#The things Izzy has to deal with

[avastyetwats]

'I can see it already. Death by sled.' From Iz

“Oh, come on now, Izzy.” Stede huffs as he positions the makeshift sled on top of the large, somewhat steep snowy hill. “Where’s the harm in a little fun? We’re pirates, aren’t we? And the pirating life is full of all sorts of dangers and risks! How can this be any worse?” Because he was Stede Bonnet. And Stede had quite the way when it came to getting himself hurt. He was a man that did things he really probably shouldn’t. He was a man that thought he could something when he really probably couldn’t. And didn’t. And right now, it was all about having fun!

So, all bundled up in his coat, mittens and winter hat, the Captain sits himself on the sled and scoots closer towards the edge. “Okay, Izzy, I’m ready! Send me off!”

@izzyeffinhands

[transjudas]

A world where roses bloom

[saltpepperbeard]

is this anything

[mwagneto]

the fact that almost every character in ofmd is specifically a gay man is seriously so fucking special like usually a show will have 1 character from a minority group and then that character has to be every single thing - a person the straight/homophobic audience can accept and even like, someone that deals with their issues the way they "should" be dealt with, someone who's not too much of anything but simultaneously everything because every expected trait has to be displayed at some point or another.... versus this show with its massive cast of characters who are all able to embody specific (and extremely varying) ways to be a gay man where all of their journeys and personalities and approaches to their sexualities are so unique to them but so true to people that exist in real life........ i wish i could express this better coz it's such an incredible thing to see it genuinely makes my chest hurt with how much it means to me

[arsenicflame]

i really liked my tags on this post so i wanted to touch them up and post them as a stand alone! i ended up adding quite a bit to this ''':)

What artistic skill does Izzy possess?

I think he has a lot of 'practical' artsy skills. he’s decent at sewing (mending your own clothes isn't just useful, it's almost a requirement at sea with limited possessions and resources) he's probably decent at braiding hair from having to splice rope- simply anything with roots in being useful I think he has done enough to be decent at by this point in his life.

Singing comes into this as well, holding a rhythm is important for certain sailing tasks, and while I think he can sing in ways that don't translate to shanties, I don't think he has utilised this in a long long time (so excited that we are apparently getting an Izzy singing scene in s2!!!! I need him to know he can have fun)

Another thing is I think he was a really good tattoo artist! I don't actually see him as having the creativity to come up with interesting and unique designs but I do think he is excellent at the act itself, and at copying requested designs. you need a swallow? an anchor? a ship? any common sailors tattoo? he can absolutely do it and it will probably be the best tattoo you have. it was always a mark of honour if you could convince him to do yours on the Queen Anne- he was very busy and didn't often do them, and definitely wouldn't do them if he didn't respect you. He's done a lot of Ed's 'quality' tattoos (though I think Ed also does a lot on himself), he's done tattoos for Fang, and Ivan, and he will do them for the rest of the kraken crew in the future. (he will even do one for Lucius one day, one of his own pieces of art as long as its not an Ed face or a dick. They understand each other now)

anything else? I don't know, I see him very much as, he won't let himself do things if they aren't practical. his canon whittling is as close as he gets and that's more of a 'thing to do with your hands while watching the deck' kind of thing. have knife will whittle

I think ultimately, Izzy doesn't let himself do things for himself. if you love something, if you have a soft spot, it can be targeted, taken away.

I do think he maybe dances though. He always plays it off as something Ed forces him to do when they're drunk/on shore but... he loves it- the motion; the reliance on another partner and the intimate understanding of exactly what they're gonna do next? I think he would love that actually.

I think dancing might be the one thing he always does for fun. He never lets himself have it, but if Ed demands a partner? Yes, of course, anything for his Captain.

(Ed always demands a partner. he likes dancing well enough but he likes seeing Izzy do it more- he knows Izzy will never do it on his own, he understands why, but Ed is Blackbeard. Nobody fucks with Blackbeard- and if he wants to dance? if he wants his first mate to dance? they're fucking dancing.)

but that's not the truth of the situation, really.

It always takes him a second to let his guard down, but he relaxes into it. He lets himself loose in a way Ed only sees when he's deep into the rhythm of a swordfight. And perhaps it's the same, to him- finding the flow of the battle, of the music. Feeling his partner, understanding them and being understood in return? It's all the same- but dancing is safe. Dancing is fun. In a swordfight there are stakes- and he loves the stakes, he loves that this thing that means everything to him matters, but sometimes, just sometimes, it really is nice to move like that in a way that doesn't matter.

And when they really get going- all twirls and jumps and frankly being a little ridiculous, Izzy laughs. A deep belly laugh, a kind of joy you didn't think was possible from him. But here he is, letting go at last. He laughs and he smiles and he feels such joy, the rest of the world melts away, and it is just him and his partner, dancing.

(later- much, much later, a man will play a battle song over their raids, a jaunty little tune that throws off everyone they fight against, and Izzy gets to dance, and fight, and feel free, unburdened by the weight that he's carried with him his whole life. They'll dance after too, and he will have finally found a place where he completely belongs)

(if you liked this, can I recommend Talking Bodies by ItsClydeBitches, i feel like that fic fits the themes of dancing incredibly well)

[izzy-b-hands]

im ngl i had a lil breakdown before my shower (which i took just before i went to bed to chill and watch the new eps) abt some thought-id-already-worked-all-thru-it irl stuff that resurfaced on me like trauma tends to and i just

it made everything in the show so. I don't know how to say it right. but i feel seen and understood and emotionally overwhelmed in a safe yet weird way, just like i did with a lot of s1 and I am Feeling So Much akdnfkgb (i cannot stress enough that this is a Good Thing and I'm absolutely thrilled and happy with the new eps and like. Going to be fine mentally I just gotta wrangle this like i have the times before.)

[fist-amidst-the-hands]

having stripper izzy thoughts... he has a pair of regulars who like to book a room and request him for a private show. the leather daddy looking one (ed, he's learned) always settles back against booth first, one leg extended to rest on the bench and the other bent at the knee, foot planted firmly on the floor. the colorful polished one (stede) follows and sits in his lap, getting the perfect view of izzy while his boyfriend (at least izzy assumes ed's his boyfriend at this point, they've made this a bit of a habit) gets the perfect view of him

it's not that unusual for izzy to perform for a couple, though more often he's requested for groups (friends, coworkers, strangers, sometimes he can't tell). mostly he prefers it that way - all the more satisfying when he can make everyone in the room feel like they have a personal connection with him. that's the name of the game right, to make them want and feel wanted?

but this couple... they're different in a way that pulls at izzy's gut and makes him ache. stede watches izzy with devotion and izzy's learned what makes him bite his lip, what makes his eyes flutter, and how to get his head to tilt just so. his gaze is intoxicating, full of open adoration izzy wants to drown in

while stede watches izzy, ed mostly watches stede. sometimes he's leaned in close to stede's ear, whispering words izzy can never quite make out. what he can make out are stede's reactions, expressions unrestrained and on full display for both of them. sometimes ed leans back against the wall, one hand or the other resting on stede's thigh or hip or lower back. one time izzy notices them hold hands, fingers laced together, and it makes something else in him ache. other times ed actually does watch izzy, with his chin resting on stede's shoulder and something deep, something hungry in his eyes consuming as much of him as they can

if stede's gaze is the thing he wants to drown in ed's is the thing he wants to pull him under

[batsarebetterthanpeople]

Broke: Ed Stede role reversal

Woke: Izzy Mary role reversal. Where Izzy Hands Bonnet(FTM egg) (same nickname different name probably) is the rich white woman forced into an arranged marriage to Stede and the mother (father?) of his children and Mary Allamby (cis woman) is the impoverished pirate who got really good at swords and became Blackbeard's first mate. Izzy and Mary keep their original dispositions.

[leatherbookmark]

"ed shot izzy in the leg because izzy blamed the poisonous atmosphere on the ship on ed's love for stede, as if it was something bad, when it was in fact good and made ed happy"

god help me. literally what are those people watching the show with because it sure as hell can't be their eyes. ed shot izzy for talking shit about his pure and restorative love for stede. ed "fuck you, stede bonnet" teach. ed "freezes when izzy mentions a part of stede's catchphrase and goes to threaten the crew with a gun as izzy follows him stammering that he did not mean to mention The Previous Owner Of This Vessel" teach. this ed. the same guy who literally went krakenmode after stede abandoned him and had all of his things tossed off the ship -- along with the crew, "his playthings". ed "you're not a fucking mermaid >:(" teach.

THIS ED. shooting izzy to say "you're wrong and you're fired, loving stede was GOOD actually". ??????????????

[oldmanffucker]

also grief is a pretty key element of the ceramics au and i was doing some year math and i realized that when izzy's sister died in this timeline it was 2004 which means the photos of them together can be so mallgoth and so cringey silly i cant wait

[mossiestpiglet]

I don’t think Izzy actually likes or enjoys the humiliating things Calico Jack does to him, but I think that’s also very much besides the point for both of them. Izzy needs the catharsis of being taken apart and Jack likes taking things apart so he’s more than willing to do it and it’s just entertaining for him. Plus Jack eats ass like a man possessed and there’s always a 30% chance of that happening instead, so Izzy’s pretty much always game.

[shatteredhourglass]

sometimes i just smash an old interest into a ship i’m writing and now for some inexplicable reason i want to write a future diary au for ofmd

[gaypainsequalgainsamiright]

hear me out Teach would absolutely fuck with w.h. auden

[dragonmuse]

Keep It In The Box : An Essay on OFMD Season 2 and the Failure to Heal

(here in is my season two reaction. It contains many many spoilers. It's also about 3k words long so you know what you're getting into.)

“See, I have a system for dealing with all the terrible things I've seen. There's a box in my mind, and I put the things in the box..” -Frenchie, Season 2 of Our Flag Means Death

…..and then he never opens it. Chekov’s locked box has no key in season two.

On first watch, it seemed clear to me that Frenchie’s declaration was a narrative plant. Clearly the whole season would be about that box of pain and trauma being opened, sorted through and at least the beginning of healing. The show had developed a reputation after season one of being kind and focused on queer narratives of healing from childhood. Ed and Stede’s parallels in their childhood traumas were frequently on display through season one and were repeated in flashback throughout season two. Jim’s season one arc about becoming someone who doesn’t think just of revenge and can now forge meaningful connections was profound, beautiful and often funny. Izzy is an antagonist because he doesn’t want Ed to move on or stop acting like the trauma-response version of himself. The antagonist wants to stop healing. The point is to grow, to change, to learn how to love. It’s one of the things that made season one work for me at the time, despite reservations about pacing and tone.

So naturally season two should follow suit. It’s a kind show! About healing and falling in love!

For the first several episodes, the remaining crew on the Revenge go through a gauntlet of trauma, forced to do and receive violence at Ed’s whims as he careens from self-destructive behavior to self-destructive behavior. This is the wounding setup. It was dark, but it seemed like it would have a payoff and at first it did.

Perhaps one of the most beautiful moments of the season comes in one of the small respites in those early episodes as Jim recounts Pinnochio to Fang to soothe him through his grief. That was the show that I expected. The kindness of that moment struck me very deeply. It gave me some understanding of Archie too, who seems to fall for Jim right at that moment.

That scene is the show season one promised. Season two led with packing Frenchie’s box full to bursting. Here is the fight to the death between lovers, there is a first mate who is mutilated and rotting in the very walls (the rot of the Revenge itself), and there is the storm of Ed’s rage and pain that threatens to consume all of them.

So surely these remaining episodes would concentrate on finding the humor in healing from those moments. That is the setup. Frenchie has a box. The box must eventually open.

Except time and again, all the characters who suffered are told that the only way to deal with what they’ve been through is to stick it in the box and never open it again.

Pete tells Lucius that he’s unable to move on and needs to let it go. Izzy has a story about a shark. Ed’s apology to the crew which doesn’t even contain the words ‘I’m sorry’ is just…accepted. I kept waiting and waiting for a meaningful apology to the people Ed had hurt the worst with his actions, but it seems all we get is Fang saying ‘eh, no problem, I got to hit you back so I feel better’.

The playful theme of ‘pirates are just violent sometimes’ from season one becomes a grinding horror machine in season two when every atrocity visited on someone is forgiven because the narrative needs it to be. Ed and Stede spend more time making amends with each other over the bloodless night on the beach than either of them spend trying to repent for their actions towards anyone else.

And let’s talk about Ed. Arguably this season pivots on his narrative, on his path to healing and growth. A path that starts at a very low point. His moment in the gravy basket, deciding he wants to live because there are still things to live for is so great! So one might assume that what would follow would be him pursuing those things, making amends, making connections. He and Stede have a wonderful moment, talking about being whim prone and how they’ll work to avoid that, build a relationship by going slower.

Yet, at no point do either of them stop following whims. They never heal or learn from what’s happened to them. They both keep running from thing to thing, particularly Ed. It’s a whim to sleep with Stede, it’s a whim to run off to fish, and the finale gives us just more of their whims. Ed drops fishing as fast as he picked it up. He finds those leathers in the ocean, murdering the symbolism of leaving them behind. Even the inn is a whim, one of those things Ed decided he’d be good at without evidence. And Stede joins him in that without a single on screen conversation about it ahead of the moment.

Ed needs to heal himself and to do that he needs to confront what he’s done and do the work to heal the wound. Instead, he doesn’t meaningfully apologize to anyone, besides Stede and Fang. Despite Izzy’s dying words (we’ll get to that), not only do we never see the crew caring about Ed, working to make him family in the same way they do with Fang and even Izzy, he also doesn’t choose to stay with them. So what is the point? Where is the healing? Or does even Ed, beloved main character, have to live with it all stuffed in a box?

He ends the season in the leathers he threw away, in a relationship that’s barely stabilized, going to live in a house which we are told by the narrative (in that they are very very clearly paralleling Anne and Mary with Ed and Stede or why do we even get that whole Who’s Afraid of Virginia Woolf? episode) will only end in them setting fire to each other to stay warm.

But Vee, I hear you cry, it’s a ROM-COM. This is all meant to be ha-ha funny and you are taking it so seriously!

Cool beans. Then why the hell isn’t it funny? Healing is often filled with comedy because people deal with pain with humor. You can heal and laugh at the same time. The finale especially is almost entirely devoid of laughs, almost entirely devoid of joy until the last minute for that matter. The episode that should show off with a flourish how far everyone’s come, mostly serves to show that no one has grown.

Okay that’s Ed. I want to talk about Lucius next. Our former audience surrogate (that’s taken away in season two when he doesn’t get enough screen time to perform that role and no one takes his place) really goes through the wringer. He experiences many many terrible things, including sexual assault (which is made into a grimace-laugh line that doesn’t take away from it’s seriousness because oh hey, that can be done as it turns out). He’s nervous, he’s smoking, it’s clear he’s suffering.

There’s a beautiful moment where Pete tells him ‘hey, I was also in pain. I grieved’ and that’s great. It’s good that Pete sets a boundary about Lucius not obsessing over the past to the point of occluding their future.

We even get our comedic moment where Lucius pushes Ed off the boat (still not apology, but I’d lost hope for that by then) and that doesn’t help enough. So Izzy comes in with a shark and the advice that you just have to move on.

Just…you know. Play pretend. Forget.

Shove it in a box. Ed didn’t take my leg, a shark did. Ed didn’t kill you, a shark did. Live with the person that tried to murder you because it’s your fault you dangled your leg over the side of a boat. That is the show’s message. I thought on first watch, that surely this would also come back up and be explained that you can’t live that way, that that is no way to heal. That it would become clear that this was no way through. You cannot make everything into sharks.

Lucius can move forward and still carry pain. He can still want a meaningful apology and still want to talk to his lover about what he’s dealing with while moving forward toward a brighter future.

And what of the flirtatious promise of relationships and connections being the way to heal? Look to Oluwande and Jim, whose heartfelt romance from season one was relegated to the bins of history in favor of a narrative that made him a brother Jim once had sex with. They could have had Archie AND Oluwande, who in turn could also have Zheng, but that never seems to be an option. With a single short conversation, they are broken up with, despite a brief tease at the birthday that they still ‘dance’ together, it never actually manifests. Jim and Archie never talk about what they went through. It’s swept under the rug as fast as knives are lowered.

Lucius also no longer flirts with other people, the solution to his pain is to propose and get married (but not too married, lest we forget that they’re two men, they don’t even get to be husbands or even the more respectful mates, no. They’re mateys.) This season proposes that the only happy endings are monogamous ones, where no one talks about anything painful that went before.

To ensure that message, beyond assuring the success of Oluwande and Zheng’s relationship, Jim and Archie almost entirely disappear from the narrative. Sorry you guys were given layers of trauma and no growth and not even much to do this season, we need to make sure that everyone remembers Oluwande is the break in Zheng’s day so when he says that to her five minutes later we know exactly what he’s referencing. No time for Archie to learn what an apology is or for Jim to get one line in with Oluwande that isn’t affirming their newfound broship. Must do more flashbacks to things we just did two episodes ago!

The show even dangles the conversation of the Revenge being a safe space. Why would any of them ever feel safe when the man who tortured them is allowed to walk among them and they are expected to forgive and forget? What’s safe about that? The ship is never made safe for any of them, but that’s never addressed.

And Zheng! Amazing, hysterically funny Zheng! She loses her ships, her entire way of life, the kingdom she built for herself and then…she doesn’t even get to captain the Revenge. We don��t know what becomes of her fleet, of her plans, her ambitions. Don’t worry about it, she has a romantic partner and isn’t that what every lady wants in the end?

(But Vee, I hear you cry again, there will be a season three! Maybe it will be All About Zheng! To which I say: then why did they present us with the most series finale feeling episode ever? If there’s more, I have no idea where it’s going. BUT VEE: BUTTONS AS SEAGULL ON THE GR- Fine. It’s time.)

Let’s talk about Izzy Hands.

Izzy manages more healing than anyone else this season. He reaches his lowest point, suicidal in the bowels of a ship that’s become a prison (very much in contrast to Ed’s suicidal low). The person he loves most in the world has shredded him physically and emotionally (and if you’re in the camp that thinks Izzy deserves the abuse that Ed gave to him, I would really like you to sit quietly with yourself and ask why you think there is ever anything anyone can do to deserve that treatment). He’s low, he shoots Ed to protect everyone, and then seems to plan to drink himself to death, mourning his losses.

And then another beautiful moment! The crew move past their own pain to help him. They work together for the first time and it’s to give Izzy mobility back. He treasures it. He cries over it. He uses that kindness extended to him to reach a new understanding of Stede and help him succeed, doing the work to make real amends. He sings in drag, he’s vulnerable and beautiful, celebrating the side of himself that he must’ve loathed in the first season. He’s an elder queer man, coming into himself.

He never gets an apology though. (‘Sorry about your leg’ without eye contact is not an apology. There is no responsibility taking, no acknowledgement of the weeks of torture that came with it.) Izzy also never really has an honest conversation with anyone about what it means that the man he loves punished him so severely for the crime of trying to protect the crew (yes, lest we forget, Izzy lost his leg because he was trying to keep Ed from re-traumatizing the crew and himself).

Izzy does all this work, but even he’s not allowed to take it out of the box. It’s a shark, not Ed. Ed is just ‘complicated’ (the language of abuse here is so upsetting and I think not even intentional).

And then he dies. His last act? To apologize to the man who tortured him and shot at him. To have done all this work, to take on all the blame. And then die.

In a rom com.

This show ends in a profoundly unfunny moment of telling the audience: this is the one character that did the work, that made amends, that tried his hardest to accept the parts of himself that he had a hard time embracing and formerly embittered him. He’s fully accepted his queerness and turned it into beautiful music. He’s disabled, and he worked hard to accept that. The man he loves will never love him back, so he worked hard to make Stede able to meet Ed on an even playing field. The Giving Tree gave up its limbs and its trunk, and it’s not even allowed to be a stump to sit on.

Kill the queer elder, who has managed to figure out how to live and in his own way how to heal. Kill him before he manages to teach anyone else how to meaningfully move forward (he almost gets it with Lucius, almost, but it’s meant to be rule of three, you know. Cigarette..shark…and then…and then fuck it, Lucius doesn’t even get to say a word at his funeral).

The message of this season again and again is that there is no healing, just moving forward. Like a shark. Like a bird that never lands.

That is not a kind show.

Season two is not a kind season.

It splinters people up and jams them back together without purpose or reason. It tells everyone who experiences pain that they should shove it in a box and not deal with it. No one who really needs one gets an apology of any sincerity. No one puts in the work to gain forgiveness. (Ed wearing a onesie is not The Work. Ed fixing a door is not The Work. Ed broke people that the show wants us to care about. Ed never does the work of making those amends. He fires off a Notes app apology at best. After all, it’s what he told himself via Hornigold in the gravy basket: you move on or you blow your brains out! Good thing he took his own advice and therefore had to change nothing to get his just rewards.

I would’ve taken just fifteen minutes of Ed trying to actually make amends. It could’ve been hilarious! Imagine awkward Ed trying to dance around what he’s doing with Jim and the two of them having a knife throwing competition about it. Or him and Frenchie attempting to make music together, writing a song about the raids they went on! It’s not just the crew robbed of their healing because of this, it’s Ed himself. He never meaningfully changes or makes amends. How is he any different at the end of the finale then he is standing on the edge of that cliff with Hornigold? He hasn’t moved on, he hasn’t healed. He tried one thing (fishing) that doesn’t fucking work and then he runs right back.

No one leaves this season better than they went into it. They’ve lost an elder queer, they’ve lost their joyous and queer polyamory, they’ve lost a chance for meaningful reconciliation with Ed and Ed lost any chance of looking like he gave shit if they did. Stede grows enough to accept the crew’s beliefs as important and then leaves them behind without a care.

Izzy gets a beautiful speech about piracy being larger than yourself. Ed and Stede, within twenty minutes of that speech, leave piracy. They are incapable of giving themselves to something bigger, apparently. They haven’t learned to be a part of a community. They haven’t healed from their childhood trauma or their fresher wounds. They are still just following their own whims.

Zheng’s life work is in tatters, but it’s fine, she has love. Oluwande and Jim aren’t together, but it's fine because they both have dedicated monogamous partners. Lucius was deeply scarred by what happened, never recovers much of his first season personality, but hey he got-well it’s not married exactly- but you know good enough!

Frenchie, who has a box forever locked in his head, is captain. Because the key to success is to lock it all in a box and never open it. What a message. What a show. Conceal, don’t feel. Smile because it’s a happy ending. Don’t mourn the dead, don’t try to tell people what happened to you (they will literally run away or cry too hard to listen and really you’re just bumming them out), and any meaningful change you make is only rewarded with death.

Frenchie is now a pirate captain with a box in his head full of trauma that’s never been opened, leading a crew with more wounds than scars. Wonder how that could turn out? Wonder how many years before he might want to retire and then happen to run across a gentleman pirate. As if no one learned anything at all.

[rockscanfly]

something something “you know me better than anyone has ever known me” something something “I loved you. best I could”, something something Familiarity breeds contempt, relationships as self-context, someone who knows your past may be in the worst spot to understand your potential for change, emotional inertia, cycles of abuse, so on—

A lot of people think Izzy is fooling himself with that line. And sure, Izzy Hands didn’t know that Ed killed his own dad. But Izzy knew Ed wasn’t actually fine, after Stede left. He wasn’t getting *better* with the depression robe and the singing. He was just running, again. From himself, his actions, his emotions. Again. And Izzy has lived through *decades* of Ed pulling that kind of shit, of deflections and obfuscation. He miscalculated, yeah. But Ed wasn’t going to get better if Izzy had just kept his mouth shut. Something was going to set him off, sooner or later. Because Ed still hasn’t grown from the guy who sets people on fire and has them skinned with oyster forks then slumps through weeks long depression cycles.

Nothing about Ed and Stede’s first relationship actually forced Ed into confronting his own self-compartmentalization (and boy can a bitch compartmentalize. The Kraken, Izzy being the one to kill him in the dream, Hornigold, who he was with Jack, Jeff the accountant, just Ed—babygirl at some point you are going to have to decide who you are if you ever stand a chance of getting what you want). They were going to run away to China because it meant NEITHER of them had to deal with being the people who have done what they’ve done. If Stede and Ed had made it off that island together then they wouldn’t have grown.

On the flip side, Izzy was never going to be able to save Ed from himself because their relationship was static before meeting Stede. They’ve been together for so long that nothing Izzy says *counts* as new input (the first genuinely surprising thing Izzy ever does in-show is surviving killing himself). Iz is an extension of Ed, which is why he’s subject to torture and derision and punishment in a way no one else was. Ed fucking HATES himself. Izzy is a part of him.

So, yeah. Ed loved Izzy the BEST that he could love himself—poorly, mercilessly, as willing to hack off parts of Izzy’s body as he was entire facets of his own personality and history. So Izzy was never going to pull Ed out of the suicidal pit he’s been in for years. Knowledge, knowing someone, that doesn’t mean insight. Izzy’s so close to Ed that their perspective is practically a perfect overlay. There’s no new angles, no way to see where the light could shine through.

That’s why Ed needed Stede. The complete and total lack of context allowed Stede to take Ed as he was, to question him and force Ed to ask questions of himself that Izzy simply was not capable of. Ed is a social chameleon—he changes himself constantly to fit the image he thinks other people have of him. Stede refuses to provide the Blackbeard scaffold. There’s no context to cling to, no familiar script to follow. Stede has his own narratives and pre-conceived notions, but they’re NEW.

Context, perspective—you need both to get a whole image of a person. Maybe Stede and Izzy working together this season will finally be enough to help Ed see himself in a light that allows him to love what he sees in the mirror.

[izzy-b-hands]

Reason number idk to keep my shot day more consistent (tho tbf i had been doing really well on timing up until last week lmao):

Shot day being off means i get extra weepy over just. anything. everything. My brain looks at anything and goes 'oh yeah, that's like (horrible traumatic memory), you 'member that? Yeah, sure ya do! here's a recap of that particular time for ya too.'

and like??? I am not a fan of it today. i mean i never really am but, I have shit to do rn lmao (dishes and i keep having smutty ed/izzy and nathan/pickles ideas that refuse to actually flow on the page once i open a word doc.)