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mysteriouslybluepirate · 1 year ago

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Thank you for offering your askbox. I've been thinking that Izzy being just a side character whose story wasn't main plot thread makes even better proof that not everything was well planned? If I was a writer and this would be easily the most discussed topic about the finale, I'd reflect on storytelling decisions I made. There's a good reason why Izzy's fate overshadows everything despite that he wasn't the point of the show.

(Post posted 10/31/23) Feel free to comment below if you agree or disagree, we're all here for discussions.

Thank you so much for this amazing question!! [If you're seeing this and want to discuss some aspect of S2, or my thoughts on OFMD overall, SEND ME AN ASK! I love doing this]

TLDR: Vague characterization from historical records means Jenkins is free to bend history without a lot of guilt. During early days of casting and during scene changes Jenkins got inspired by Con's audition tape. Con was told to play this shit as a Jesus/Judas relationship. An amazing performance in S1 keeps the character relevant in fandom spaces in the hiatus, and in Jenkin's mind for S2. The S1 season finale accidentally reveals a really interesting dynamic in Ed/Izzy's relationship. [Speculation from this point on] Jenkins feels like he needs to explore, with little plans to fully explore it. Fleshing out both Ed/Izzy abuse and love.

Jenkins realizes 'Oh shit, Izzy wasn't supposed to be this' midway through S2. But he still follows his original plan in killing him off, because he's not needed for the story in his outline, leading to him accidentally killing off a character as they're growing and healing. Leading to what some consider a move SO off-brand for the show, they are leaving the fandom.

[*Tin Foil Hat On*] I expect the original cut of S2 to include more scenes of the crew. I bet for every other Izzy scene, we got a crew scene. So when 'extra' not plot-relevant scenes had to get cut, they kept the Izzy scenes due to Izzy's stable arc, the fact that he'd die at the end either way and Con's amazing performance.

EXPLINATION AND DEPTH BELOW! It's a long one. A lot of this post will be speculation, interviews from Jenkins, and highly dependent on if you were in fandom between seasons 1 and 2. If you need me to hunt for sources, I can do that for you.

I'll separate everything into a chronological timeline as much as possible.

Before we touch on why Jenkins wrote Izzy to stick out in the story, we need to assume how he outlined this entire show.

Pre Con O'Neill:

I am of the personal belief that Jenkins likely wrote out an imagined arc for Ed and Stede. Including a lot of cool set pieces, fights, etc. for the three seasons he wanted vaguely based on the real lives of Stede Bonnet and Edward Teach(watch a YouTube vid documenting their history, it's a wild ride) turning it into something explicitly romantic. This is easy enough to do, as most of what we know about them was written YEARS after their deaths.

Next was filling in the cast. This is where we get our crew, mostly characters Jenkins made up, as very little is known of the men either sailed with.

Izzy Hands being a pirate under the age of 18 whose notable actions with Blackbeard include- Captaining his own vessel, running a ship aground, being Blackbeard's first mate, and getting shot by Blackbeard maybe on accident.

[THEORY] So. If you're any writer you see that and think 'cool a side character we know almost nothing about'. You slot him in as being Edward's one thing keeping him to the pirate lifestyle. Not necessarily romantic, but a serious Boss/underling relationship. This is a bit of how Izzy was written in S1 UNTIL-

Con O'Neill is cast as Izzy.

In interview, Jenkins has admitted that Con's audition tapes influenced how he wrote Izzy. As a writer, this shouldn't necessarily be ringing red flags. But he has gone on record as admitting to changing the script before shooting to suit Con. IN SEASON 1. My guess is Izzy at the end of episode 10 was meant to be more of a side character. Another Frenchie, or Wee John, who serves their purpose and then gets pushed to the side by the plot.

But at some point, Jenkins wrote how important the dynamic was between Ed and Izzy. Describing Izzy/Ed to Con before filming S1 of a 'Jesus and Judas' relationship like in Jesus Christ Superstar.

If you tell a (then closeted) queer actor who has been playing queer roles since the 1990s that his leather daddy character was having a Jesus&Judas JSC dynamic in a TV show that respects and celebrates queerness? 🤩 MY GOD.

[Speculation] That's how we get an Izzy Hands who is watching the man in front of him slip away, trying to dig his heels in. Hell, if I were Jenkins, I'd be adding a few more lines for Izzy to be pissed just to see Con have fun in the role. Let him be mad. Let him be in the background of scenes just glaring. Let us see a man slowly lose something he's built up his whole life.

[As mentioned from Comic Con- From Con O'Neill] This was important for me to bring up as Jenkins could have said 'henchman' but he didn't. Hell, when Taika and Con did hair and makeup they'd listen to the JCS cast album. It was a choice on both their parts.

[ovservation from here on out] Con plays it up, and a lot of queer fans saw this and grabbed hold of a man so desperate to keep the man he loved close that he sacrifices almost everything for it (Izzy also signs the Act of Grace to get Ed out of there).

Izzy, in a show full of openly queer people, is still on the fringe of society. SO MANY queers saw this and said 'OMG me'. ME INCLUDED. With a super supportive actor who genuinely is respectful of the fandom? Of art, and fic and meta? The Izzy 'Canyon' became so loyal because Con is a Queer Elder we didn't know we all needed in our lives!

Jenkins accidentally wrote into what could be an amazing story of a queer character living in a homophobic society where he learns to open himself up. All without ever writing a 'coming out' scene for Izzy. Jenkins knows this. Hell, since S1 Izzy fans have been telling him how cool that type of arc would be.

Now here comes the issue of where to take a side character, when you have loose plans for them.

S1 IS TIGHTLY WRITTEN ONTO ITSELF... S2?

Something we might forget now is HOW tightly written Izzy's falling out with Ed is tied into Stede and Ed falling in love. Beat per beat, Izzy is shoved away as Stede takes his place. That's really fucking smart. So smart, it was planned in the writer's room. The fact that some took it as romantic, that Ed could ever really love him back? Well...this is where Jenkins had a decision to make.

So he dips his toe. Let's make Ed even more violent than at the end of S1ep10. Let's include the bit where Blackbeard shoots Izzy Hands. Let's have Izzy confess his love for Ed and have it not be enough for Ed to change his mind. Let's show Izzy rising like a phoenix reborn after a failed suicide attempt where Izzy chooses to mutiny on Ed to protect the crew. Let's see Izzy growing. Because Jenkins loves Con's performance. Everyone in the cast enjoys him as a person. Let's give Izzy one last hurrah.

Jenkins knows this character meant a lot to Con. It's obvious in the way Jenkins recently confessed he told Con about Izzy's death midway through shooting. Sadly we likely will never be told when Con was told. But imagining Con filming the AMAZING character change of S2eps 1-2, then AFTER being told Izzy would die anyway? Oh. I wouldn't be alright. Not after all his fans had spent the last year telling him how much seeing a character like Izzy 'being accepted because they are worthy of love'.

This is the 1 thing that fucks me up. Not telling Con until midway through shooting, Versus his belief that writing Izzy's death was a fitting way to end his story. BOTH CAN'T BE TRUE. Right? If Jenkins felt the need to take con aside and go grab a meal to announce Izzy was dying but then market the ending as a 'Good Idea'. Then...What? If Con felt it fit the character, then he would have likely guessed Izzy would die. But that wasn't the vibe in the fandom at the time. It feels like a decision Jenkins made this season.

Because yes, some general audiences predicted that Izzy would die. But when your core fanbase for a character don't expect it, you didn't plan the death correctly. Fuck, I thought Izzy was trying to RECOVER this whole season. Not that Izzy was hiding how hard he was struggling. That's not a good sign when I've ALWAYS called Izzy as some brand of suicidal/depressed.

[Quote from Jenkins Entertainment Article: Oct 26 2023] 'What's the best journey we can give him(Izzy)? And what's the most interesting thing we can do with Con, who can do just about anything?'

That is not the quote of an author who has planned everything out. That's a writer who knows points A and E and is fighting to find everything in between.

The Fly in My Ointment

There's a point most writers know when a character or story slips out from under you. You didn't mean for this to happen. Hell, I write Scene by Scene outlines. My stories change. When Izzy Hands' growth arc became the most interesting part of S2, Jenkins had a choice.

How far was he willing to bend his idea to keep a character that wasn't 'essential'? Not that fucking far apparently. Because for some reason, Jenkin's labeled Izzy in his mind as 'Blackbeard' and tied Ed and Izzy's fates together. Ignoring how this season Izzy died to separate his old life with Ed from his new life with this crew.

Your question poses it perfectly- If I was a writer and this would be easily the most discussed topic about the finale, I'd reflect on storytelling decisions I made. There's a good reason why Izzy's fate overshadows everything despite that he wasn't the point of the show.

That's a trick they teach you in some writing podcasts. That in the end, you are telling one story. You can have twenty side characters and a romance arc, but in the end, you are telling one story. Each side character is going to show what happens when you fail or succeed at the central thesis.

What do we have in S1? What does Frenchie sing to set up where our story STARTS-

"A pirate’s life, [it’s] short but nice,” -“we won’t live long,” AND “to death we go, a certain death we go.”

Our characters expect a short simple life of what most pirates EXPECT. In my mind, this story has ALWAYS been about survival. From the extravagance of Stede's ship, and a crew ready to throw him overboard, to the barebones Shark eats Shark type of survival described in Ed's own fleet. OFMD is about living in a world that doesn't want you there. About surviving and thriving. About these two men from different worlds coming together and forging a life of kindness for them and for their family.

Saying fuck you, I'm here, I'm still alive, and I'm going to THRIVE. I deserve kindness, happiness, love, and a fully lived life. I deserve to spend my short time on this Earth happy.

IN S2? The ONLY character that matches this thesis is Izzy. After scenes of Izzy struggling. Of finding himself. Of crawling up from his own personal hell, Izzy dies. He dies from a random bullet wound in the same spots that didn't kill Stede or Ed in the previous season. Breaking the one established rule for wounds in this universe that the left side is the safe side so that Izzy can die.

Even if Izzy spent this entire season wanting to die, he tried to live. For a few days after a breakup of over 20+ years of casual intimacy. Of a bond where Izzy was the murderer, the brawn. The dangerous right hand. Where Izzy dying meant not just his death, but likely that of Ed. Given the man's constant depressive moods, crews that didn't like him, and reoccurring suicidal tendencies. Ed didn't need Izzy Hands anymore. Ed had Stede now. He was ready to finally leave Izzy for good. What will Izzy Hands do now?

He gave up. He tried to move on. He listened after being told he was too rough, too loud, too mean. He tried. He tried to survive this new way of life surrounded by people who supported him. But he was tired. After so many years of putting up a mask, tearing it down was too much work. So he wanted to die. In the end. Izzy died in the arms of Edward surrounded by his family.

Buried on a plot of land Jenkins has already told us Stede and Ed will leave when things get boring. Left behind like the corpse of a pet the family has forgotten. Buried without his ring and cravat, items Izzy is only seen without when he's naked. Without the prosthetic gifted to him by a family that cared about him.

Izzy wasn't mourned for more than five seconds, before Stede and Ed were making jokes on his fresh grave, and then the episode moves on to a wedding.

RIP Izzy Hands- a man who loved more than he was ever loved in return.

Was this the right message? FUCK No. But for those of us who believed that theme of queer survival and community- We saw framing Izzy's death like this as a fucking betrayl.

Izzy Hands isn't buried with his most prized possessions- they're left out to be stolen or rot in the front yard. With only one man crying over his death and a silent funeral. He leaves this world without more than a 'he was intense'. Which...isn't great coming from the man Izzy loved for most of his life.

The reason why we're mad about Izzy isn't that it's Izzy. It's that when we boarded this flight we were given a set of rules to follow. It's a comedy about men falling in love on a boat that sometimes gets serious. That's it. To watch a character start to grow only to die for NO PLOT SPECIFIC REASON. Is insulting. If your death has no tie to the narrative (sacrifice or it comes with a revelation) it's a death just set up for shock. Izzy and Ed could have had that deathbed confession talk at the start of episode 7.

A REASON WHY I'M MAD BEYOND THAT SPECIFICALLY. [Very Personal Gripe]

A SALUTE TO CON O'NEILL -AGAIN!

I had the privilege of hyper-fixating on this show from the entirety of S1 ending to S2 beginning. During this time I explored the catalog of Con O'Neill's work on Tumblr under the tag 'Conography'. I watched this man play queer roles since the 1990s. Genderqueer/somewhere on the Trans spectrum, Gay, Bi. This man loves to play a queer story, even if it's sad. If it's tragic. He will breathe new life into their lungs and express their moments of Joy. Of love. Of community.

After the filming of S2 at a con, Con he felt comfortable publicly coming out due to the love and support he felt from our fandom. Do you know JUST how crazy that is? That Con KNEW Izzy was dead, yet he loved our fandom so much he let himself be vulnerable, and come out as queer? It's fucking INSANE to me, and shows just how much this show means to him.

He's not just Queer. He's a Queer fucking elder whose been protective of this entire community since S1. This 57-year-old man has proudly stood up in the name of Trans rights this entire time. Treating everyone, but especially Trans Izzy fans with so much fucking respect. Trans Izzy is a common headcanon partially because of how comfortable people feel knowing they won't get harassed because they interpret Izzy a certain way. That trans people feel at home seeing themselves as a misunderstood character with a chip on their shoulder.

I'm pissed for every in universe thing listed above AND NOW THIS. Because our Queer Elders are dead. There is a generation of Queer people we can never get back. They died from a mix of society pressuring these people into the closet or an early grave. Of disease running wild in communities unchecked. Of media ruining the careers of anyone who dared to come out. To see Con O'Neill So Fucking Happy and having it cut short because Jenkins thought Izzy was better dead than being an actual background character makes me see fucking red.

No. Jenkins probably didn't know Con was Queer when writing S2. But I'm assuming he still saw how happy Con was at Izzy fans before S2 was written which still makes it feel shitty.

Sure. Give Izzy all the amazing speeches about family and belonging and rip that right from his hands as soon as Izzy realizes it's something he might want for himself. Let's have Con O'Neill say all the prominent lines that are a blatant metaphor for why the Queer community needs to stick together.

Izzy's arc isn't just overshadowing the conversation because it was mismanaged and feels unplanned, it also just feels cruel to the central arc of this series. Add that to an actor who was so vocal about loving this community, it feels pointed to give him a tragic ending.

Jenkins doesn't need to consider why people hated this finale. Because there are SO MANY Ed/Stede fans who just don't care. They put Izzy in the box with every other side character and decided to put their effort into the protagonists and point and laugh when we suffer. Jenkins won't rethink anything because he can just say the 'Izzy community was passionate and are sad their favorite died'. Ignoring how this season made Stede into a shittier, less sympathetic captain and gave Ed an interesting arc only to give up before the finish line.

#Now. I didn't bring up how viewing Izzy as being useless post disability ALSO pissed people off but there are posts everywhere about that #physical disability is not my place so I don't overstep #THE WAY IZZYS DEATH WOULD WORK SO MUCH BETTER IF HE STEPPED INFRONT OF A BULLET MEANT FOR STEDE #Or that post floating around of Ed getting shot for Izzy. Showing that yes. Ed cares. that they're both fucked but are working on it #If most of the fan base hates the *implications* for S3 thanks to this ending it wasn't the right move #GOD I DIDN'T EVEN TALK ABOUT THE DAD/MENTOR THING. Ah well #it's taken me 3 hours to type this up. I'll add later if it needs be lol #ofmd s2 #ofmd season 2 #ofmd s2 spoilers #izzy hands #ofmd s2 finale #ofmd critical #ofmd meta #omfd analysis #israel hands

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littlelamy · 2 months ago

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boat scene with rafe

requested by @gibson-g1rl l <3 😘 part 2

credits: oysters png from @saizun , and amazing gifs from @rafeyscurtainbangs

The boat rocks beneath you as you step toward where Rafe sits bound against the wall, looking both furious and oddly vulnerable. You catch his eye as you enter the room, holding a small packet of aspirin and a plate of food. His eyebrows lift slightly in surprise, but his cocky smirk returns almost immediately.

“Look who’s here to take care of me,” he drawls, his voice dripping with that familiar teasing tone, though there’s a flicker of genuine relief in his eyes.

“Don’t flatter yourself.” You roll your eyes, but there’s no real bite to your words. You set the plate down next to him and hand over the aspirin, glancing away to avoid letting him see the small, reluctant smile tugging at your lips. “Thought you’d need this. Can’t have you passing out on us.”

Rafe takes the aspirin from your hand, holding your gaze just a little too long before he swallows it dry. “I’ll admit, I wasn’t expecting room service,” he murmurs, eyes never leaving yours. “Didn’t know you cared this much.”

You scoff, folding your arms. “You should know by now I don’t want you dead, Rafe,” you say with a wry smile. “But don’t expect this to become a habit.”

He chuckles, the sound low and a little smug. “We’ll see about that,” he says, shifting against the ropes, clearly enjoying the attention. He nods toward the plate. “So, what—are you gonna feed me, too?”

You blink, taken aback by his nerve, and then raise an eyebrow, letting sarcasm color your voice. “Would you like me to? Or do you think you can manage?” You narrow your eyes, daring him to keep pushing.

Rafe’s smirk wavers, his cheeks turning the faintest shade of pink as he quickly looks away. “I can handle it,” he mutters, clearly flustered but trying to play it off. “Don’t get carried away.”

“Oh, don’t worry, I wasn’t planning to.” But you can’t help the grin tugging at your lips as you settle back, watching as he tries to pick up a piece of food from the plate with an awkward, fumbling grip, struggling against the restraints.

You stifle a laugh as he tries to eat without making a mess, and he catches you smiling, his jaw tightening. “Something funny?” he snaps, though there’s a hint of embarrassment in his tone.

You shrug, biting back your amusement. “Nothing at all. You look perfectly in control.”

Rafe grumbles under his breath, focusing intently on his food to avoid meeting your eyes. Another wave rocks the boat, causing you to steady yourself against the wall, and you look back to find him watching you, something almost like concern flickering in his gaze.

“Be careful,” he mutters, his voice softer, dropping the bravado for a split second.

For a moment, you just look at each other, the storm outside and the chaos around you fading into the background. His cocky expression softens, and he gives you a small, grateful nod. He won’t say it, but you know he’s thankful.

“Thanks,” he says quietly, his gaze lingering on you a beat longer.

“Yeah, yeah,” you reply, crossing your arms as you lean back against the wall. “Just don’t make me regret it.”

Rafe grins, his cockiness slipping back into place, but now it’s warmer, less of a wall and more like something shared just between the two of you. As he reaches for another bite, he murmurs, “Wouldn’t dream of it.” And as much as you try to resist, you can’t help the small, reluctant smile that crosses your face in response.

The storm hits hard, the boat rocking violently beneath your feet. You’re barely able to keep your balance as you make your way through the narrow, dimly lit hallway. Waves crash against the hull, each one sending a jolt of panic through your body. But there’s something else clawing at you—something that won’t let you ignore the sound of Rafe’s voice, sharp and desperate, calling from another room.

“Come on! Cut me loose!” His voice cracks, the desperation in it too raw to ignore.

You freeze, breath catching in your throat. Rafe. He’s still tied up. The ropes are holding him in place as the boat teeters precariously on the brink of capsizing. You can hear Pope and Cleo yelling from the kitchen, their voices overlapping, trying to convince you to leave it alone. To save yourself. But you can’t. Not this time.

You grip the knife tighter, your fingers cold and trembling from the anxiety rising in your chest. There’s no time to think. Rafe’s call keeps echoing in your head, and that voice—the urgency, the fear—pushes you forward. You make your way toward the room where you heard him last, the sound of the storm growing louder as it pounds against the sides of the boat.

Before you even get to the door, Cleo’s voice rings out. “No! Y/N, No!”

Pope’s voice follows, sharper. “Y/N, stop don’t let him out!”

But you keep moving. You don’t stop. You can’t. There’s no way you’re going to let Rafe stay there, helpless and bound, when you can do something about it.

When you reach the door, you shove it open, and the sight of Rafe tied up against the far wall hits you with a jolt. He’s slumped slightly, sweat slicking his forehead, his face drawn with exhaustion and frustration. His eyes snap to you, and for a split second, they soften with something almost like relief.

“Cut me loose, come on!” He says again, his voice strained, but louder this time, more insistent.

His hands are bound tightly in thick ropes, his legs spread out uncomfortably beneath him. The ropes seem too thick for him to break on his own. You can see the tension in his body, the way his muscles twitch from the strain, and the panic that flickers behind his gaze. There’s no time to waste. You don’t think twice. You crouch in front of him, the knife in your hand glinting in the low light.

Rafe watches you, his chest rising and falling unevenly. “Don’t make me regret this,” you murmur, feeling your heart beat faster as you cut into the thick rope that’s holding him in place. Your hands are shaking, the knife slipping slightly as the boat tilts again, but you focus on the task at hand.

“Come on, hurry up.” His words are clipped, desperate, and you push aside the nervous tightness in your chest as you work faster, cutting the ropes.

You’re close enough to feel the heat radiating off his body, a stark contrast to the cold, wet air from the storm. The boat groans as another wave slams against it, and Rafe’s eyes flicker to the window, then back to you.

“Please,” he breathes, and it’s that one word that makes everything else fade away—the roaring storm, the panicked shouting from the others, the ticking clock of time slipping away.

The last thread gives way with a sharp cut, and Rafe’s hands are free. His arms immediately reach for you, grabbing hold of your wrist with a surprising amount of force, pulling himself upright.

“Thanks,” he mutters, his voice rough, but there’s something deeper in it, something like a sense of vulnerability you’ve never seen from him before.

You don’t have time to say anything, to wonder if he’s really thankful or if he’s just grateful to be free. The boat shudders violently, and you both stumble as the hull groans beneath you. The wind howls outside, whipping against the windows, and you know there’s not much time before things get worse.

Rafe doesn’t wait for an invitation. He grabs your arm, pulling you toward the narrow hallway. “We need to get to somewhere safer,” he says, his tone not leaving any room for an argument.

You’re both moving quickly, though the boat keeps pitching wildly. The wind screeches, and water sloshes against the floorboards. Every step feels like a risk, like the boat could capsize at any moment. But Rafe doesn’t let go of your arm. He pulls you behind him, guiding you toward a small corner near the engine room, the only place that might offer even the slightest bit of shelter.

You slide into the corner, pressing yourself against the cold wall. It’s not the safest place, but in the madness of the storm, it’s all you have. Rafe follows, wedging himself beside you. There’s barely enough room for the two of you, but you don’t mind. You’re not focused on that right now. All you can think about is how the boat is rocking, how you’re both on the brink of disaster, and how Rafe’s body is so close to yours.

He leans into you, his breathing ragged and uneven. For a moment, he pulls away, but then his hand is at your waist, his grip tightening. It’s almost like he’s afraid you might slip away from him. He presses his body closer, his face now inches from yours, and you can feel the rapid beat of his heart.

Rafe places his head on your neck, his face buried in the crook of your shoulder. The warmth of his breath on your skin is both comforting and unsettling, but you don’t pull away. Instead, you place your hand on his back, the pressure of your touch grounding both of you as the storm rages on around you.

“You’re okay,” you whisper, though you’re not sure if you’re trying to reassure him or yourself.

Rafe doesn’t respond, but you feel his muscles relax, his tense body unwinding little by little. He’s not just holding onto you for stability; it feels like he’s holding onto you for something more. You can’t explain it, but there’s something in the way he leans into you, something raw and vulnerable that you’ve never seen before.

taglist: @namelesslosers @princessslutt @averyoceanblvd @iknowdatsrightbih @starkeysprincess @sixrosberg @anamiad00msday @ivysprophecy @wearemadeofstardust0 @kissrotten @rafesangelita @sstargirln

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