#ofmd meta

[dimplyowl]

Okay has anyone written any meta about the differences between our two first mates, Auntie and Izzy? Because I just finished rewatching s2 and was struck by how similar their situations are, and their temperaments, and yet how very completely opposite they behave in nearly identical situations.

Cause like. Both their captains are insanely infamous, badass pirates who have an image to uphold, Ed as Blackbeard obviously, and Zheng as the pirate queen who conquered China. They both become romantically interested in someone who honestly has no business being a pirate: oluwande and Stede, both described as soft, not masculine, yes in the end willing to do violence if necessary, but it’s not their preferred way of handling conflict. People who, maybe rightly, the respective first mates consider potential threats to their captain and crew.

But just the way that auntie handles the situation compared to Izzy. Auntie doesn’t meddle. She is vocal about what she thinks of Oluwande, about her concerns about Zheng being distracted, “compromised”, not focused on the mission. But she’s ultimately acting as an advisor for Zheng, which is exactly what her role is. She doesn’t try to control Zheng, she doesn’t remove Zheng’s agency, she doesn’t threaten Zheng or tell her that she’s pathetic for mooning over Oluwande (I know we never get to see any mooning onscreen but cmon, there has to have been some). When the Revenge crew escapes her ship, and she knows she fucked up, Auntie doesn’t run salt in the wound the way that Izzy would take pleasure in doing. She starts to say “I told you so,” and Zheng very firmly tells her “Don’t”, establishes a boundary that Auntie respects, because ultimately Zheng knows she fucked up and she’s not a child who needs to be taught a lesson or managed. Auntie respects her and her personhood.

And compare that to Izzy, who consistently manipulated Ed to get in between him and Stede, threatened Stede’s life on multiple occasions, essentially mutinied against him, sent the cops after them, and then berated and threatened Ed over being heartbroken.

Like, even down to nearly dying. Auntie has a severe gunshot wound in her shoulder that she will clearly die from if she doesn’t accept help. She’s spent the entire season being tough, unwilling to show weakness, equating softness to weakness, but in the end she decides to accept help, to accept a little bit of softness, to change and accept that softness can be good. Izzy in contrast, declines help, knowing that he’s done. He knows he can’t fit in to this new world, this new piracy, where people can be soft and vulnerable and still fucking kick ass. He’s been resistant and outwardly aggressive to this idea, and he chooses to die rather than accept that softness. Ofmd is ushering in a new era of pirating, and Izzy doesn’t fit in it, and doesn’t want to fit in it, and ultimately, narratively, that’s why Auntie survives and Izzy doesn’t.

[xray-vex]

thinking about Ed Teach & all the life-altering moments that happened to him in Stede's bed

- thinking about how Ed went back to check on Stede knowing that Stede needed him but that he needed Stede, too & how they made love in that bed where Ed endured the worst heartbreak of his life & how the love they share is healing them both.

& Ed's remembering.

he's remembering the times he broke down crying so hard about Stede that he thought he might actually die from grief.

but Stede's HERE now.

& Ed's heart is full to bursting with love & wishes he could comfort his past self & tell him it'll be ok.

[teeny-tiny-revenge]

Look, when Ed leaves with Jack it isn't Ed choosing Jack over Stede as the better partner/love interest. This is what Stede thinks is happening. Stede hasn't even entirely admitted to himself at this point that his investment in Ed is romantic, but he does treat it as a breakup, he sees Jack as a rival for Ed's attention/love, so from Stede's perspective, yes, Ed is leaving him for Jack.

Stede thinks he is in the romance novel plot and has to compete with his love interest's ex for his affections.

This is also what Jack is intending to make Stede feel.

Jack is playing a con. He is actively working towards Stede coming to the conclusion that Love Triangle Business is happening, but Jack's motivation isn't winning back Ed as a boyfriend from Stede. I don't think Jack does boyfriends. Jack does dalliances. He would probably agree with Lucius's "we don't own each other". And this would apply if Jack happened to randomly come across the Revenge and decide to fuck with Ed's new crush for kicks and giggles (which is what Anne and Mary do when in that situation!). But Jack doesn't come across the Revenge by accident. He is on a mission, given to him by Izzy. We don't know if Jack gets paid for it or if he does it because he's worried about Ed and doesn't want the Navy to get him, or some combination of both, but Jack is the only one in this equation who actually knows what is happening, and what is happening is a plan to drive a wedge between Ed and Stede to make Ed leave the Revenge so he's out of the picture when the Navy shows up.

But neither of this is what's going on from Ed's perspective. (This entire episode is a masterpiece in the "characters completely misunderstanding each other and what's going on" trope.) Ed doesn't really figure that he's been cast as the pivotal point of a love triangle. Ed isn't spending the episode trying to choose the better boyfriend candidate and then leaving with him.

Ed is busy having a personal identity crisis.

This crisis has been ongoing for a while when Jack shows up. With Izzy's pressure to pirate a certain way gone, Ed is freer to explore what Ed wants to do now and how he wants to live and who he wants to be. He is tired of the traditional pirate life, he wants to try something different. He also isn't ready to fully do a hard cut. He just figured out Stede might return his feelings during the treasure hunt. They just decided to co-captain. A lot of things are changing for Ed.

And then comes by a very old pal. Jack and Ed have history, they used to sail together, they survived their difficult youth under a cruel captain together. Jack represents a different type of pirate life than Izzy. Jack is fun. (Everyone but Stede thinks Jack is fun, and that's in no small parts because Jack is actively working towards making Stede uncomfortable but everyone else have fun and take Jack's side - this works on everyone in the crew including Ed!)

From the beginning on, Ed is struggling to make Stede and Jack get along and like each other. He's trying to somehow combine his old life and his new life because he doesn't want to choose between one of them. He wants to have the best of both worlds. He wants his old friend and his new friend/his ex and his crush to be friends and get along. He wants to keep what was fun about traditional piracy (as represented by Jack) but also move on to Stede's new brand of doing things. He wants fancy breakfasts, and then has to realise that Jack pours alcohol into his teacup. He wants to play coconut war like the old times, but has to realise Stede hates the idea. A big part of this episode, from Ed's perspective, is about trying to reconcile these two worlds and failing.

Ed's main problem, through both seasons, is that he doesn't really know who he is or who he wants to be. He struggles massively with self-worth and self image. He views himself as an unlovable monster and spends his entire life bending over backwards and wearing masks to cater to what he thinks other people want him to be. He plays up Blackbeard for Izzy, Blackie for Jack, and he isn't sure if who he is being with Stede is actually Ed or not. Ed thinks nobody can possibly like him, so he constantly tries to perform to whatever expectation his direct peers have of him.

Next to this main crisis, Ed is having another secondary crisis called "fuck I'm in love with this guy" and "does my crush like me back". This secondary crisis is heavily influenced by the first, because Ed thinks he is a terrible unlovable person, remember, so "does this guy who I think is the bee's knees return my feelings" becomes a lot more fraud than it would be for a person with a modicum of self-esteem.

Ed, who struggles with "who/what am I as a person", sees Jack as a person who is similar to Ed. They have a lot in common. They share a lot of backstory. They are both pirate captains. They used to do the same things. Ed always played Yardies and Whippies and Turtle Vs Crab, because really that's just pirate culture. The main difference between Jack and Ed is that at some point Ed outgrew this life, and Jack didn't. But Ed, who is bad at recognising himself as a person and to define his identity, is only sorta vaguely aware of that. In Ed's perception, him and Jack are very much alike.

So when Stede, Ed's new friend and crush who he already thinks is too good for someone like Ed, starts rejecting Jack and Jack's behaviour, and says things like "I don't like who you are around this guy", what Ed hears is "I don't like who you are". Ed hears Stede thinks Jack is a bad person, and because in Ed's head a) he and Jack are the same and b) Ed is a bad person anyway, Ed hears "you are a bad person".

"You were always going to realise what I am", says Ed, as he is leaving with Jack after Stede tells Jack to leave the ship. Note the dehumanising "what" instead of "who" Ed used for himself. Ed, who thinks he sucks and is an unlovable monster, thinks this is the other shoe dropping, and he's been waiting for it to drop all along, because someone great like Stede isn't for a guy like Ed. Stede was always going to see what Ed is.

Ed's leaving the Revenge/Stede is 100% down to Ed's abysmal self-worth. It's a self-perception born from childhood trauma that fucks Ed over several times during the show (and ultimately leads to his suicide attempt).

Ed is so busy having All That going on that he mostly fails to notice that Jack is playing him, or what exactly happens between Jack and Stede, that Stede perceives Jack as a romantic rival for Ed's attention/affection or that Stede too struggles with self-worth and that Jack is hitting him where it hurts all the time. Ed's headspace in this episode isn't "oh, two sexy guys I like, which one should I choose to be with". It isn't even "oh my old pal is being a real dick to my new friend who is feeling really insecure here". Ed's headspace is "I'm a terrible person and Stede is seeing it now and Jack wants me to do more pirate party stuff but Stede hates that so now they both hate me and I probably deserve that because I'm a monster".

Ed leaves for Jack as much as Stede an episode later leaves for Mary. It's the exact same situation. For Stede, his own trauma and self-worth issues show up in the form of Chauncey Badminton, telling him he is a monster and ruins beautiful things, and Stede's reaction is to agree because he already thinks that of himself, so he takes his horrible ruinous monster self away from beautiful things (Ed) and back to where it belongs (to a miserable life he was hoping to leave behind). And for Ed, no Chauncey Badminton is required, because he's already constantly thinking these things about himself anyway. From Ed's perspective, Stede tell him he is a bad person (just as Jack), so Ed agrees and takes his horrible self away from beautiful things he doesn't deserve (Stede) to a miserable life he was going to leave behind.

Neither Jack nor Mary actually feature into the leaving much. Neither situation is "leaving the new guy for the ex". They're both situations of "I have a fuckload of trauma and self-hatred and it destroys my actually pretty nice new relationship".

And this is very interesting as a parallel. It doesn't even end there! When Stede returns, and Ed hears where he went, Ed too goes to "you left me for Mary". Same as Stede went to "you left me for Jack". And neither of it is actually what was happening!

Stede doesn't leave Ed for Mary, and Ed doesn't leave Stede for Jack. They both decide, driven by very similar trauma, to leave because surely the other one is going to be better off without them.

[follows-the-bees]

Stede's journey wasn't centered on finding (romantic) love at the beginning. He set out to find himself, to find a community. (And it's beautiful that he gets that.)

But along the way he finds not only a best friend, but the love of his life: in that same person. Stede's journey is a blatant queer allegory: a man who has never fit into society, who is treated poorly for not fitting into *pick your societal norm*, who finds himself through community, fixing some of his past relations, but also discovering his sexuality: gay and demisexual.

Ed's journey is also about finding himself. About leaving a life that doesn't make him happy anymore and he too along the ways finds the love of his life.

Their journey together is about finding that person who gets them down to their neurons, first as a friends, then as a lover. Their journey is of being in love for the first time and all that that entails.

I mentioned above that Stede's sexuality can be read as demisexual; there are many beats along the way in canon that I think make this a strong read.

But I want to talk about the read of Ed as demiromantic. And this is just an interpretation, not canon fact.

We see that sex on the ship is casual. "Non-stop knocking ship." And we see that Ed is no stranger to sex. The marks on his skin during the stabbing skin alluding to past "stabbings."

But there's also an underlying touch-starved intimacy; he wants to be held by Stede so badly, that he gets him to stab him.

We see in the next season, stabbing as sexual again between Mary and Anne. But we also see that underlying loving affection between them later. The stabbing is also tied to emotion with these two couples.

We see more of the emotional intimacy between Ed and Stede, their friendship leading to a more emotional connection with the bathtub scene. Ed opens up to someone for the first time and then gets intimate physical touch, even getting more of it by placing his forehead on Stede's hand.

In the gravy basket Ed asks for the most basic of things to survive. And it's honestly sad when you remember that he is fighting to live, he wants to live, but he only gives himself the basics of it. Warmth, good food, and intercourse — with orgasms. This qualifier makes it clear that Ed has had unsatisfying sex. Him looking for emotional connections fits into the reason, especially since his entire journey is about emotional intimacy.

This episode with Anne and Mary is what really started to cement the Ed is demiromantic reading for me (again not canon, just an interpretation.) Ed and Stede are very private about their romantic/sexual lives. (Can I also take a sidenote to talk about how it's a breath of fresh air that their relationship is based on friendship!)

I know it's prevalent to say that Ed fell at the on-start but I don't think that's quite true. He was fascinated by Stede. Someone new and interesting and they connected emotionally right away, two sides of the same coin. Their friendship is what truly ties them together before their romantic relationships and certainly before sexual.

They both push back when anyone tries to bring up the sexual side of their relationship. Ed states "our private lives are our private lives" to his old friends Anne and Mary, which yes is funny, but is also very telling that Ed doesn't want to talk about those things. Stede is special, Ed is older, this thing between them is more than just idle gossip about sex lives between friends. When Spanish Jackie brings up the Swede as a "jackhammer," Ed also has an opportunity to bring up Stede if he wanted to chat, but he doesn't cause "our private lives our private lives."

This happens a third time when Izzy unceremoniously opens the curtains the morning after. Stede responds as he normally does to Izzy: offended, Ed looks annoyed but not surprised, since this has been established — Izzy getting into personally spaces — from the beginning.

After Ed and Stede are reunited, under the moonlight, the biggest time in season one we really see Ed looking at Stede with pure emotional vulnerability on his face, they kiss again. And Ed stops it, wanting to take it slow. I think this moment also adds to demiromantic Ed! He gets to hold hands, cuddle, talk about his day, both their days with each other. Cuddles and talks, romance and intimacy over sexual at this stage in their relationship.

Overall, Ed and Stede's relationship is built on their friendship. They like each other. They love each other. And I think both can be read as ace: Stede as demisexual and Ed as demiromantic.

Ed wanting emotional connection, romance his entire life, but just like the fine things, not thinking it's for him, that he gets that, only to find out he does! He gets to have romance! He gets to hold hands just to hold hands. He gets to take it slow without judgement! He gets to have sex with romance! And that man is going to be romanced! Good for him!

Their connection and journeys about being emotionally vulnerable with each other, being able to grow close with one another is beautiful.

If you disagree with this reading, cool. The amazing thing about this show is that sexuality is left open. Is Ed gay or bi? You decide! Is Frenchie ace? That's my reading! It's all up to interpretation.

[crimson-and-clover-1717]

I’ve seen discussions around Stede not being given the equivalent of Ed’s ‘Never Left’. But I think he does get something similar.

Never Left is not literal as Ed did leave, albeit briefly. To me it demonstrates Ed can’t leave, not emotionally. It’s impossible for Ed and Stede not to be together in some way. The universe dictates.

‘I know we’re not through. I can feel it in my soul…’ is Stede’s acknowledgment of the same wider forces. They are ‘intertwined’. Stede ‘Never Left’ really, either. Wherever you go, there you are is not only Stede finding he can’t run from himself, but Ed too is always there.

So, yeah. Sometimes we get really obvious parallels like YWFTW 1.0 and 2.0, and sometimes it’s less obvious. And sometimes there isn’t one because that’s just overkill. But I do think there’s a thematic parallel here, it’s just presented differently.

[o-wild-west-wind]

ofmd is like not comedy as in sitcom but comedy as in shakespearean where it’s psychological trauma and conflicts of violence but with dick jokes and the promise of marriage in the end

[ourflagmeansgayrights]

"killing off izzy after he went through all this growth and finally got to be happy means all that healing was for nothing"

goddamn that is a bleak way to look at life. we all die, man. healing is still worth the effort.

[ulgapodatkowa]

I have so many thoughts but I at least want to address the "for the new unicorn" note. because first of all it's so incredibly gratifying for izzy to finally be accepted into a community. it was shown before that the crew cares for him in some way but it was the first time he really saw that. that he isn't useless and alone, that he still has a place on the ship. even more so the crew WANTS HIM to be on the ship. and also that they want him to embrace his disability which doesn't make them think any less of him.

but also the choice of words. because inherently it rings queer, unicorn as a symbol of queerness. and even if it may have a negative sound when you use it differently here it is extremely positive. izzy is not only accepted to the crew, he's also accepted to the queer community, to the family. the unicorn on the revenge was also the one that was leading the ship, so one can argue that they want him to take that role in their dynamic.

and you can see that he does so immediately. he puts himself together and starts helping the crew. he's still bitchy but no longer violent and cruel. he helps stede and lucius immensely because that is what he does now. he's part of the family. twat.

[lightbluetown]

i just love that ed asked for stede to stop

i love that stede was finally able to tell ed that their first kiss happened too fast and that he panicked. i love that when they kissed again, when ed leaned in for a quick peck but stede got passionate, ed was able to break the kiss and say "hey man, let's take this slow". i love that stede, of course, immediately stopped. i love that it didn't feel weird and they kept playing with each other's fingers and talking about their day

that was the most healthy, natural, realistic kiss i've seen. it wasn't romanticized for tv, it wasn't forced to be something it didn't have to be. it happened under a moon that wasn't full, on the deck of a messy ship, after ed complimented a piece of fine clothing that had lost most of its charm. it was as awkward as it was graceful

[edscuntyeyeshadow]

thinking about how ofmd took blackbeard, a historical (almost mythical) figure that has pretty much always been depicted in media as a super hypermasculine white cishet man, and turned him into a gay man of color who wears crop tops and silk gowns, paints his nails and pines for his boyfriend

[thetardigrape]

I wanna take a minute to talk about the Looks of the entire cast of OFMD S2.

I think we're all pretty familiar with the male gaze. Lots of skin, tits and ass, that sort of thing.

The female gaze has been debated, but it looks something like a sexy college professor or himbo househusband.

What OFMD S2 absolutely nails is the queer gaze.

Look at this man.

An absolutely beautiful man. Who wears crop tops and leather pants. Long hair up in a messy bun. He's wearing eyeliner. And pearls.

And here.

Drawn on facial hair. Spaulders. Bracers. Fishnet sleeves. A MOTHERFUCKING MULLET.

These badasses.

The teeth and chains. SO MUCH MAKEUP. Big fancy coat with nothing underneath. Glam met goth and fucked out these looks.

And THE SWEDE!

Cropped jacket. Ponytail. Asymmetrical button fly. Decorative chains (again).

All of this screams queer. If I saw any of these people in a bar I'd be like "Yep, one of us." The gender fuckery of it all. The feminine and the masculine all thrown in together in perfect combinations. Decoration for its own sake. Jewelry and flashy adornment and gorgeous peacockery.

And we love it. The fandom is going absolutely feral over these looks, these actors, as we very well should. There is not a single member of this cast who has not had beautiful art lovingly made depicting them.

Fuck the male gaze, fuck the female gaze. Give me the queer gaze. Give me queer creators making queer media for queer audiences and absolutely nailing it. These people are not at all what Hollywood usually thinks sexy looks like, yet we want to devour every one of them. This is what queer beauty looks like. What queer sex appeal looks like. What queer desire looks like.

Fuck yes. It's about time.

[stedebonnit]

Can I also say how touching it is that Stede said he believed Ed would he happier without him, who, even in his fantasies, could only picture Ed wanting him as a picture of masculinity with a beard and no hesitation to kill. Stede still, deep down, doesn't understand why Ed would ever want him as he is.

But who did Ed see coming down to rescue him? It wasn't a manly recreation of Stede with a beard, masculine style and a killing spirit, it was a merman. Someone bright, colourful, by all accounts a rather feminine perception of Stede.

That was who rescued Ed. It wasn't who Stede thought he needed to be, it was someone soft, and bright, and graceful, and expressive. Someone feminine, someone queer.

I just think that's beautiful.

[three--rings]

One thing I haven't seen a lot of talk about in the fandom so far is about the financials of this season.

It took us two whole months to get a confirmation of renewal from Max, and I talked at the time that I think there was probably a lot of heated negotiations going on at the time with contracts and that's why it took as long as it did.

I think we see a huge number of indications of the compromises that were made in order for S2 to be made. One obvious one that has been talked about is being making in in NZ instead of LA, to save $.

But there's also the eight episodes instead of ten. And then the cast aspect. One downside of moving overseas was having to fly out and house the cast, not just pay day wages.

We knew immediately about Guz Khan not coming back, losing Ivan as a character. At the time I was sad but I thought it had the air of a pretty harshly practical call. If you went through the main recurring cast and said okay which character will affect the fewest things, has the least character interactions of anyone? It would be Ivan. (With the only competition being The Swede IMO, but he's Stede's crew and therefore a little more central.)

And then this season started and we got first The Swede sidelined and taken out of major scenes. And then I noticed that different members of the crew were simply absent for long stretches, like Wee John isn't around for ep 5 at all. And then Buttons takes flight.

Lucius and Pete aren't at the party for most of it. Fang isn't in the torture scene. Roach and Fang aren't in the bar. Etc. SCHEDULING IS HAPPENING.

The new characters are almost entirely played by NZ local actors, which is great, but also...cheaper.

In other words there are big signs that they did everything possible to give us a giant cast of almost everyone we love from S1, and cool new characters, in the most economical way possible.

And I'm grateful for it. I'm grateful we got S2, and it looks great, and it's well written, I'm having a blast, and we get to spend more time with this awesome cast.

But I also kinda think it needs to be said that the cost-cutting shows. That it shouldn't have been only 8 episodes, the pacing is off. That we miss every time someone from the ensemble isn't on screen.

That despite what they've put on screen looking very good, there's far less costuming budget, there's less elaborate sets, and it's a little disappointing. And it's clear it's not a lack of will or talent or vision but blatantly lack of money.

Look, streaming networks want brilliant shows that people love (that will get them to subscribe) but they very don't want to pay anyone to make them. That's like, the whole moment we're having right now.

Max puts out promos about how great it is to not have unions messing shit up in NZ. Well I have friends who are union costumers in LA and guess what union costumers did amazing last season. This season, well, I guess Stede got three whole shirts, so that's cool.

So I dunno. It's just stuff I think about. I'm not trying to be negative about the show in any way. I'm extremely happy with this season; I love it more than well, possibly any show I've ever been in fandom for.

But I see you, Max. You're cheap. You weren't that cheap when you were called HBO.

[teeny-tiny-revenge]

Really so much respect for David Jenkins. He really went "historical accuracy"? "Realism"? "Laws of physics"? Nope, we don't need those here, everything in this story is Vibes. Dinghies can travel huge distances if necessary, except sometimes not, injuries heal immediately or slowly fester, whichever the plot demands for comedy or drama respectively, a character spends several days dead/in a coma/in purgatory and then just comes back to life when his beloved shows up. Nothing is too over the top for this story, cringe doesn't exist, we'll dial all those feelings up to eleven, and we're gonna play everything with 100% earnestness, and we're gonna have a merman and it's going to be so fucking romantic. And he's right about all of it! Really the best way to do fiction.

[blakbonnet]

Ed baiting Ned Low </3 oh i get it. the tally marks, ‘we’ve got a record to break.’ ed was baiting ned low deliberately. he had to know low would come after him: low was ed’s original passive suicide plan - @forpiratereasons

[dragonlands]

This isn't the face of someone who is sad or even unsure of what he wants. This is Ed being vulvenerable. His face is open and loving. This is the man who's had a lot of sex in his life but none of it had meant anything and now he gets to have sex that means EVERYTHING. This is the face of a man in love coming undone.

And also. This isn't the man turned on by violence deciding to fuck Ed on a meaningless whim. His eye are glistening from tears and there's so much going on but his eyes are filled with unbearable amont of LOVE. Yes he just killed a man, and there's probably adrenaline rushing through his veins, but this moment has been long time coming. And it isn't motivated by violence, it's motivated on Stede holding onto what's real and good in his life, and that's Ed. He doesn't know who he is, a gentleman or a pirate, the only thing he knows is that he loves Ed. Wants Ed. Needs Ed.

And I want to add that it's not uncommon at all that death and violence act as complex motivators for sex. Funeral sex is a concept - people wanting to celebrate being alive when confronted with their own mortality. Baby boomers originate from people historically fucking like rabbits after ww2. So yeah, I think the scene was realistic, consensual, and amazingly nuanced. I could not have hoped for a better first time for these two.