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#OFMD meta
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*sigh* Whole damn show is about how they don’t have to be any persona or put on any performance for the other to love them. Stede loves Ed, all the things that make him Ed, including the things that Ed himself fears. Ed loves Stede, with his confidence and his insecurities and his frilly things and without his frilly things.
So much is about performance - performing masculinity, performing status, performing your own personality to fit in with everyone else. And it all ends with neither of them needing those performances to be loved.
Kinda the definition of unconditional love.
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wistfulcynic · 1 day
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just finished a full rewatch of OFMD season one, which i'd not done for a while, and am now deep in the shrimp emotions. Why is this show so good.
specifically i'm thinking about the beginning of 1x07 when Ed says he's thinking about leaving. On to the next adventure, etc. He says it so casually, like it's no thing at all, and it makes me wonder how that scenario might have played out.
There was a meta i read shortly after the season aired (sorry, can't remember who wrote it) which said basically the plan to leave is Ed's way of protecting himself. By that point Ed knows he's falling for Stede, they've had their almost-kiss in the moonlight, their tender bathtub moment. Ed knows, even if it's only subconsciously, that if he stays he'll just fall deeper and harder and that will leave him vulnerable in a way he's not quite ready for.
so i wonder what would've happened if he had left then. Not with Calico Jack in all the heat of fraught emotions but on his own terms before his feelings for Stede grew beyond his ability to control them. i wonder how he'd have coped with losing Stede then.
because at that point, he's got no real reason to think his feelings are reciprocated. Stede clearly likes him, says flat out that he's Ed's friend, but nothing he's said or done would lead Ed to believe it's anything more than that. And Ed, as we know, is convinced he's unlovable so of course in his mind Stede could never love him.
which means that if he'd left then he wouldn't actually have lost anything. Stede and the Revenge could be kept as a lovely memory of a brief good time in his life. He might pine a bit, maybe give himself the luxury now and then to think about what if, but i don't believe it would ever reach the point of painting cake toppers or even crying in a dressing gown. i think, honestly, that had he left then Ed would've been okay, or at least not significantly worse than he was before. Still bored, still wanting to get out of piracy, still feeling sad and lonely and unloved but at least he'd have the memory of his friend.
what eventually renders that scenario impossible--what makes him leaving on his own plausible while he could never truly have left with Calico Jack ("never left")--is that by the end of episode 7 Ed has started to have hope. He's started to think that maybe his feelings aren't one-sided. Maybe he can actually have Stede. Maybe he can actually be happy.
i've often thought (as ofc have others) that it wasn't the loss of Stede as such that brought on the kraken era. If OFMD had ended with a successful talent show and Ed and the crew deciding to be a sailing theatre troupe instead of pirates, even without Stede, Ed would've been okay. Broken hearts mend. What tipped Ed over the edge was the loss of his hope, and the better life he thought he'd found a way to have.
not quite sure where i'm going with this if i'm going anywhere, just... it's an interesting contrast and imo a quiet turning point that neatly underlines just how important this is happening really was.
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o-wild-west-wind · 7 months
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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
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ourflagmeansgayrights · 6 months
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"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.
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ulgapodatkowa · 7 months
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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.
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lightbluetown · 7 months
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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
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edscuntyeyeshadow · 4 months
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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
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thetardigrape · 8 months
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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.
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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.
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Drawn on facial hair. Spaulders. Bracers. Fishnet sleeves. A MOTHERFUCKING MULLET.
These badasses.
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The teeth and chains. SO MUCH MAKEUP. Big fancy coat with nothing underneath. Glam met goth and fucked out these looks.
And THE SWEDE!
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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.
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stedebonnit · 7 months
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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.
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three--rings · 6 months
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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.
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teeny-tiny-revenge · 7 months
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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.
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OK, but ignoring the whole weird Stizzy thing for a minute, let’s discuss that little arc with the training montage.
Because of course we see Izzy failing utterly at training Stede, and we see confirmation that Stede is not good at that kind of physical action: we see him unable to throw a punch, unable to hit a target, unable to swing on a rope. There’s no buildup cuts where he gets gradually better at it (as there usually is in training montages) and we never see anything that implies that Izzy helped him get better (not least because there’s no point later on where we SEE him being better). But we do hear Stede say that “his body takes over” when he gets into the midst of action, and he points out that he did indeed defeat Izzy in a duel.
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Later, we see Stede defend himself—he punches the guy who attacks him from the wardrobe before Izzy can even get his sword out. He turns and fires the gun in the air before any of the more experienced pirates can move to defend him. He does, in fact, respond quickly and effectively in the heat of battle. Which he has always done—he draws a knife on Izzy the first time they meet. Doug grabs his shoulder and he moves to defend himself.
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At no point do we see that Stede’s technical skills have particularly improved—he tries the same moves with Zheng that he did in the first duel with Izzy and he loses to her. He gets his sword stuck in a guy’s stomach. But what we do see, and have seen, consistently through both seasons, is Stede’s ability to survive. He’s not predictable, he’s not technically skilled, and he NEVER learns those skills with any degree of proficiency. But he is very adept at survival. He uses his unpredictability to his advantage and he makes it out alive. Not only that, his intuition and inventiveness help OTHER people to survive.
Stede didn’t win the duel with Izzy on a technicality; he won according to the rules while at the same time ignoring all the rules of dueling (he doesn’t know them!). He doesn’t survive in spite of his lack of technical skills; he survives because of that. And there’s no such thing as surviving on a technicality—you’re either alive or you’re dead, and Stede’s alive.
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Which is exactly what Ed says to him when they first meet: “Most of the pirates I know? They’re dead. So you’re doing a lot better than them.”
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blakbonnet · 6 months
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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
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dragonlands · 6 months
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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.
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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.
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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.
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ourflagmeansgayrights · 7 months
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godddd the way the original e5 “you wear fine things well” scene was backlit by a giant full moon that didn’t actually exist bc this was ed and stede’s fairy tale romance, the way they’re both all dressed up in finery and looking their best after a fancy night out (which didn’t go how either of them expected but that’s not the point the point is it was an Event it was a whole Thing they went to)
and then in the e5 “wear fine things well” 2 electric boogaloo scene the moon is a waxing gibbous because it’s real and stede’s wearing what remains of his fancy suit he had to get rid of and ed’s wearing a fucking. sack and a cat collar. and holding a fucking dead fish. and they’re just catching up after both of them had a pretty normal day doing their own things. this isn’t the picture-perfect fantasy from last season this is both of them grounded in the moment taking it slow because their relationship is worth handling with care. they want this to last and they want this to be real so they’re taking their time, being gentle. they’re not as completely absorbed by each other the way they were last season, they’re their own separate people who can exist in different plotlines for an episode and then come back at the end of the day and catch up, swap stories, kiss and hold hands and just hang out and enjoy being in each other’s presence.
now if you’ll excuse me. i have to go cry.
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ridleymocki · 6 months
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(seeing so many bad faith interpretations of the argument, y'all are really going to make me do this, okay HERE WE GO)
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What Ed says: "I think last night was a mistake. I'm not ready for... Whatever this is."
What Ed means: "I didn't want last night to happen so soon or under those circumstances. Things are changing rapidly, which makes me feel out of control and scared."
What Stede hears: "I regret sleeping with you. I don't want the sort of relationship that you're after."
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What Stede says: "It was a fine fish. It was... whatever. I was just trying to make you feel good!"
What Stede means: "I only cared about the fish because you cared about it, and I care about you. I liked the fish because it made you happy. Ordinarily, I'm ambivalent about fish."
What Ed hears: "I lied to you. I didn't care about your achievement I was just placating you to get what I wanted."
.................................
What Ed says: "Here's the news: I'm leaving. I got a job on a little fishing boat and I'm leaving. I'm a fisherman now."
What Ed means: "I think I need to be away from you to figure out who I am, because I haven't been able to do that while we're together, and your lifestyle now is the life I'm trying to leave behind."
What Stede hears: "I've made a decision to leave you and have a life without you. I don't value what we have enough to work with you to find a solution, I'd prefer to end it."
.................................
What Stede says: "Oh, Ed. Seriously? You're not a fisherman."
What Stede means: "I think you're using this plan to escape and avoid your problems. It sounds like you're pretending to be someone else. It seems to me like an impulsive decision and I am concerned."
What Ed hears: "I don't support this ambition. I think you're incapable. I don't think you can be different from what you have always been."
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This is the kind of analysis done in therapeutic environments. When I put what they mean, it's not just a rephrasing but a boiling down to the core issue. I could go on to the rest of the dialogue but do you see the continuing ship-in-the-night miscommunication?? It's tripartite:
failing to express one's current emotional reality with the most accurate and clear language, often because that reality is not fully understood to oneself,
misinterpreting the other's language, due to preexisting sensitivities and defensiveness about one's own understanding of the situation,
increasing frustration and sense of personal attack that results from those misinterpretations, which perpetuates and worsens the poor communication.
Importantly, this kind of pattern means you miss the best and most important kernels of communication in an exchange because you're reacting to the more inflammatory parts.
Stede: "This can be whatever we want it to be." (I am willing to make changes to our arrangement so that you're happy). Ed: "I don't even know who I am! Alright? I know I don't want to be a pirate. And you, you're blowing up, you're the toast of the town." (I think we want different things. You're just starting a journey that I've already finished).
With those two bits alone they could've sorted this out. The first is the answer to the second. But they didn't -- couldn't -- latch onto it because all their other baggage was getting in the way.
And I'm being proven correct that this is what is happening, because I have seen next to nothing on here about the above two lines, only reactionary takes of fans also focusing on the inflammatory parts because of their predispositions. You're doing an encore performance of what they're doing.
Point being, there are no bad guys in this scene, just repeated system failure!
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