I think what everyone’s forgetting about Stede and Izzy’s relationship, especially going into the second season is that they share mutual hate. Stede hates Izzy as much as Izzy hates him, and seeing that relationship evolving in the second season is going to be wild
Can we remember that this was stede’s last interaction with Izzy
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Baldur's Gate 3 experience if you're playing as a bard:
when you won a tough boss fight on the first try without save scamming:
when you did jack shit but you're a good boy™ anyway:
when you disarmed every trap, lockpicked every chest and pickpocketed every pocket without rolling a single critical failure in 5 minutes:
100/10, def recommend if you love to cry, sweat, bleed and 3D chess
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I get hating Jack but if you think Izzy is better than Jack or that Jack is less likeable than Izzy your taste is literally unbearable. Sorry you hate fun. Yes I am vague posting no I will not be unfollowing over it but I just need it to be known that your vibes are fucked if you hate Izzy less than Jack. Name one redeeming quality on Hands, I'll wait you can't, I can name at least three on Jack, ready: He likes to party. He's very charismatic (don't argue with that one it's canon based on the way the other characters interact with him), He has nice hair (once again if you argue with this one you are questioning Stede's taste)
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open starter: @nostrumstart
location: bittersweet bar
“ah, ah— what are you doing?” callista protests, words running into each other, as she pried the alcohol away from her companion’s mouth. “you promised you’re the sober friend tonight, and i get to be drunk and carried to my room!” in reality, she was neither certain there was really any pact, nor if this is the same companion she’s been with for the past few hours. it’s just that callista would very much like to be wasted tonight, and she knew she needed someone to temper her inebriated turbulence. “what was your name again?”
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I need y'all to understand how fucking important it is that their lovemaking song was La Vie En Rose.
Those translated covers you hear on TikTok take their lyrics from a Louis Armstrong cover of the original French version sung by Edith Piaf. The English lyrics are beautiful but there are some things lost in translation, which is why I love that they had Izzy sing the original French version while Stede and Ed are making love.
Edith Piaf's version of the song is all about the intensity of love and finding love after a trying time. Her vocals are incredible and bleed all the different emotions she feels while singing. Izzy starts with the English translation of the song, which goes:
But a closer translation to the original French would be:
"Quand il me prend dans ses bras; When he takes me into his arms/ Il me parle l'a tout bas; He speaks to me softly/ Je vois la vie en rose; And I see life through rose-colored glasses."
Obviously this is fine and dandy, but it's the translation of the original French lyrics used later in the episode that really get me. Izzy sings this:
Which translates to this:
"He speaks words of love to me/ They are every day words/ And they do something to me.
"He has entered into my heart/ A bit of happiness/ That I know the cause of.
"It's only him for me/ And me for him, for life/ He told me, he swore to me, for life."
It's that last verse that the English version just wouldn't be able to capture. The translated version of that verse is about angels and love songs and mentions nothing of a vow to love one another for life.
That's what's so special to me about the French version of the song being used in that moment. Edith Piaf sings as a person who has lived through so much pain and suffering (which she definitely did as a French woman living through World War II) and finally finds comfort and peace in the arms of her beloved.
That is ultimately what Ed and Stede are for one another. Safe harbors, calm waters, peaceful days and nights in each other's presence. They bicker and argue and hurt one another, but they always come back together so easily. Stede was hurt and needed reassurance, needed to prove to himself that he wasn't a whim, needed to feel the security of Ed in his arms. And perhaps they shouldn't have gone all the way that night, but they're both impulsive and obsessed with each other and they needed something.
It's that song that lets me know they're gonna be okay. They're intense and impulsive but they compliment each other. They fit together perfectly, and they find comfort in one another no matter what's happened to them in the past. They need their harbors, their anchors, each other. They'd never leave each other behind. They make each other's lives la vie en rose.
(Edit: fixed a translation error)
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A critique I've heard of season two is that we’ve lost a lot of our symbolic objects, archetypes, and motifs. Season one gave us the lighthouse, the kraken, the red silk and the unicorn, the seagull, the auxiliary closet, Gnossienne no. 5, Pinocchio…
And then I think back to Samba sharing a quote from writer Alex Sherman during the ECCC panel:
“Season one is Stede going from a puppet to a real boy, and season two is Stede becomes a man.”
And that’s it, isn’t it? The transformation from object to subject, from something that has things done to it versus someone with agency. We see that transformation throughout season two. Almost every significant object is discarded, every symbol realized in flesh.
The process starts at the end of season one with the throwing away of all of Stede’s things. So much has been written about Stede’s potential response to that act, and so many folks (myself included) held on to the idea that perhaps Ed kept a little bit, maybe the auxiliary closet. Stede literally no longer cares about those things. He originally brought all the things he loved with him to sea because he didn’t have significant personal relationships. That’s why we hear Gnossienne no. 5 as he goes through the empty cabin pulling out all of the knives. The discordant love motif shows how his priorities have changed, how his love has transformed.
The red silk is gone as well, but instead we have Stede, real and in the flesh wearing the exact same color, clutched in Ed’s hand in the moonlight.
The kraken, a giant monster capable of rending a ship in two? Ed becomes that, literally, disassembling the Revenge to sail her into a storm and destroy her.
The lighthouse? A warning, Ned Low in his silver suit, a beacon in the dark warning Stede of what he will become if he continues on his course.
The unicorn, the destroyed masthead, literally becomes Izzy, a man taken apart and rebuilt piece by piece out of the parts of Stede Bonnet to become a beloved and respected member of the crew, and perhaps one of the strongest examples of self-actualization so far.
The attempts at reversing the process are demonstrated to be ineffective. The catalyst is when Buttons becomes a seagull, which shows Ed that the process of change is possible—that someone can become something or someone else. And he tries, he throws away his leathers, dons Button’s old jacket, tries to become an archetype. Stede tries to become a “real pirate”, despite the warning from Low. Even in Ed’s vision of Stede as a merman, Stede is being reduced to the role of symbol—a mythical being rather than a very real, very flawed man. They are both still trying to be the object when they need to be the subject. They need to take action, to realize themselves. And it’s a gruesome process. Jim’s version of Pinocchio is about the horrific transmogrification from wood into flesh and the horrors that need to be faced in order to make that transition.
We, the audience, are experiencing discomfort in this process. We are being held right up against the lighthouse lamp, and it burns. This is the emotional equivalent of body horror. It feels like all of our beloved belongings are being thrown overboard, but I promise they aren’t.
They are becoming.
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