mentally.

and i also cannot help but think about izzy in this ep as well. he's certainly not in much of it, but the Act of Grace moment is such a key moment for him, yet so easily overlooked because of everything else going on. in this moment he pleads with ed that this is all for the best, which he's been saying all along, especially highlighted in episode six. he knows how much ed cares about stede, but he genuinely thinks ed is better and safer without him. he demonstrates constantly throughout the season that he believes vulnerability is a weakness, and one that can bring men to destruction, himself included and he is terrified of anything bad happening to ed. scared of the image of blackbeard (*cough* masculinity *cough*) and beyond that, ed as a person, potentially being harmed. it is a devastating contradiction that izzy unwittingly trapped himself in, where he cares so much about someone that he convinces himself that the thing that makes that person happy must be executed in order to keep them safe. and it's just an extra little layer of heartbreak that what makes this person the most happy - so happy that they would throw their entire life and independence away - is another individual that is not him. and when ed first yells 'act of grace' - when izzy has just parroted back to ed what ed probably told izzy at various times before, to never be vulnerable, to strike fear into people so that they finally respect you - he is powerless and dumbfounded. the way con o'neill delivered that quiet, disbelieving, pleading "no...no..." as blackbeard seemingly inexplicably throws it all away gets me every time.

the core of this show is a breakdown of concepts and displays of masculinity and social expectations, and this episode truly pays dividends in that through these three. depictions of these character arcs and narrative themes that cannot exist without their relationships to one another and the conflict between them caused by the fundamentals of who they are as people.

anyways, i could write essays on every single aspect of every episode of this show and still have more to say. and i cannot believe i'm getting three new ones in like 24 hours i think my brain might explode