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colinmorgan-beautifulsmile · 1 year

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Colin Morgan has an exclusive brand new in-depth interview with Radio Times

In brand new thriller Dead Shot – which arrived on Sky Cinema and NOW last week – former Merlin star Colin Morgan stars as Irish paramilitary Michael, who is on the verge of retirement when his pregnant wife is brutally murdered by a British army soldier.

Based on an original screenplay by Top Boy creator Ronan Bennett and directed by brothers Tom and Charles Guard, it's a harrowing film that takes place during the height of the Troubles in 1975, following Michael as he embarks on a revenge mission that sends him to the heart of IRA operations in London.

When Morgan first got his hands on the "page-turning" script, he was struck by a number of things, not least the contradictions inherent in his character, and he was especially won over by a certain ambiguity regarding who the audience should be rooting for.

"As a Northern Irish guy, you think I'd be biased to one side, but it's absolutely seeing both sides of this tale and this drama," he tells RadioTimes.com in an exclusive interview. "And so it says quite a lot that I was kind of on both camps, I think that's quite an achievement.

"Contradictions are the main thing I look for," he adds. "You see somebody in a cause that some men were drawn into in the late '60s and early '70s in Northern Ireland, particularly in the border counties. And I'm wondering, if I was born around that time would I have been any different? Might the times have dictated what I needed to do to survive as a man?

"Those are the things that are compelling to me... he wants to be a dad, he wants to survive his future. At the very beginning of the film it feels like he's just about to begin the rest of his life, he's left the cause behind, and it just gets taken away from him in a second."

In preparing for the film, it helped a great deal that Morgan himself grew up in Armagh, the same town that Michael is from. Despite growing up in a different era, the star was very much able to draw on his own personal experiences when it came to getting a handle on the character.

"One thing I said to the Guard brothers before I started was I'm gonna bring everything I bring to the character from my point of view, but also the stuff of just being someone who grew up in Armagh," he says.

"You get that for free, because that's the complication of living in a place like that, even though I grew up in the tail end of things – it is just part of your culture and in your blood. You see all those things growing up, and they're just in my own kind of memory bank. So while I didn't go through the times, I was certainly surrounded by adults who did."

Dead Shot isn't Morgan's first project in recent years to be set against the backdrop of the Troubles. In 2021, he had a key role in Sir Kenneth Branagh's Oscar-winning coming-of-age film Belfast, and the actor has clearly found it an immensely rewarding experience to see audiences drawn in by these stories.

"Particularly with Belfast, there's something kind of amazing about seeing something that's such a part of you reach the world and resonate with people in a universal way," he says. "When you see your story, or you hear your accent, there's just something about you that connects with that.

"And then when you hear other people the world over do that as well, you can't help but feel a sense of pride that your identity is being recognised."

In addition to the knowledge of the conflict he had accumulated while growing up in Northern Ireland, Morgan did plenty of research into the Troubles to prepare for his role in Belfast. He says this came in handy once again for the new film, but stresses that Dead Shot itself is not necessarily "concerned about trying to educate people about the times in Northern Ireland".

"Not every film that deals with the Northern Irish issue has to go into all those details," he says. "That's what I thought was refreshing about this. But it's important as an actor just to be familiar with those things, whatever period that – it's always worth doing, and I always do it."

One of the most intriguing aspects of the film is the complexity regarding Michael's adversary Tempest, played by Aml Ameen. Although by no means portrayed in a straight-forwardly sympathetic light, the character is not presented as an out-and-out villain either – but rather a vulnerable person who has been thrown into a horrible circumstance by odious bosses. Meanwhile, the fact that Tempest is a Black man living in a time when racism was commonplace undoubtedly adds to this complexity.

"One of the things I said to the directors right from the start was that there was a lot more that bound these two guys than divided them," Morgan says of the relationship between Michael and Tempest. "They're both in London, which was a place at the time that had [signs saying], 'No dogs, no Blacks, no Irish'.

"So these are actually both very outsider characters who were treated differently – when an Irish man went to London in those times there was complete shunning of them as well. So they're guys who know what it is to be shunned, rejected, and treated as the other. And the fact that they find themselves caught in this tragedy against each other, it's a shame in a way.

"The sad thing about that particular time in Northern Ireland was that so much division between religions and nationality prevented so much integration," he adds. "And it's still unfortunately very present in Northern Ireland to this day – it's getting less so, but it's hard to think it'll ever go away.

"It's terrible to think that people connecting on a human level is prevented by something like a label or identity or nationality, whatever it is. Your best friend could have been the one that was serving in the army except you were just on the other end of the lines."

Although the film is set primarily in London, the shoot itself actually took place in Glasgow – with a number of London buses and other identifying features brought in to help transform the Scottish city into something resembling the UK capital. This was an interesting experience for Morgan, especially considering he has his own history with the city.

"I actually went to drama school in Glasgow, I went to the Royal Scottish [Conservatoire]," he says. "And the odd thing was that I hadn't really been there since I graduated and I found myself staying in an apartment that was right opposite the apartment I stayed in in my second year at drama school.

"It was this weird kind of full circle moment of suddenly there I was, like 15/20 years later. I could practically still see through the window of that apartment and see the 20-year-old me wondering, 'Oh, I wonder if this whole acting thing will ever work?'"

Of course, it wasn't long after graduating before Morgan's acting career very much did work. Following a number of early roles on stage and screen, including the Doctor Who episode Midnight, his big breakthrough came in 2008 when he was cast as the title character of BBC One's fantasy series Merlin – a show that went on to run for five highly successful seasons.

The series has retained a cult following since it ended in 2012, and some fans have long clamoured for some sort of reunion or reboot. But although Morgan thinks back fondly on his time on the show, returning to the role doesn't appear to be something he's considering any time soon.

"I think most actors are more about progression and moving forward and don't often look back," he explains. "Even on stage, sometimes plays I've done have wanted to remount and come back again, and I often found I don't take up those opportunities because I've wrung the towel dry and I've rinsed what I could out of it.

"That's certainly what I've tried to do with every project, it's like I invest every 110% into it so hopefully by the end of it, I feel like I've done all I could. And certainly on projects like Merlin, I felt like yeah, we definitely did that together as a team and it's certainly [something I] look back on and feel very proud of the work that I and everyone did."

On the subject of moving forward, Morgan has a number of other imminent projects in the pipeline. He has a key role alongside Jessica Lange, Ed Harris and Ben Foster in a new film adaptation of Eugene O'Neill's classic play Long Day’s Journey Into Night; he will star opposite Emma Appleton in the upcoming Paramount Plus legal thriller The Killing Kind; and he is currently filming a project which he can't yet disclose. The keys to the roles he's been looking for in recent times, he says, are variety and collaboration.

"I look for things I haven't done before, I look for challenges, I look for versatility, I look for passionate people," he explains. "I think more so than anything, what seems to be top of my list now is collaborators – people who have this kind of notion of bringing you into the fold and wanting to work with you not just to deliver the acting goods, but to know what you feel about the scripts and the story and have your input.

"And that's my background. My first jobs were all new writing in theatre and working with writers and developing and progressing and shaping things together. And that's what I thrive on more than anything in the world.

"That seems to be what people are wanting these days, I think the landscape has changed. People are really wanting multidisciplinary actors, and that's worth knowing for anybody wanting to come into the business: don't just be thinking about the acting, think about 360 degrees of everything."

#colin morgan #dead shot #belfast #news #bbc merlin #merlin cast #interview #article interview

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ladystoneboobs · 8 months

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i present: small and non-verbal but very funny star wars moments:

ep. V: the empire strikes back--the millenium falcon achieves hyperspeed again, despite the imperials' best plans to the contrary. admiral piett and his men are terrified of vader's reaction, all trying to stay out of his path. but he's still too busy brooding on his loss of luke to even force-choke anyone. that's how thrown off he was by his newly-mutilated son running away from him!

the sole exception to this collective terror being this guy, so intent on his own important work, that he doesn't even notice his scary boss until darth vader has walked right past him.

ep. III: revenge of the sith--padme's droids somehow getting her unconscious body back on her ship.

in the novelisation, r2-d2 just drags her up the ramp with his gadgetry, but in the script it's c-3po who carried her up bridal style. which would be impossible to film when 3po could barely manage to move around under his own weight. what makes it really funny for me is that there was no need for any of this. why not just have obi-wan pick her up as he's hurrying outta there after failing to kill her husband? i mean, it's surely not good to be lying out in the open on a volcanic world with poisonous gases, but it wouldn't be good for obi-wan running around out there either, and this lady was about to have broken heart as her only known cause of death. when has science ever held back star wars? and i can't imagine that being dragged by wires from artoo or dropped every few steps by threepio could've been too good for her body either. just makes for an absurd little (offscreen) background detail amid the tragedy of the end of padme's life, imho.

ep. IV: a new hope--obi-wan vanishing into thin air when struck down and vader's (very understandable) bafflement afterward.

by this point in the second screencap, luke is shooting at him in retaliation and the stormtroopers are all shooting back at luke, but anakin is still dealing with this unprecendented vanishing and busy searching for any corporeal remains of obi-wan kenobi with his boot. "where did you go, my old master? how could this happen? i wasn't done fighting with you yet."

ep. V: the empire strikes back--vader inviting lando calrissian, chewbacca, han solo, and princess leia to share a meal with him and boba fett, before taking chewie, han, and leia prisoner and torturing han.

i think a lot of people must assume there was no actual meal, but it's not like vader had to go to all that trouble in the first place of setting out an entire banquet table with proper containers and utensils. just because that was lando's pretext to bring them to vader does not necessitate actually having a table set. darth vader could have had them led into any other room with boba fett and stormtroopers waiting to just arrest them right away. instead, as we can see in the second screencap, (over lando's shoulder and leia's bun), vader did sit down at the head of the table, waiting for his prey to join him. and i swear, in one of the earlier drafts of empire's screenplay there is actually a scene showing their awkward meal together. or rather, han and leia being served food and drinks while darth vader just sits there, watching evilly, explaining his great villainous plan to use them to trap luke. it's like dr. evil making austin and vanessa sit down at his table in the first austin powers movie. darth vader really did always live for drama

ep. VI: return of the jedi--leia telling han that she loves luke, but not that way. he's her brother, silly! as if this is something they all knew all along, with zero follow-up explanation. you can just see han wordlessly processing this bombshell of brand new information through his facial expressions alone. (this lasts so long that i wouldn't even count it were it not likely overshadowed by everything else in the ending of rotj.)

wh-what did you say? your brother? since when?

wait-wait-wait. i've seen you mouth kissing luke right in front of me before. i'm so confused now.

just what kind of weirdo family have i gotten myself mixed up with here?

oh, well, she's only kissing me now. that's good enough, i guess. maybe?

hey, as long as you do love me and luke in different ways ...

i don't know much about families, but i've heard they all have their weird traditions. so who am i to judge you, babe? as long as we're together now, that's all that matters.

#swedit #star wars #anakin skywalker #darth vader #padme amidala #lando calrissian #chewbacca #han solo #leia organa #yes i did use very specific adjectives to exclude most of the st #tho i do think there's some funny intentional and more overt humor in the jj saga #tlj was more marvel-like humor which was its real greatest sin #tumblr won't let you do a numbered list in descending order so just imagine it's a top 5 that way #(c)lsb

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bagel-lox · 29 days

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Yuzo Kayama's Black Jack (1981) on archive.org!

An extremely rare and expensive Black Jack adaptation, now available online FOR FREE!

This adaptation is known for its radical scenario change, where Black Jack is the secret identity of Jiro Bando, an art gallery director. Along with an expanded supporting cast, Jiro and Black Jack get into situations that are relatively accurate to the manga.

There are 12 episodes, with a banned 13th not included here (on why it's banned, please read here (in Japanese)). The episodes are written by James Miki, who also wrote the screenplay for The Visitor In The Eye (1977).

Chapters adapted include The Mask Chosen, Revenge Is My Life, Black Jack In Hospital, The Last Train, and more~

If you can stomach the changes, it's an interesting watch!! I'd recommend it if you like The Visitor In The Eye, goofy 70s/80s dramas, or shows that play with secret identities.

Please enjoy! And stream Yuzo Kayama's music while you're at it :P

#black jack #osamu tezuka #yuzo kayama #bj liveblogging #my personal fav eps are 4 8 and 11 if you don't feel like watching every one-- they're episodic so you can skip around #though i'd recommend watching it all for the sheer novelty

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filmnoirfoundation · 1 month

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#TCMFF Day 4 morning screenings. Eddie Muller will introduce DOUBLE INDEMNITY with Fred MacMurray's daughter Kath MacMurrary, TCL Chinese Theatres IMAX, 9:00. Also for the criminally minded, MURDER, SHE SAID, the first of the Miss Marple films starring Margaret Rutherford, TCL Multiplex, House 4, 9:15 Plus a repeat of THE BIG HEAT, Multiplex, House 6, 11:45.

DOUBLE INDEMNITY (1944): Barbara Stanwyck—in a platinum blonde wig—plays Phyllis Dietrichson—the consummate femme fatale who lures insurance salesman and all-around chump Walter Neff (Fred McMurray) into a plot involving murder and insurance fraud. His friend, and insurance adjuster, Barton Keyes (Edward G. Robinson) smells a rat. Nominated for seven Oscars: Best Actress in a Leading Role; Best Cinematography, Black-and-White; Best Director; Best Music, Scoring of a Dramatic or Comedy Picture; Best Picture; Best Sound, Recording; and Best Writing, Screenplay. Dir. Billy Wilder

MURDER SHE SAID (1961): When nobody believes she witnessed a murder, Miss Marple (Margaret Rutherford) investigates herself along with her friend Jim Stringer, played by Rutherford’s husband Stinger Davis. Based on Agatha Christie’s "4:50 from Paddington". Trivia: Joan Dixon has a small part in the film and would go on to become the definitive Miss Marple in the BBC series that aired from 1984-1992. Dir. George Pollock

THE BIG HEAT (1953): In this seminal noir, a police detective (Glenn Ford) whose wife was killed by the mob teams with a gangster's moll (Gloria Grahame) to bring down a powerful racketeer (Alexander Scourby). Lee Marvin steals the film as Grahame’s abusive boyfriend and eventual object of her revenge. Dir. Fritz Lang

#tcmff #eddie muller #the big heat #double indemnity #murder she said

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flareheart8 · 2 months

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Lou: The Doll Killer AU

Ok so. During my time of getting started on my Uglydoll rewrite and strolling around the internet, I stumble upon this wiki page:

This wiki page is a made-up 2008 version of Uglydolls with the same premise, but changed the characters around a bit. The reason I bring this up, because it does something interest with Lou.

Instead of him being a prototype, he was a regular pretty doll that had a kid, but that kid replace him with an Uglydoll. This causes him to get jealous and have a burning hatred towards the Uglydolls. He then changed the factory's system, and founded the Institution of Perfection. Any Uglydoll that found its way into his institution, Lou would separate them by shredding them, which causes him to have this post-traumatic stress disorder due to how brutal it was.

Lou would be the doll killer of this version of Uglydolls, and at the end he would try to kill both the Uglies and Pretties with a Chain Kinger, only to be shredded by his own machine. A very dark, but interesting way of handling Lou's character as a whole. Him being pure evil, thirsty to get revenge on the Uglydolls, all because they made him lose his kid, and can to go to the big world.

I been thinking about after I'm done with my rewrite. I might do an AU of this version, since I could turn it into a murder mystery story or something. Idk. Just something I wanted to share since I didn’t see anyone talk about this wiki page.

#ugly dolls #uglydolls #lou uglydolls #ugly dolls lou #Writing ideas

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david-talks-sw · 2 years

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Okay so funny/interesting thing #1 from the Revenge of the Script screenplay (Fourth Draft, June 2003)… the additional dialogue from when they're caught in the ray shields.

I just started laughing my ass off at the thought of Palpatine saying something so monumentally stupid and Obi-Wan AND ANAKIN "I'M THE CHANCELLOR'S GREATEST FAN" SKYWALKER BOTH go just

look at each other,

let Palpatine's idiotic suggestion hang in the air for a few seconds,

and move on like "[sigh] yeah, no, imma just ignore that"!

Like, Obi-Wan's just looking at him like "THIS is who you choose to be friend to?" and Anakin is struggling to disagree :D

Secondly, we see that Anakin is pretty chill with the notion that Obi-Wan's a Master and he's not, he's cracking jokes about it.

Which further cements the point that him not receiving the promotion to the rank of "Master" certainly ramps up the tension Anakin is already feeling after his nightmare of Padmé's death (as Palpatine planned it would)...

"There is a tension between the Jedi and Palpatine, the Supreme Chancellor, and that tension between the two of them results in Anakin getting caught in the middle. Palpatine knew this when he put him in the position of being on the Jedi Council, because he knew that the Council would resent it. And Anakin even knew the Council would resent it. But when he's actually put in that position, it begins to create a huge amount of tension ultimately between the council and Anakin. And even though Anakin is still loyal to the Council, he's in a tough spot."

... but that's pretty much it. It didn't contribute to Anakin's fall to the dark side. As George Lucas would put it:

"It's very easy to have the audience believe that Anakin is miffed because he doesn't get to go on the mission [to Utapau], that, you know, he's angry because he's not a Master, and [the Anakin/Padmé staring] scene is really designed to remind you that his real problem is that he just doesn't wanna lose her."

Also, little bonus:

ADDENDUM:

#george lucas #anakin skywalker #star wars #jedi order #bts tidbits

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lyledebeast · 4 months

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I think what really makes The Patriot such a great movie for Jason Isaacs in spite of being such a shitty movie for just about everyone else involved just comes down to laziness in the writing. Robert Rodat wrote a protagonist who is allegedly, somehow, a badass Rambo-style war hero and haunted by his past AND a good father, and the filmmakers planned from the beginning to rely on Mel Gibson's charisma to sell him. Roland Emmerich admits they never really considered anyone else for the role. Meanwhile, Tavington on paper is a cardboard cutout Evil English Snob. The original plan was to cast Jude Law, a solid Evil English Snob choice, but when he took too long to officially accept, they offered the part to an actor with little experience in American film who had not played a major antagonist before. And they let him implement some of his own ideas because his character wasn't the one they really cared about.

And he stole their movie!

I would argue that the main reason for this, the reason all the others stem from, is Issacs' idea for Tavington's backstory. Not only does it explain why he is in the Army and so desperate for a British victory, but also, in part, why he has such particular beef with a father.

The backstory itself is certainly more tragic than Martin's. For all the movie's criticism of "gentlemen," growing up in the expectation of a certain kind of life and having that torn away through someone else's irresponsibility would traumatize anyone. While the movie tells us nothing about Tavington's age when his father died or what happened to him in the immediate aftermath, it is abundantly clear that he has not gotten over it. Martin has not gotten over Fort Wilderness, but by every other account we hear it was 1, Martin's accomplishment and 2, an absolute Roman triumph from the British Colonial perspective. It did nothing to hurt Martin's fortune or prospects, quite the opposite. The only drawback for Martin is that when you commit war crimes, it has an unfortunate way of making you feel like you might be a war criminal. Annoying that.

That Tavington has a saber to grind with fathers is also far more consistent than Martin's approach to fathering, as we see in Tavington's first scene. He points his pistol at Martin's children to get the rise out of him that pointing it at him failed to stir. He never speaks to Gabriel or even looks at him upon discovering the dispatches he carried, but when Gabriel calls Martin "father," suddenly Tavington is invested: "Oh, I see. He's your son. Well, perhaps you should have taught him something of loyalty." Every problem Tavington sees in this scene of performed neutrality he lays at Martin's door, even Gabriel's service in the Continental Army. Could it be projection? If there is one outcome that is not Martin's fault, it is Gabriel joining up against his explicit wishes. Meanwhile, Martin's concern for Gabriel shifts from his endangering five of his remaining children's lives to save him to paying so little attention to him immediately after his new wife's murder that he is able to ride for revenge with no inconsequential number of Martin's men behind him. And he is at least as shocked by Gabriel's death as he was by Thomas's.

The first exchange between Tavington and Martin is mostly unchanged from the script to the theatrical release, but the two following it are dramatically different thanks to Isaacs. He argued successfully that not only would Tavington not be afraid of Martin after the prisoner exchange but that he would do well in the final fight between them (a fight that does not exist in the original screenplay). That fight in particular creates problems for the filmmakers' vision of Martin. In the unaltered first scene, Tavington has all of the power, sitting on his horse while Martin is on foot. In the second, Tavington draws his sword to kill Martin while he is unarmed. Both of these are classic dastardly villain moves. In the last exchange, though, it is Martin who has the advantage of having wounded Tavington twice before they get in sword's reach of each other, and Tavington still kicks his ass. On Tavington's side, this is not representative of a one-dimensional villain but of a man who has clawed his way to being a colonel in the British Army after losing everything with his father's death. The only reason Tavington does not kill Martin, either after the punch Martin does not take like a champ or after he has literally beaten Martin to his knees, is that he is still seeking a connection with a father.

The problem with the changes Jason Isaacs brought about is that they make Tavington a badass fighter with a sad backstory, which also happen to be the only aspects of Martin that get any real development. His onscreen violence evokes Fort Wilderness from first to last, but the third aspect of Martin's character, that he is a good father, is told rather than shown. Had changes been made to Martin that corresponded to Isaacs' for Tavington, then he could have had a stronger ending, perhaps saving Gabriel as he failed to save Thomas. But, no. Instead he just gets out-badassed in his own movie and then handed a giftwrapped victory anyway.

#the patriot #jason isaacs #william tavington #benjamin martin #when your villain is better written than your hero #it's time for a new career

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cinegeek237 · 8 months

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Horror is Queer

Horror has always had queer creators behind and infront of it.

F.W. Murnau directed Nosferatu (1922)

James Whale directed Frankenstein (1931), The Bride of Frankenstein (1935), The Invisible Man (1933), The Old Dark House (1932).

Clive Barker is a well known horror writer, I know Stephen King isn't the only one shocking. He's also directed some of his own work, notably, Hellraiser (1987), Nightbreed (1990), and Lord of Illusions (1995).

Kevin Williamson is the creator of Dawson's Creek, as well as, the screenwriter of Scream (1996), I Know What You Did Last Summer (1997), The Faculty (1998), and Sick (2022). He also did a treatment for and produced Halloween: H20 (1998).

Don Mancini is responsible for the Child's Play/Chucky franchise. He also wrote the screenplay for Dweller Celler (1998).

Eliva is a goth, camp, queen, ICON! She's a horror host, and lifestyle.

Christopher Landon wrote the screenplays for Disturbia (2007), Paranormal Activity 2, 3, 4, Next of Kin, and the Marked Ones which he also directed. He wrote and directed Scouts Guide to Zombie Apocalypse (2015), Happy Death Day (2017) and it's sequel (2019), Freaky (2020), oh and he's slated to direct Scream 7!

Bryan Fuller was the showrunner of NBC's Hannibal and is now working on the Friday the 13th prequel series, Crystal Lake.

Mary Shelley wrote Frankenstien.

Daphne Du Maurier wrote Rebecca and a short story that would become The Birds. Hitchcock was clearly a fan.

Joel Schumacher directed The Lost Boys. Meanwhile Tom Holland made Fright Night which might be the queerest vampire movie ever made... huh.

Gus Van Sant... well he directed the Psycho remake... so that happened...

Carter Smith directed Ruins (2008), Swallowed (2022), The Passenger (2023), and a few others. OH and Swallowed has Mark Patton from Nightmare On Elm Street II: Freddy's Revenge.

I'm sure I missed some.

Then you get into some phenomenal actors...

#queer horror #Elvira #bride of frankenstein #Frankenstein #Clive Barker #Nosferatu #Chucky #Ghostface

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scary-flag · 1 year

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Underrated OFMD fics!

So I've thought of compiling a list of good but unpopular OFMD fics. There are many recommendation posts going around, but they mostly feature the same 10 authors (who are great, do not get me wrong!) - I have thought, however, that less popular writers need some exposure too!

I have tried to keep the selection varied, with different ratings, fic lengths and ships. Feel free to reblog to increase the exposure of these creative people! :)

The Recommendations:

Snubs and Explanations by MzDany - T, 1,7k words, Ed/Stede. A funny little fic in which a Dutch merchant is offended by the Revenge not attacking his ship and goes there to investigate..

Le Bel Homme sans Merci by GeorgieBlossom - G, 296 words, Ed/Stede. A poem based on John Keats' La Belle Dame Sans Merci.

The Winning Prize by Birdie_Lo_Green - M, 24k words, unfinished yet, Ed/CJ, Ed/Izzy (unrequited). A multichapter story set when Ed, Izzy and Calico Jack are young and stupid.

Sunkissed by Spineless_Lobster - G, 709 words, Ed/Stede. A short ficlet full of tooth-rotting fluff!

Scylla's arms, Charybdis' mouth by Wrizard - T, 1136 words, no ships, Trans Izzy. A fic in which the Kraken is an actual deep sea creature and young Izzy Hands is a sacrifice for him.

Windward Passage by Consultingcrybaby - E, 4.7k words, Ed/Stede. To quote the author: "In which Stede is astonished by the existence of buttfucking, and Ed really needs a cup of tea."

WHERE'S THE LOOT?! A Choose-Your-Own-Adventure Game by glitterpig. T, Ed/Stede. It is literally a game!

A Demon Lived in My Brow by Bazzle. E, CW: some non-con, 8.7k words, Ed/CJ, Ed/OC, Ed/Izzy, Ed/Stede. Snapshots of Ed's relationships - and sexual experiences - before he met Stede.

Leather by Chocolatepot. G, 100 words drabble with Ed and Stede, taking place in episode 04.

To Make Pan-puddings by Whatthefoucault. T, 2.5k words, Ed/Stede. In which Stede find an old recipe and wants to cook it for Ed. Fluff!

They Haven't Made the Color Yet That'll Paint Over Every Part of Your Past by Parsnips (trifles). G, 1.4k words, Mary/Doug. A lovely fic about Doug and his love for Mary.

Orange You Glad by Lesspale. Not rated but imho G. 3.3k words, mostly Roach. A wholesome fic about the origins of the 50 orange cake!

Just Let Go, My Party Piece by red-sky-in-mourning. M, 4.3 words, Stede/Ed, some Lucius/Pete and Jim/Oluwande. A ficlet inspired by the well-known s2 bts photo of a possibly special necklace.

Two pints of Guinness, a packet of crisps (and a bag of cans) by Buoymehome (Lilibel) - T, 3.4k words, Modern AU, found family. Wee John and Stede go for a pint for St Stephen Day and Stede strikes conversation with the handsome looking fiddle player.

Lucius Returns by Scaredycattales - T, 367 words. Lucius, Ed. Screenplay format! Criminally underrated.

Learning Curve by Lwwyrd - M, 13k words, Izzy-centered. Young Edward Teach and Israel Hands meet, and the rest is in the hands of Fate. Written for the Fate & Fortune challenge.

The Night That Has No End by FrazzledWriter - M, 1.2k words, horror. Frenchie POV. Everyone on the Revenge is being driven into madness by a mysterious fog, and only a few are still sane. Ambiguous ending.

The Other First Mate by Dorie22 - G, 1.5k words. After episode 05. Ed is confused about his feelings and Stede, and Buttons turns out to be an unexpectingly good listener.

Room People by Moonandsunlight - G, 1.1k words. A short fic exploring the queerplatonic relationship between Wee John and Frenchie.

Much Ado About Something by Winter_of_our_Discontent - T, 528 words, Ed/Stede. Shakespearean AU. Super hilarious.

A Lighthouse To Each Other; or, Cracking Up On The Rocks by Zmayhem - T, 12k words, Mary/Stede. A fic exploring the relations between Mary and Stede after their 10 years of marriage.

What Makes The Man by Unovis - T, 12k words, unfinished yet. A fantastic character study of Stede and the conversations he has with his barber.

Wee John Feeney's Excellent Day by Activevirtues - T, 2.7k words. A criminally underrated fic about a fantastic day that Wee John has and the joy it gives him. Super wholesome!

The Saint of Never Getting It Right by Goldblooded - G, 3k words. Ed's POV. Interesting choice of formatting, adding to the story. A short fic about Ed and his emotional issues.

Skeleton Crew Drabbles by Tipsy_Kitty - mostly T, a collection of short drabbles written for a Halloween event. It has canon ones, and AU ones. Some hilarious, some a bit more emotional.

One Thousand Sea Creatures: a Buttons OFMD SMAU by Idiotatsea, Loopydangerfrom and Otsanda - T, 23k words. A Scollection of posts from Buttons' twitter account, his Moon Journal and other media. He does try to list 1000 sea creatures, and it is hilarious.

Nostalgia by HopelessScribe - G, 1.6k words. A BEAUTIFUL pre-canon fic about Roach's childhood memories and his North African background. Criminally underrated so give the writer your kudo!

More recommendations to follow next week!

#our flag means death #ofmd #ofmd fics #gentlebeard #blackbonnet #edward teach #stede bonnet #ofmd frenchie #ofmd roach #izzy hands #ofmd wee john #ofmd jim jimenez #ofmd oluwande #ofmd buttons

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