In celebration of Our Flag Means Death season 2 coming out, here is a blog entry about why this show is completely brilliant.
Let the record show that this blog entry is edited down from a SIX PAGE single spaced essay that I wrote for literally no reason other than loving to write about art that I love. And also probably because I miss school? But I’ll keep things casual for the blog.
(Am I autistic? Yes.)
First of all, I fucking love that David Jenkins took all of the tropes of a romantic comedy and populated it with actual historical pirates (a convention carried into season 2!). But the actual brilliance of this show goes so much deeper. So as a big ole nerd with one degree in theatre and another in writing, I’m gonna break down why this show is so smart and lovely.
If you haven’t watched season 1 yet, go do that and then come back, because
***SPOILERS BELOW***
I’m gonna talk about flags and rom-com characters and feelings and lighthouses and touch and transformation. (I could continue talking about these things in season 2 but I’ll save that for another essay.)
FLAGS
There isn’t a verified historical record of the flag that the real Blackbeard flew, but the most commonly cited one is this one: a skeleton holding a spear that’s pointed at a red heart. In the show, when we first “meet” Blackbeard, his flag is just the skeleton. At the end of season one, after Blackbeard’s perceived abandonment by Stede, the flag has had a new section sewn on—the part with the red heart. (The DIY nature of sewing this addition echoes the first episode, when Stede has his crew sew flags for The Revenge.)
ROM COM CHARACTER 1: STEDE
Classic romance trope: The Sunshine to Ed’s Grump.
Stede is blindingly, adorably optimistic. He prefers gentler things, and we know that he always has, from the time of his childhood. (He is, after all, the man who got rid of gunpowder to make room for marmalade.) I think there’s also some interesting gender play at work here. Stede embraces who he is without pretense. He’s a bit of a clotheshorse, he loves books and flowers, and he’s horrified by violence most of the time. These are things that society often codes as feminine. But Stede is just Stede.
But even though Stede comes from a world of finery—wealth, fine fabrics, books—he longs for something more adventurous. It’s notable that the story Stede reads aloud to the crew is one of transformation. Pinocchio is a story of a wooden doll turning into a real boy. It’s the same transformation that Stede longs for. He’s been a bit of a puppet throughout his life so far…inheriting his wealth, an arranged marriage. Selling land and becoming a pirate is one of the first times that Stede is a “real boy.”
And he DOES have moments of strength, action, and courage. Taking the hostages back from Izzy and the crew. Banishing the ghost of Captain Badminton. Bringing down the boatful of high society folks with his “passive aggression.”
ROM COM CHARACTER 2: ED/BLACKBEARD
Blackbeard, by contrast, seems to be MOSTLY a man of strength, action. (He’s also the romcom “grump” in this couple.) When we first meet him, he drips with what society has coded as masculine. He’s wearing leather. He’s got a gun and a knife on him at all times. He’s all fire and action and swinging from ropes. And he’s got that BEARD.
But there’s also a softer man beneath all of that. An “Edward” who longed for fine things as a boy, even though he was told that he doesn’t deserve them. His mother told him that they simply weren’t “those kind of people.” Even his childhood act of violence—killing his father—was born out of a desire to protect those he cared about. After that moment, Ed sees himself as the Kracken, as the monster Blackbeard. His reputation is that of an other-worldly, inhuman villain. And although he truly believes that he doesn’t deserve the finer things, Blackbeard longs for them anyway.
And I think he recognizes the absurdity of the character he’s created. When Stede shows him an illustration of Blackbeard, Ed calls him a “fucking Viking vampire clown.”
ROM COM CHARACTER 3: IZZY HANDS
Whether Izzy Hands’ love for Blackbeard is romantic or sexual or strictly platonic, he takes on the role of a scorned lover/jealous ex. I think Izzy is in love with Blackbeard…but NOT with Edward Teach. His jealousy is not just about Stede taking a new place of prominence in Blackbeard’s life, it’s about the way that Stede is destroying the man that Izzy loves, the imaginary character of Blackbeard. He tells Spanish Jackie and the British that Stede has “done something to my boss’s brain.”
Izzy is the only other person who calls Blackbeard “Ed” or “Edward.” When Stede uses that name, Izzy violently corrects him. Even Calico Jack’s nickname for Blackbeard isn’t “Ed”—he calls him “Blackie.” Izzy thinks of himself as the most important person in Blackbeard’s life, which gives him permission to use this intimate name. But the irony is that Izzy’s loyalty falls apart when Blackbeard is being Ed. Izzy only loves the idea of Blackbeard, not the man beneath the costume whose name Izzy uses.
I also have a theory that Izzy was once a “Stede” himself in some ways. A man who worked desperately to kill any softness within himself, even though it still surfaces now and then. When Lucius asks him if he’s ever been sketched, there’s a split second when Izzy looks like he wants to connect, to be desired, to be a part of something. But he kills that impulse immediately and tells Lucius to fuck off.
Still, his ineffectiveness as a man of action parallels Stede’s. The crew is generally unafraid of him, and they mutiny almost immediately when he becomes their captain. Izzy is performing all of the trappings of violent masculinity, but it’s so obviously a performance that everyone else sees it as harmless.
CALICO JACK
Calico Jack is another ex, and he almost fills the role of “the one who got away.” If not quite that, he definitely serves as a reminder that Blackbeard has a past that Stede has no part in, and a path forward that Ed could take. Stede has been falling in love with Ed, but the character of Blackbeard looms large when Calico Jack shows up. Everything is a performance of masculinity with Jack. Stede can’t compete with it, but he also doesn’t seem to want to. Calico Jack and Stede LITERALLY have a pissing contest, which is fairly one-sided, and later Stede spends hours comparing himself to Jack while watching him and Ed on the beach through a telescope.
FEELINGS
I don’t think Edward realizes the depth of his feelings for Stede until the night of the fancy party on the ship. I think before that, he’s intrigued. He loves that Stede is doing something “original.” Stede is the break in Blackbeard’s monotony. I think Blackbeard sees Stede as his escape…literally. He makes a plan with Izzy to kill Stede and take his place as an aristocrat. (This plan is the exact one that Stede carries out with Mary later—a corpse showing up, horribly disfigured, but still identifiable.)
After Stede avenges Ed by passively aggressively destroying everyone on the fancy party ship, we get the lovely “you wear fine things well” scene. It’s in the MOONLIGHT, for godsake. Ed has decided that the rich are truly not his kind of people. But he still clings to the bit of red fabric from his mother from all those years ago. Without even knowing its significance, Stede tells Ed that he deserves it. That he’s very sophisticated. That he wears it well.
The fabric is red, and that Stede puts it in Ed’s breast pocket…almost like Ed’s very heart is “this tatty old thing,” and Stede puts it back into his chest for him.
(And it’s at the beginning of the next episode that we get a brief “falling in love” montage.)
As far as Stede goes, he doesn’t have a clear understanding of what love is for most of his time with Ed. He knows that he cares about him, but it’s not until Mary describes the feelings of being in love that Stede understands what he feels.
LIGHTHOUSES
There’s the scene when Stede says that he should have been a lighthouse to his family, a guiding light. Ed points out that people are supposed to avoid lighthouses, so that they don’t crack up on the rocks. But the reality is that lighthouses are both guiding lights and warnings. It’s a lighthouse that saves the whole crew from the Spanish in episode four.
I think Ed has created the character of Blackbeard to serve as a sort of shadow version of a lighthouse…the fire in his beard serving as a light, warning to stay away. Because he’s a monster—the Kracken who killed his father, who doesn’t deserve fine things because he and his family are “just not those kind of people.”
The tragedy is that when Ed goes towards the light of Stede, he breaks up on the rocks.
TOUCH
In episode five, when Ed and Stede attend the fancy party, there’s a moment at the dinner table when Antoinette reaches over to pick something out of Blackbeard’s beard. He startles so much that it’s violent. In episode seven, Stede and Blackbeard have a similar moment, but this time it’s relaxed and Ed is open and calm. When Calico Jack shows up, the use of touch returns to violence, even just casually. Blackbeard and Calico Jack initiate things like “whippies” and “yardies” and “coconut wars.” At one point, Blackbeard laughingly tells Jack to whip his balls, all as part of the maniacal, unhinged “fun.” All of the touch between Jack and Blackbeard is a heightened performance of masculinity. By contrast, Stede stands on the beach with a parasol while everyone else drinks plays with knives, not participating in the violence.
TRANSFORMATION
This theme is at the absolute heart of this show for me.
Blackbeard’s gender expression softens the more time he spends with Stede, eventually leading to him shaving off his beard, completing his transformation from Blackbeard to Ed. Right before he shaves is the only time we ever hear him refer to himself by his full name. “Edward Teach, born on a beach.” The next time we see him, he really is just Edward Teach. No longer Blackbeard. He’s ditched his Mad Max leather and his black beard, and is in soft, flowing fabrics. A billowy shirt for the kiss on the beach (where he says he just wants to “be Ed”). He wears Stede’s old floral robe during his time on the Revenge afterwards (the same one Stede wore while jealously watching Blackbeard and Jack on the beach).
Which makes his re-transformation at the end of the season all the more heartbreaking. He tries to “hold on by a thread” to this softer version of masculinity, sometimes by literally holding on to the threads of Stede’s old clothes. But in the end, the harsh Blackbeard version of masculinity takes over again.
He lets go of the fine fabric that Stede told him he wears well. He lost the finest thing he’s ever had—Stede—so he must not deserve the fine things after all. He lets go of his own heart. And in the next moment, he pushes Lucius overboard…the first time he’s actually killed a man since killing his father. Then he cuts off Izzy’s toe and force feeds it to him.
The transformation ends with Ed drawing the beard back on, with the addition of dark makeup around his eyes. (This look felt to me like a masculine echo of the “mascara streaming down her face” image, and we see this parallel even more strongly in the shot of Ed sobbing in Stede’s now empty quarters.) Masculinity is a costume he must put on.
And y’all there’s so much more. Ed and Stede’s musical theme—the little melody that plays in their moments of connection. The fact that so much of the fancy dress party scene is shot from lower angles, as if Ed has to look up towards them. The fact that the first time we see Mary, her dress style is from the 1850s even though it’s the 1700s, because she’s a woman ahead of her time. And the way that it normalizes queerness and anti-racism and women in positions of power.
DO YOU SEE WHY WE ALL LOVE THIS SHOW?
The way the fandom has embraced and celebrated and fan-fictioned and cosplayed and taken this show on as their own is just so beautiful. So consider this blog a part of all of that.
(And then someone tell me how to get into a writer’s room for a show like this.)
