thinking about how silver is in every way a combination of all of flint’s partners: thomas, miranda and gates.
he is gates because he’s the quartermaster, he is his second-in command, he speaks on behalf of flint, and he protects flint amongst the crew (from billy, from israel hands, etc) even though his duty is supposed to be for the good of the men, not for the good of the captain
he is miranda because flint lets himself be vulnerable with silver behind closed doors. conversations about life, loss, and love; conversations about the future, of peace, and of possibilities. he is flint’s tether, making sure to let him know there is a life beyond war and rage
he is thomas because flint props silver up, makes him feel invincible, and makes him king. they both have opposing opinions, but that’s exactly why they are good for each other; a good leader needs someone close enough to collide with because it ensures the best outcome of every decision silver makes. men like silver, need men like flint. and flint knows that silver is the best of all men, like thomas
but silver is not a “good” man like thomas, silver is not angered by the past like miranda because it is irrelevant to his story, and silver has followed flint's every word and every action without question unlike gates. he is all three of them combined, but at the same time, he is different from all of them
but what flint feels for all three of them is culminated within silver: he trusts him, he believes in him, and he loves him; that much is clear.
and silver predicted this from 3x10. so the moment silver steps out of that role as flint's ultimate partner, and began to defy him even after everything; it breaks flint's heart, and that ultimately became flint's undoing.
silver is the point that makes flint at his most vulnerable
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OFMD/GO crossover where Aziraphale and Crowley are invited to celebrate Calypso's Birthday and Aziraphale teaches Stede and the crew of the Revenge how to gavotte. Ed and Crowley watch while drinking wine.
Ed: "That one yours?"
Crowley: "Yeah. What--no, he's not actually mine. So to speak. He's an angel."
Ed: "Angel? Oh, mate, you've really got it bad, don't you?"
Crowley: "Do not."
Ed: "Do, too."
Crowley: "Not like I ever fantasized about him as a mermaid. Man. Mer-being."
Ed: "Fuck off."
(Crowley smirks while Ed looks annoyed as they both take another drink at the same time. Ed and Crowley's gazes drift back to Stede and Aziraphale respectively as they continue to watch them dance.
Fin.)
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Imagine you have a character, a broken, vicious man who bites and spits venom even at a person he loves the most, who pushes the buttons of his love just because this toxic familiarity is all he knows, just because it's all he feels safe doing. And then his love finds another person who brings out such a different part of them, a part this character never could or maybe just long forgot how to do. He drowns in jealousy, in his bitternes, he hurts his love, he hurts his love's beloved, their crew... And finally gets what he wanted. Finally has his Blackbeard back, finally can forget about the part of Ed he can no longer reach... But suddenly Blackbeard is unpredictable even to this character.
And suddenly everything changes as he slips and can no longer even enjoy the familiar toxicity because he saw something better and kinder and selfishly wishes for it too, despite it all. And suddenly he understands people around him, people who never saw the evil in Edward, and suddenly he realizes it's his fault. All of it, just a part of it - doesn't matter. He caused this and nobody is happy, not even him.
And then, despite everything, others start to care for him. They tell him "We think you're in a toxic relationship" as if they didn't know it was him who brought Blackbeard back and they hug him tight as if he wasn't the once to sentence them to this horror and they hold his hand when he panics. They experience kindness and hope in a miserable place, maybe a glimpse of what made Blackbeard so soft for a moment there. And when everything falls apart, when he takes the final tumble in this horrible dance he has with Blackbeard, somebody is there to hold him up. Somebody is there to criticize his drinking and make him a new leg and call him their unicorn. The character is "their bastard", he is part of them. He is part of something kind and accepting and he shyly embraces the new familarity-that-might-be, even when he still insults and retreats and bottles stuff up because maybe if he seems fine he can help others, maybe in the end he can be loved in a way as kind as theirs. Maybe he can have a family.
So once they are again in danger he takes the chance and speaks boldly and captures the ominous attention of the enemy. He takes a risk for them. He takes a bullet for it. He rests in the arms of his love and tells him he's sorry even when he could never accept the other's apology. He never gets the chance to try more and forgive more and try to be forgiven more. He can only ever serve as a tool for another character, can never evolve to existing on his own, to healing on his own.
You are Izzy Hands. You are drowning in your mistakes and the toxic familiarity you're too afraid to get out of. And once you dare to try...
The show would rather have you die than give you a chance at healing and happiness.
Your death doesn't prove a point and it doesn't mean anything. It's just cruel.
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Not that anyone cares but, in order to avoid spoilers I'll disappear when ofmd comes out until i can watch it.
I will be tagging my posts and reblogs with "ofmd2" (no space) so be sure to block that if you need 👌🏻
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thinking about the sheer contrast between potc where we have *insert crew* finding out there's a woman on the ship and enthusiastically and perversely start looking for her/making her VERY uncomfy by sexualizing her VS ofmd where we have the revenge crew finding out there's an afab person on the ship and asking them respectable questions from the get go, not ever sexualizing them once.
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