Pirates in the Queue: Anne Bonny and Mary Read Have Some Notes

Photo taken by Scott Bryant

In Disneyland California’s Pirates of the Caribbean ride queue, two legends bide their time, tucked into a quiet corner of the attraction’s queue. Anne Bonny and Mary Read—two of history’s most infamous pirates—are immortalized in a mural that most visitors barely notice. Their images are easier to catch from the ride’s boats, just before the adventure drifts back to port.

For the average park-goer, the mural is a blink-and-you’ll-miss-it detail, overshadowed by the spectacle of treasure, skeletons, and Captain Redd commanding the show. But Anne and Mary don’t seem to mind.

Pirates, after all, are experts at making an impact when it counts.

“Well,” Anne says, stepping out of the mural as the crowd ebbs and flows. She crosses her arms, tilting her head to inspect the painting. “Would you look at that? They didn’t even try to get it right.”

Mary steps down beside her, squinting at the artwork. “You’re not wrong. My hair never did that weird flippy thing. And since when did we ever smile like that?”

Anne snickers. “Never. Too busy staying alive. Seriously, who thought this was a good idea?”

Mary shakes her head, exasperated. “Men, obviously.”

Anne nods knowingly. “Oh, for sure. Look at this waist! When did I have time for that? Between climbing rigging and hauling cargo, I could barely keep my clothes from falling apart. And the blonde hair? Really?”

Mary smirks, brushing at her own tunic. “And me? They’ve got me standing like I’m afraid to get my hands dirty. Do I look like I’ve never held a sword?”

Anne rolls her eyes. “Don’t get me started on these outfits. Since when did we wear anything this clean—or this fitted?”

Mary lets out a laugh. “It’s all about selling souvenirs, isn’t it?”

Anne throws up her hands. “Unbelievable. We lived through storms, battles, and betrayals, and they shove us into a corner like we’re background props.”

Mary glances around the queue and grins. “Well, at least we’ve got an upgrade. These lanterns make us look pretty good.”

Anne steps back, admiring the mural with fresh eyes. “I guess. If we’re stuck haunting a “Disney theme park,” we might as well look the part.”

Mary’s grin widens. “They did ditch the bride auction, though.”

Anne perks up. “No more ‘we wants the redhead’? Finally! Took them long enough to stop selling women off like barrels of ale.”

Mary nods. “And instead, we’ve got Captain Redd. A woman running the show. Not bad for a ride that used to be all about the men.”

Anne chuckles. “She’s got the swagger, the rum, and the whole ‘take what you want’ attitude. Makes you wonder if she’s been reading up on us.”

“Maybe,” Mary says with a wink. “Though she’s got it easy. No disguises, no prison sentences, no blood on her hands. Just animatronics and a catchy tune.”

Anne smirks. “True, but at least women and little girls see her running things now—not standing on an auction block. That’s worth something.”

The faint sound of guests boarding the ride draws their attention. Anne and Mary exchange a look.

“You know,” Mary says, stepping back toward the mural, “I heard Captain Scarlett—Redd’s sister—is recruiting.”

Anne’s eyes light up. “Let’s sign up. Show these rookies how it’s done.”

LUMIVORE V1.1 — PIRATE COMMAND CANON
“Ship Deck, Late Light (Before Night)”

HORIZONTAL CINEMATIC IMAGE

A horizontal cinematic still set on the deck of a working pirate ship at sea, rendered in grounded, observational realism with restrained historical discipline. The image feels weathered and suspended rather than dramatic or climactic.

Captain Scarlett stands alone on the deck.

She appears in her late 30s or early 40s. Her posture is upright but settled, shaped by balance and habit rather than display. Both feet rest evenly on the deck. She does not pose. She does not brace herself for action.

Render Captain Scarlett’s attire with restrained red continuity — a weathered oxblood or rust-toned coat, sun-faded and salt-dulled, with uneven wear and patching; avoid saturated crimson or uniform color dominance.

Establish Captain Scarlett’s hair as unmistakably red at rest — rusted copper tones with matte texture, sun-faded and salt-worn, visible independently of sunset lighting; avoid glossy highlights or romantic saturation. The tricorn hat sits worn and practical, its feather broken and flattened. A single pearl earring remains — not decorative, simply retained.

A cutlass hangs at her side, its metal darkened and worn smooth by use. A pistol rests in her sash, partially obscured by fabric and angle. Neither weapon is emphasized.

The belt at her waist holds ordinary items — keys, coin, rope ends — not trophies. Nothing is arranged for meaning.

Her expression is calm and unreadable. No grin. No anticipation. She looks outward toward the sea without urgency, as if measuring weather rather than enemies.

The ship around her shows labor and age: scarred planks, rope under tension, sails marked by repair. The sails catch light unevenly. No enemy vessel is visible.

The sky is late-day light, muted and settling. Color exists, but without intensity. No fiery sunset. No symbolic sky.

The sea moves steadily. Wind is present, not theatrical.

The camera observes from eye level at a modest distance. Foreground rigging or railings partially interrupt the frame. Captain Scarlett does not dominate the image. The ship holds her.

The mood is weighted and unresolved. This is not preparation. This is not aftermath.

It is simply a moment where command continues.

🎞️ COLOR & TEXTURE NOTES

Muted maritime palette

Soft contrast

Natural daylight or dusk

No dramatic sky

Subtle film grain

❌ NEGATIVE PROMPTS

No heroic stance

No enemy ship

No symbolic sunset

No victory trophies

No empowerment iconography

No cinematic climax

CANON POSITIONING NOTE

This image represents authority without performance.

Power exists without spectacle
Survival replaces legend
Command continues without announcement

It belongs in Lumivore as a moment where leadership is present — but not dramatized.

As they fade back into the painting, another pair of guests wanders past.

Two women pause, glancing at the mural.

“Anne Bonny and Mary Read?” one says, squinting at the names. “Weren’t they real pirates?”

Her friend nods. “They were. Total badasses. I think they disguised themselves as men to fight alongside the crew.”

“Yeah,” the first one adds. “And didn’t they hold off a whole ship’s crew when everyone else surrendered?”

From the mural, Anne whispers, “Now that’s the kind of guest we need more of.”

Mary grins. “Told you someone would notice.”

The two women in line continue their conversation, oblivious to the mischief lingering in the painted figures’ expressions.


If you ever ride Pirates of the Caribbean at Disneyland Park in Anaheim, California, take a moment to look closely—you might just catch the spark of two legends refusing to fade away.