Captain Flint is a principal character from Robert Louis Stevenson's novel "Treasure Island" and not a figure from actual history. The series creates a prequel story for this literary character.

Eleanor Guthrie is a fictional character created for the series to navigate the complex pirate economy of Nassau. While her family might be very loosely inspired by merchant families who dealt with pirates, Eleanor herself is not a historical figure.

Long John Silver is another main character originating from Robert Louis Stevenson's "Treasure Island." The series portrays his earlier life and how he became the infamous pirate of the novel.

Charles Vane was a real English pirate active during the Golden Age of Piracy. While the show captures his reputation for violence and refusal to accept pardons initially, his specific relationships, extended storylines, and character depth in the show are largely fictionalized.

Calico Jack Rackham was a real pirate known for his design of the Jolly Roger flag and his association with Anne Bonny and Mary Read. The series depicts his historical presence but takes liberties with the timeline of his relationship with Anne Bonny and his overall influence in Season 1.

Anne Bonny was a real Irish pirate. The series portrays her as a formidable figure, but her relationship timeline with Jack Rackham and her specific actions are altered for dramatic purposes. Historically, she sailed with Rackham and Mary Read, who is not prominent in Season 1.

Around 1715, Nassau on New Providence Island was indeed a significant base for pirates, effectively operating outside the control of major European powers, earning it the moniker "Republic of Pirates."

The Spanish treasure galleon Urca de Lima was real and did wreck off the coast of Florida in 1715. While pirates, including Henry Jennings, did salvage some of its treasure, the specific narrative of Captain Flint's obsessive, large-scale hunt as depicted is fictionalized for the show's central plot.

Historically, Charles Vane was one of the pirate leaders who had significant influence and, at times, control over fortifications in Nassau before the arrival of Woodes Rogers.

The show effectively portrays how Nassau functioned with its own internal economy based on plundered goods, supplies, and services, managed by influential figures like the fictional Eleanor Guthrie, reflecting historical descriptions of the pirate haven.

The shifting alliances, betrayals, and power struggles among pirate captains in Nassau are a good depiction of the volatile nature of the pirate society. While specific interactions are fictional, the general dynamic is plausible.

Jack Rackham and Anne Bonny were historically linked. However, the series develops their relationship with more depth and alters the timeline of their partnership for dramatic effect in Season 1.

The Golden Age of Piracy was eventually curtailed by increased efforts from colonial powers, particularly the British Royal Navy, to suppress piracy in the Caribbean. This ever-present threat is accurately portrayed.

Keelhauling, while brutal and not as common as often depicted in fiction, was a historical form of punishment. Its depiction, though potentially sensationalized for drama, has a basis in maritime history.

The series explores motivations such as a desire for freedom, establishment of a self-governed society, and past grievances. While plunder was primary, some pirates did have broader anti-authoritarian sentiments, though the show's specific portrayal through Flint is largely fictional.

The core premise involves fictional characters like Captain Flint and John Silver interacting directly and significantly with historical figures like Charles Vane and Benjamin Hornigold in specific scenarios created for the show. These precise interactions did not occur.

The detailed treasure map for the Urca de Lima's schedule and its central role in Flint's initial quest is a fictional plot device driving the narrative of Season 1.

While women were present in pirate havens and some wielded influence in commerce, the extent of Eleanor Guthrie's overt control and authority over powerful pirate captains as depicted in Nassau is a fictional exaggeration for the series.

The series is set around 1715, accurately placing it within the Golden Age of Piracy. The general atmosphere of lawlessness and the fledgling nature of colonial outposts are well-represented for this period.

Nassau was a key historical pirate haven during this era, and the show's use of it as the primary setting is accurate. The depiction of a somewhat rugged, developing port town fits with historical accounts.

While visually striking, the costumes often feature more leather and modern aesthetics than would have been entirely accurate. Some sailors might have patched clothes, but the consistent "gritty" and often elaborate pirate look is somewhat stylized for television.

The ships are generally well-rendered, reflecting the types of vessels used during the period. Basic sailing maneuvers and the general appearance of the ships align with early 18th-century maritime practices, though some minor inaccuracies for dramatic effect may exist.

The types of weaponry used, such as cutlasses, swords, and flintlock pistols, are appropriate for the early 18th century. The style of fighting also incorporates elements suitable for the era.

The show portrays a dirty, rough environment, which is partly true to the harsh living conditions of the time, especially at sea or in a frontier port like Nassau. However, the level of pervasive filth might be somewhat exaggerated for dramatic effect in some scenes.

While pirates might have been less concerned with grooming standards, in the early 18th century, being clean-shaven was common for Englishmen. The variety of beards seen is plausible for a diverse pirate crew, but some styles might be more modern.

The show focuses heavily on the dealings of the main pirate crews and figures like Eleanor. While it touches on taverns and trade, a broader depiction of the everyday lives of ordinary inhabitants of Nassau is less detailed but gives a reasonable impression.

Captain Flint is from "Treasure Island." Season 2 heavily explores his fabricated backstory as a former Royal Navy Lieutenant, James McGraw, and his relationship with Thomas Hamilton, which are fictional constructs to explain his motivations and are not based on any historical pirate.

Eleanor Guthrie remains a fictional character. Her significant influence in Nassau, her direct dealings with all major pirate captains, and her journey to Charleston as depicted are narrative inventions for the series.

Long John Silver's development continues to be based on the "Treasure Island" character. His cunning rise within Flint's crew and his complex relationship with Flint in Season 2 are part of his fictional journey leading to the events of the novel.

Charles Vane was a real pirate known for his ferocity. Season 2 shows him taking an active role in Nassau's power dynamics and confronting Ned Low; however, his depicted killing of Ned Low is ahistorical as Low died later and Vane earlier. His character's motivations and some actions are heavily fictionalized.

Calico Jack Rackham was historical. In Season 2, his ambition to become a captain and his efforts to secure the Urca gold, alongside Anne Bonny, are central, but the specific circumstances, his level of success, and detailed interactions are largely fictionalized for dramatic purposes.

Anne Bonny was a real female pirate. Season 2 explores her internal conflicts and skills as a fighter. While her association with Rackham is historical, the depth of her personal storyline and specific actions in this season are mostly speculative and dramatized.

The Urca de Lima was a real ship from the 1715 treasure fleet that wrecked on the Florida coast. However, the show's depiction of its massive gold treasure being the primary cargo is an exaggeration (it carried more general goods and some silver), and the specifics of its recovery are fictionalized.

While pirates did salvage treasure from the 1715 fleet wrecks (notably Henry Jennings), the storyline of Jack Rackham specifically orchestrating the theft of the bulk of the Urca de Lima's gold as depicted in Season 2 is a fictional plot point.

The extensive flashbacks revealing Flint's past as a Royal Navy officer named James McGraw, his relationship with Thomas Hamilton, and their plans for Nassau are entirely fictional. This backstory was created for the show to give depth to the literary character of Captain Flint.

Ned Low was a notoriously cruel pirate, and Charles Vane was also a significant pirate captain. However, there is no historical record of Vane hunting down and killing Low; in fact, historical timelines suggest Vane was executed before Low disappeared from historical records.

The events in Charleston involving Captain Flint, Miranda Barlow, Lord Ashe, and the attempt to secure pardons or allies by leveraging Flint's past are entirely fictional. Charleston was a significant colonial port, but this specific narrative is an invention for the series.

Benjamin Hornigold did historically accept a pardon and became a pirate hunter, turning against his former brethren. The show depicts this turn, but his specific motivations and his death at Flint's hands are fictionalized.

The series continues to effectively portray Nassau as a lawless but organized society where various pirate factions and influential individuals vie for control. This reflects the historical understanding of the "Republic of Pirates."

Eleanor Guthrie's prominent role as a primary negotiator and power broker between the pirates of Nassau and colonial authorities (like those in Charleston) is fictional. While merchants did trade with pirates, her level of singular influence is exaggerated.

Ned Low was historically known for his exceptional cruelty, torturing captives and burning ships, which earned him a fearsome reputation. The show's depiction of his sadistic nature aligns with historical accounts of his behavior.

The idea of the Urca gold becoming a unified treasure to fund a pirate war against civilization, as envisioned by Flint and later managed by Rackham, is a fictional plot device. While pirates sought riches, this specific grand strategic use of one particular treasure is invented.

The entire storyline of Thomas Hamilton, his relationship with Flint (McGraw), his father's intervention, and his supposed commitment to an asylum (later revealed to be exile) is a fictional creation to drive Flint's character arc and motivations.

Charleston was a significant colonial port. The show captures some sense of a more "civilized" English colony compared to Nassau, but specific architectural details or social nuances might be generalized. The primary focus is on the fictional drama occurring there rather than a deep historical portrayal.

Spanish authorities did establish salvage camps to recover treasure from the 1715 fleet wrecks. The show's depiction of such a camp is plausible, though the specifics of its defenses and the events surrounding it are dramatized for the plot involving Flint and later Rackham.

The looming threat and eventual intervention of the Royal Navy to suppress piracy is a consistent and historically accurate backdrop. Season 2 begins to show more direct confrontations and the strategic importance of naval power.

The ships continue to be well-realized, and the general depiction of life at sea, including dangers and shipboard hierarchy, is strong. The focus remains on larger vessels, which, while used by some pirates, were less common than smaller, nimbler sloops favored by many.

Similar to Season 1, costumes are visually effective but often prioritize a "gritty" aesthetic with more leather and modern styling than strictly historical. The attire in Charleston attempts to show a contrast with the more rugged pirate look of Nassau.

Season 2 continues to explore the ad-hoc governance, commerce (including brothels and trade in stolen goods), and power dynamics within the pirate haven of Nassau. This provides a plausible, if dramatized, look at how such a society might have functioned.

The series shows the challenges colonial authorities faced in asserting control over distant territories and combating widespread piracy. The portrayal of figures like Lord Ashe reflects the concerns and methods of colonial governance, albeit within a fictional narrative.

The types of weapons (flintlock pistols, cannons, cutlasses) and the styles of close-quarters combat depicted remain appropriate for the early 18th century. The brutality and chaos of these engagements are also well-conveyed.

Captain Flint remains a character from "Treasure Island." His leadership in the war against Woodes Rogers and his alliance with the Maroon community are fictional expansions of his literary origins, not based on any single historical pirate.

Woodes Rogers was a real English privateer and later Royal Governor of the Bahamas, tasked with suppressing piracy. The show accurately portrays his arrival, his offer of pardons, and his mission to restore order, though specific interpersonal dramas and battle details are fictionalized.

Edward "Blackbeard" Teach (or Thatch) was a notorious English pirate. The show captures his formidable reputation and appearance. His interactions and specific role in the fight for Nassau alongside Vane are dramatized, but his presence in the region and general character are historically based.

Charles Vane was a real pirate known for his recalcitrance. His refusal of a pardon is consistent with his historical attitude. However, his capture in Nassau and public execution orchestrated by Woodes Rogers in Season 3 is a significant alteration; Vane was historically captured later, in Jamaica, and hanged there.

Long John Silver's ascent continues, driven by his cunning and the pirates' belief in his mythos. His critical role in the war and his relationship with Madi are part of his fictional development derived from "Treasure Island."

Calico Jack Rackham was historical. His ambition and desire for recognition are key. His handling of the treasure and his eventual involvement in the resistance against Rogers are largely fictional plotlines, though he was a known pirate in Nassau.

Woodes Rogers was appointed Governor of the Bahamas and arrived in Nassau in 1718 (the show's timeline is slightly earlier) with a King's Pardon for pirates who surrendered. This event was a turning point in the Golden Age of Piracy.

While there was resistance to Rogers, and some pirates (like Vane) defied him, the large-scale, coordinated "war" depicted, involving major battles and prolonged sieges led by Flint and Blackbeard, is an exaggeration for dramatic purposes. Rogers did face challenges but established control relatively quickly.

Charles Vane was hanged for piracy, but not in Nassau under Woodes Rogers' direct orders as depicted. He was shipwrecked, captured in Jamaica, imprisoned, tried, and executed in Port Royal, Jamaica, in 1721, well after Rogers' initial arrival in Nassau.

Maroon communities (escaped slaves) were a historical reality in the Caribbean and often resisted colonial powers, sometimes forming alliances for mutual protection or to raid plantations. The specific grand alliance forged by Flint with the show's Maroon island is a fictionalized depiction of this dynamic.

Blackbeard was active in the period and did have connections to Nassau and Charles Vane. However, his specific extensive involvement in a prolonged war for Nassau against Rogers as shown is largely fictionalized; his main confrontations with authorities occurred elsewhere, notably North Carolina.

This is a key element from "Treasure Island" for Long John Silver. The depiction of how he loses his leg and adapts is part of his fictional backstory created for the series.

Eleanor Guthrie is fictional. Her role as a key advisor and collaborator with Woodes Rogers, using her intimate knowledge of the pirates against them, is a narrative invention.

The vast Urca treasure, as depicted, and its central role in funding a large-scale pirate war against colonial powers is a fictional plot device.

While some pirates undoubtedly resented and resisted Rogers' rule, the highly organized, spy-like resistance network led by the fictional Billy Bones is a dramatization.

Conflicts and general lawlessness would have led to damage and disrepair in Nassau. However, the specific large-scale destruction depicted as a result of the "war" in Season 3 is likely amplified for dramatic effect.

Throughout the Caribbean, enslaved individuals continually sought freedom by escaping to join or form Maroon communities. The show's depiction of this process, driven by the Maroons' attacks and offering sanctuary, reflects historical realities of slave resistance.

With the arrival of Woodes Rogers and the pirates' resistance, Nassau is shown as a contested territory. This reflects the tension and potential for conflict during the historical period when British authority was being reasserted over the pirate haven.

Maroon communities historically established settlements in remote, often mountainous or heavily forested, defensible locations to maintain their freedom. The show's depiction of a well-organized, hidden, and self-sufficient community aligns with this.

The series portrays British soldiers (Redcoats) with Woodes Rogers. The uniforms are generally considered by viewers and some sources to be reasonably accurate for the period (circa 1715-1720), reflecting the military style of the time as Britain sought to project power.

Nassau had fortifications. The show depicts these being fought over and controlled by different factions. The scale and specific design might be dramatized, but the strategic importance of such a fort is accurate.

The series continues to showcase realistic-looking ships and plausible naval tactics for the era, including the use of fireships (which Vane historically used against Rogers' fleet, though under different circumstances) and ship-to-ship combat.

Brief depictions of the brutal conditions on plantations and the motivations for escape to Maroon communities are historically grounded. The system of chattel slavery was inherently violent and oppressive.

Season 3 effectively portrays the disruption and eventual decline of the freewheeling pirate society in Nassau as colonial authority systematically tightens its grip. This reflects the historical trajectory of the Golden Age of Piracy.

Costumes continue to be a mix of period inspiration and modern stylization. The distinctions between the rugged pirate attire, the more natural/practical clothing of the Maroons, and the formal uniforms of the British military help define the groups, though individual accuracy may vary.

Captain Flint's entire arc, including his climactic confrontation with Woodes Rogers and his ambiguous fate (either death or reunion with the fictional Thomas Hamilton), is a creation for the series as a prequel to "Treasure Island." He is not a historical figure.

John Silver is from "Treasure Island." Season 4 solidifies his legendary status among pirates and explores his complex leadership, all of which is fictional groundwork for his role in Stevenson's novel.

Woodes Rogers was a real governor who fought to suppress piracy in Nassau. While his determination is historical, Season 4 depicts his capture by pirates and eventual imprisonment, a significant deviation from his actual later life where he continued to serve as governor, albeit with financial troubles and ill health.

Eleanor Guthrie remains a fictional character. Her marriage to Woodes Rogers and her death during the conflict in Philadelphia are entirely fictional plot developments created for the series.

Calico Jack Rackham was historical. Season 4 sees him embracing a leadership role and attempting to shape the pirates' story. While his actual fate was execution in 1720 (after the show's general timeline), the series leaves him and Anne at sea, a more open ending before their historical capture.

Anne Bonny, the historical female pirate, continues her journey with Rackham. The show portrays her fighting prowess and loyalty. Similar to Rackham, her historical capture and unknown fate are beyond the series' conclusion, which leaves them together.

While Woodes Rogers did succeed in suppressing the "Pirate Republic" in Nassau, the show's depiction of a massive, prolonged final war with coordinated land and sea battles, and figures like Flint leading a united pirate army, is a significant dramatization. The historical end was more of a gradual suppression and dispersal.

Historically, Woodes Rogers was not captured and imprisoned by the pirates he was sent to subdue. He faced many challenges, including financial ruin and ill health, but his defeat and imprisonment as shown are fictional.

The concept of Captain Flint burying his vast treasure on "Skeleton Island" is a central plot point taken directly from Robert Louis Stevenson's "Treasure Island." Buried treasure was not a common practice among historical pirates.

Jack Rackham and Anne Bonny were historical pirates who sailed together. The show ends with them alive and at sea, which is plausible before their historical capture in 1720. Their ultimate historical fates (Rackham's execution, Bonny's unknown fate after imprisonment) occur after the series concludes.

Eleanor Guthrie is a fictional character. Her storyline culminating in her death during a conflict in Philadelphia is an invention for the series' dramatic conclusion.

This entire resolution for Captain Flint, including his supposed death or secret exile to a life with Thomas Hamilton, is purely fictional, serving to provide a complex end for the character and connect to the legend in "Treasure Island."

This directly sets up Billy Bones' role in "Treasure Island," where he is in possession of the map leading to Flint's treasure. It's a narrative bridge to the novel, not a historical event.

Maroon communities historically fought for and often secured a degree of autonomy and freedom through treaties or by maintaining control of remote territories. The show's depiction of their struggle and eventual (implied) security is representative of these historical efforts, though the specifics are fictionalized.

Woodes Rogers' governorship marked a significant turning point in the decline of large-scale organized piracy based in Nassau. While piracy continued elsewhere, its dominance in Nassau was effectively broken.

While many pirates had their own flags, John Rackham is often credited with popularizing the classic skull and crossed swords design. The show embraces this and has him actively promote its use as a unifying symbol.

The backdrop to the pirates' defeat is the increasing power and reach of colonial empires like Great Britain, determined to secure trade routes and assert control over territories. This is an accurate historical context.

Philadelphia was a major colonial port. While it had its share of illicit trade and smuggling, its depiction as a central battleground for the pirate war's climax involving Eleanor and Rogers is dramatized. The general atmosphere of a colonial American city is reasonably portrayed.

Skeleton Island is the fictional island from "Treasure Island" where Captain Flint buried his treasure. Its depiction in the show is purely in service of the novel's narrative and has no historical basis.

The show portrays Nassau as heavily impacted by the prolonged conflict, transitioning towards more established colonial rule. This reflects the historical shift away from a lawless pirate haven.

Season 4 effectively conveys the decline of the powerful pirate crews based in Nassau due to concerted efforts by colonial powers like Britain. This reflects the historical trend around the late 1710s and early 1720s.

Characters' attire often shows wear and tear consistent with ongoing conflict and dwindling resources. The contrast between the pirates, Maroons, and the more formal British forces continues to be visually defined.

The series maintains its strong portrayal of period ships and naval engagements. The tactics used in the final battles, while dramatized, are grounded in the capabilities of early 18th-century sailing vessels and weaponry.

The final season captures the sense of a losing battle for the pirates, with increasing desperation, betrayals, and individuals trying to secure their own futures as their world collapses. This is a plausible human element within the historical context.

The show illustrates the broader historical process whereby European colonial powers gradually extended their control, imposing their laws and social structures on previously autonomous or lawless regions like Nassau. This taming of the "frontier" was a key aspect of colonial expansion.