here’s the thing.
if you’re one of the people celebrating our flag means death’s cancellation for whatever reason right now, i need you to realize that this is just a sign that whatever you love is next.
and i’m not saying that out of spite. having your favourite show cancelled is awful, i wouldn’t wish it on anyone. but if our little-gay-pirate-show-that-could can’t get its third and final season, the future of queer media is extremely grim.
ofmd was the definition of a sleeper hit. hbo max had no faith in it when the first season came out. it gained popularity purely through word-of-mouth. but it became one of max’s biggest shows, and it’s since been marketed as their flagship series.
it was the #1 most in-demand series in the world for 8 weeks (7 of those weeks consecutively). it’s currently in the 99.7th percentile of the comedy genre, meaning it’s in higher demand than 99.7% of all comedy series in the u.s. it has a 94% audience and critics score on rotten tomatoes. it’s the most in-demand hbo original series even above euphoria, succession, and the last of us.
it was nominated for 16 awards for the first season alone, including a GLAAD award and a peabody award. the second season was just nominated for an art directors guild award, which it was previously nominated for and won in the same category for season one.
besides awards, ofmd is critically-acclaimed and praised for its representation (including a cast of majority queer, bipoc, and disabled characters) and themes of anti-colonialism, challenging gender norms/toxic masculinity, and self-discovery/acceptance. it also has a diverse team of directors and writers consisting of several bipoc, women, and queer/trans/non-binary people.
on top of all of this, the plan for the show all along was only ever for three seasons. david jenkins only wanted three seasons for the full romcom structure to tell ed and stede’s story. that’s it. nothing more.
this isn’t an attempt to make you care about the show. but ofmd’s cancellation isn’t just a loss for the fanbase and the cast/crew. it’s a sign that it does not matter how successful or profitable shows highlighting lgbtq+ (or otherwise inclusive) narratives are or how many big names are involved. ofmd would not have been cancelled if it were a straight romcom. they would’ve magically found the budget. but corporate greed doesn’t care about us. they have no respect for queer people or queer media. and in the age of streaming, it’s only a matter of time until we lose all of it.
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I think what makes Our Flag Means Death so remarkable in terms of representation is not just the broadness of it, but the depth.
We have an indigenous lead character, but he's not only that. He's also queer. He's a romantic interest. He's middle-aged. His arc portrays surviving trauma and abuse. It also portrays mental illness. And it portrays breaking free from toxic masculinity. And it never tries to put him in a box when he explores his masculinity and femininity.
We have a non-binary character, played by a Puerto Rican NB actor, but their arc is not about their gender identity and their coming out is simply a case of "Just keep calling me Jim". They have a romantic/sexual relationship with a black character, and never is this relationship or either of their sexual orientations or Olu's sex appeal as a fat person or "who even is the man in this relationship hahaha" questioned. When they get into a poly relationship, it's just accepted, instead of questioned or even defined.
These are just a couple of examples. It's not that Our Flag Means Death is the only or the first show with queer/BIPOC/disabled representation, because it's not. What makes the show remarkable is the unique combination of queerness, ethnicity, age, disabilities, life experiences, etc. that each character carries within themselves, yet none of these characters exist solely to appear as representation of any minority on screen. Their identities are not glued onto them, they're ingrained, but in the end, they're just people. Just like in real life. Identities do not work as plot points. Being queer is not a plot point. Being non-binary is not a plot point. It's just a small part of the whole complex experience of life.
OFMD is a perfect example of telling a queer story that doesn't focus on telling a story directly about the queerness itself. Because we have stories about queerness already. We have so many of them that it just feels like tokenism at this point to see yet another story about coming out or forbidden love or anything like that, even if it's well made.
This show took me by surprise with every new way of representation it offered, because each time it did the total opposite of what I expected. It took all the tired tropes and said, "Yeah, see these? We're not gonna do any of that." It delivered something I never thought I'd see on screen.
It never explains the characters' identities to the audience. It simply shows them exactly the way they are and lets you decide whether you see yourself in them, and I think that also allows the audience to question their own identities, to explore gender and sexuality freely without immediately putting labels on things.
People who never thought they might be trans or non-binary or queer in any way discovered their identities through the show. People who struggle with mental illness or trauma saw someone like themselves portrayed with kindness and respect on screen and were finally able to extend the same kindness to themselves. People who are always left out of romantic stories because of their age or body shape or the color of their skin finally saw themselves portrayed as desirable and worthy of love and romance.
That is why so many of us feel that, in the words of Ruibo Qian: "OFMD woke me up."
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Round 3, Match 3: Inspector Barnes vs. August
Submitted kids:
Inspector Barnes: Anthony Lockwood, Lucy Carlyle, George Cubbins/George Karim, Holly Munro, Quill Kipps
August: Hisoka Mikage, Chikage Utsuki
Propaganda under the cut!
Inspector Barnes:
1. “Mustn't be easy keeping those three (Lockwood, George, Lucy) alive”
2. “Serial adopter of waifs and strays, carefully hidden behind the guise of strict enforcer. He's a softie and we all know it.”
3. “Even though he'd never admit this be of his grumpy character Barnes really became a father for all members of Lockwood & Co. He was the only adult who cared about their lives and he tried to keep them safe and sound, but like all teenagers they didn't listen to him. But they always knew that if they had some prolems (which they actually often had) they could always ask Barnes for help, advice or support”
4. “Barnes adopted a smiling giraffe with a death wish and a blinding smile, a 5 foot Northern bitch who can and will fight god on a Tuesday, a researcher who likes sticking his nose where he shouldn’t and three people max, and a secretary who shot at least a dozen people and is way more badass than she seems”
August:
1. “august is the adoptive older brother of hisoka mikage and chikage utsuki. for context, these characters are all spies, and were invited into the organisation by august. (also known as misha sometimes). hisoka is december, and chikage is april! their collective group name in fanon is "gekkagumi."
the first interaction we see of him in game is him adopting hisoka off the street. he was a dying homeless child, and august invited him to join the organisation. at first he declined, but august kept coming back to him until he followed (despite chikage's protests about it) he fed fed hisoka gingerbread, and declared "we're a family now."
chikage was adopted before hisoka, but we only learned more about it later in the story. chikage was living in a "facility" when he runs into august who lives in the organisation.
despite their very harsh life, august really did everything he could to give hisoka and chikage the best life he could. he loved the idea of family, and always encouraged them to celebrate christmas and birthdays, and play games!
august had a cover job where he owned a candy store. despite it just being a cover, august loved it and had a genuine care for the children. he used to give away free sweets to the point his shop was actively going out of business, and whenever he saw a sad kid he'd try his best to cheer them up. people around the town came in just to talk to him, to the point where hisoka said when he was covering the shop for him, the first thing people would ask was "where's misha?"
in his shop, he also used to have a myth that if you wrote a wish on a certain brand of cookie's wrapper, the wish would come true. august spoke excitedly of the wishes kids would wish for.
events in the story lead up to august's untimely death. years later, hisoka runs into a kid who used to go to his shop. this child had wished to be a painter, and was now painting. he actually ended up in possession of a wrapper august wrote on which said ""a happy family."" however, the boy couldn't read japanese and didn't know what it said. despite that, he held onto the wrapper for years after august's disappearance. he also manages to draw a picture of him from memory. :((“
2. “he's so . gwahh he just wants to give them a nice family”
3. “please vote for august!! he is such a kind soul who shows so much generosity and selflessness despite the cruel circumstances he was stuck in.”
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