#ofmd critique

[queerfandomtrifecta]

I’ve seen a few takes on the whole “Is the writing actually bad or are you trying to order a milkshake from the hardware store?” genre expectations thing for OFMD s2 and I’m gonna add my own.

Yes, I know it’s billed as a lighthearted pirate romcom. And s1 was just that. But s1 also had some incredibly solid character arcs and thematic elements and layers and so much depth that were shaped by some more serious dramatic bits here and there.

I wasn’t expecting that going into it. In s1, I was expecting to go into the hardware store for hardware, as anyone would, because it’s advertised as a hardware store. But then I got there and discovered that this particular hardware store also happened to sell milkshakes. I didn’t expect milkshakes from a hardware store, especially not really good milkshakes since that seems like it might be a tough thing to sell together, but they were able to keep the hardware out of the milkshakes and vice versa, so it was great. You didn’t have to order a milkshake if milkshakes weren’t your thing and you never planned on ordering one since it’s ultimately a hardware store. You could just come for hardware. You could also really just come for the milkshakes if you wanted to, but it was still really clear that we were getting that milkshake from a hardware store.

And then s2 started and the hardware store spent three episodes really expanding on the milkshake sales. To the point it was like wow, if I hadn’t been told this was a hardware store, I’d almost think it was a milkshake shop. And since it was ultimately meant to be a hardware store, they clearly had to try and sell some hardware, but that seemed like it ended up being a little hard to make room for with how much of the store had been filled with milkshakes, so suddenly there are some milkshakes made with nails and screws, and there are toolboxes and lumber with milkshakes spilled on them. And idk maybe they should’ve served fewer milkshakes if they still were gonna try and sell that much hardware, because these things really don’t always mix and now we can’t really use either of them like that. But still, they just kept making more and more and more milkshakes until the blenders just exploded and there’s just this gigantic milkshake mess everywhere.

So at the onset of e4 it’s like okay, yeah, I have faith that this hardware store will definitely clean up the milkshakes because they’re clearly all over this place; it can hardly even be a hardware store til the milkshakes are cleaned up. But then besides a handful of paper towels that are used to clean up a little tiny puddle of milkshake, everyone just… resumes work selling hardware? Despite the fact that they’re still just walking around in the gigantic milkshake mess??

And that just keeps going til there’s only one episode left and it’s like geez idk why they still haven’t cleaned up the milkshakes I hope they can somehow. That seems tough with so little time left, but this place started as really great hardware store that sold quality milkshakes, so maybe they can pull it off.

But then instead, the CEO of the hardware store decides to unexpectedly murder one of the hardware store employees and says it was a kindness because said employee was just so sticky from the milkshakes that never got cleaned up. Which doesn’t seem like a valid reason AT ALL? and even in a messy, milkshake-covered hardware store, that WASN’T something anyone would typically expect to see?? Plus it still did NOTHING to clean up the milkshakes??

And a lot of us are left just asking “i don’t understand, why did no one clean up the milkshakes???” and for some reason, the response to that often seems to be “hardware stores don’t sell milkshakes”. No, they usually don’t, but this one did. None of us would have ever tried to order a milkshake if it hadn’t been established that this specific hardware store has always sold them, and we’re a little concerned that it’s still just covered in them.

It was also super confusing that the hardware store locked its doors and stuck an “out of business forever” sign up while also still planning to open again like usual but said that if they don’t, at least everyone got a happy ending.

Like… um I really don’t think they did and either way I’m a little wary about shopping at this hardware store again.

[wraithlafitte]

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

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

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

[wraithlafitte]

some ofmd critics on my tl….

Heartbreaking: This person is making great points but they're being a huge fucking asshole about it so you can't reblog any of it

[xoxoemynn]

Unfortunately for you all, the more crankiness I see about S2, the more I am obligated to love it. Gonna love those gay pirates, both active and retired, so hard. 💖

[sapphiphilic]

“Not moving on is worse.”

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

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

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

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

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

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

And then, Stede finds him.

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

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

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

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

[deer0skullz]

Does anyone else feel like Umbrella Academy, What We Do in the Shadows and Our Flag Means Death went down very similar paths or is that just me?

To preface, this is mostly based on how I felt as I watched the shows but also on some of the opinions I picked up from the fandoms.

Also, I’m not going to go back and rewatch all of these shows for the sake of a Tumblr post so I’m working from memory and if you feel like I’ve misremembered any of the plot/ characters let me know.

1. Started as well-received and highly acclaimed live-action fantasy shows with ensemble casts.

Based on my own opinions and what I remember from other fans, UA seasons 1-2 were fairly well received, as were WWDITS seasons 1-3/4 and OFMD season 1.

They’re all definitely different genres of fantasy but I’d say they still all fit under the label. And they obviously all have ensemble casts, with the Hargreeves in UA, the vampires (and Guillermo) in WWDITS and the pirates in OFMD. Even though the plots and characters can be quite different they all have similar vibes.

2. Noted for having open queer representation.

Klaus and Viktor in UA, pretty much the entire main cast of WWDITS, and multiple main characters in OFMD.

3. Tied to already established and respected creators.

UA is based on the comics written by Gerard Way who, of course, is also well known for My Chemical Romance. WWDITS is based on the film by Jermaine Clement and Taika Waititi, who are both executive producers of the show. Taika was also involved in OFMD as the actor for Blackbeard and as an executive producer. He has his name tied to many acclaimed films like Hunt for the Wilderpeople, Thor Ragnorok and Jojo Rabbit.

These are obviously not the only famous people tied to these projects but it’s just a sample of the talent involved in these shows. I feel like the fact that there was so much talent working on these shows makes my next point more interesting.

4. Experienced drops in quality and/ or introduced problematic elements that caused fans to lose interest or respect.

Again, this is opinion based and if you still liked the shows during these seasons then more power to you.

My overall feeling about all of these shows is that they lost a lot of the joy from their initial season(s) as they went on. Like, they just got significantly less fun to watch. But they also had more specific individual issues that I would like to get into.

I stopped watching UA during season 3 and don’t plan on watching season 4. I feel like a lot of people will already know what I might be referring to with this but yeah, the scene where Allison *did that* to Luther made me so sick. I feel like that season absolutely destroyed her character, and as I said, it just wasn’t anywhere near as fun as seasons 1 or 2.

WWDITS is probably the most successful of the three in my eyes but I could still apply the same argument about loss of enjoyment. The “Guillermo wants to be a vampire” plot line got very stale for me, especially with how they “resolved” (?) it. Saying “oh he’s a vampire now oh nevermind he doesn’t actually like being a vampire and also can’t be one anyway so everything’s back to normal” felt like such a waste of time for me. I know a lot of people also criticised the show for queerbaiting because of the Nandermo plot lines and teases. I wouldn’t necessarily call it queerbaiting but I would agree that the “will they, won’t they” is very played out at this point. Another big criticism I have of the later seasons is how Marwa was treated. The fact that she had no autonomy and was being forcibly changed mentally and physically to appeal to Nandor was treated as like, a running joke and I just found it kind of disturbing. Dark humour is pretty common throughout the show, but given how often her character appeared it felt a lot more, significant than throwaway jokes about drinking human blood. I feel like they could have done so much better with her character.

OFMD is probably the most egregious example of the 3. Season 2 was just not good. I’m not saying it was the worst thing I’ve ever watched but it was incredibly disappointing. The pacing was off, the characters were off, the dynamics were off. It was all just very off. The huge cliffhanger ending with Evil Blackbeard felt like it was resolved way too quickly and everything else in the season felt equally rushed. A lot of the character dynamics, but especially Ed and Stede, just felt wrong to me. From what I understand there were production issues or something so I’m not saying the writers just woke up one day and decided to be bad at their jobs but I can only really judge a show by what I saw on my screen, and what I saw was so far removed from the quality of season 1.

5. Finished on a sour note.

UA ended after 4 seasons, with the fourth being released on Netflix today. I haven’t seen anything that indicates whether this was the intended endpoint or whether it was cancelled. WWDITS will end after season 6 which comes out in October. Again, I can’t find anything indicating whether this was the intended endpoint. OFMD was cancelled just a few months after the release of season 2 in October 2023.

I can’t tell other fans how they should feel but for me I’m incredibly disappointed that 3 shows I really enjoyed saw a gradual (or not so gradual for OFMD) drop in quality that ultimately culminated in them just… ending.

Like I said, I have no interest in US season 4, but I am still somewhat hopeful for WWDITS. I would be really happy if they could bring it back to what it was.

Conclusion

I don’t know what the point of writing this was other than the fact that I’ve always associated these shows as having the same vibes and I feel like it’s interesting that they have a lot of similarities and went down similar paths. Also I just like yapping.

[queerfandomtrifecta]

You know what this might be the one thing that actually makes sense from s2 because the choice to write in Izzy’s death at that point in his arc and to have it accidentally end up being this fucked combination of metaphors really was the end of the golden age of queerness in OFMD. Now it feels like I can’t trust it to handle queerness right more than any other show.

I've been thinking

so Izzy's death is supposed to represent the end of the golden age of piracy. and piracy is supposed to be a metaphor for being queer.

which means Izzy's death is the end of the golden age of being queer?

this wasn't intentional obviously, but its still has really fucked implications. idk I just don't think the story cant both be about marginalized people finding a community and that community ending.

[ulgapodatkowa]

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

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

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

[mangio-formaggio]

After first two episodes I think it's kind of interesting, how everyone mirrors themselves and each other from season 1.

Stede now is a bit overly confident and resembles Ed's persona from the begging of the journey, and Ed is completely lost his way and just wants to constantly move to simply not drown. Exactly like Stede used to run from everything.

Jim are a little softer, Frenchie is somewhat more clinical, like they both switch places a bit. It's logical to expect Jim to be Ed's first choice after Izzy's dismissal, but he deliberately picked the one who's smart enough to not blow things up completely, but also not smart enough to dare to confront him and survive it (although he's probably underestimate the guy).

Again, we thought that Lucius is gonna hide in the walls of The Revenge and being helped by the crew, when in reality he's kind of saved himself, but lost some parts of himself in a process. And his narrative foil, Izzy, is going through some emotional growth and seems to moving to better self-esteem which was always Lucius's strength. And yes, he's literally loosing parts of himself in a process.

Finally all this transformations are responses to trauma or some shocking event. We started the show with quite light-heartes fantasy world where people instinctively knew better way to process emotions and communicate. They weren't exactly innocent, but rather optimistic. And now it's a "dark forest", where we see how trauma can fuck up us and everyone around by force them to also act a little out of character in order to adapt and survive.

[starofhisheart]

GUYS GUYS

What if-

Now I could be delusional but-

What if Stede finds Izzy after Izzy's falling out w Ed and his leg is infected/wounded and Izzy doesnt want his help at first but Stede is Persistant and Izzy doesnt have the energy to fight and begrudgingly allows him to help him. Thru this interaction they soften a bit to each other and to help get Izzy back on his feet (sorry) AND teach Stede sword fighting they decide to train together!!!

Now there's inconsistencies in this idea BUT CAN U IMAGINE? I love trying to think up how we get from s1 stizzy at each others throats to s2 stizzy practising together bc its all just so delicious.

[harbingerofsoup]

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

[queerfandomtrifecta]

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

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

Idk. It’s something.

[the-names-kam]

every time someone draws izzy and stede skinny and/or with straight noses, a fairy loses its wings

[oatflatwhite]

obviously critiquing media is important etc but also sometimes i just want to enjoy the writing and directing and acting and other creative decisions of my latest favourite little show. yes i'm sad but also i'm so so so happy. this was a wonderful ending and if you want to go and complain about it do that but i will stay unbothered :)

[wavesechoes]

maybe it's me being too old for this but can the ofmd fandom be normal for once PLEASE

[mossiestpiglet]

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