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clairegregoryau · 1 year ago

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Through the Looking Glass

From fairytale in Season 1 to stark reality in Season 2 of Our Flag Means Death- meta ported across from this Twitter thread by popular demand!

This thread contains spoilers for the entirety of OFMD Season 2

First OFMD S1 rewatch since S2, and holy shit, if you haven't done that yet... do that. A thing that it made instantly clear: they told us *all along* where this was going, but there was a reason we didn't see it. Because we were living in Stede's world then. Now it's Ed's.

I know that a lot of us have felt that the tone shift at the end of S2 was... jarring, compared to what's come before. This felt like a show that wouldn't go there. One where being run through was a temporary hiccup. We've travelled all the way from this to this.

But we haven't jumped there without a journey in between. And from the minute we started hearing about Blackbeard, the show never tried to hide what Ed's world and his specific life was like. Not once. In fact they told us over and over and over.

But Season 1 told us a lot of those things through song and story and fuckery. It blended reality with fiction.

Stede met the Blackbeard he knew through books and tall tales, and the real man was even more wonderful than he'd imagined.

We, along with Stede, were comfortable thinking that all those other tales were exaggerations and misrepresentations, and a lot of them very likely were.

The Ed Stede got to know was a person who was capable of whimsy and silliness and loved soft things and doing something weird. Yep, he was also capable of violence and rage, but when he was with Stede, he didn't feel it so much.

This was a vacation from that life.

To Stede he was absolutely lovely... oh, and also a bloodthirsty killer. And Stede loved (and loves) everything about him, and both of those things can be true. This is a perfect example of a spot where (in watching Season 1 without the benefit of hindsight) I assumed that everyone else in that pub was wrong, and Stede was simply trying to protect Ed's fearsome reputation by agreeing on the bloodthirsty bits. And I think from Stede's perspective that was largely true. I think that's how they wanted us to see Ed, through his eyes. Now, after watching both seasons, I think it wasn't the whole picture.

They told us, we heard it, we saw glimpses of it. But we (and Ed) were in Stede's run-away-to-sea fairytale the whole time. It wasn't until Stede left that we saw the reality- the Ed we knew had been, to a degree, a fictional character all along. I always saw this scene as Ed putting a bit of distance between himself and reality; it always felt like the Blackbeard of Stede's storybooks was the fictional one. But now it feels like the softer Ed that Stede knew was much the same- neither of them the whole story of who Ed was and is.

The one person who refused to live in Stede's fairytale was Izzy. I've seen people say it before, but he always gave off that vibe of the only human in the Muppets movie, or the guy who was in Black Sails while everyone else was in Pirates of the Caribbean. He saw the real risks clearly.

And in that light, the end of S1 has shifted an inch to the left for me, and I'm seeing it at a slightly different angle.

Izzy ripped away the healing Ed was doing, but in some respects he did it by tearing away the fairytale we'd all been living in, shoving Ed back into the Blackbeard story.

And that's where we pick up again in Season 2.

The fairytale reference came back in S2 in two notable places, those being Jim carrying that legacy forward in the darkest times, and in Izzy invoking the wooden boy against Ricky's efforts. Stede's made himself into a real boy. Ricky, nope.

Now that I've watched both seasons together, the tone shift doesn't feel so jarring at all, actually.

It feels like sliding through the looking glass, out of Stede's world, and into Ed's- a world that existed all along; we were just seeing it, la vie en rose, through Stede's eyes.

At the beginning of S2, Stede's gone, and we're seeing it unfiltered through Ed's reality.

But Stede wasn't lying when he said he loved everything about Ed. He made a promise to come back and find him- he went down into Ed's darkest place and reminded him that no matter how bad things got, there WAS someone waiting for him, ready to love him.

The contrast between S1's fantasy and S2's reality (excluding mermaids and actual bird guys and cursed coats) is stark, but it really is that.

We have the same settings, the same people, and very different ideas and outcomes at different times.

But it was always there.

Things do come back to a state of (precarious) balance once they're all together. Apologies are made, whether they're spoken out loud or through actions. Things go right, things go wrong. Healing happens. Izzy continues to have the steadiest, most real through-line in the story as he tracks toward redemption, finds acceptance, and to an extent finds himself.

Once again, I hate that they went here with the ending and I wish they hadn't. But it got a fraction easier for me looking at it not as a continuation of Stede's fairytale, but of the grounded-in-pirate-reality arc Izzy was always on, even while we lived in Stede's world.

Where does that leave us? We're not going back to the fairytale, but we're not going to be living in Black Sails for S3, either. We've hit a fusion point where S1 ended with each of them going to separate, miserable homes, but S2 ended with them in the same place, ready and willing to make a go of it.

Season 3 is going to give us their world, together.

I LOVED the moments in this season where the deep emotions were in balance with the silliness I've always adored about this show. Eps4-6 were wonderful like that. Clearly we're not done with drama, either, but like Ed and Stede, I think we'll find a middle ground.

Anyway in conclusion, a rewatch of S1 after S2 somehow made me love the first season even more, which felt impossible? It's now gained /even more/ layers of depth than it had before. No matter how you feel about S2 I think it's worth that rewatch.

Adding one more bit of clarity for myself: I think we got a bit (intentionally) seduced in S1 by the idea that the Ed of the storybooks, the Vampire Viking Clown with the nine guns, was a version of him that others saw, when Stede saw the REAL person who 'worked' for Blackbeard.

In hindsight I think it's clear the Ed Stede go to know was also not the complete version of himself- the reality is, there's a whole spectrum between the two, and they've landed in the middle of it now. Ed intentionally leaned into the unlovable Kraken image to protect himself.

It very much didn't work, just like being just... Edward hadn't worked to protect himself, either. This season has been very much about pulling those two extremes together and finding all the parts that make up Ed overall (another thread on that here on Twitter, which I'll also shift across to Tumblr soon!)

And I think one of my favourite things in S2 has been seeing the way Stede SEES that- he knows what Ed's done, everyone's told him, but he still loves Ed. sees his trauma and how it affects him, and believes he's a good man regardless. He IS lovable; he's not forever broken.

And together, they can heal.

#ofmd #our flag means death #gay pirates #ofmd meta #unreliable narrators #fantasy vs reality #ofmd spoilers #ofmd s2 spoilers

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piratecaptainscaptainpirates · 1 year ago

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To the person who sent me an ask worrying about this article from Consequence TV maybe being the start of OFMD being cancelled, I accidentally deleted it so I'm responding here!

Tl;dr: absent any other information, I'm not worried about it. When I first saw it, it was paired with a headline that said somehting along the the lines of "Taika Waititi hints he won't be returning for OFMD season 3," which seems to have changed and just isn't actually said anywhere in the article itself.

The first part of the article is immediately a bit scary:

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?”

While this looks scary, I encourage you to stop, breathe for a moment, read that again: crucially, that's not really an answer to the fucking question, and it's presented without context or even any indication that was TW's full answer. It's such a vague opener and without any follow-up it's practically meaningless.

The next parts of the article that a lot of people are concerned about are these paragraphs:

Max has yet to announce plans for a third season but Our Flag Means Death has become a fan favorite for its loving portrayal of its core relationship between Ed and Stede. 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.” Waititi calls Our Flag Means Death “a really special show,” adding that “I love the show so much and maybe it can survive without Rhys and I. Maybe, I don’t know. I do I think the character of Blackbeard is something I’m really proud of.” 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.'”

When I first read that headline, I was obviously like what the fuck, but when I clicked the link I immediately dismissed this whole article. I'm a person naturally given to anxiety and over-thinking - I'm not saying that to dismiss anyone who is worried about that, I'm saying that to emphasize just how contextless and clickbait-y this article is.

It's important to remember two things: OFMD is a mainstream property that is still generating a lot of traffic due to speculation on whether it's going to be renewed, and Taika Waititi, as a person, attracts a lot of divisive media attention that is often very clickbait-y in nature. He's also the biggest name attached to OFMD.

If we look at this article, all of TW's lines are presented to us out of context. We are not given the questions he was asked or told anything about when this interview took place (other than after the finale, obviously).

A breakdown of what TW says with possible, more likely context:

"The s2 finale felt like a natural, happy ending for Stede and Ed." This is true, and we also know this was intentional in case the show doesn't get renewed. This is not new information.

"Maybe the show can survive without Rhys and I." This is what people are (understandably) worried about, but this is both not a firm statement of "I don't want to come back for s3" and completely devoid of context. A possible explanation is that DJenks has mentioned possible spin-offs; TW could be here referring to spin-offs that don't involve him or Rhys Darby. As an executive producer, there is literally no way TW doesn't know at lesat the broad outline of DJenks' plan for s3.

"I don't want it to feel like they're leaving their idyllic life again." TW doesn't want Ed and Stede's story to be beaten to death, he wants it to have a satisfying, happy ending. Again, this should not be surprising information, it's just presented in a way that makes it seem like he definitely thinks s2 should be the end of Ed and Stede when that is not what he says.

This article is completely devoid of context, and because of that I consider all TW's statements in here to be essentially meaningless because we don't know any of the questions he was asked. I believe the most logical context for these quotations were him talking about the finale and how it was satisfying in case they didn't get s3, speculating about possible spin-offs, and then talking about how he doesn't want the story to be one of those TV shows that go on too long.

A bit of additional context: Consequence is, primarily, a music review and news site. They have a TV segment, where this article is housed, but music is their main focus and they are not a website where you expect to find actual breaking TV news, let alone from big names like TW. Larger film and TV publications we've seen covering the recent release of Next Goal Wins, in comparison, universely refer to the OFMD s2 as "successful" and refer to a "likely" third season - for publications actually focused on TV, the predominant view seems to be that OFMD is successful and a 3rd season seems very likely.

This article is very clickbait-y and tells us absolutely nothing. It absolutely does not say that TW is uninterested in returning for s3 (in fact, it says the opposite, he repeats again how much he loves the show) or that OFMD will be cancelled.

We're okay. Even if we do get news that OFMD hasn't been greenlit for s3, I promise it's not going to break on Consequence TV of all places.

#ofmd #our flag means death

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fuckyeahizzyhands · 1 year ago

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Rachel Leishman interview with Con O'Neill 22.11.2023

Rachel: Hi, Con. How are you?

Con: I'm very well, Rachel. How are you?

Rachel: I'm doing great. To start, so you've now joined the canon of I guess my favorite thing in TV is when people sing La Vie En Rose, because I loved when it happened in How I Met Your Mother and now it happened in Our Flag Means Death. And I was crying through both times. And so getting to kind of have those emotional moments that I didn't even care that the song didn't even exist, I was just happy it was happening. So getting to have those moments where you have those emotional kind of songs and journeys on a show that is outrageous and fun and quirky what for you as an actor is the joy of getting, you know, get to dive into something like that with a character like Izzy Hands that has had such a kind of arc, especially in Season Two.

Con: I knew he was going to go on a journey in Season Two because David had told me and I will be eternally grateful to him and his brilliant writers because they didn't make it sentimental. They didn't suddenly turn him overnight. They gave him a journey that I could work through emotionally and not feel like I was jumping ahead of myself or I was having to cheat. The song itself... had you asked me for a song for Izzy to sing, I would never, ever have picked La Vie En Rose. And now I can't think of any other song Izzy should sing. So again, that's down to David and also to all those people, my partner and Jenna, who's a friend of mine who just played PF in London, who helped me learn the French, which was excruciating for everyone involved.

Rachel: When I interviewed David, I said to him, I was like, you should be in jail for making me care so much about Izzy Hands throughout this whole season and then just put me in so much pain by the end because it was just such a beautiful arc from beginning to end this season. And I can only imagine as an actor the joy of kind of getting to dive into something that kind of rich, because...

Con: It is joyful, but it was incredibly lonely. I found myself spending a lot of time on my own, a) because a lot of the scenes are on my own, and b) if I wasn't filming, I was learning how to walk in that fucking leg, or I was sword training or I was working out or I was learning French or I was recording. It was a very solitary experience doing this season and I loved every minute of the work, but it was challenging on a whole other level that I didn't really think about until I found myself in the middle of it. And, yeah, I'm glad we did it and I'm glad we respected the character that we've created in Season One.

Rachel: And it is... I like, I really enjoyed because I think Taika's performance as Blackbeard especially. I love how kind of different it is because I'm a big fan of his work in general, but I do think it's very different from everything that I've seen from him. And I love the dynamic between Blackbeard and Izzy because that is something that I think as much as Steed and Blackbeard drive this show, without Izzy's love for Blackbeard, I don't necessarily think that relationship would be as strong as it is. And when you guys kind of have the arc you do in Season Two still cool to kind of have that final moment that we end up getting throughout in this show, for you two as actors to kind of in a comedy, get to have that emotional sobbing moment. You're comedians, but you're crying like having this kind of death scene on a beach. What is it for you two as actors and friends to kind of come to that moment where you're like, hey, we're still actors at the end of the day, but we're going to be sobbing on a beach over these two characters?

Con: You know what? I love working with Taika. I love acting with Taika. And Taika is a world renowned Oscar winning writer director actor, but he doesn't nearly get the plaudits he deserves as an actor. And the death scene in particular, I was dreading it because it's massive. And we were going to shoot it in the last week, at the start of the week, then the middle of the week, then the last day was going to be the morning of the last day. And then it ended up being the last thing we shot in the entire shop. And when you're filming something like that on the ship with hundreds of crew and the whole cast, and we're getting towards the end of the day and there's a lot of energy, and then suddenly it was just me and him. And if he hadn't given that to me, I was fucked. But he just held me in it and everything else disappeared. And we just trust the writing and we just do it. And he's a fucking awesome scene partner. There's a lot of good actors in that show, a lot of fucking great actors. But in that moment, I've never felt more collaborative and more trusted and more held than I have in probably my entire career.

Rachel: And you said collaborative. A show like this is kind of the joy of it, is that there are so many characters and it is such a collaborative show as a whole. And I think that's why fans love it as much as we do, because it's such a family unit. And for you as an actor, what is the kind of draw for you to a show like that that is so much a group of actors and comedians that are all kind of together, all on set, working as a unit?

Con: I'm a sporting actor. It's what I do. I like to work with an ensemble. It's how I do my best work. And the cast are sharp, witty, intelligent and also wonderful actors. So it's a no brainer for me. But also the show's... show is about love, and it's about queer love. And it's a show we should have been making a long time ago. It's a show that appreciates its audience and it's a show that is kind and none of our violence in our show is ever ever aimed at anyone for their gender or their sexuality. And we should be making queer of shows like this more. And that's what drew me to it. And when I saw... I was on set, when the boys in the first season, when they filmed the 'you wear fine things well' scene, and I watched it being shot and the beautiful performances and the beautiful dialogue and the way that it was being shot was exquisite. And I suddenly realized not only were we in this pirate show, but we were also in a romantic, queer love story that wasn't going to not be romantic. And I thought, there we are. That's it. That's what people are going to plug into.

Rachel: Yeah. Thank you so much for talking with me. This show means so much to me and people that I know and love. So thank you for talking with me.

Con: My pleasure.

Rachel: And I want more seasons of it. I love it so so so much.

Con: Thank you so much. Rachel.

Rachel: you have a great one.

Con: Take care. Bye bye.

#our flag means death #ofmd #con o'neill #izzy hands #interview #con interview #videos #rachel leishman

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basimdasasonst · 8 months ago

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ofmd s2 rant

so, this is my first post, and I have @ketamoru to thank for corralling (gently suggesting) me into making this. we watched season 2 of our flag means death a while back when it first came out, and i wrote this huge long rant (that I just finished editing) about it, intending to post it to twitter or imdb or something. but. due to the sheer nature of the word length, i couldn't. so, here it is.

On OFMD S2: as a viewer, I’m appalled at the season. As a writer, I could feel my soul escaping my mouth with each cringed breath I took, escaping my pores every time I had to hit the spacebar to pause and bury my head in my hands. I’ve read and written bad stories in my past, I've been on both ends of a shitty narrative, but my god.

There's three core tenets to a story: plot, world, and characters. You can lean on one if another is lacking, absolutely, BUT YOU CANNOT SACRIFICE TWO OF THEM AND EXPECT THE OTHER TO BE ALRIGHT. THEY ARE CONNECTED. THEY INFLUENCE EACH OTHER. GOOD CHARACTERS HELP A GOOD PLOT, A GOOD WORLD HELPS A GOOD PLOT. BUT A HALF DECENT WORLD CANNOT HELP SHITTY CHARACTERS AND PLOT!!!!!!!!!!

Let me start with the simplest to talk about: the plot.

In an introductory college level physics course without calculus (bare with me), you occasionally do problems with a pulley. If you account for the mass of the pulley and the string in calculations, the problem simply becomes too complex to deal with for an introductory course. So, you call the string massless, and move on with your life. Every single episode's plot was tied together by this massless string. As in, THERE WAS NO INTERCONNECTIVITY BETWEEN EPISODES.

The three sections of plot development are (as highlighted by Brandon Sanderson, who is not writing-Jesus, but is pretty accomplished in the fantasy genre, which should speak for itself) promise, progress, and payoff. Promises are made at the beginning of a story's plot arc. They hint towards the greater plot and arcs, and promise readers a story filled with [x]. For example, if you're going to write a comedy, your opening scene (the promises) should be comedic. You don't start a comedic novel out with a tear-jerker. This is arguably the only part, in my opinion, that OFMD gets right. The opening episode is, to give credit where credits due, pretty comedic for a comedic season. The tone is set properly.

Here come the problems: Progress. THERE IS NO PROGRESS. Stede and Ed make up WITHIN THE SAME EPISODE THEY MEET AGAIN. And then they break up in episode 7. AND THEN THEY MAKE UP AGAIN IN EPISODE 8. There is no conflict between the pairing. There is no conceivable sense of tension or drama or ANYTHING that builds up to a climax. THERE IS NO CLIMAX. It’s just a bunch of minisodes strung together by a massless string. Villains come and go within the same episode (I'm looking specifically at Ned Low). The only one that comes back is Prince whatever-his-name-is (I'll get to him in a second), and we don't see much of him. He's introduced to us as a bumbling fool in the beginning, we lose him for a long while while Ed frolics around (again, I'll talk about Ed's character too in a second), and then he's suddenly a prince (episode 6, I believe) needing to take revenge. He makes a cursory deal with Zheng, we see him for 5 more minutes, and then he blows everything up in a totally-not-seen-coming betrayal. Boring. No progress, no payoff.

Which leads me into the final part I have to say about the plot: payoff. WITHOUT PROGRESS THERE IS NO PAYOFF. Because of the nature of the season, with things just thrown at you with no cohesive narrative the season felt like a continuous dopamine rush with no need to work for anything in return. (What was the ultimate goal of the season, do you think? Ed's reconciliation? The prince's revenge? Stede's path to being a pirate? Do you think any of them were explored? Think about it, for a second.) The climax of Izzy's death (boy do I have some key words to say about that, but that's not the point of this review, far from it) didn't feel...worth it. In fact, I'm not even sure if that was the climax, or maybe it was Ed leaving (and coming back 30 minutes later … ) or maybe it was the bombing. Who knows? I don't. You can have subplots. You can't just treat them all equally. There has to be a point to a story, and you have to favour that point over mindless adrenaline rushes. There was a point to season 1: Stede's growth as a character as he realises piracy isn't all he thinks it is, and eventually falling in love with Ed. There is no point to this season. Or if there is, it's muddled by the 20 other things happening all at once, always. There is no progress, so there is no payoff.

2. Next, the world.

In this case, the physical scenery, the props, the costumes, the music, etc. I'm not a costumer, nor a musician, nor a lighting director, I’m just a viewer with a basic high school understanding of world history – but nothing ... changed about the world in this season. When you establish a world in the first act of a book, do you just stop establishing it in the second act? No! Of course not! You keep building it, because the world changes too.

Every single new town the ship visited, every time they docked or got off a ship, the scenery looked and felt the same. How many times are they stranded in the exact same kind of underbrush? The exact same biome, with the exact same kinds of plants? Do they ever go further inland? Is there more to the world than just two ships, one established town and then the shoreline? Of course there isn't! Because that means worldbuilding more than what season 1 did, and that's too terrifying to think about!

And the music. Christ, I'm no musician but did the music feel, to anyone else, passive? In season 1, at least the last time I watched it, the music fit the scene. It wasn't just there because there needed to be music. It spoke to the world, it said something about the scenery. This music, by comparison, is so tame. It's not noticeable. The only part I did like was when Izzy died in silence, because that silence let the death settle with the viewers as Ed weeps openly and – oh, here's the mindless royalty-free music again.

3. And finally, the characters.

Jesus Christ where do I even start with this? Let me start from the foundation of storytelling as any amateur writer understands. YOUR CHARACTERS ARE YOUR MOST IMPORTANT ASSET IN A STORY. I am physically unable to stress this enough. I DON'T CARE IF YOUR WORLD SUCKS MAJOR SHIT. YOUR CHARACTERS CANNOT SUCK. WE STICK WITH THEM THE ENTIRE WAY THROUGH. IF WE CANT STICK WITH THE CHARACTERS, WE CAN'T STICK WITH THE STORY.

(Note: You can write characters with obviously terrible personalities, and that are meant to be disliked, without them sucking. It's about intentionality. If you write a character, and they’re meant to be likeable, and nobody likes them, that character sucks, and you’ve failed. You’ve also (usually, but not always) failed if your viewers hate your character for a different reason than intended. If you write a character you’re supposed to hate for [x] reason, and people hate them for [x] reason, you’ve succeeded. There is a difference between a bad character, and a character with an intentionally flawed personality that you're not supposed to sympathise with.)

Next question: why is everyone in a romantic relationship? The day people realise that platonic relationships are just as important as romantic ones is the day I'm allowed to rest. (I say this beyond just the fact that I'm aroace. I say this as an exhausted reader.) There were not one, not two, not three, not four, but FIVE relationships that were given significant (well, as significant as it gets with 8 30-minute-episodes) screen time. Except, none of them were developed. Not even Ed and Stede's. What was the point in breaking up Jim and Olu, pray tell? Their conflicting personalities were what made them so interesting – to see two opposing forces find ridges where one slots into the other, where two people so different find solace in the other? Now Jim's just got over Olu in a third of an episode and they're kissing that other person. No, I don't even remember their name, because their personality was just Jim's in a different font. You paired two similar people up with each other. Why? Not sure. (I hesitate to chalk it up to some weird exoticism going on behind the scenes, but.) Now I'm bored. There's no tension in that, no story to tell, no good reason for it happening. And Olu with Zheng. NO BUILDUP. Zheng stares at Olu working on scrolls for a little while. That's it. THAT'S NOT BUILDUP, THAT'S JUST WASTING TIME. Her relationship with Olu is so unbelievably forced. (I could feel the crickets of the writers room permeating through my screen – that one stray writer going “well, if nobody else has any ideas, then idk maybe we could … “) They share nothing in common, her "you're the break in my day," is completely unfounded (I’ll get to this when i talk about her character outside of Olu in a sec), it irritates me to no end.

I don't have anything to say about Swede and Jackie, or Black Pete and Lucius, because nothing fucking happens. Black Pete and Lucius make up, after a little bit of progress I will say, and then it's ... a few episodes of them loving each other unconditionally as if nothing happened. It's boring. I'm bored.

Stede and Ed. Oh boy. Ed is clearly not ready for a romantic relationship in this season, despite whatever work he did last season. (Thrown out the window by this season! Who’s ever heard of setting up future seasons in your earlier seasons? Not the OFMD writers room!) He grapples (barely) with the idea of not being a necessarily good person, and tries (in heavy quotation marks, more on that below) to redeem himself, but ultimately just ends up right where he started: Blackbeard. He ends up reversing all of his progress in terms of his character arc. Right back where he started. Christ. And he's clearly too busy grappling with this to be conceivably ready for a romantic relationship with Stede. But Stede and Ed happen anyway. If handled by someone who wanted to comment on the nature of toxic relationships and wrote this intentionally, this would have been a GOOD PLOT. But it was clearly not intentional, as nothing seemed to flow together, characters spoke like robots, and I could feel the fact that the script was obviously just a shitty first draft. Not to mention the fact that Ed doesn't ACTUALLY do any thinking on what he's supposed to be. That purgatory thing was the best we get – and it was damn good in comparison to the rest of the season where he doesn't really reflect on his actions. He has one conversation, decides he's a changed man, then goes straight back to his previous actions.

And STEDE – man. They DECIMATED his character this season. In the beginning, in the first season, he was the gentleman pirate – two juxtaposing adjectives. WHICH IS CENTRAL TO CREATING A CHARACTER. No real person is one track (even the most stubborn of us), no real person can be effectively summed up in a few words like a bad character creation sheet. The conflicts that we deal with as humans are what make us human. Flaws, in no small part, are part of the human experience. (I could get into this, but if you’ve ever looked at AI art and felt its soullessness staring back at you, then you know. It’s too perfect. Too lifeless. Too flawless.) Every single person deals with layers and layers of complexity. Two completely opposing things can be true at the same time and that is a VERY REAL THING that we must grapple with as humans. There is no such thing as black and white on issues. Stede as a gentleman pirate was this COMPLEX LAYER that made him such an interesting character to begin with because “gentleman” and “pirate” are two very different things with two very different histories and connotations. To see the intersectionality of where these worlds collide and where they conflict was what made him so interesting in the first place.

In this season, he’s just a bumbling fool that calls himself a pirate. His backstory isn’t mentioned. He’s stupid in a cringe-ing way (not even comedic), and is just no longer a gentleman. He’s just a bad pirate. It’s so boring in comparison to the complex characterization we got last season, that every time he spoke I had to physically restrain myself from petulantly clogging my ears and going “lalalalala!” to pretend that he wasn’t really saying half the things he was saying. He’s just a puppet, waving around in the wind, contributing nothing to conversations and existing without complexity. It makes me want to bash my head into a table.

Zheng. Why? What was her purpose? I’m white, I should note, so I’m not entirely qualified to talk on this subject from an experiential perspective, but a great big part of her character felt like something I wrote my end of high-school thesis on: orientalism in science fiction, and specifically the pervasive notion of the “submissive eastern woman”. This isn’t science fiction, but it does employ (subtly, might I add, but still noticeable) tropes that Edward Said wrote about in his work “Orientalism” (1990) -- stuff, specifically in OFMD S2, like being the "other" (in particular, viewing the east as a "backwards west" that requires a "western touch" to correct) in the way that Zheng's ship was clearly portrayed as "abnormal" to us in every way -- the all female crew, the rigidity, the organization, etc. We were told repeatedly, time and time again, that she is powerful. But think about it for a moment, did you ever really feel like she was powerful? When she revealed she was an infamous pirate lord that made people cower, did you feel it? We saw some displays of power – but only deep into getting to know her. We never really felt this power that we were told repeatedly that she had, this fear of being some pirate queen. No, she was just a pirate with money.

(As an aside: the theme of power is notoriously difficult to get right in fiction, because it's so multifaceted. If you want my professional opinion (as some random internet nerd who spends time in a weird mix of fandoms) on who gets it right in modern fiction: I think JJK does it really well. I could go on about JJK for hours, both its rights and wrongs, but it gets the notion of power right if nothing else. For those unfamiliar, the “mentor character”s name is Gojo, who is a sorcerer born with a rare combination of techniques that makes him incredibly powerful – almost completely untouchable. To the viewer, he is silly, aloof, and overall goofy as a character (it’s actually a front, but this is an OFMD essay, not a JJK essay) which allows us to get to know him beyond his power level – but when he’s not acting aloof, when his smile deepends (or worse, when it drops) we can feel the power emanating from him. From impact frames, to the fact he’s constantly unserious, to enemies cowering at the mere mention of his name – his entire thing is that he’s the strongest sorcerer alive. Curses (evil spirits) quite literally can’t do anything while he’s around – so much so, that when he gets sealed in a prison dimension in s2 of the anime, the effects are felt quite literally all over Japan. With one simple action (the sound of the cube sealing him hitting the floor of the train station) an entire nation’s power has turned on its head – every curse, every sorcerer feels it. When his power is gone, there is such a large disparity between the protagonists and the antagonists, you can feel it through your screen.)

Zheng does not have this. She does not have the luxury of being in a story where the writers care about making her a threat. I could extend this to Blackbeard too to a lesser extent, but I won't. OFMD is a comedy. But being a comedy doesn’t mean you can’t tackle heavy topics – you can, and should tackle the heavy stuff in your comedic show. Repeatedly we were told that Zheng is powerful – but nobody treated her like that. Hell, the show didn’t give her the power that it claimed she had. We only ever saw the safe side of her, the kind side of her that (for no reason) liked and cared about Olu. Complex female character? Nah. Random romantic love interest for Olu? Hell yeah.

Fucking Christ. And don’t get me started on the costuming choices. Pigtails? Really? You had no other options? You couldn’t have dipped your fingers into any historical media for reference, like you’ve been keen to do with European references in the show? Alright man.

Finally, Izzy. WHY did they kill him? Probably my least favourite trope in modern media is when a character finally gets some closure towards the end of their arc, starts becoming a truly better character/dragging themselves up out of a deep pit – only for them to die mid arc. COME ON. If you wanted shock value it would've made more sense for ED to die because he’s, at least, stuck in his old ways. That could’ve been interesting, seeing him stick to his old ways to his detriment. Not to toot my own horn, but in the story I’m writing (shoot me if I mention it again) one of the primary main character’s whole theme is centred around desperation, and his eventual death as a direct result of it. His death is not just for "shock value" it serves a purpose. It's to further the commentary I'm trying to speak on about how far we’ll go to live in an idea rather than the present. I really, truly, honestly think that if they did that with Ed the story could’ve been so much better; and I say this having experienced the difficulties with writing out a central character. But again, this season lacks intentionality. Ed doesn’t die, and instead Izzy does after being the only character with any sort of redeeming qualities this season. I get, to some degree, it’s supposed to be a metaphor for Ed leaving behind his past but, does he really even do that? He’s Blackbeard when we end season 2. Izzy’s death didn’t mean anything to me beyond just wishing the season ended quicker, because (as we witness with Ed’s rebounding) concrete decisions made by characters can be reversed in the flip of a second thanks to Plot™! There is no permanence to the story’s cohesion, and Izzy’s death just doesn't stick. “Okay,” you say, exhausted. Nothing feels real. Nothing is internally or externally consistent. It's just a mess of ideas poorly strung together, and that's being nice about it.

I wont say much about craft because this is getting long winded but. Fuck me, dude. Why does every dialogue happen in a vacuum? NOBODY IS EVER DOING ANYTHING INTERESTING. a lot of scenes felt like filler -- there only to extend the series' runtime. I’m tired, man. It’s sloppy writing. I'd almost give it a better rating if Season 1 wasn't so much better by comparison. Instead of just being a bad season, it now also ruins what the show built up in the first season. I'm beyond disappointed.

TL;DR: please for the love of god start loving the stories you're writing. the future generations deserve more than money-laundering garbage edit: whoops got her name wrong halfway through its zheng not zhen my b lol

#ofmd #ofmd s2 #analysis #media analysis #blackbonnet #stede bonnet #ed teach #edward teach #pay your writers #i blame disney+ for the commodification of our media #pay your artists #and stop paying your billionaires #fuck this season #more disappointing than kfp4

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al-mightys-blog · 1 year ago

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In this trying times I've decided that I'm cringe but free, so I can post as well my Power Point presentation about OFMD for my English classes I made a year ago 😌🫴🏻

5 Reasons Why You Shouldn't Watch OUR FLAG MEANS DEATH

1. It's about pirates

1717. The Golden Age of Piracy.

Wealthy landowner Stede Bonnet set out to find adventure and renown on the high seas. And he met a famous legend – the dread pirate Blackbeard. We watch their adventures, exchange of experience and confrontation with the Navy. This is the moment when you begin to remember notorious works inspired by pirate culture. For example "Treasure Island", 'Pirates of the Caribbean" , "Assassin's Creed". And you think... haven't we had enough? Haven’t we seen and known everything about pirates? Enough is enough. Come up with something new, folks

2. It's a comedy

When you think about comedies, I believe your head is filling up with moments from your favorite movies and shows. The good and old quality content that went through fire and water and made you laugh so many times. They don' t make anything like this nowadays. And we are used to an empty and similar shell of comedies. So you need to ask yourself: do you really want to laugh out loud until your belly hurts, because that is what you will get if you start to watch “Our Flag Means Death”. The perfect timing and delivery, the combination of the old setting and new realities, the general idiocy of situations will bring you to the edge of tears. Do you really need this? Is it really worth it? Yeah, I thought so.

3. It has a brilliant cast

You won't find a show with such an ethnically diverse cast anywhere else. Yes, this is a show about pirates who spread fear on the shores of the West Indies and were persecuted by the British Navy, but your fellow aristocrat from Barbados speaks with a New Zealand accent. The scariest pirate in history not only also speaks with a New Zealand accent, he is also Māori. Your ordinary pirate crew has a cannibal, a weirdo with a cleaver, a killing machine and a scribe among others. You'll just be constantly distracted by thinking how well the actors nailed their roles.

4. It makes you believe in love again

You think you're watching a silly little comedy about pirates, but then you start realizing that you believe in love again. How could that happen?

The two main characters met when they needed each other the most. The terrible pirate Blackbeard - a living legend - has lost the will to live. Wealthy landowner Stede Bonnet escaped from the trap of aristocratic life. The spark that ran between them, in a favorable, open and trusting space, turned into deep feelings. One didn't realize their power, the other didn't realize them at all, but both were willing to sacrifice everything for each other. Do you really need to believe in love again? In this economy?

5. It's an ongoing series

The first season was realized last year. The second season is expected this spring. The plot can take any turn. This is not a safe watching of an already ended show. For example the real pirates in the real world, aka Stede No-Middle-Name Bonnet and Edward Teach Or Thatch, parted and both died in 1718. Literally a year after the events described in the first season. No one wants to watch a show where the main characters who are in love with each other die in the end.

These are five reasons why you shouldn't watch this show if you don't want to constantly think about pirates.

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doks-aux · 8 months ago

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Fic: Dead Men Take No Dares

Fandom: Our Flag Means Death

Characters: Izzy Hands, Edward Teach, Stede Bonnet, Lucius Springs, Ivan, Fang, Nathaniel Buttons, Crew of the Revenge

Relationships: Izzy Hands & Edward Teach, Izzy Hands & Crew of the Revenge, Izzy Hands & Ivan & Fang

Rating: PG-13/Teen

Content/Warnings: Truth or Dare, friendship (existing, mending, and growing), humor, and a callback to one of my favorite jokes from Season 1

Summary: “Fun, huh?” He breathed in and out once very deliberately then opened his eyes to look at Fang, face carefully neutral. “All right. I can do fun.”

Izzy is strong-armed into a game of Truth or Dare and decides to play by the rules.

Notes: Written for the zine Above All Else: An Appreciation of Izzy Hands in 2023 and set in a possible post-Season 1 future where everyone is trying to get along and no one is very good at it. (Except Fang, of course.) Written before the premiere of Season 2 and has not been edited to reflect any of that updated canon. The only difference between this text and what appears in the zine is the correction of three minor grammatical errors that will haunt me for the rest of my natural life.

Word Count: 1368

Read on AO3

Israel Hands was seven minutes and fifteen seconds into his frantic search for his captains or, indeed, any sign of life on the Revenge, when he finally heard Bonnet's voice ring through the halls of the gundeck.

“All right! Perhaps we ought to revisit and revise our ‘no more than two truths before a dare’ rule to ‘at least two truths before a dare.’”

The conversation was coming from the jam room, and Izzy hastened his steps in that direction, taking note of each voice that joined in.

“But then we’d barely get any dares!” Black Pete whined.

“I’m fine with that.” That was Spriggs, vaguely distressed as always. “I’m great.”

“Uh, it’s not Truth or Dare without any dares.” Black Pete again.

“Maybe that can just be a rule for Captain Ed and Wee John.” Roach then.

“Sorry about that,” Feeney said at the same time that Edward chirped, “Sorry, mate,” neither sounding particularly sorry at all. Was the whole fucking crew in there?

“Now, we don’t want to single anyone out...” Bonnet waffled--prompting a small chorus of “Yes, we do”--just as Izzy stepped through the door.

“Captain... s?” he asked, catching himself before he forgot to pluralize. He looked first to Edward then to Bonnet, taking in the room’s remaining occupants in between. It was, of course, the whole fucking crew. “Wh--?”

“Hey, Iz-dog!” Edward bellowed cheerfully, springing to his feet and barrelling toward Izzy with enthusiasm he had not anticipated.

“Oh, no, Izzy’s here!” Spriggs gasped, also jumping to fling himself at Izzy.

Edward reached him first, gripping his bicep and tugging excitedly. “You’ve gotta get in on this, mate. We’re--”

“I guess we have to stop having fun now,” Spriggs’ exaggerated lamentations rose over the rest of Edward’s sentence. “So sad.” Undermining his words, he grabbed Izzy’s other shoulder and leaned in to hiss, “What took you so long? There’ve been three fires already.”

“Fire?” Izzy darted his eyes between Edward and the boy before scanning the room more thoroughly. “Where is there a fucking fi--?”

“It’s out, Boss,” Ivan announced, and Izzy whipped his head around to see him stomping out the last embers of a fucking fire.

“Why is there--?”

“In my defense,” Edward cut in, snapping Izzy’s attention back to him, bright-eyed and grinning, “I was dared.”

Izzy held Edward’s unwaveringly mischievous gaze for a moment, just in case an explanation would be offered unprompted.

It was not.

“What are you--?” he began, valiantly suppressing most of a weary sigh.

“We’re playing Truth or Dare,” Jim interrupted this time, annoyed, though whether with him or Edward, Izzy wasn’t sure. He was getting whiplash all the same.

“What the fuck is--?” But Izzy cut himself off this time with a frustrated shake of his head, a growl dying in his throat. That one he actually knew, and it wasn’t the point. “Never mind. Edward, wh--?”

“You should play, too, Iz! It’s a blast!” The implish gleam in his captain’s eyes dimmed just slightly, his smile turning sheepish. “Didn’t mean not to invite you. It was a spur-of-the-moment thing.”

That wasn’t the point. It was not within five hundred nautical miles of the fucking point. But the genuine apology in Edward’s tone took Izzy off guard all the same, stayed his tongue while he allowed himself to appreciate it.

“Oh, of course,” Bonnet butted in before Izzy could find his words again, which was marginally better than interrupting him, but that margin was about as thin as Izzy’s patience. “You can squeeze right in, we haven’t been playing long.”

“Three fires,” Spriggs mouthed silently in Izzy’s peripheral vision.

“I don’t care about your fucking game.” It came out with more bite than Izzy meant it to even if it was true. (He was trying to be less of a dick. They all were. They were bad at it, but they were trying. It just was not the point right now.) “Edward, listen. Wh--?”

“Aw, don’t be like that, Iz. Play with us!”

“Edward, I need to--”

“Join the game, and you can ask him anything you like,” Bonnet said, chipper and smug. “When it’s your turn.”

Edward squashed Izzy’s delusions that he might consider reason by immediately nodding along. “There ya go, Iz, just wait your turn.”

On second thought, fuck the both of them.

“That settles it! Have a seat, Izzy,” Bonnet continued like he didn’t even notice Izzy’s heroic attempts to explode him with his mind. “We’ll do a few rounds so you can see how the game is played.”

“I don’t--”

“And then you can have a turn!”

“Captains--”

“Just let it happen, Boss,” Ivan muttered, calm and commiserating, throwing an arm across Izzy’s back. “Come sit with me and Fang.”

Not wanting to fight because they weren’t supposed to be doing that sort of thing anymore (and because Ivan could scruff him like a cat if he chose), Izzy allowed himself to be led to the bit of floor claimed by Fang, who beamed and scooted over to make room for them.

“Hi, Izzy,” Fang greeted as Izzy sat beside him. Izzy grimaced in reply, careful not to shift his weight onto his bad foot as he settled on the floor. Ivan sat on Izzy’s other side, bracketing him between his old colleagues.

“Does anyone remember whose turn we were on?” Bonnet asked, and conversation erupted through the room, everyone talking over each other while Izzy straightened his spine and tried to catch Edward’s attention through the chaos.

“Anyone who doesn’t love arson,” Spriggs groused, flopping in defeat beside Black Pete.

“Seconding no arson,” Boodhari agreed.

Frenchie laughed. “That’s not a big number on this boat, babes.”

“May I have a turn?” The Swede raised his hand. “I will not choose fire.”

And on and on the inane chatter continued, Izzy squirming in impatience as Edward looked everywhere but at him. He was nearly ready to snap when he felt a gentle touch at his back.

“It’s not so bad, Boss,” Fang murmured kindly, giving him that soft-eyed look that Izzy never knew how to respond to since he’d promised to stop yanking his beard. “Give it a chance. Maybe you’ll have fun.”

Izzy bit the inside of his cheek before he could spit something ugly. He clenched his fists until his fingernails dug into his palms, squeezed his eyes shut until he saw stars, and tensed every muscle in his body until he had no choice but to relax.

“Fun, huh?” He breathed in and out once very deliberately then opened his eyes to look at Fang, face carefully neutral. “All right. I can do fun.”

He would wait his turn.

Fang smiled like he was proud of him, and Izzy did not tell him to fuck off. Bonnet got the game started up again, and Izzy observed the proceedings dutifully. There didn’t seem to be any sort of logic to how the turns were taken, the rules were clearly made up as they went, and the truths asked and dares accepted were as ridiculous and reckless as he would have expected. Nevertheless, he was grudgingly impressed that the Swede could contort his limbs into a pretzel with such ease.

Finally, Bonnet looked to Izzy and spread his arms out with his customarily unwarranted pomp. “Now it’s your turn, Izzy. Ask anyone anything you’d like.”

“Fine.” Izzy looked Edward straight in the eye. “Truth or Dare?”

“Truth,” Edward answered, still constrained by the new dare limit.

“Who’s steering the fucking ship, Edward?”

“The fuck do you mean? Buttons is. Right, Buttons?”

Izzy watched realization dawn in Edward's eyes, his slow, horrified turn to the wall, where Buttons had been standing the whole time.

Buttons, very much not steering the ship, stared back, unblinking. “Olivia wanted to watch the game,” he said of the seagull perched on his head. “She’s a yen for hot gossip.”

“...SHIT!”

Edward tore out of the jam room, most of the crew stampeding after him. Izzy remained seated, Ivan and Fang still at his side and Buttons still against the wall. Under the thunder of footsteps and bickering and Bonnet shrieking in panic, Izzy smiled.

“You were right, Fang. That was fun.”

#Izzy Hands #Israel Hands #Edward Teach #Blackbeard #Stede Bonnet #Lucius Spriggs #Ivan #Fang #Nathaniel Buttons #Our Flag Means Death #pirates #doc's fanfiction #doc's stories #doc pretends to be a writer #zine entry #ofmd fanfiction

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fallenrocket · 11 months ago

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#PirateOmens Watch Party - Season 2, Episode 4

(crossposted from my twitter)

Aziraphale: "I'm afraid I have no idea what you're talking about, or where this angel Gabriel--who I've never heard of--might be."

Oh, honey, you are not good at this.

***

Just like with OFMD, we revisit their "you wear fine things well" moment in season 2. But while OFMD gives Stede and Ed a chance to do it again, GO shows us what came after the original moment.

***

More violent workplace comedy! @PrimeVideo, you wouldn't have any trouble marketing Our Flag Means Death!

***

Crowley's American GI impression is right up there with Stede's Ed impression--you have other talents, babe.

***

Aziraphale's happy stimming over magic tricks is the most wholesome thing in the world, I love him.

***

I love that Crowley is patently doubtful about Aziraphale's magician abilities, but the moment Aziraphale starts to doubt *himself*, it's all, "You, my Nefertiti-fooling fellow, are about to perform on the West End stage!"

***

Sorry, quick interruption: *action hero Dev Patel starring in the film he wrote and directed*??? Be still my heart!

Now that that's out of the way, back to your regularly scheduled angelic/demonic entertainment.

youtube

***

This long 1941 sequence is probably my least favorite flashback on the show--too much cringe humor for my taste, I feel too bad for Aziraphale--but I do like where it ends up, with the two of them on a West End stage attempting the bullet catch with a miracle blocker in place.

***

I think another difference between Aziraphale and Stede is that, when he's being cringe, Aziraphale is usually *aware* of it and fighting to get back on track. Stede, just as often as not, thinks he's killing it.

***

Absolutely feeling themselves.

***

Aziraphale: I knew you'd come through for me. You always do.

Crowley: Well, you said, "Trust me."

💕

***

Crowley cooing at his Bentley like it's a dog gives me life--"Did you miss me? I bet you did!"

#pirate omens #adopt our crew #save ofmd #fallenrocket #good omens #our flag means death #ofmd #edward teach #stede bonnet #aziraphale #crowley #Youtube

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human-sweater-vest · 1 year ago

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hi welcome back to me once again screaming about our flag means death and its use of gnossienne no. 5. heads up for spoilers for the first three episodes of season two and each episode the theme pops up in going forward.

cool cool cool. so it's been established that gnossienne no. 5 is the love theme for ed and stede as it was used during many of the pivotal moments of their relationship in season one. I'll do a brief recap but for a post breaking that down more see this bad boy.

the main thing with my previous analysis is that the instruments and tone changed each time the song came in, sometimes being loud and brash, other times being a whisper in the back of a quiet realization. therefore, I was so incredibly excited to see if/when/how it made its reappearance in season two. below is a compilation I'll update with each episode .

episode one and two don't have any use of it as far as I caught on my first watch through. please let me know if you catch it!

episode three:

5:40 - when stede boards the revenge for the first time after ed destroys it. he's looking for his love and it makes sense that this would be our first instance of the song in the season so far. however, the slow and almost hesitant piano of the song is cut off by the sheer destruction of the ship. we know how much the revenge means to stede, it was his lifeline and his home and the place he and ed found their love for each other. naturally it being destroyed would halt the music. it's also fun that we make it all the way to episode three without it appearing because that's when ed makes his first appearance in season one. good symmetry. good soup.

12:35 - when stede enters the captain's quarters alone to clean up the daggers the song comes in and we hear the iconic melody instead of just the notes leading up to it. he's fully allowing himself to stew in the mess the man he loves has made and how he's a direct cause of it. the main part starts as the camera shifts to a dagger right before stede pulls it out, perhaps indicating that their love has wounded them. he knows that ed is gone but the crew hasn't revealed where or why. the music then ends on a sour note and cuts out as izzy starts to speak, breaking the spell as he's confronted with the reality of one of the people who has been both complicit and victimized by ed's breakdown.

16:06 - as stede admits to zheng yi sao that he feels like he's the cause of ed's destructive streak and that he let him down, the theme once again comes in, this time softer than the previous two appearances in the episode. notably it's also piano, keeping in line the same tonal theme of simplicity and hesitance. it once again runs its course until an interruption happens with auntie bursting in to announce that she found "the jackpot" aka a dying ed stored in the secret room.

episode four:

00:00 - right at the start as ed is coming back to life. it ends abruptly as ed hits stede in the face, showing us that things aren't going to be all lovey dovey.

26:05 - it starts as ed says "buttons, people don't change" (before buttons turns into a seagull, proving this to be false). this is a really important one for several reasons. the first of which being that stede has once again left him alone in the woods, but this time he comes back for ed. ed is confronted with change, assured by it, things can be better. the second and infinitely more exciting to me, is the fact that this version is played on the harpsichord. where did we hear the harpsichord version last? the bathtub scene of season one, when ed decides to change for the first time. when he trusts stede to change with him.

episode five:

26:03- "you wear fine things well" part two. y'all. Y'ALL. it's the same exact version as the first time this scene happened. the critical difference is that they're experiencing it as reality and not a lovestruck delusion. they're flawed and fucked up and the moon isn't as full but the song is still the same. they're still in love.

episode eight:

12:10 - "I feel it in my soul, a love like ours can't disappear in an instant" Y'ALL I FUCKING CALLED IT I KNEW WE'D GET A BIGGER ORCHESTRATION OF THE SONG. we have strings as well as the piano and the theme is joyful and beautiful and reflecting that ed finally admits to himself that he loves stede. this is it. I'm buying dinner and going feral as my original tags promised. y'all this season was a doozy and you can best believe that if we get a season three I will be losing my noodle on how they decide to orchestrate the final usage of this song.

#our flag means death #ofmd #ofmd season 2 #ofmd s2 #gentlebeard #gnossienne no 5 #ofmd meta #y'all I've been waiting for this one #if we get a full orchestral arrangement this season I'm going to buy myself a nice dinner and then go feral #balls to the walls crazy because this sort of analysis is my shit and this show does such an incredible job in the music department #this is my ongoing passion project #keep an eye out for updates #this is how I'll be surviving waiting each week for another episode #please lmk if I miss any instances of the song!

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londonspirit · 1 year ago

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Spoilers follow for the season finale of Our Flag Means Death.

After starting the season with its lovable cast split in two, Our Flag Means Death concluded its second season with the entire crew of the Revenge sailing off together into the literal sunset—well, almost the entire crew. With Rhys Darby’s Stede and Taika Waititi’s Blackbeard staying behind on land to make a go at being innkeepers, they’ve found their happy ending, which could be where the story of Our Flag Means Death finishes for good.

But according to series creator David Jenkins, there’s still more story to tell, and the fans rallying behind a third season may just help make that dream come true. After witnessing the filming of the season finale on the show’s New Zealand set—including Black Pete (Matthew Maher) and Lucius’s (Nathan Foad) emotional knife-swapping wedding—we caught up with Jenkins to discuss the most emotional moments of the finale, the dramatic action sequences, and what might come next.

Vanity Fair: What did you hope to achieve with the ending of season two?

David Jenkins: It’s bittersweet. There’s death and there’s the rebirth of Stede and Blackbeard’s relationship; there’s a funeral, there’s a wedding, and the idea that this family is going to keep fighting even as they lose members. And then it’s about belonging to something. It’s not just a bunch of people who are desperately stealing from each other and killing each other. There’s a way of life that they’re fighting for.

You’ve talked in the past about a season three. Fans are already circulating petitions, hoping there will be a third season. Will we get to see these pirates again?

There’s always a chance, if viewership is good. I think we all need to figure out what era of television we’re going to be in when we come back and who can afford what. I like our odds. It’s a cool show. We have a really good following. We have a passionate fan base. Max has been great in terms of publicizing us. I’d love to do another season of the show. I’m sure they’d love to have a reason to do it again. You can feel like it’s special making it. It would be nice to be able to get everybody together again for one last shot at it.

So despite the happy endings in the finale, you’ve left things open for a third season.

A lot of times, with this narrative of characters, 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. So it was important to leave it open and a lot more show to go, but also leave it in a place where it’s happy. The end of the first season isn’t a happy ending. It’s kind of happy. Stede learns what love is and that’s happy. But I think it was important to be like, Okay, these boys did their work this season. They get to have a little happiness at the end of it.

I visited the set when you were filming one of the final episodes. Izzy (Con O’Neill) had been killed off, and he couldn’t talk too much about that. But now: Why did Izzy have to die?

There’s a trope that I like with mentor stories, where the mentor dies in the second act. Our protagonist outlives the mentor and then they have to go on. We felt like Izzy’s story had reached its conclusion, where we put him through enough. And then there was the realization that he is kind of a mentor to Blackbeard and that he is kind of a father figure to Blackbeard. It felt nice to have him die and have Blackbeard be upset by it, because Blackbeard killed his father. But this is a father figure that he’s losing that it’s hard for him; it's sad and he doesn't want him to go. Izzy has such a beautiful arc in season two; he does a lot of the things, has a lot of the breakthroughs that you want that character to have. It felt like: It’s time to give him a full meal. And it’s also a pirate show, so he’s got to die.

How would you describe the filming of season two?

It was good work, but it was hard, hard work. It’s a big show; it’s basically a one-hour show that we’re doing on a half-hour budget. So everybody has to work triple time keeping up with it. There were tactical challenges in season two. Now we’ve got two ships and two crews, and we had the unique challenge of filming the mermaid scene in a tank, and a storm in one episode. I love the fourth episode, and Buttons turning into a bird, and Izzy losing a leg. Blackbeard is saying: “I want to turn into a bird.’’ He’s kind of saying, I need to change. The idea that if you want to have something with this guy (Stede), you’ve got to change. And that seems to me to be the key to the season.

As a New Zealander, I loved seeing the scenery on the big screen—the lush bush, big, windswept beaches, and wild, expansive landscapes. How were you able to use the setting in season two in New Zealand?

It was jaw-dropping. In New Zealand, you go out the west side of Auckland, and it’s like the most beautiful beach you’ve ever seen. You go to Bethells Beach, and you can turn the camera here; you can shoot the entire thing. You’d shoot it a little bit this way, you’ve got, like, a Bergman movie. You go to the ocean, you’ve got From Here to Eternity. The freedom that you have and the beauty, I’ve never experienced anything like that before.

The battle scenes seemed to be far more elaborate and really felt like the show was leveling up. What went into filming those?

Jacob Tomuri, our stunt coordinator, is exceptional. He did Mad Max; he’s Tom Hardy’s stunt double, and he’s just so capable and good. And so a lot of it this season was that we have a short time frame, we move very quickly, and, again, we have a half-hour budget. We don’t have a one-hour budget, and we don’t have a one-hour shooting schedule. So a lot of it was just picking our shots and saying, Okay, we’re going to do a battle sequence. Let’s storyboard it. Let’s make sure that we know what the stunts are going to be, and let’s make sure that the location is spectacular. So we shoot it on that sandbar behind Bethells Beach, and it was like a dune which went on forever…. A lot of it is just seeing what New Zealand has to offer geographically. And then deciding, yes, let’s do that, and then building it around that, and then making sure that we’ve planned enough, that we can pull it off in a way that’s safe but also has enough size.

What was the idea behind having Stede as a merman in episode 3?

The idea was to make something that was just beautiful, and to get beauty and have beauty around them seeing each other again and their need for each other. To do that and to do it in a way that it’s a comedy, but to do it in a way that’s earnest and genuinely doing it and singing a Kate Bush song. We hit on the idea of a mermaid early on in the season two room, and [we said], Oh yeah, well, we have to put that in. There can’t really be mermaids on the show, but there can be in limbo, kind of purgatory, brain-damaged land as Blackbeard’s dying.

I particularly loved Zheng Yi Sao and the new female characters. I know that she’s based on a real-life pirate. Tell us a bit about the character of Zheng and how she came about.

Zheng Yi Sao is the most successful pirate in history. And we never knew anything about her in the West. She was so talented and so good at what she did that the Chinese government had to broker a treaty with her. She was about 100 years apart from Blackbeard and Stede. So we’re making that up, that she’s in this world and that she’s in the West. But it just seems like there should be so many stories. What she did was amazing. Her crew was largely female and largely women that have been discarded by society.

She was doing a social movement on top of robbing shit and doing everything that pirates do. Her reasons for doing it are more impressive and perhaps can be read a little bit more as altruism than somebody like Blackbeard, who is not a good guy. Or Stede, who’s probably not the best guy. And it just felt fun. It’s like, Well, who’s a cool third captain that we can put into this season that would give Blackbeard and Stede a run for their money?

As a female heterosexual viewer, I particularly loved that storyline. Were you wanting to reach a broader audience?

The first season is a lot of dudes. And so it’s nice to think, Okay, who else can we add into the stew? I started thinking about her while we were shooting season one. And it looked like perhaps we could get a season two, and she seemed like the most formidable person to add.

How do you feel about the attention from the fans?

I love it. I can’t possibly hope for this to happen again on another project. I hope I make things that people like and they want to engage with. But I would say the thing that separates this fandom is the level of positivity, like almost uniform positivity that just makes it nice to be able to engage with. And I think that’s rare. They’re so kind and interesting and talented, and so why wouldn’t you want to engage with that? It’s an honor.

Do you think of Our Flag Means Death as primarily a queer romance? For this show, it’s important to me just to write a really bold-bodied romantic show that happens to be between two characters of the same sex. I think that the story beats don’t matter, because if you’ve been in love and you’ve been hurt and you met someone you love—hopefully we all know what those feelings are. And then in terms of listening to the room and having a room that’s on a spectrum of queerness and has nonbinary writers, if it's working for everyone in the room, the story’s working. And if it’s bumping for anybody, then you go in and retool: Hey, what should we do here to make sure that we’re getting all of it right and we’re not just assuming that?

Because on some level, love is love. And on another level, I get to see myself in a rom-com all the time. Someone who’s nonbinary and someone who’s queer doesn’t get to see themselves in a mainstream rom-com pirate thing almost ever.

Are there any other characters you want to talk about in terms of their development in season two, that you feel are relevant to the script?

Izzy’s the big one of the season. Just to give him a whole meal and see that character go from a villain into somebody, really, that you can identify with and care about. And Con O’Neill did such beautiful work. I love him as an actor. His character is a joy to write. And maybe it’s masochism, but I do feel like the character that’s a joy to write often dies.

How about Blackbeard and his arc?

He’s a damaged guy. He learns to love and he almost dies. And he comes back. He kind of goes through rehab. He has to wear a bell on his neck like a cat. No one trusts him. He’s like in Superman 2, where Christopher Reeve loses his powers, and he’s immortal. What happens if Blackbeard loses his powers and his outfit but still has to be in a pirate world? Who is that guy? The first season is about Stede Bonnet’s midlife crisis, and the second season is about Blackbeard’s midlife crisis. And then when they both have their midlife crises, they can open a B&B together. The chemistry between Rhys and Taika, and that friendship of 20 years, is key to the season.

How would you describe Blackbeard and Stede’s relationship in season two?

I don’t think Stede and Blackbeard are ready to be married. They’re emotionally saying: “Let’s give this a go.’’ Black Pete and Lucius are a little further along, and I think a little more mature. And yeah, it was also nice to see a formal union, I think, and between those characters. I love that relationship, and I love Matt Maher and Nathan Foad together; they have such a wonderful chemistry. It’s nice to see that couple kind of come to the fore in terms of maturity, that they are in fact a little more mature than Stede and Blackbeard.

A left field question: What level of research have you done on gay relationships on pirate ships? How common was queer romance among pirates?

Pirating has been so whitewashed and straightwashed, and it’s guys on boats confined to small spaces, and they’re also people that didn’t fit into normal culture. And so I do think there’s a history of same-sex romance at sea because it’s people who don’t fit in on land.

To not talk about that in a pirate story is to not really tell a pirate story. They’re criminals and did some really terrible things, but also, like, they were counterculture, and there was a reason they’re on those boats beyond the fact of being poor. I have to believe that in a society that has a term for marriage between crew members, same-sex romance was common.

The season’s third episode is called “The Innkeeper,” which fans definitely took as a hint toward a potential fate. How did you seed that outcome for Stede and Blackbeard through the season? And did you want fans to see it coming in a way?

I don’t know that you could really see it coming. We like the idea of Blackbeard pining for something. Beyond lighting ships on fire and shooting people, he’s longing for a normal life. We knew where we were going with that, and we knew that they would eventually end up perhaps opening an inn.

Back to the whole community around OFMD: Did you feel an enhanced level of responsibility, because people are feeling so seen by the show and have an affection for the show, when you were creating season two?

As opposed to responsibility, it feels more like relief—that people feel seen and they feel good about it and they liked what we did. And so it feels like, Okay, somebody’s out there and wants the show. The makeup of the writers room looks a lot like the makeup of the fan base. So as long as we’re true to our stories in the writers room, I think we just feel excited that there’s somebody waiting on the other end to enjoy it.

#our flag means death season 2 #ofmd s2 #ofmd s2 spoilers #spoiler #our flag means death #ofmd #david jenkins #vanity fair article #interview

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rrcenic · 1 year ago

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btw when i say “i’m so excited season two comes out october 5th!” i’m talking about our flag means death don’t you DARE assume i’m talking about loki

gay little pirates >>> marvel queerbaiting us once again

#i was a loki girlie once too i know the pipeline. beware capitalism #nics stuff #ofmd #our flag means death #ofmd s2 #loki #loki s2 #marvel #loki season two #our flag means death season two #october 5th #season 2

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finethingswellworn · 1 year ago

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So my two favorite shows are being discussed in conjunction with each other and now I'm trying to figure out why the ending to Good Omens 2 has left me significantly more distraught than Our Flag Means Death.

They ended in similar places, after all. And Our Flag went much, much darker with it's main character's breakdown. (Lucius going over the side and the toe scene, anyone?) So... why did Good Omens completely wreck me, then?

Both shows have comedic and dramatic elements. Both end on a somber note, with our beloved leads separated and pining. Both shows have a critical lack of communication and a tragic misunderstanding between the two partners where one (or both) assume what the other wants or is feeling, directly leading to their falling out.

Well, I think it's because the conflict between Aziraphale and Crowley is so much deeper and more irrevocable than that of Stede and Ed. Or it feels that way.

Stede doesn't fully realized his love for Ed, not until he's separated from him, until Mary describes what it's like. And then he finally gets it. Immediately he comes up with a scheme to get himself declared dead so that by the end of the season, we, the audience, as well as Stede know that there's no more ties to his old life keeping him. He's free to pursue Ed and win his love and trust back again. I've written on here a lot about the complications they're going to have settling into their life together. It's going to be a long, rocky road. I am ABSOLUTELY NOT trying to minimize that. It most certainly will be. And a painful one, too, more than likely.

But between Stede's realization of his newfound love and Ed's miserable tears at the end of ep10, the viewer knows that it's only a matter of time before Stede tracks Ed down and makes his true feelings known. And only a matter of time before Ed forgives him.

But the sting in the Good Omens finale isn't that our two main characters are or ever were unsure of how the other feels about them. It's clear to me that they've known at least since 1941, even if they've had ups and downs since then. The care, the devotion, the love is not really what's in question here and that makes it a million times more difficult to resolve because there's no easy assurances either of them can give to mend the breach. It's that they have reached an insurmountable impasse as to how they can be together.

Good Omens fans have said for a long, long time that Aziraphale and Crowley FEEL married. And i see their issues in season 2 as the culmination of many, many things left unsaid and unresolved for so long that they "inevitably end in a (metaphorical) divorce. It's the constant push/pull of tension lying just below the surface of their relationship that neither really want to face head on.

And it's so utterly gut-wrenching because we are essentially witnessing two beings who love each other more than anything else in the universe watch each other make choices that they believe will ruin them and their relationship and there's nothing either of them can do to change the other's mind. Seeing loved ones make terrible choices and being unable to stop them is one of the most painful fucking things in the universe. Knowing that they will be unhappy, knowing that they will suffer, knowing that if they would only reach out you would be right there to help them but also knowing that it's far, far too late to help now... knowing that they would refuse your help even if you confront them about the danger they are in... that's what that ending was.

And both Crowley and Aziraphale feel that way.

Of course, Aziraphale thinks Crowley has needlessly chosen to damn himself and their relationship and doomed himself to be unhappy for ever. And Aziraphale remembers how happy Crowley was as an angel. Why is he purposefully choosing unhappiness when it's wholly unnecessary? He's watching the love of his existence condemn himself a second time. It's devastating to him.

But Crowley knows the truth about heaven and the angels. He also knows just how unhappy Aziraphale will be in heaven. And he's helpless to stop him from going. He can't and won't force him to stay. He never has and never will. He waits. He always, always waits, watches from afar as the other angels mistreat his angel over and over and over. And he doesn't understand. He's so, so angry that Aziraphale would go back to them but there's nothing he can do. Not anymore.

How can you love someone so much and still misunderstand them so fundamentally after so very long? How can two beings want the exact same thing and still hurt each other? How can ideology and indoctrination so effectively manage to drive a wedge between two people who have one-hundred percent trust in each other? How is that possible?

Those are the questions Good Omens Season 2 asks.

And it doesn't give us any answers to these questions. Not yet. Because true love is not enough in this case. A confession from either party is not enough. Both characters knowing how they feel is not enough and accepting it is not enough.

So what would be enough? What could fix this? I honestly don’t know.

That's why it hits so hard.

So, even though Good Omens will probably end with the Ineffables happily living together (I can't see it ending any other way,) there is a distinct lack of hope or optimism for the future in the season 2 ending that Our Flag somehow manages to retain.

#GOS2 spoilers #good omens #good omens two spoilers #our flag means death #good omens season two #this is me trying to make sense of my own feelings not necessarily how everyone will feel about it

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ardent-fox · 1 year ago

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✨ Weekly Tag Wednesday ✨

Got tagged by my beloveds, @deedala and @metalheadmickey to complete these two tag games, thank you and hair ruffles to both of you 🥰💙

Name: Lyds

Where in the world are you? Somewhere in Europe

Do you have a favorite towel? I have two sets of the same ones in different colors, I prefer the teal ones

Can you skip rocks? Not that I know

Tell me about a weird slang term from your area: We have very creative curse words in my native language and use "dick" instead of fuck for most things, like "what the dick is going on", "that's dicked up" and so on. We also send people into genitals as curse phrases, my favorite being "go into your mother's cunt" or even better, "go into three mothers' cunts", and all of this is a socially acceptable way of speaking from puberty onward

Favorite toast topping: I'm a savory type of gal and usually butter it and make it into a ham and cheese sandwich, or put pâté on it and some fancy cheese

Thoughts on bread pudding: I don't believe I've ever tried it, but I'm down for pretty much anything when it comes to food

City or country living? Somewhere in the middle, I live in a town with a 15 min walk to the center and am happy with that

How do you cheer yourself up after a bad day? Put on a comfort show or funny clips on youtube

Are you a pessimist or an optimist? I'm one of those annoying bitches that considers herself a realist. It's hard to tell due to my tendency to catastrophize things because of anxiety, though I generally know in my bones that things will work out

Can I tag you in random stuff? Anyone can tag me in anything that makes them think of me, I know my activity fluctuates but I love getting tagged by all of you 💖

----

🔤 Name: Lyds

🎶 Last song you listened to: My Love Mine All Mine by Mitski

🎵 Artist on Spotify giving you the feels right now: Still in my Hozier feels

👯‍♂️ Fave Blorbo Moment: "I definitely love one", euphoria galore 💙

🍟 Your guilty pleasure snack: Potato chips, I'm a whore for a pack of Lays

🌮 What food are you craving today: More of my mom's chocolate raspberry pie

📖 Last fanfic tab you opened: The Menagerie by @crossmydna, haven't dug into the last chapter yet but will never shut up about how much I adore and recommend this masterpiece of a fic. I haven't read any Kinktober things yet, but plan to correct that soon

🖌️ Favorite fic project you've created: My one and only competed fic so far, Everything

👩🏼‍🎤 Next tattoo you want (or would consider if you're not a tattoo person): I've never been brave enough to get a permanent tattoo, but I've been feeling zodiac constellations with your zodiac flower instead of stars lately, which would be a formation of (blue) lilies in my case. Definitely in the flowers, pixie/fairy and celestial art camp

🧐🆓 What's living in your head rent free this week: Same as the last four weeks, Our Flag Means Death, with a dash of Con O'Neill side obsession. My love of season 2 continues to consume every part of my brain and I fight the urge to rewatch it all (yet again) on a daily basis, it was glorious and gave me everything 💖

Tagging @look-i-love-u, @vintagelacerosette, @sickness-health-all-that-shit, @gallawitchxx, @rereadanon, @sleepyfacetoughguy, @deathclassic, @thisdivorce, @crossmydna, @heymrspatel, @stocious, @lupeloto, @scurvgirl, @tanktopgallavich, @howlinchickhowl, @squidyyy23 in case you haven't done and would like to do either or both of these, as well as anyone who sees this and would like to play! ✨

#tag game #fandom friends #about me

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brigdh · 1 year ago

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I can't stop thinking about rewriting S2. I don't know why – it's hard to find an activity that's actually less productive than writing fanfic, but surely this is it – but my brain won't stop circling around the idea, so I'm writing this down to hopefully shut it up.

A proposed outline for a better S2 of Our Flag Means Death.

Episodes 1-3 are pretty much the same as what aired. The big change is that I'm cutting out Prince Ricky. I think two big antagonists are too much for an eight episode season, though I went back and forth on whether to cut Zheng or Ricky. I decided on Ricky because the "end of piracy" plot is way too overwrought for a comedy series, and there's no way it was ever going to work without a lot of build-up. Like, a lot a lot. Possibly multiple seasons of it, and we just don't have time for that here. Also, although Ricky makes a fun foil to Stede, that never really goes anywhere. So he's gone. This doesn't make much of a difference to these first three episodes, since he's only in two scenes, but it will help tighten the focus at the end of the season. One other change is that it's clear (perhaps even referenced in dialogue) that Ed is still not killing anyone directly with his own hands.

Episode Four: This is where I start with the big changes, rewriting this whole episode. Now it's focused on the crew wanting to kick Ed off the ship. Stede goes back and forth between the crew and Ed, trying to talk the crew around while simultaneously trying to romance Ed. He fails on both sides. Perhaps we still have Ed's corporate "apology", as an attempt at compromise, but the crew refuses to accept it and this time, they're in charge. Lucius has his plot about being traumatized and drawing Ed's face everywhere (but not the resolution, not in this episode). Ed is angry at Stede – they get to have an actual fight, about Stede leaving, about Ed marooning the crew/tossing Lucius overboard, about Ed's mermaid dream vs Stede's masculine pirate hero dream. Ed fears he's unlovable, and Stede's unrealistic declarations of love are just making him feel like anything between them is impossible. (Maybe Ed & Izzy have a fight too – I'm not committed to including this, depending on time, but it could be good. Maybe Izzy gets to say, "A rotten leg's got to come off" to Ed!) At the end of the episode, Ed leaves the ship and tells Stede not to follow him. Everyone's angry and upset.

Episode Five: Ed spends the entire episode off the ship, throwing himself into his new career as a fisherman (it doesn't have to be fishing. It can be anything, as long as it's new. The point is Ed running away from himself and his past and trying to become an entirely new person). He's using a new name – Jeff? – and has a whole backstory he's made up. At the end of the episode, he realizes that this isn't making him happy either, because he keeps thinking about his guilt, about Stede, about Izzy or Lucius or whoever he centers on as someone's he's mistreated, and so he leaves.

Meanwhile, on board the Revenge, everyone's having a miserable time. This is where the 'traumatized crew comes together to make the unicorn leg' plot goes, except this time it's a three-sided hot mess, with the crew, Izzy, and Stede – heartbroken over his idealized view of 'true loves fixes everything' having crashed and burned in the previous episode. Buttons turns into a bird, but this time Stede is the one to witness it. It inspires him to patch things up with the crew and go after Ed. Together, they all come up with a motto for the season – something like, 'change is possible' or 'you've got to try again', idk, except it's probably cheesy and rhymes and yet is weirdly inspirational, a la 'talk it through as a crew'.

Episode Six: Ed runs into Anne Bonny and Mary Read, and goes to stay with them. Before Stede shows up, Ed gets a bit of time to talk and reminiscence with them about their own "good old days", back when he was happy. It becomes clear though, that remembering murder and torture and etc is not making him happy now. Ed asks them about feeling guilty. Their advice is terrible: only losers care. Ed laughs it off, but clearly is conflicted. Stede tracks him down, and the rest of the episode play out pretty much like it did in canon (I think Jenkins & co really wanted to do "Ed and Stede as exes at a party", so I am giving it to them here). However, the vibes are a bit different – it's less that Ed and Stede haven't spoken at all as in canon, but that they had their big fight in E4 and are now dealing with the awkward aftermath of wanting to make up, each wanting to maintain their pride, and not knowing how to do either. At the end, Stede gets the courage to put himself out there and asks Ed to come back to the ship. Ed refuses at first – the crew doesn't want him and he doesn't know how to be a better person. Stede passes on the motto the crew came up with in the previous episode – 'change is possible' or whatever – and Ed agrees to come and try. They have a brief, chaste, kiss.

The crew back on the Revenge should have a B-plot too. I love the cursed suit subplot and would stick it here, but honestly I'm not sure it works if Stede isn't around to be the pro-suit side of the debate. Maybe we have a training montage, but it's Izzy and the crew instead of Izzy and Stede. Whatever happens, we also get the Lucius and Pete proposal. This goes along with the hopeful, new beginnings vibe of what's happening with Ed/Stede.

Episode Seven: Ed and Stede return to the ship, and the crew agrees to let Ed try out their new motto. Calypso party preparations begin, but this time Ed is not just handing out money but taking part in finding and putting together decorations and set-up. We get scenes of him and different characters working together; things are awkward but improving. Izzy and Wee Jon can still do drag and sing. Ned Low shows up and disrupts the party.

The big change here: Ed is the one to kill Ned Low, not Stede. I love Stede's plot about becoming a pirate hero and killing and not dealing with it, but it's just too much for a season with a lot of other stuff going on. Sorry, Stede; your masculinity issues have to wait for S3.

Ed killing someone is portrayed as a very big deal. Ned is more dangerous here – it's seen as necessary for someone to kill him, and Ed taking on the role is cast as him becoming the protector of the crew rather than their tormentor. Nonetheless, despite Ned's death being a 'good' thing, Ed is traumatized and he and Stede still have ill-advised sex about it. Izzy can definitely still sing La Vie en Rose during.

Episode Eight: Zheng has (like in canon) been collecting all of the pirates in the Caribbean into her alliance. Now she's finally coming for the Revenge. It's them against dozens of ships. I think, since I'm making Zheng more of a straightforward antagonist than a reluctant ally, I have to break up Olu/Zheng. That's okay. In fact, it can make a nice parallel – sometimes people grow apart and it's not anyone's 'fault', it's just life. Are Stede and Ed also growing apart, or will they find a path forward together?

Stede comes up with what someone describes as a suicide mission. Ed says, 'what if we don't commit suicide?' He wants to live. He wants to be happy. He's still grappling with having killed Low, and he realizes that he can't do that again – can't even put himself in a situation where it might be kill or be killed. He proposes they surrender and just go and live on land somewhere. Why not? What is piracy good for, even, other than violence and theft? Izzy makes his speech about belonging to something. The crew – which has been swaying back and forth, debating both for and against fighting Zheng – is convinced, and decide to go to battle. Ed isn't. He agrees that community is important, that it was there when he needed it, that he'll always be glad he had it, but he can't stay. He's changing. This is him changing, for real. He and Izzy have a final exchange about Ed moving on and Izzy accepting it.

Ed and Stede have an emotional goodbye, where Ed says that he won't be like Anne & Mary – he won't let Stede leave piracy for him, but maybe Stede can come and visit some time. They make some long-distance relationship jokes. Ed leaves. They're both being ~super~ mature and adult about it, but they're clearly both not really happy.

Stede and the crew prepare for battle. Lucius and Pete get married, as a last hurrah for the Revenge in case not everyone survives the coming confrontation. They carry out Stede's plan (I don't know what that is, I'm not an action scene writer, something cool and out-of-the-box. Though it's not like 'dress up in British uniforms' was a unique and exciting plan either). They succeed, either by defeating Zheng or just escaping for now. (Does Izzy die in battle? It doesn't really seem necessary. If he does, it's clearly about becoming one of the crew and they're the ones his death scene centers on, since Ed isn't even there.) There's a big celebration scene and/or funeral, and everyone is bonding, people are cheering Stede's plan, but Stede himself can't join in wholeheartedly. He's off in the corner, clearly not quite satisfied. He pulls aside Frenchie and tells him, "I have something to give you".

The final scene: Ed is working on his new career. Maybe he's running a bar & grill in the Republic of Pirates. He's not hiding who he is, even using the Blackbeard name for PR, but it's not a fighting-focused career. Stede walks up, clearly unexpected, and Ed's like, "thought it'd take a lot longer for your first visit." Stede gets a big speech about piracy. Everyone's gotten to define it for themselves; for Ed it was about violence, for Izzy community. (Maybe some of the rest of the crew have gotten to voice their own takes as well.) Stede says that for him, piracy means freedom. That's what he was dreaming of, when he first set out to be a pirate, what he's been looking for his whole life – the freedom to be who he really is. Ed says, "and who are you?" Stede replies, "the man who loves you." They kiss.

We get an overhead shot, swinging out to sea, with the Revenge sailing away with Frenchie as captain. Distantly, we hear Ed and Stede talking as sound fades out –

Ed: You promise you're not going to burn down my bar when you get bored? Stede: Why would I be bored? I have so many ideas! Theme nights, cocktail recipes, waitstaff uniforms... Ed: Hey, what happened with Zheng? Stede: Oh, she might hunt me down for revenge. Another reason we won't be bored!

#there are probably a whole new set of plot-holes or accidental bad tropes in my version that I haven't noticed #but I wanted to try this out #our flag means death #ofmd season 2 #blackbonnet #gentlebeard #ofmd meta #also honestly I don't love the “Ed gives up piracy” beat myself but if we're going to aim for Ed & Stede retiring at the end of the season #it's the only way I could make it work

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penisbrigade · 6 months ago

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god please stop putting out more marvel movies

i think we've gotten to a point in like television media where people are far too used to downgrades in show/movie quality just for the purpose of continuing a series. producers keep making remakes and sequels and prequels and new episodes for things that dont really need to be expanded on, purely for the sake of keeping the work going.

the problem is people keep encouraging it because they value quantity over quality. ive seen shows end, full stop, the work is finished and the climax is satisfying and the show. is. over. but i get on one social media platform after a month or two of the shows finale and see people begging for the producers to continue, to bring back the show, to keep it going. they make accusations of the show being cancelled (sometimes warranted, but sometimes the show just ended and thats it). they beg and plead for there to be another movie, another episode, another season, just one more part to the story.

and i get it, some shows are incredible and amazing and wonderful and they're your favorite piece of media, and sometimes two or three seasons just doesnt feel like enough. i mean i loved anne with an E and our flag means death and lots of other shorter shows and if there was more story to be told, i would rejoice because they were so short. but with some shows, there is no more story, there is nothing more to say, theres nothing more that can be said. often for some works of fiction, the universe of it isnt fleshed out enough for any sequel or prequel or any addition to be relevant. why would i need to know about the main characters sister when i already saw what i needed to see of her in the original work and we already ended with a happily ever after.

this also isnt to say all works should stop production at a certain point. take the hunger games for example. suzanne collins made a universe that is so incredibly interesting but also vague enough in the first books for there to be plenty of room for her to tell a million more stories, each with their own meaning and lesson, each completely unique and interesting in their own way. its just that some stories are simply over, and anything that comes after that fact becomes bland, flavorless, white bread and a stale saltine.

at some point the original premise of the show is lost, the purpose of it degraded so far into oblivion that eventually its like you're watching a whole new show and sometimes it almost ruins the experience of the show in the first place. i used to be a huge fan of superhero movies, i was all up in the DC vs Marvel debates and i'd watched every avengers movie in existence. then i stopped. maybe i was too busy to keep up, maybe i had no one to watch them with, maybe i lost passion for a little while, whatever the case after Avengers: Endgame i stopped. and if i tried to pick that interest up again, i fear id be drowned in a million different new pieces of media connected to it. i dont find myself drawn to it anymore because i'd be pulled in so many different directions i wouldnt be able to keep up.

its like when "who can dress the best" became "who can have the most clothes" or when "lets talk about the books we like" became "who can own the most books". media consumption has become a consumerism hellscape and capitalist breeding ground because producers and writers know that the fans will keep watching, keep consuming, keep coming back and discussing no matter how piss poor the media dwindles down to be. its no longer "who can make the greatest movies" but rather "who can make the most movies". "most, most, most" everyone must have the absolute highest amount of something to win. to be the best. most of the original creators of this content started out telling the stories they wanted to tell, stories maybe they thought people needed to hear, stories that made them happy, that brought out a fiery passion. now they tell stories that will be quick, efficient, and satisfy the lowest of needs so the people feel like they're getting SOMETHING and wont question whether or not they're getting EVERYTHING.

thats why i've seen absolute mediocre, bottom of the mid barrel movies getting deemed as high in quality as movies that used to be considered the best of the best. and we keep consuming it. we keep asking for more, more more. and they ween us off quality like morphine, because it would be too shocking to cut us off cold turkey, we'd notice the quality dropped too significantly. but occasionally, when you go and compare a new addition to a series with the first piece of it, you'll be able to see just how low a level of production quality they've gotten us to settle for. not to go around wearing a tin foil hat butt naked screaming about the illuminati, but we are all victims of the hollywood capitalist nightmare</3

now maybe i dont know what im talking about, maybe i have no idea about any of this, maybe im stupid and dense and there is more to this than my tiny brain could comprehend, but tumblr dot com is all about putting on the dunce cap with pride and parading around the town square because if my take gets me sniped worse than the grinch x tony the tiger, i have no reason to take that seriously. in relation to that, the fact that the grinch x tony the tiger is probably one of the most interesting, unique, and creative pieces of media i've seen created in the past few years really drives my point home i think.

fandom spaces are what has kept creative works alive for centuries, i mean i can read spirk fanfic 50 years after the finale of the show aired. fanfiction, fanart, general fandom discussion, in my opinion, is almost more important than the media itself. but we seem to have lost that in the last few years. more people are joining fandoms who've never been in one before, which means they dont come to understand the importance of creating your own media from the original source. which means lots and lots of people who prioritize begging producers to continue a show over going and reading a fanfic about it or something. im not saying you cant WANT more sometimes, i just think that sometimes the more is something you can create for yourself. i swear to god i've heard at least once someone complain that there isnt more to a series of classic literature. like, if you want to know more about elizabeth bennet, go write another damn novel, like charlotte bronte did. we expect satisfaction and entertainment to be handed to us on a silver platter if we yell hard enough because we've forgotten our roots (im half joking. some people are just audaciously entitled to their preferred media).

not to be a "nobody wants to work these day" type of hard ass but lord if you want more from your media, get it done yourself! pick yourself up by your bootstraps, roll up your darn sleeves, and get to work! find some fanfiction, find some art, share and spread it and discuss amongst your peers, make some of it yourself!!! we dont need more episodes of an already perfect and finished show, that'll just make it worse because theres only so much story to be told, we need to make up things about steve rogers and tony stark making freaky passionate love sloppy style while being anthropomorphic wolves.

tldr; we need to stop coming up with more and more ways to continue a series and just start writing about the characters going at it ourselves. media has become shit because its just the same content over and over with little to no significant meaningful changes.

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