This post contains spoilers for the end of Our Flag Means Death season one.
Traditionally, fiction centring on queer characters has tended to be anchored in contemporary realism, making genre works—sci-fi, fantasy, mystery, historical, etc.— exciting and notable. This is true for basically every field and medium you look to: statistical studies like Malinda Lo’s note that “Historically, LGBTQ YA books have mostly been contemporary realistic novels”, making the slow increase of more genre works for that demographic intriguing. In the world of anime and manga, yuri, BL, and more general LGBTQIA+ focused titles also tend towards realistic settings, making series like Otherside Picnic and The Executioner and Her Way of Life really stand out for their clear positionality in sci-fi and high fantasy respectively.
When we get mainstream queer titles onscreen, they tend to be the Love, Simons and The Miseducation of Cameron Posts of the world. And these, of course, are important advancements! Every queer film that hits cinemas, every queer series that hits streaming services, is part of the evolving history of queer storytelling, and dismissing any one of them because they’re “just the same realist tropes again” isn’t helpful.
But it does mean that when a major network releases a work of queer fantasy, sci-fi, or in this case historical fiction, it stands out as something new and noteworthy. And it opens new, unique possibilities and ways forward that ought to be studied and celebrated alongside the simple fact of a “gay pirate show” existing.Continue reading