Prompt: If they had a kid
Arctaker Au
3rd: Jaune x Cerberus
Name: Jacob, Edward, Michael Arc the Prankster Triplets.
Gender: Male
General Appearance: Took after Jaune Arc but with long white hair and crimson eyes and dog ears.
Personality: Mischievous, Impish, Impulsive, Affable
Special Talents: Master Prankster
Who they like better: Jaune
Who they take after more: Cerberus
Personal Head canon: They share a mental link
Face Claim: N/A
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The more I think about it, the more heartbreaking the line: "I forgive you, by the way. For sleeping with Doug."
First, Stede doesn't talk about sex. He's angered by Calico Jack's questions and insinuations, and he's very clear that "Ed's past is Ed's business." He seems to have zero issues with his crew doing whatever they like with whomever they like, but it's clear he's not participating or particularly talking about it with anyone. We know his married life is loveless, and that he's a closeted gay man who's in love with another man for the first time ever, so sex is a difficult topic for him.
And the one time he explicitly mentions sex, to his wife, is to drunkenly and resentfully forgive her for sleeping with another man. It's harsh, and not just because he's drunk—he emphasizes it. He breaks the statement into two sentences, so that she's very clear what he's forgiving her for. She even seems shocked by it—this isn't something he does. From what we see of their married life he's oblivious and distant and awkward, but he's not cruel.
The whole sequence from the art opening onward is juxtaposed against the Ed and Izzy scene where Izzy bullies Ed back into becoming Blackbeard and eventually the Kraken. So this sequence is Stede's "Kraken" moment, as the scene escalates from the embarrassing meanness at the art opening to the cruelty in private.
But Stede lives in a different world than Ed, and his society is shaped by "cutting remarks." Where pirate violence is physical, Stede's is mostly verbal. He knows how to use language against people; it has been done to him, and we see him do it to the French ship, to Izzy, and to Chauncey. He’s very emotionally attuned and he’s adept at getting the knife in when he wants to. He uses it carefully, though, usually in defense either of himself or someone he loves. But if he were to become a bully, he’d be horrific.
We never see Stede being deliberately vicious to someone who doesn’t deserve it, and he's being deliberately vicious to Mary, a woman as thoroughly trapped in that marriage as he is (even more so, because she has very limited options for escape). What we know, which Mary doesn't yet, is that his viciousness is coming from the ache of what he left behind.
Stede was able to try to reconcile his return as "doing his duty" for his family, and what he finds is that his family have moved on. Not only that, but the wife whom he was at least imprisoned with, who at least shared in some degree his discomfort and unhappiness and was obliged to make it work with him as far as they both could, has found the love and pleasure that he's denying himself. He's isolated in a way he wasn't before. He wants to isolate her again so that at least he still has some kind of companionship, even if it's just in suffering.
Mary's fears are clear. If Stede decides that she can’t be with Doug, he has a LOT of power to stop her. He’s a wealthy male landowner; he legally owns her and the children. He can ruin Doug and he can make her life hell. He legally and culturally has a lot of control over her sexuality. I don’t think for one minute that Mary ever feared Stede their entire life and she fears him now.
It is cruel, and it's not Mary's fault. Nor is this who Stede is, or who he wants to be, though it's clearly a sign of who he can become. Again, like the scene at the art gallery, the scene between them is important to develop how repression and self-loathing can warp a person, even someone as genuinely kind as Stede. He is so desperate to “do the right thing” that he’s twisting himself up into the very kind of man who has hurt him. And beneath it is the longing for Ed and the love and passion that he’s denied himself.
That this all pushes toward a breaking point where Stede and Mary are finally able to understand each other, and Stede is finally able to say that he's gay and he's in love with Ed, makes that moment much more powerful. Mary was perfectly ready to hate him and at least save herself, but she helps him find the words to express who he is and what he feels, and who he wants.
The poison turns into positivity.
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I think I've figured out what bothers me about Izzy's death.
First of all, it serves no obvious narrative purpose, Ed and Stede stay behind to start an inn instead of getting revenge on the princeling, which makes it feel like Izzy died "for nothing".
Second, it's played, from when Izzy's shot all the way until he stumbles onto the ship, in the same manner in which the loss of his leg was treated, and we know he recovered from that one so we expected him to recover from this. There's no foreshadowing that this time might be different, no tricks that could have made us think it's more serious than previous wounds, and so it comes as an unexpected blow. I know that that's probably the point of it, of death being "unexpected" and "always striking when you least expect it", but you know what? Miss me with that bullshit. After the way Game of Thrones and Rowling have mocked fans who dared expect things like continuity and proper foreshadowing in storytelling, I'm done watching stories where the writers go against what they've foreshadowed just for the shock value. And I know that OFMD has been extremely good at storytelling so far, which is why this has disappointed me so much.
For that matter, speaking of storytelling, on this show, people have been repeatedly stabbed through the chest and strangled within an inch of their lives and shot through the leg and had their heads literally bashed in, and survived all that, and now, all of a sudden, now the show adheres to actual physics instead of operating on Vibes?
And then there's the fact that when you kill a character, you lose any potential for future character arcs and development, and Izzy still had so much potential! And now we've lost it, and for what? Again, it doesn't exactly drive Ed and Stede to do anything differently, they're still going to run an inn the way they would have if Izzy had lived.
All of that is to say that it feels like a betrayal from the show and its particular brand of storytelling to have killed Izzy in the manner that they did.
If they wanted the inn arc to go ahead, they could have had Izzy and Ed realize that they can be apart so that Izzy can keep being the pirate he wants to keep being and so Ed can retire, not... this.
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