Television series
Our Flag Means Death
A gentle, gorgeous mess of a pirate comedy: a bored aristocrat buys himself a ship and a crew and stumbles, gloriously unprepared, into infamy. It's slapstick and swordfights on the surface, but underneath it's a tender, patient love story and a comedy about men learning to be soft with each other. Funnier than it has any right to be, and sneakily devastating.
If you liked this
What We Do in the Shadows2019
Same deadpan absurdity, same gift for turning a genre premise into an excuse for character comedy, and the same Taika Waititi fingerprints all over the tone.
But It's mockumentary vampires instead of pirates, and the emotional stakes stay lower and sillier throughout.

Ted Lasso2020
Another show about an unlikely, emotionally open man leading a crew of misfits who slowly become a family, with the same trick of sneaking real feeling in through the jokes.
But Its earnestness is played straighter and less anarchic — no swordfights, and the comedy is gentler throughout.

Schitt's Creek2015
A privileged outsider dumped among people he doesn't understand, growing into someone better through sheer accidental proximity to love. The tonal arc from farce to tears is nearly identical.
But No adventure, no danger — it's small-town domestic comedy rather than open-water chaos.

The wildcard
Something you would not have found on your own.
The Crimson Pirate1952
This is the direct ancestor: a comic pirate adventure that plays swashbuckling for laughs rather than menace, proving the mash-up isn't a new idea, just a newly tender one.
Burt Lancaster grinning through acrobatic swashbuckling in a film that treats piracy as pure slapstick spectacle — swordfights as vaudeville, decades before OFMD made the same joke.
But Old-Hollywood pacing and broad physical comedy with none of the emotional interiority — a pure genre lark.

More like this (8)
Black Sails2014no page yet
The same historical pirates, same crew politics and mutinies, played completely straight and brutal. Great companion piece if you want to see the genre without the jokes.
But It's grim, violent, and takes itself very seriously — a real tonal 180 from OFMD's warmth.
Brooklyn Nine-Nine2013
Another beautifully cast ensemble comedy where a found-family workplace slowly reveals itself to be built on real love, loyalty, and very silly bits.
But Precinct sitcom rhythms instead of serialized adventure — episodic where OFMD builds toward something.

The Good Place2016
Big swings of absurdist comedy that quietly turn into one of the most sincere depictions of love and self-improvement on TV. The tonal whiplash will feel familiar.
But Philosophy-classroom energy rather than swashbuckling — a very different kind of premise engine.

Flight of the Conchords2007
Rhys Darby again, doing his specific brand of gentle, oddball comic sincerity, in a much smaller and stranger register.
But No plot momentum to speak of — it's musical-sketch comedy, low-stakes and meandering by design.

Party Down2009
A crew of disaster-prone underdogs stuck together by circumstance, bickering their way into genuine affection. Similar ensemble chemistry, much smaller canvas.
But Catering gigs instead of the high seas — cringe comedy with none of the swashbuckling spectacle.

Detectorists2014
For when you want the quietest possible version of this show's tenderness: two gentle men, a hobby, and comedy so soft it barely announces itself.
But Almost nothing happens, on purpose. If you came for adventure this will feel motionless.

The Pirates! In an Adventure with Scientists!2012no page yet
Same engine — a useless, sweet-natured captain and his devoted misfit crew — reduced to its purest, most family-friendly form, showing how flexible the premise really is.
Aardman's stop-motion comedy about a hapless, incompetent pirate captain desperate for glory, told with the same fondness for lovable losers at sea.
But It's a kids' film — cheerful, silly, and entirely without the melancholy or romance OFMD builds underneath the jokes.
Weekend2011
Strip away the pirates, the slapstick and the ensemble, and this is the emotional core OFMD is actually interested in: two men learning to let themselves be loved.
A quiet, unglamorous, deeply honest film about two men falling for each other over one short weekend — no costumes, no jokes, just the feeling OFMD is smuggling in underneath its comedy.
But It's intimate indie drama with no plot momentum or humour to soften the vulnerability on screen.

People
Cast
Writing
- David JenkinsCreator
- Eliza Jiménez CossioExecutive Story Editor
- William MenyExecutive Story Editor
- Zayre FerrerExecutive Story Editor
Production
- Adam SteinCo-Executive Producer
- Will WeiskeCo-Executive Producer
- Allen Marshall PalmerCo-Producer
- Todd KingCo-Producer
- Dan HalstedExecutive Producer
- David JenkinsExecutive Producer
- Garrett BaschExecutive Producer
- Taika WaititiExecutive Producer
- Alex ShermanSupervising Producer
- Alyssa LaneSupervising Producer
Recommended by
Pirates of the Caribbean: The Curse of the Black Pearl, Vikingane, The Legend of Vox Machina, Treasure Island