Tumgik
#but I do feel like part of the way Eliot and Nate connect is they both find something that they'd been missing in the relationship
firebirdsdaughter · 2 years
Text
The more I watch it…
… I definitely think the reason the Nate and Eliot relationship gets overlooked is that it’s very tacit and unspoken. These are two guys who do not discuss feelings, at least not directly, instead they just steadily… Fall into a pattern, they develop a system. The trust and loyalty between them isn’t spelled out in long speeches or discussions; it’s in the way Eliot starts to look to Nate for a cue if he should engage; Eliot allowing Nate to pull him back; it’s Nate never trying to force details of Eliot’s past from him; the way Nate only ever doubts Eliot once and then never again; the way Nate looks at Eliot after being forced to take a drink in the Bottle Job, or any other time; their conversation about the bank robbery in the Bank Shot job; Eliot being willing to kill for Nate; no matter how far on a bent he is, it’s in Nate never asking him to; it’s in Eliot and Sophie worrying about Nate’s destructive behaviour and his drinking; Nate telling Eliot ‘get them to the chopper’ rather than ‘get to the chopper’; it’s every time Eliot speaks out about a play or choice he doesn’t agree w/ and calling Nate out; it’s them sitting in silence in the bar; it’s the way Eliot falls in at Nate’s shoulder, or shifts in front of him in case of threat; it’s Eliot doing things Nate asks even when he complains; it’s Nate honestly responding when Eliot confronts him; it’s the Zanzibar Job; Eliot being mad Nate (and the others) left the baseball game early; Nate trying to protect Eliot from being forced to do the fixed fight; his panic at thinking Eliot’s been shot for a moment; Nate sounding for all the world like a proud dad during the country music ep; the exchange at the end of the cheerleading ep; them both harping on Hardison to tip the messenger; Nate trying to curb Eliot’s flirting; watching sports together; it’s the tiny glances they exchange or they way they sometimes move in sync.
Leverage Inc has no hierarchy, not really, not in the usual sense, but they fill their own roles based on their strengths and personalities. There’s no outright decision, no official acknowledgement, but they don’t need that. Nate and Eliot settle seamlessly into not just the roles of a mastermind and his loyal, trusted, and competent lieutenant and enforcer, but also something reminiscent of a father and an eldest son. They are actually one of the closest bonds in the whole crew (which is comprised of very close bonds, to be fair, but hopefully you get the point), they just do it so naturally and almost in the periphery that it can go unnoticed/understood very easily.
433 notes · View notes
unloneliest · 6 months
Text
im so fucking good at making sexy little leverage aus and then never writing them. this is my ma spencer au, which has been lifted directly from my twitter with minimal editing, & which i am haunted by always.
ok so the au. this is going to be very long. every time i listen to spent gladiator 2 by tmg i think abt the leverage team/eliot specifically.
lyrics for context:
Tumblr media Tumblr media
so i was thinking abt an au where eliot was never on the team, bc like. eliot fully got Out of the game, but interacts w them on an early case and ends up falling in with them anyways? BUT i also think a lot about how hard it'd be for any of them to retire bc there's people who hate them who know their faces, yknow? so how WOULD eliot be able to have retired &what has to change for eliot to be that comfortable getting out?
so i figure he maybe got out of the moreau situation earlier. maybe he broke up with the horse girl but they stayed on good terms, and maybe he never did the worst things he ever did for moreau because he had his Getting Out Of There chef connection moment sooner.
but that doesn't undo how recognizable eliot would be to various parties and i was like. well then. what if the chef who was that pivotal person for eliot was a trans woman and was as pivotal with eliot being gendery as she was with eliot retiring?
so like. early 2000s nonbinary/transfeminine he/she eliot spencer finding a few small towns to live in pretty at random but having a home in each one and cycling through them with no discernable pattern?? and being a loved part of the local queer community in all of them?
it's similar to my "eliot never left home and is luke gilmore girls but also co-created a queer bar in his town" au (aside: thank you @lycanqueer for pointing out that connection ages ago, i have been unwell about it ever since).
like . eliot!!!!! eliot probably first connecting with the team bc of the two horse job and slowly begrudgingly helping, joining in on the tap out job, etc.
eliot being like a parent figure to various queer kids in the different towns and they call him "ma spencer" and she wears his practical boots with flannels still but maybe they're with a more feminine tank top and maybe you're as likely to see ma spencer in a no nonsense knee length skirt as a sturdy pair of jeans. and maybe sometimes he braids her hair . and she's mr. spencer too and well respected by the folks of whatever town he's staying in, too stubborn and helpful and intimidating not to be!
eliot being openly down for a casual relationship both with parker and hardison from when she first gets to know them onward—and him keeping his past quiet still, but it getting harder to keep the parts of her life seperate as he finds herself getting closer with the team & with more serious feelings for parker and hardison.
maybe the team's hitter is Tara? i feel like she's capable of that? but she has to be the grifter when sophie goes on her break and eliot joins in "Just Once" but it ends up being more than that.
eliot would have a lot of complicated feelings abt joining in—like, both being happy with the peace she found & not wanting to risk that but still feeling like he needs to pay penance and that this is a way to do that.
and then season 3 hits completely different. i think this eliot would talk about his past once she found out they were targeting moreau, but i think team dynamics would overall be super different in general. the team would be way less of a unit with nate than when you see things from his perspective—espeicially without eliot always there to insulate the team from the worst of him.
anyways im gonna be thinking about this for the next 800 years. will i ever write this fic? probably no. but ma spencer is so real to me
58 notes · View notes
cminerva · 2 years
Text
The French Connection Job has a cozy feel. The stakes are just high enough to cause some angst for Eliot and the others are happy to step in and help someone who means a lot to him. The job itself is pretty fun, but the episode also includes a lot of moments (Eliot and Parker discussing personal passions, Nate and Sophie's little interactions) that can only happen because of how they've grown individually and together and that feels well-earned and lovely.
An old friend of Eliot's is beaten. Nate watches while Eliot while he reacts to this news. (On a side note, Nate's hair is…better than usual? Still looks like he just rolled out of bed and not necessarily in a sexy way. But overall, a bit more...kempt.)
This old friend - Toby - is the man that taught Eliot how to use a knife to create instead of destroy. He was one of the men that kept Eliot from falling all the way down...now Eliot is asking the other man, Nate, to help. I don't think Nate really needs Eliot to spell out his reasons, but I think he wants to hear it anyway.
LASERS
Parker is feeling down because she doesn't have a passion. "Teach me to like stuff." I love that she trusts Eliot with this vulnerability, but I love even more that in Redemption, she nurtures her own interests and is able to identify those without needing to ask others for help.
Lolll "male cougar"
Gnar Slabdash...the n is mostly silent. A food mover. I love when Nate goes all in on the detailed absurdity.
Eliot only started feeling again after he learned to cook. So he shares his feelings through cooking. It's his art.
"I'm always careful." Well Nate, if you're gonna use your sexy voice... 👀
Eliot fights while still keeping the kitchen running. Bless the kitchen crew for just accepting this as part of their chef's angry nature.
Nate says Parker doesn't like anything but then Sophie immediately tells Parker to think of the first time she stole something, and Parker immediately lights up. She loves stealing!
The kitchen scenes are so fun. The bit with new goons going into the kitchen one by one and one by one being defeated while the kitchen crew just struggles to keep up with their tasks and mostly ignores the intrusions is just excellent.
The knife sequence with Rampone is fun…it's tight, controlled, the stakes seem high, and Rampone is a good opponent with actual skill. There's also the weight of Eliot fighting someone who knew him Before and who's hurt someone Eliot cares about and feels indebted to.
Nate quietly steps in and calls Eliot off, and Nate even delivers the final punch himself. I don't think Eliot would have really killed Rampone, but it was a nice touch to wrap up the episode with someone Eliot can trust to keep him from going too far being right there at his side.
Loll Nate making fun of Hardison's "laser".
Parker goes to a museum to discover what she loves and connect with the feeling of contentment that comes with doing what you're meant to be doing. I really think the disconnect wasn't that Parker didn't have a passion, but that she didn't fully understand how to identify her feelings and needed Eliot (and Sophie) to help.
I've seen some people complain that Parker doesn't love art the way the ending suggests, but I've never read the ending that way? Parker loves shiny, difficult to obtain things. She loves the process of breaking in, planning just how to defy the odds (and the rules). The objects are just prizes and planning a museum break-in on her own to admire a piece of art, just for the joy of being able to do that, is what I've always taken from this scene.
265 notes · View notes
asphyxiatedredherring · 9 months
Text
This is my gift for @fourdollarwords in the Leverage Gift Exchange! ( @leveragegiftexchange )
I decided to make a playlist of songs I felt fit the show in general, the thiefsome, and as well as each character!
It is quite a weird mix of music
I tried to keep it short, and some characters were easier to come up with more songs than others, but everyone got at least one.
Under the cut, I'll list each song and why I chose it. (It's sorted in categories as well as the order they appear on the spotify playlist, which I recommend listening to it in).
I hope you like it!
Nate:
Another Shot of Whiskey by The Gits - it's about drowning your problems in alcohol, I think we can all see the connection.
Behind Blue Eyes by The Who - the villain theme for the rock opera that never happened. The villain doesn't want to be the villain though, he was forced into that role and no one can see the grief that caused. It really lines up with Nate's story line.
Renegade by Styx - This is a song about a criminal who has been caught and is about to be executed. This song makes me think of The Maltese Falcon Job.
Well Respected Man by The Kinks - I think this represents the life Nate wanted for himself, Maggie, and their son where they are all happy and healthy but in reality Nate knows this is not how his life went and he is not this well respected man.
Breaking the Law by Judas Priest - the song seems to be about a man who was fired from his job so he started breaking the law. I'll let you draw those connections.
Alcohol by The Dropkick Murphys- he's an alcoholic from Boston what more can I say?
Sophie:
Who Do You Want to Be? by Oingo Boingo - its the art of the grift. Sophie makes herself into different people, deciding who she wants to be each day, everything is an act, a character maybe even losing herself along the way
What's Behind the Mask by The Cramps - as a grifter Sophie is always wearing a mask, Sophie isn't even her name. Her family wants to know what's behind her mask, let her know that she is safe to be herself.
Hardison:
Maneater by Hall & Oats - we know Hardison loves Hall & Oats. Best if listened to while Parker autism bites him.
Shout by Tears for Fears - I headcanon that Hardison loves synthpop and this song is a perfect example of that
Rebels With a Cause by The Dropkick Murphys - This song reminds me of the line where Nate calls Hardison "a 24 year old genius with a smartphone and problem with authority." He may have been ignored as a kid, but he's making a difference now. "Don't be angry with the kids Be angry with the greed."
Parker:
Runaway Train by Soul Asylum - I feel like this song really represents Parker's childhood
Never Go Hungry by Hole - I think Parker would have started with stealing food and this is like her internal monolog rationalizing it because stealing became a key part of her personality
Been Caught Stealing by Jane's Addition - Stealing, simple as that. She's a thief. If she wants something she simply takes it. I think it's just a fun catchy song she'd like.
Eliot:
The Boxer by Simon & Garfunkel - Despite their wishes, Eliot left his family and became a fighter just like the protagonist of the song. No matter how hard he tries to escape, the fighter remains. I could write an entire essay about how the story of this song and Eliot's story line up.
Guilt Within Your Head by The Gits - Eliot has so much guilt built up in his head over his past, being unable to forgive himself he created his own hell but he can escape it through forgiveness and redemption.
Bullet With Butterfly Wings by Smashing Pumpkins - I feel like this song fits Eliot because like the song says Eliot still feels like he can not be saved and is trapped in a cage, despite how angry he is.
Rooster by Alice in Chains - Even though it's a song about the Vietnam War I feel like it can still represent Eliot's life, joining the military and his career as a hitter in which people are constantly coming to kill him, yet he won't die.
Harry:
Ironic by Alanis Morissette - I think Harry would love Alanis Morissette. Hands down. No further notes.
Breanna:
Just a Girl by No Doubt - People frequently underestimate Breanna and I think this feminist anthem conveys her anger with that.
Seasore by The Regrettes - "You're talkin to me like a child Hey I've got news, I'm not a little girl" So much of Breanna's character is wanting to prove herself, that she is capable and not just someone's kid sister and I think this song conveys the anger that comes with being underestimated and judged for your age or gender.
Youth Gone Wild by Skid Row - Breanna isn't interested in conforming to society's idea of what she should be. She has been called a problem child, but she doesn't care because she will stand tall and be herself.
The Thiefsome:
Love in an Elevator by Aerosmith - Hardison would think it's funny but Parker would latch on to it. I'll be citing the first episode for this one.
What I Like About You by The Romantics - I may be stretching this one but the parts of this song can be applied to aspects of the ot3 and them expressing their love for eachother. "Keep on whispering in my ear" fits Hardison talking to Eliot and Parker through the coms, "you really know how to dance" represents Parker's acrobatics and thief skills, and "you keep me warm at night" Eliot is a grounding presence for them at night and they love eachother.
Iris by The Goo Goo Dolls - they are all broken in their own way and it doesn't matter what the world thinks, just that they have eachother.
The Crew in General:
Head Like a Hole by Nine Inch Nails - the people with power have the money and they aren't using it properly. But Leverage won't bow down despite what the mark wants. I just think this song encapsulates the anger they have with each mark and their desire to give the mark what they deserve.
And Justice for All by Metallica - I debated putting this song under Hardison but I think it could fit the whole crew. It's about how money has corrupted the justice system. The truth is gone but the crew is working to bring it to light and reinstall justice (in their own way).
Ain't No Rest for the Wicked by Cage the Elephant - there is no rest for the wicked and no shortness of evil in the world which makes Leverage necessary. "The rich and powerful take what we want. We steal it back for you."
We're Not Gonna Take It by Twisted Sister - I think this song does well to represent how Leverage is fighting the system and the people that abuse it.
Take Back The Power by The Interrupters - I could also write an essay about this song and its correlation with Leverage but to boil it down, Leverage is working to fight the corruption of the world and fix what they can. They are taking back the power.
Hunger Strike by Temple of the Dog - this is practically the Leverage theme song. "I don't mind stealin bread from the mouths of decadence But I can't feel on the powerless when my cup's already overfilled" It's a song about stealing from the rich, class divides, and how the rich get richer but the narrator refused to join them and would rather starve than be like the rich and feed on the poor.
The Men Who Rule The World by Garbage - a song about corruption, money, and violators, the very thing Leverage aims to destroy.
14 notes · View notes
geekynightowl1997 · 4 months
Text
Okay, so I finished re-watching Leverage Season 1... well minus The Second David Job, but I remember alot of that episode.(just to make sure I have everything semi-correct. Obviously my goal is to have ALL correct- but I am aware that I miss things.)
So- let's talk Leverage and Leverage Redemption. Let's discuss the characters, cons, and just- everything shall we?
As many of you know- my favorites hand down are Eliot, Hardison, and Parker. There's just something safe and comforting about their friendship/relationship. There is just something easy going about the three. From the very beginning- they worked together effortlessly. They connected well with each other and you don't see that a lot. Each of them had their part to play and they didn't overstep the boundaries of each other. Like Hardison didn't play the hitter or thief- that wasn't his job. Eliot didn't play the thief or hacker nor did Parker play the hitter or hacker. And if they did- isn't wasn't to take control; it was because they were in a jam and desperate to get the team out safely.
Now- Nate, Sophie, and Harry are my next favorite. Nate was definitely the drunk dad. However- he wasn't dangerous and Sophie did an excellent job of keeping him in line. Would he make snide remarks at times? Absolutely. Did he push to hard at times? Yes he did. But if you think about it- it was good for this ragtag team. Nate knew what they could do- what he wanted to know was- what was their breaking point. How far could he push- before they all had enough? (I'm pretty they each had their moments- but like Eliot said once; "Nobody tells me to walk away. I decide that.") Nate was a good mastermind. Sophie is definitely the annoyed/exasperated mom. Not only does she have to cut off unnecessary arguments between the children- but she has to deal with a drunk father. She's good with people. Knowing what they want and how to give it to them. That's her job to know people. It's how she's survived so long. Harry is definitely the struggling uncle. This man doesn't know where he fully stands. All he knows is; he's done a lot of bad in this world- and he wants to be redeemed. What better way then to be a good bad guy. If Nate see's the world in black and white- than Harry see's it in shades of grey with blobs of color.
Now- I don't know how you all feel- BUT I'm not a huge fan of Breanna. For me- she's like that annoying cousin that follows the older cousins. She's just too much all at once. I understand that she wants to prove herself- but she just felt like she took over the whole room. It wasn't that she didn't have anything to bring to the table- it's just... she was a lot. ( I don't know how else to describe it.)
Over all- I love Leverage and I'm on the fence about Leverage Redemption. I love how they all work together. How it's literally a family.
I love how they don't know how to work together- but still seem flawless at working together. I love that easy going banter between the OT3. How Eliot allows Parker to poke, prode, and put hats on him. How Parker feels safe around Eliot. I love how Hardison and Eliot respect Parker. Sure she might be crazy- but only they can say that. Only Eliot can say that Parker has something wrong with her. That Hardison understands Parker? I love that! The way Hardison isn't really that upset with Eliot whenever he does geek speak and Eliot is all huffy. Or how Hardison does his own way of poking and proving Eliot. (I love these three your honor! I do.)
I love how Eliot isn't afraid to call Nate out. How Nate isn't afraid to push... as long as he puts himself in the same position. I love how they aren't huge fans of Sophie's acting- but are impressed with her acting. I love how they get so use to each other.
I love how they don't mind ribbing each other! The ribbing doesn't even change when Harry and Breanna join. They all do it. It's what makes them a family.
The cons are just as flawless as the characters. There are certain episodes that resonates with me. Just like there are episodes that resonate with you all. And they just give me hope that everything will be okay. The Low Low Low Price Job and The Belly of the Beast Job are the two that affect me the most. Though they aren't my favorites. Still, they pull it off and it gives me hope. Makes me feel all fuzzy and warm. Their criminals- and their looking out for the little guy. Watching the team actually care about the clients helps humanize them.
Lastly- I love their quips. The quotes they say. I can't tell you how many times I quote the team. Between things like; "No stabbing." To "You think she dresses like a nun for no reason?" "It's Parker." To "Not Lucille! Get that look outta your eye." To "Parker made me do it." To "You do trust me, don't you Eliot?" To the more heartfelt ones like: "We are all addicts! We are addicted to our past!" And "Depends on the torture, depends on the man." And "I'm not crazy!" (I can't think of any Harry and Breanna quotes at the moment.)
Watching this show- it makes me feel like I'm part of the team. It makes me feel like I'm apart of the family. And I so want to be.
Finally, Leverage is the literal definition of the saying; "Blood of the covenant is strong than the water of the womb."
If anybody ever asks me for a found family recommendation: Leverage is it!
Thoughts anyone?
4 notes · View notes
pale-silver-comb · 4 years
Note
So I know absolutely nothing about Leverage except what I've been seeing you post lately and I have to admit you're making it look tempting to watch! Can I ask what are some of your favorite things about the show/reasons you would suggest people watch it? And is there really a poly relationship that is canon?
Okay. Okay, okay, okay, okay, okay. I am going to do my best not to just “asdfghkjl” at you and answer coherently.
In a nutshell, Leverage is about 5 people. 4 are criminals (Parker, Hardison, Eliot and Sophie) with different and unique skill-sets and 1 is an ex-insurance investigator (Nate) who, at one point or another in his career, has tracked down (or at least attempted to) the other 4. The whole show is essentially: man reluctantly reforms 4 criminals to use their criminal powers for good and 4 criminals move into man’s life and stubbornly refuse to leave because, goddammit, now they have morals. 
I’ve got a lot of favourite things about the show but the main ones are as follows:
1. Found family. And I’m not talking about loners who come together to fight crime and happen to co-exist to the point where they realise they happen to have found themselves a family. I mean, Nate and Sophie are the Drunk Uncle and Wine Aunt who somehow become Mom and Dad to 3 beautiful criminal children. Mom and Dad love their criminal babies and the kids love them (as well as each other, but we’ll come to that in a moment). You get amazing family moments such as: Mom and Dad packing the kids lunch before sending them out to kick corporate greed’s ass; Mom and Dad giving the kids ridiculously expensive and personal Christmas presents causing their most Grumpy Kid to go very very quiet and soft as he runs off to gleefully play with his new murder toy; the kids interrupting Mom and Dad’s big Movie Style Kiss to ask if they can please keep their new underground layer and huffing and puffing when Dad tells them no.
Tumblr media
2. Found family: the OT3 edition. To answer your question, the OT3 is indeed canon, confirmed by the creator. Now, usually, “confirmed by the creator” infuriates me because most of the time it’s a way for a creator to be seen as “progressive” without doing anything to actually be progressive. That isn’t the case here. The OT3 are built up carefully and while it is obvious the creators didn’t originally intend for all 3 of them to become a relationship in the romantic sense, by mid-season 5 we are given a very clear picture of where Parker, Hardison and Eliot are heading in their relationship. There aren’t any kisses at the end to signal this but there are solid marriage vows in not only one but two episodes. (And by marriage vows I mean literal equivalents of marriage vows: “for better or worse” and “’til death do us part”. I’m not even exaggerating). The OT3 also doesn’t need explicit romantic narratives to convey how much they love each other. Their love is laced through the whole show, from the way they teach each other things to the way they respond to each other and work as a unit. The way they fiercely protect and admire each other. Like someone once said, if you need characters to kiss or say I love you to let the audience know they love each other, you are writing them wrong. 
Aside from that, each of the parings in the OT3 are just. Gah. They are so well done, with friendship being the solid basis for them all. The creators never expect the audience to assume anything about them or fill in the gaps. They give us their relationships on screen and reference many things off-screen to show us how these relationships continue to build in between episodes.
Hardison and Parker are a canon couple and date in the show: it’s approached slowly and they are so goddamned sweet. They are basically every fluffy slow-burn trope with a healthy dash of mutual pining in the mix. They are basically that quote “love is patient, love is kind”. (I would like to add their romance never becomes the focus of the show or overrides the importance of any other relationship they have with the other characters, especially Eliot.)
Tumblr media
Hardison and Eliot are the Old Married Couple and from day one are already bickering and looking at each other/making comments that are found in every UST fic ever (not to mention Hardison has a very good knack for making Eliot grin like a little kid, when usually he’s basically an Angry Little Chef Man). They argue, they play, and love each other plain as day. 
Tumblr media
Parker and Eliot are more subtle but every bit as wonderful. They have an unspoken connection and understand each other on a level no-one else can. Parker and Eliot are not good with giving themselves over to affection for different reasons (and Hardison plays a central role in helping them realise it’s okay to want it and have it- that boy has endless patience) but there is something so beautiful in the way the two of them come together on their own and develop their own special bond that works for them. Parker and Eliot are that trope where the characters don’t need to speak to understand each other perfectly. They just do. Their love language is a lot of the time non-verbal but speaks volumes. (Parker also likes to annoy the hell out of Eliot and Eliot....just.....lets...her. Because he’s soft. The softest, grumpiest boy.) 
Tumblr media
I could go into so much depth for each pairing and their dynamics as a 3 but that's for another post.
3. Subverting stereotypes. There is the occasional hiccup in the show regarding stereotypes but ultimately, Leverage gets an A+ when it comes to writing characters and making them 3 dimensional people who are not defined by certain characteristics or events. Nate could so easily fall into the White Man Pain trope where he uses the trauma of losing his kid as a reason as to why he is entitled to act like a dick. Nate is a dick but he doesn’t use his pain to excuse it and I appreciate that. Hardison is a black man who is soft and nurturing. Easily the most empathetic and patient of the group. He’s nerdy, an actual genius, and has the biggest heart of all the characters. Nate is maybe the glue but Hardison is definitely the heart. Media’s usual aggressive, amongst other, racist stereotypes can fuck right off. Parker is canonically autistic (I am sure this was confirmed by one of the creators) and she is not defined by it. It’s not written as some kind of singular personality trait. It’s part of what makes up Parker but it’s only one facet of who she is and not once is her actions, thoughts or feelings treated like a joke. Sometimes people don’t understand why she does and says the things she does but it’s met with patience and fondness over the course of the show. Equally, it’s not met with over-caution. Parker is just Parker. No-one tries to change her. The other nice thing is Hardison, who always makes sure Parker knows she’s amazing because of who she is and not in spite of it. Finally, Sophie is in her 40s. She’s not treated like she’s past her prime. Ever. She’s sexy, smart and never is she pitted against or compared to Parker (who is younger) for anything. Sophie is amazing and there’s never even a conversation of “I may be older but I am still *insert adjective typically associated with younger women here*”. Sophie is possibly the first female character I’ve ever seen who isn’t just unapologetic about her age but has never had to apologise for her age. It’s a non-issue and that’s that. The women on the show are written so well, right down to secondary characters and it’s beyond refreshing.  
Tumblr media
4.) It’s just fun. The show has a “monster of the week” type format. Except instead of a ghoul or a ghost, the monster is some corrupt wealthy and powerful individual or organisation. The show draws on real-life individuals to do this and therefore closely parallels real-life people and events. It addresses important political, economical, social and environmental issues while at the same time remaining fun and light-hearted. The characters constantly get the chance to play dress up and by GOD do they have fun with it. You get to watch Eliot beat up bad guys in the most delightful of ways, usually after a witty non-sequitur and with a weapon you’d never think could be a weapon. The dialogue and back and forth between the characters is everything. And finally - my favourite thing- the team can never resist striking a dramatic pose after they’ve taken down the bad guy, making sure the bad guy sees them. I mean, they COULD just walk away, satisfied they’ve taken the person down, but nope. They gotta be dramatic bitches 24/7 and pose like they are models for every single month of this year’s Criminal Calendar.  
Tumblr media
5.) Competence Porn. So. Much. Competence Porn.  
Tumblr media
Honestly, I could list a thousand reasons for why Leverage is amazing but to list them would to be spoiling so many amazing moments you’d get to discover for the first time on your own if you do choose to watch it. It’s the kind of show you can watch with an eagle-eye and sink your teeth into. But it’s also the kind of show if, you would prefer, put on in the background for something entertaining while you do something else. Each episode is about the job at hand but it’s made up of so many moments between the characters that show how much the creators and writers care about them. You’ll laugh, you’ll cry, you’ll do whatever it is you do when something Soft and Wonderful happens that makes your heart melt. I am so beyond grateful for Leverage. It’s everything I always wanted in a show. Nearly every show I’ve watched in the past 10 years has disappointed me in some way, usually either because the writers run out of steam or characters who I love are treated poorly or given some kind of unnecessary “shock value” arc. Leverage doesn’t do that. Leverage is what it says on the bottle. Fandom isn’t something I joined because I needed canon fix-its. Fandom only enhances and celebrates an already excellent canon. 
7K notes · View notes
moonlight-breeze-44 · 3 years
Text
Leverage Finale.
Thanks to my friend @echo-bleu, I just finished watching all five seasons of Leverage. The finale was exceptional, and the entire show is so extremely important to me. I’m going to do my best to articulate what I want to say, but it may come out jumbled. I apologise if it does - but this is too important and too meaningful for me not to comment on. 
I started watching Leverage because Echo told me that it was the “original found family” and featured a borderline canon autistic character who was both badass and scripted extremely well. When I first started watching the show, I thought to myself: “What’s another favour for a friend? Maybe I’ll end up liking it, anyway.”
This may have been the biggest understatement of my life. 
Leverage is so important to me. It’s genuinely one of the most meaningful, impactful shows that I have ever watched, and its message(s) shine clear as day. 
Message #1: Family
The Leverage team is made up of Alec Hardison, an expert hacker with a huge heart and a desire to be surrounded by people he loves; Sophie Deveraux, an accomplished grifter with multiple identities who wants someone (or a group of someones) that takes the time to get to know the real her underneath all of the masks; Parker, an esteemed thief who wishes for a family that teaches her & helps her grow while loving her for who she is and respecting what she can do; Eliot Spencer, a badass hitter who craves to be recognised beyond the violence of his past and loved for who he really is and the heart he carries with him; and Nate Ford, an ex-upstanding citizen turned criminal mastermind who wants to see corporations like the one that let his son die be brought to justice, but knows he needs help to do it. 
Together, they make up a ragtag team of criminals that love each other and have each other’s backs in every situation. Together, they form the Leverage team. They form a family. 
Family is about love, about trust, about caring for each other and staying together even when things get rough. Family is Nate Ford, Sophie Deveraux, Parker, Alec Hardison, and Eliot Spencer from Leverage. 
Leverage teaches its viewers that not all family has to be blood. Some families can be found. This show, these characters, this family? It’s exactly what family should be.
Message #2: Hope
Leverage doesn’t just appeal to every person’s desire to stick it to the high and mighty. While that’s a big part of it, Leverage is also about so much more than that. Leverage is about finding a home in the most unlikely of places, among the most unlikely of people. It’s downright inspiring.
Leverage is about hope. 
Hope that it’s not too late. Hope that you aren’t too broken to be loved. Hope that you can have a home, a real home, the kind of home that you always dreamed of having. Hope that you can make a difference. Hope that you can achieve your dreams. Hope that you can love and be loved in return. 
Everything about Leverage is executed perfectly, and the hope shines clear through it all. In the midst of nothing, a gang of criminals found their something. They found each other. 
Nate tells Eliot in the season finale, “You know, I’d say to call if you need anything, but you - you never need anything.”
Eliot smiles at Nate and says, “Yeah, I did.” He looks back at Parker and Hardison, and the message is clear enough. “Thanks to you, I don’t have to search anymore.”
Sophie asks Eliot to promise her that he’ll protect them; keep them safe. 
Eliot says, “Until my dying day.”
That kind of devotion, that kind of love, is something that everyone dreams of. Some of us have it. Some of us don’t. But regardless, it is everyone’s dream to belong. Everyone wants to belong in a different way, and everyone sees belonging differently, but everyone wants people who understand them and cherish them like the characters of Leverage understand and cherish each other.
With this finale, Leverage is telling everyone who has ever wished on a star or prayed to an angel that their hearts aren’t foolish or naive for daring to hope. Leverage is telling everyone who has ever wished to be loved and understood that they can be. They will be. 
Leverage tells us that we’ll find our people, even if it takes us a long time, and when we do, it’ll all be worth it. 
Message #3: The OT3
Over the course of the show, Parker, Hardison, and Eliot’s relationship continued to be something that spoke to me and made me feel more seen and validated than I had felt in years. 
Going into this show, I heard from Echo and a few of my other friends that Leverage had an OT3 that was “as close to canon as possible”, but I’ll be honest with you - I didn’t believe them. 
All my life, I’ve been queerbaited and kept on the edge of my seat by TV show after TV show, waiting for some big reveal that never happened because the show producers didn’t care as much about my views as they did about the views of their audience that might be offended by it. It’s not something that I’m even bothered by, anymore, aside from the principle of it; this is just the way the world works, and I’ve learned how to enjoy TV shows despite it. 
Still, with that knowledge and experiences in mind, I didn’t go into Leverage believing that the OT3 would be this. 
The Leverage OT3 is so much more than I could have hoped for; all three of them “died” holding hands, and they said words to and about each other that are the equivalent of marriage vows in the real world. The OT3 is, genuinely, as close to canon as possible for a USA 2012 television series, and that is beautiful. 
I know I’m not the only person that has watched Leverage and felt this deep, emotional connection to the OT3. I know I’m not the only person that has watched Leverage and felt so validated, so represented, and to me, that’s worth everything. The OT3 was given time to develop, and the characters align perfectly with each other in ways that most of us never would have dreamed of a TV show doing. The Leverage OT3 consistently tells me and people like me that we’re loved, we’re valid, and they understand. We’re not alone. 
The fact of that matter is, regardless of how much evidence there may be of that on the Internet these days, it can be easy to feel like you’re the only one in the world that’s like you when it comes to relationships if you never see relationships like yours or the ones that you want to have onscreen at any point. It’s easy to feel like you’re weird or strange or wrong somehow for how you feel without representation, and Leverage, I think, knows that. 
Leverage casts light on and says I love you, it’s okay to anyone and everyone who’s ever experienced attraction to multiple people at the same time, who’s ever been in a poly relationship, who’s ever been in love with multiple people at once, who’s ever considered a relationship with multiple partners, and who’s ever realised that they are polyamorous. And that, my friends, is NOT representation that we get every day. 
This kind of representation is so rare, but Leverage did it. 
Leverage did so many things, and all in all, watching this show was one of the best decisions of my life. I finished watching with love in my heart and validation in my smile and beautiful characters sewn into my soul. I love this show. 
There are so many more things I could say about why I love Leverage and why I think it’s one of the best shows to exist ever, but then this Tumblr post would be as long as a dictionary. For now, I’ll just settle with saying this: 
Leverage is one of the most amazing TV shows I’ve ever had the honour of watching.
327 notes · View notes
vickyvicarious · 3 years
Text
Tumblr media
Parker: "Teach me to like stuff."
.
Okay, so. I have some thoughts about The French Connection Job's Parker+Eliot subplot. And I think I wanna approach it separately, scene by scene from each of their perspectives, because we have a couple different things going on here. It's still a little more of a Parker meta than an Eliot meta, but I have enough to talk about on both sides, and they're connected enough not to be in separate metas, that I am going to do it this way.
Also going to put this under a cut because it gets long.
Parker
This whole subplot comes on the heels of the last episode, in which there was a lot of banter throughout about Hardison and Parker's dates, and him wanting to branch out into other things than just bungee jumping or whatever. We have seen hints of this throughout S5 so far, even though we're only a few episodes in at this point. They went on a world tour that was pretty much just jumping off of stuff, Hardison said something about them figuring things out. We saw a cute domestic scene of the aftermath of them watching a movie together, except Parker 'fell asleep again' and missed most of it, and Hardison eventually went off to work on his laptop. Parker tried to comfort him last episode about dust mites and ended up freaking him out instead. She talked about how she liked fire and Hardison complained she was missing the point of his offer for a candlelit picnic. They did end on a very romantic note with her still making the effort to make it happen but getting rained out, and him recognizing her effort and listening to him, and projecting the stars around the dark room then having the picnic inside. They are clearly very happy together and both making the effort to meet in the middle, but there are still some disconnects. Which makes sense this early on anyway, but it's not out of place for Parker to start getting worried about her limited interests here given the context of them contrasting Hardison's more widespread interests.
Starting right off the bat - there's a picture limit so I can't show these early moments, but throughout the first part of the episode we see Parker looking visibly upset/pensive. Hardison notices and asks her what's wrong, but is immediately distracted by his package arriving, and then the team gets into the briefing and he doesn't get to talk to her again. (Sidenote that this is pretty OOC for Hardison, and I have to assume he would at the very least come back to her later, but they were clearly trying to get Parker talking with someone else this episode and apparently couldn't come up with a better way to do it. His writing outside of the kitchen stuff was kinda off this whole episode anyway, what with the whole tip thing.) She was about to open up to him, however, which is important. There's also a scene shortly afterwards where she confides in Nate, again after he notices her being upset and asks what's bothering her. She claims everyone but her has 'a thing', and names a few of them. He asks her what she thinks when she sees Michelangelo's David, and when her answer is an immediate assessment of how it's guarded and what she'd have to do to steal it, he kind of hesitates and then goes right back to running the con. He basically gives up on helping her with this once it becomes clear that a quick sentence or two isn't gonna cut it.
So after those brief, unhelpful conversations, that's when she makes a move. She was responding to others before, but this time she comes up to Eliot, clearly nervous. And she asks him to help her feel something.
(I find it very interesting that she doesn't ask Sophie. Sophie is the person who she would usually go to for something like this, after all. But, aside from this being an Eliot-centric episode and just like them sidelining Hardison's possible assistance earlier the writers want Parker to talk with Eliot not Sophie, I think there are maybe a couple reasons why she might go to him here. First, just distance. Eliot is right downstairs, meanwhile at the moment Sophie is however far across town at her theater. Certainly not saying she wouldn't go to Sophie eventually, but maybe that's why not first. Second, she and Eliot have an understanding, one that's been explicitly acknowledged since the start of S4. They are similar in a way entirely unlike the rest of the crew. So while Sophie may understand emotions best, Eliot is the one most likely to know what Parker is talking about when she says she just isn't feeling anything. Which by the way I'm gonna get more into later on. Thirdly they're in love but that's not actually relevant here since all of the team love one another.)
Eliot
On Eliot's side, she approaches him when he's busy in the kitchen. This whole job is stirring up a lot of old feelings in him right from the start. Toby was someone who 'kept him from falling all the way down', and Eliot is deeply concerned for him. At the same time, the way they are running this con is allowing Eliot to take on the role of teacher. Even though his students aren't anything like the eager students Toby has just had taken away from him, Eliot wants so badly to take advantage of this opportunity to teach them - maybe even all the more because they're resistant. He's being given a very rare opportunity to indulge his belief that food is life and to share it on a larger scale. To use the knife to create, not just destroy. Leverage often walks a line between doing both (taking down the bad guys and helping people) but Eliot doesn't often just straight up get to just do the 'creating' part. (I mean, he loves the destruction too, he genuinely loves beating people up and taking down bad guys, but this is a rarer pleasure.) So he's pretty preoccupied with that at first, and initially dismisses Parker just like the other two guys did.
But when she just looks quietly disappointed at his response, he goes still and watches her. We cut away from them here so we don't see his actual response, but it's immediately clear that he's realizing this is actually something deeply important to Parker, and well worth his time.
On to the next part of this scene below.
.
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
[Eliot sets a dish down in front of Parker]
Parker: "...It's just food."
Eliot: "It's not just food! Alright, some people could look at it and just see food, but not me. I see art. When I'm in the kitchen I'm, I'm creating something outta nothing, you know what I mean? And sometimes I crush it, sometimes it's crap, but either way - it makes me feel something."
Parker: "Feel what?"
Eliot: "Just... feel."
Parker: [murmuring] "Feel... okay." [looks down at the food and hesitates]
Eliot: "You know, I didn't feel anything for a long time. Then Toby taught me how to cook, and after he did, I started to feel stuff again. That's why I share it through my food - this is my art. This is my art, Parker." [Parker nods, looking worried] "It's like lettin' a stranger in your head, just for a second. And you allow them to feel what you're feeling." [pause] "Look again." [he pushes the plate a little closer to her. Parker takes a deep breath and slowly sets her elbows down on the counter as she stares down at the plate. Eliot watches her closely.]
Parker
At this point I want to talk a little about what Parker means when she says "feel something" and talks about "having a thing." Because we've seen her have interests outside of straightforward thievery before. Sure, most of her hobbies revolves around stealing - casing local banks for fun, for example. But she clearly has a deep love for Christmas and for chocolate. So why doesn't she count those kinds of things as 'feeling something'?
I think it comes down to what Eliot's talking about here. It's a sense of art. Not even necessarily making it yourself, although that certainly applies. Parker likes sweet things like chocolate and donuts, but although she really really likes them they don't make her feel any truly deep emotion. It's more tactile than anything else, just a pleasant flavor. Her love of Christmas isn't the same either in her eyes because it's not uniquely hers. It's something she loves to celebrate but she can't do so all year round, and plenty of other people like Christmas too. This one comes a lot closer, because it definitely seems to be tied up more in community and family for her than something like enjoying chocolate and piñatas, but it still doesn't belong to her in the same way that cooking does to Eliot or theater does to Sophie. And while theoretically her love of base jumping and so on could maybe count, it is still so tied up in her thieving that it doesn't feel separate. She's really good at drawing but only thinks of it as a useful skill, not a creative outlet - this is similar to that.
She has been branching out into a lot of new experiences and emotions lately, and while she's struck out deep into uncharted waters with her relationship with Hardison, once there she's only seeing more and more things that she just... doesn't get. She loves spending time with him, and enjoys what they do together, but she doesn't understand all of those things. Not on a deeper level. She wants to feel that sense of connection to something, wants to feel deeply emotionally moved by something.
And honestly? I think she's way up in her head about it. I'm not trying to dismiss her struggle here at all, but I do think she is stressing herself out about having something uniquely her own. About having a huge interest that speaks so strongly to her personally. And those are amazing to have, but it's really not necessary. She doesn't need a strong secondary passion so much as she needs to let go of trying so hard to force herself into something.
And what's happening in this scene in particular is that Parker is trying so so hard to force herself to feel something. It's evident in her face throughout the whole scene, in her body language. And she is so terrified that it's not going to work that honestly, I'm not surprised at all that it doesn't.
Eliot
On Eliot's side of this scene, he feels like he recognizes where Parker is. This entire job has him remembering how it was to feel nothing. Her phrasing got to him deeply. He wants to reach out and teach her to see something more, just like Toby taught him.
He knew a bit about how to cook before Toby. But it was only seeing Toby's passion that struck something in him, that awoke a part of himself he might've never known before. For Eliot specifically, cooking being an art isn't just something he likes. It's something that brings him hope.
Eliot doesn't believe in redemption. But he believes in actions. And what Toby did, by teaching him to cook, was to teach him that his actions can be good. That he can create, not just destroy. That all is not lost - not 'for' him necessarily, so much as 'in' him. There is a deep empty place inside himself that he can enter so so easily. The difficulty is crawling back out again. Cooking was his rope out of there. He still finds it difficult to express his emotions very often, particularly verbally, but when he makes someone a meal he puts a part of himself into it. And yet doing so doesn't take anything from him, it just adds more.
This is all very vague and figurative and may make no sense, but the takeaway I want to have is that Eliot is opening up to Parker on a very deep level here. He feels like he recognizes what she's talking about, and it was a very bad place for him. (Again, I don't think she is quite that badly off at this point in canon, but I digress.) And while making food allows him to feel that he is demonstrating his love for someone, that he is sharing a part of himself with them, he recognizes that she isn't receiving that. What she's getting, is just a plate of food. Tasty food maybe, but nothing more than that. And so Eliot verbalizes everything to her in a way he rarely does.
And then he keeps trying. This scene obviously doesn't end up making her feel something, and we don't get to see the immediate aftermath of that, but we can glean a little about how they feel based on their reactions. And Eliot is deeply determined to help Parker feel something from his food. He insists that she play the food critic; even speaks directly to her and reminds her to consider what they talked about.
.
In the restaurant, we start out with Parker dutifully playing her role but feeling nothing much beyond just the role. Eliot checks in with Parker, she acknowledges that the food is good but doesn't make her feel anything, and he makes improvements based on her feedback. Then something abruptly changes.
Tumblr media
Parker: "I can taste garlic, and mushrooms... and something else that makes me feel different."
Hardison: "Wait, was that for me, cause I-I don't get it."
Parker: "No, it's the food. I get it." [smiles] "I feel something."
+
Parker: "Mmm! These black noodles are amazing!
Eliot: "Parker, it's tagliolini nero con gamberi."
Parker: "Mmm." [eats a huge forkful] "Mmm. Mmmm. These are really good."
Parker
What just happened here? Last we saw from Parker, she'd failed to feel something from the meal Eliot made especially for her in the brewpub, and she was clearly disheartened. She felt it as a failure, very much in the sense of a disappointment. She didn't want to try again, didn't think it would work, and tried to protest when Eliot said she would be the food critic. Even once she got to the restaurant, nothing was happening for her.
The difference wasn't in the flavor of the food. The moment Parker started to feel something was right after she said she felt nothing and Eliot, instead of being disappointed or giving up, took it as a challenge. He changed his recipe, he improved it specifically to better reach out to her. He kept trying.
And yeah, maybe the bone broth helped it taste better. But that wasn't the point, not really. The point is that Parker had gotten herself stuck in a hole, trapped herself in this cycle of not understanding how things make you feel and then believing that she just couldn't. She wanted something of her own and she didn't have it and she didn't immediately get anyone else's thing either, and that was it. She just wasn't capable. She was other. This is an old old fear of Parkers, dating back to Archie or even before. Something in her just isn't capable of being like other people. She wasn't worthy of being in Archie's real family, and she's not able to feel passion for anything outside of stealing. (Setting aside the fact that she loves her team, that all she needed was the right family. That you don't have to be a creator to feel passion, and you don't need to be passionate about any particular thing in order to feel deeply and find beauty in the world.) Parker has empathized deeply with people, has felt so intensely before and is constantly trying to learn more and new ways to be. But because she is noticing her teams' passions now, she has this ideal that she wants to reach, and none of that is good enough for her. She doesn't even know exactly what her ideal involves, but she can't get to it.
But when Eliot doesn't give up, that gets to her. If he views his food as sharing himself with others, Parker finally gets what he's been trying to give all along. It's all about him trying again and again, changing his approach to match her better. That's what she feels, that's what she enjoys.
And once she starts, the floodgates open. She loves the black noodles. She is so happy, she is relieved. There was this huge resistance that she couldn't get past before, but Eliot persisting helped her to break past that and now that she is out of her head about it she can enjoy the food in a way she never has before. Because she feels his love for her in it.
Eliot
Eliot is trying so hard to connect to Parker. It's not really different from what I said in the last Eliot section, and basically the same as what I just said in that Parker section, but I want to emphasize a little more just how much this is about love on his end.
Eliot loves Parker. He loves her, and he wants so much to help her. It doesn't honestly matter that he does this with food, except for the fact that food is what matters so deeply to Eliot himself. He can't reach out to her in the same way through any other medium. And we don't get to see his reaction to Parker's moment of realization. But I think it would be such a deep sense of joy. This is as fulfilling for Eliot as it is for Parker. It's exactly what Eliot has been hoping for this whole episode, to teach someone else to see food in the same way he does. It doesn't matter if it only lasts for a moment or a single meal. That's enough. He has been the support Parker needed through this time of self-doubt. And it is all the more meaningful to him because this isn't just a random student, this is Parker.
He told her he loves her through his food, again and again, and she eventually felt it. She understood. That must mean so much to him.
.
Tumblr media Tumblr media
I wanna end with one more brief note on Parker. Does she get her own "thing" this episode? No. No she does not, and this scene shows us that. Parker is not suddenly interested in food or cooking. The importance of that meal was purely derived from Eliot on the other end of it, focused on her and trying his best to reach out to her.
And I don't think this is something only Eliot could have done for her either, not really. The difference between him and the others this episode is mostly in persistence. However, it's also about her mentality. Hardison has built/done things for Parker before and she felt them just as deeply - but the context was different. She wasn't looking for a sense of beauty or art in the world at large then, and so even though she felt the love in the gift just as much, it didn't make her feel like she could find that kind of emotion in other things. She just wasn't looking for it. Also, it was made easier for Eliot to reach out because there's that connection Parker has with him, that understanding that they are on the same level somehow. She doesn't feel that with Hardison - and she loves him all the more for him being different from her, but he also I think can intimidate her with how good and open he is, with how much he can feel in so many different directions. It's part of why she got so worried about herself not being able to do so this episode.
Like, the team has scolded Nate for not having a life or interests of his own outside the job not too terribly long ago! And Parker has had her own joys before! But she isn't seeing that this episode, too caught up in this fear about not having her own 'thing', not feeling anything that way. So while anyone could have helped her through this, it was easiest for her to let Eliot do so + for him to understand what she needed from him. (Hardison in particular was rudely robbed the opportunity, but they all love and support her and could have reached her. Not to detract from Eliot doing so, but also I don't wanna sound like no other method of reaching out would've worked.)
But as soon as she feels something once with Eliot's help, that relaxes those fears. And then Parker is free to look in other places. She remembers Nate's comment about art, and maybe even tells him what she plans based on him knowing where she is at the end of the episode. And then she goes to visit this statue. In her own way which means breaking in, but without any goal of taking it. She just goes to look at the art. And she feels something again.
Parker doesn't gain some big passion at the end of this episode. She doesn't need to. She never did. She just learns how to let herself relax from that restrictive frame of mind. To simply be in the moment and enjoy things for the sake of what they are. To feel - not really in any way she was incapable of before, but intentionally now. It's a quiet victory, in the end. It doesn't mean she's going to get a new hobby or change her lifestyle at all really. But she's let go of a fear and is now intentionally seeking out new connections with the world beyond her once-limited parameters.
49 notes · View notes
evilwickedme · 3 years
Text
ok so to sum up my feelings for leverage: redemption, season 1(a): (long post warning, there’s a tl;dr at the end)
I knew that Hardison wouldn’t be in most of the season due to Aldis Hodge being a busy bee nowadays, but I didn’t realize that meant he’d only be around for the first two episodes. He was sorely missed, not only because of my attachment to him, but also because he’s usually the grounding factor in the group dynamic, and his role as info guy and tech guy was split evenly between two characters who had their own issues.
That said, Hardison is absolutely a highlight of the two episodes he’s in. his speech about redemption was everything I could’ve hoped for (plus, more evidence for the Jewish!Hardison pile...). I wish we’d gotten to see more of his dynamic with Breanna because what we saw was funny and sweet and we don’t generally get to see Hardison taking care of somebody who so desperately needs taking care of. I hope that Aldis Hodge is around for more episodes in 1(b), because what we’re left with feels a little hollow.
Sticking to original leverage characters for now, for the most part the leverage crew still felt true to the original series as characters, even if the show itself was a little bit confused at times. The actors understand their characters and embody them so well that I think one could give them the trashiest script ever and they’d still sell it. Sophie is a particular focus in 1(a) because of Nate’s death, and she’s particularly well written as a result.
That said, I’m super bitter that we saw little to no mastermind!Parker. Parker’s character being given the mastermind role was a big deal and it feels like they’re walking it back because they feel uncomfortable with it. It is eventually given an in-text excuse, but literally in the last episode, and it was not a particularly convincing reason, and in fact contradicted moments from previous episodes (Sophie leaving for a client meeting and ignoring Parker in ep3 comes to mind). It’s frustrating, it makes the end of the original leverage feel pointless, and letting Parker make a decision once in a while is not the same thing at all. The original series repeatedly showed us that while everyone in the team had their strengths, Parker works problems and solves them in unique, interesting ways, and other characters’ days in the limelight tended to be comedic or even failures. It’s a broken promise, and a pretty major broken promise at that.
On a more positive note, Parker’s dynamic with literally everyone was fantastic. She’s possibly the best written character this season. They’ve taken the autism out of the subtext and into the text (although obviously still undiagnosed), and given her coping mechanisms that were taken seriously in the text even when they were played for laughs, which I appreciated. Her attempts to mentor Breanna were sweet, her friendship with Sophie was electric and at times (CRIMES) hilarious, and as usual, she has a fantastic dynamic with Eliot that makes my heart burst. If you don’t think they’re romantically involved, at least acknowledge there’s a life partnership here. They’ve spent the last decade together.
(We’ll get to Harry.)
Eliot isn’t given much arc-wise, which is frustrating since he’s my favorite. He’s being presented as the goal at the end of a redemption arc, ie to keep working at it every day until your soul heals or whatever, and it doesn’t reflect the message they’re trying to convey via Hardison’s speech and our two new characters. He’s got his moments, but I think they under utilized his potential.
Breanna!!! Breanna’s my new favorite, except for Eliot. She’s hilarious, she’s insecure, she’s nerdy and excited in a way that’s similar to Hardison but still distinct in its inherent teenage-girl-ness and I LOVE IT. Unlike the previous series, where Hardison’s “age of the geek” was often a joke played on Hardison, we’re at the point where Eliot and Parker are both right there with him, and so they accept and even appreciate Breanna’s nerdiness. Also, canon gay character? In YOUR Leverage? It’s more likely than you think.
(No, I never thought they’d make ot3 canon on screen. I hoped, but I didn’t think it would actually happen.)
I think Breanna’s the character that will be the most interesting to see grow. She’s got a lot of potential and a list of crimes a mile long (or more). I adore her with all my heart. I want to see her tiktok account.
Harry. Oh, Harry.
It took me a while, but I do like Harry. It took a while, because the narrative positioned him at the same level as Nate back in episode 1 of original Leverage. But in episode 1 we didn’t know the other characters. We had Nate as the POV character, and so we cared about him because we were seeing the world through his eyes. (This is TV Studies 101. I know this, because I took TV Studies 101 in 2019.) In Leverage: Redemption, we no longer have a POV character, for several reasons:
Nate, previously the POV character, is dead.
As it is, by mid-season 3 of leverage Nate was no longer a POV character. This is, coincidentally, the point where the leverage writers realized they had four other characters in the main cast they could do something with, and in-universe, Nate accepted that he was a thief, not a special Good Man.
Sophie is sort of a POV character for the first episode of the revival, but only for the first few minutes. Afterwards, the series settles into the groove of seasons 3-5, i.e., the entire crew is our POV. We know our crew, and we love them as is.
Narratively, however, Redemption insists on positing Harry as the POV character, because it is his redemption we are pursuing most vehemently. And I think they really relied on us already knowing the actor - I’ve never seen him in anything before, so to me he was a completely fresh face and they put almost no effort into selling him to me. Beyond being competent and consistently mildly baffled by the antics of the leverage crew, I honestly don’t know who this man is by the end of EIGHT episodes with him. I have a much better handle on Breanna by the end of 1(a), and I can tell you I knew all five of the original leverage crew better by the end of the first episode of the original series than I do Harry. What’s the name of his daughter, John Rogers. Is he still married. How old is the daughter. Why is none of this worth mentioning. Give him a sense of humor that isn’t reacting to other people’s shenanigans. I’m so frustrated. It’s bad writing.
I did manage to grow to like Harry by the end, but I’m pretty sure this is down to Noah Wyle’s charismatic portrayal of an under-developed character, at least partially. And I never stopped being frustrated at not knowing who this man is at all.
The two highlights of the season are undoubtedly episodes five and six. Episode five was the first time I felt like the episode was more than a collection of good moments between the main cast and mediocre moments between the main cast and also the main plot. The issues with pacing and tone that I suffered through for most of the season were mostly non-existent in ep5 and 6, and at least in episode 5 I attribute that to the pared down cast. They had time to focus not only on our actual characters - Sophie, Parker, Breanna - but also on the case. This is the only client from 1(a) I am going to remember next week without googling it first, mark my words.
Episode six worked for the exact opposite reason - it completely disregarded the client and plot and immersed itself in the characters. Breanna gets a moment to shine, but everybody else gets their bits and I wouldn’t be surprised if that was the script that was most fun to write. The characters felt natural, real, and captured the found-family dynamic that’s been missing all season for the first time.
While episode 2 is the weakest episode, I don’t actually have much to say about it. I am disappointed in episode 8. For a mid-season finale, I really expected them to do something. Instead, it was an episode about Nate Ford that copped out of being about Nate Ford (both with fake-Nate and with the new version of him being relayed to us). I would have told the writers to give that energy back to episode 1 and write an episode that’s about anybody who isn’t Harry, oh my God. I know I said I grew to like him but so many episodes were about Harry. He’s the newbie! Why didn’t Hardison get an episode that was actually about him, considering he was only around for two episodes? Why does Eliot have to be the butt of the joke when the theme of the series should directly tie back to him in a much more meaningful way? The last episode parodies their own tagline by saying Eliot isn’t just a hitter, but it deftly avoids noticing that they’ve turned him into nothing more than very muscly comic relief, including in that very episode!
Also, I hated the Marshal. Eliot actively looked uncomfortable around her.
tl;dr
The season took a while, that’s definitely true. But it did find its footing eventually, and by the halfway mark of 1(a) it finally felt cohesive again. The characters were played fantastically even when they weren’t well-written, and if nothing else, the humor landed every time. It still has its kinks and problems to work out, but if you look at it as a brand new show rather than a continuation of one that went off the air over eight years ago, it’s actually doing rather well. I’m choosing to judge it in both lights - according to its own standards, it establishes its identity in episode five; according to Leverage standards, it establishes its connection to its roots in episode six. Either way, I thoroughly enjoyed 1(a), and continue to have high hopes for 1(b).
fic writing will commence in three, two, one...
45 notes · View notes
sgtbarnes107 · 4 years
Text
Thoughts while watching Nigerian Job:
Nate never solved the theft from Paris in 2003
Parker pulls the glass off the window, then just drops it down X amount of stories to the ground.
Parker is "Hardison". Watching the cameras, activating elevators, etc.
The lock code thingy is kinda old tech. Did Nate give that to Hardison to use? Just like the original "VH1" comms
"Clear the zone and use Hardison as bait"
The smile between Hardison and Eliot when the lock clicks and the doors open.
If they had the "Burn scam" contingency, why was Eliot so quick to decide to abandon Hardison and Parker inside the building.
Did Hardison and Eliot watch each other change clothes? But then respectfully turn away when Parker pulls off her shirt.
Eliot's accent.
The OT3 already working so cohesively as a unit.
Hardison just effortlessly catches the cane when Parker tosses it.
They just instinctively give Parker the front seat. Manners are so ingrained in both of them.
Parker with the hard truths (you are now. Black king instead of the white knight)
An abandoned building after you stole for him. Oh come on Nate, you're experienced and jaded enough to smell a set up a mile away. That was just sloppy on your part.
Eliot with the reluctant "safety's on". Nate, you cockblocker, he was being a badass, not flinching with a gun pointed at him. He was trying to impress his new crush.
How is it not known by now to everyone in the game that Eliot doesn't like guns? Does the lack of bullet holes in his victims mean nothing to anyone?
Damn, but Nathan was quick on the drawl when he heard Parker's gun being cocked.
"My special angry place"
Nathan, your maniacal laugh is fucking terrifying. Never do it again
The slow dawning on each of their faces web they realize it's a set up.
Nate was still inside when the building exploded?
Who gave Hardison his gun back? He's holding it in his right hand as they are thrown from the force of the blast
"You don't like hospitals?" Really Eliot. Bless.
So Eliot doesn't look too badly injured that he couldn't have gotten away by now. You big softie. Connections are already established. They are your people now.
"I don't trust these guys"
"Do you trust me"
Hardison's dramatics over the vomit
Hardison lifted a phone as well. In the Hot potato job, eliot snarks at Hardison "One good lift in three years" so does that mean Eliot never knew about this lift?
They automatically switch phones. Parker sends Nate the flip. Hardison gets the smart phone.
Hardison with the smirky selfie
Eliot fucking growled.
"Walk it off. Get inside. Get inside."
Hardison with his dramatic ass salute and speech. He's so extra.
"I'm gonna beat Dubonich so bad even people who look like him are gonna bleed." Eliot that is the lamest threat I've ever heard baby. Third graders have harsher one liners than that.
"And why didn't you see it coming" burn him Parker
"What's in it for you?"
"He used my son."
The fallen faces after Nate reveals his reason. No matter what anyone says, Parker had feelings and sympathy even in the first episode.
So Nate just knows where Sophie is. Just by clear happenstance.
I will NEVER not love the team's faces when they are watching Sophie's acting
No the children certainly weren't eavesdropping on mom and dad having a sexually charged conversation.
"No that would be very wrong"
Boy you ain't fooling nobody with that shtick
Nate impressing Eliot with his airplane design knowledge drop
The OT3 reaction to Nate's vague plan
The way the camera slowly rises to show IT Eliot is *chef's kiss*
Did they make his hair greasy? Bahahaha.
The mismatched tie/shirt
Eliot you are ruining all other men for this poor woman.
Eliot having that conversation with Nate. But pushing the wrong button and Nate lashing out.
Nate is chaotic energy with his "distraction"
Oh man i forgot Parker ziplined Sophie down to the lobby area.
So Nate just carries around a collapsible nightstick? Don't we all.
"You have a glow."
How absolutely Corporate America to tell the FBI it's a private party. White male privilege
"Sir i can take your underpants."
Big dick energy
Holy crap. That's a lot of money.
Hardison trying to explain the stock market to Sophie. "I'm just very good at what i do."
The look Parker gives Hardison and Eliot when she says "i already forgot your names"
Sophie repeating Parker's earlier statement "black king, white knight"
(Sorry for weird formatting. I was taking notes on my phone memo pad while watching.)
172 notes · View notes
histrionic-dragon · 4 years
Text
The Long Goodbye Job
....The last one! As usual, random cut because it gets long, and for god’s sake MIND THE SPOILERS (for the show from 2012).
Crap--a Steranko! Facial ID! No coms! But Nate must save the kid!
Yay, Sophie’s troupe!
ZIPLINE :D
Parker being emotionally insightful with Nate up on the roof. Nate basically telling Parker he’s handing her the reins...
Sophie is happy. GOOD.
Die? *gasp*
--I know it’s a con. I have been quasi-spoilered, and besides, they wouldn’t do that. But still....trying to ignore it so I can feel the feels, man.
“You’re always great at the con.” <3 Go act, Sophie.
Aaaand ZIPLINE!
--but nope, Sophie’s bad, even though it’s for the con. Oh dear. Why the Scottish play?! That seems ill-omened!
So is the plan to set off all the stuff? Hmm. Apparently so.
They turn away in the elevator to let her change, just like in the first episode. :) <3
They would know radios still work! Come on!
Oh no no noooo.... it’s fake it’s fake it’s fake...but....
“Dammit, Hardison!”
NO!!!!
“Age of the geek, brother”--he tells him he’s still there...and not that he’s probably dying, because Eliot, out of all of them, would know when someone else only has time left to be reassured anyway.
They’re all holding hands.
The tragedy--!
And Nate and Sophie did the perfect thing.
--Except it’s not what really happened, right? Right??
...They don’t have the bodies after all. Hah.
So what did they do, and how, and why?
--is that Sophie being Lady M in the background this evening? Well?
“You loved them very much, didn’t you.” Yes.
Why is there wind whistling noise in the tunnels? I feel like there shouldn’t be much airflow down there.
Nate’s demeanor flipped. Heh. And she’s impressed.
They weren’t after the drug. or not just the drug.  (Later: Wait. There never WAS a drug. That was part of Nate’s lie too, something with sick kids and a personal connection--his son’s doctor--that he would absolutely get that close to that he would risk his team. Sterling would believe it.)
Hi, Sterling.
Oooh.
“The Black Book.” Ominous.
Nate’s way too sharp. This isn’t grieving-Nate. They’re not dead and he knows it.
Sterling is part of the plan, right?
Fake bodies!
“The second question is: Where are the coroner van drivers?”   :D
...They needed Sterling. Biometric dealy.
YES!
“I feel bad about that.” So it wasn’t Sophie doing the bad acting. Haha!
Nate the security guard!
In which the tragic scene is revealed to actually be Nate saying “Bang” and Eliot rolling his eyes.
Agent Tennant. Heh. Definitely a Doctor Who fan somewhere on the staff.
Yes it was Sophie! Acting well in Shakespeare, because it’s part of the con! <3 Good. She deserves it.
ALL THREE OF THEM WERE AGENTS IN THE ROOM! Nate turned Sterling around--so he didn’t see them.
Not in the audience, no--hidden in the ensemble!
...Who’s driving the secret prison van? --HAH! Sterling knew it too.
And so the torch is passed.
Aww Laura!  --That’s not it either.
We’ll get an overhead walkaway shot, right? Yep.
Badass 3 in the last scene.
....Man this was a good show.
56 notes · View notes
aeternalegacy · 4 years
Text
Leverage OT3 Headcanons: Romantic & Sexual Attraction (Part 2 of 5) - Eliot & Parker
So the second part of this post -- how the OT3′s romantic and sexual orientations relates to each other, starting off with Eliot and Parker. 
Part 1: OT3 Romantic & Sexual Orientations
Part 2: Parker & Eliot [this one]
Part 3: Eliot & Hardison  (TBA)
Part 4: Parker & Hardison  (TBA)
Part 5: Parker / Hardison / Eliot  (TBA)
I obviously have nothing better to do in isolation than contemplate fictional character polyamorous relationships so please bear with me.
Quick recap of my takes on the OT3′s sexual / romantic orientations -
Parker - Demisexual / Demiromantic
Eliot - Bisexual * / Demiromantic
Eliot
You have no idea who I was when all this started.
Eliot to Nate, The Last Dam Job
Eliot grew up in Oklahoma but left his family as soon as he turned 18. After the military, he was a mercenary and a hit man. He may have made friends while in the service, and otherwise, but that wasn’t family. Like the others, he had a reputation for working alone.
Parker
“Parker. You have Parker? ... But Parker is insane.”
Nate to Dubenich, The Nigerian Job
Parker comes from the foster system and was a criminal by the time she was 12. She was in and out of the system all of her life. The only family she had -- Archie -- abandoned her after training her, defending his decision by pointing out she’d never fit in with a real family. She’s never truly belonged anywhere before and learned to depend on herself and only herself.
Eliot & Parker’s Friendship
Eliot and Parker do have a very strong emotional bond that I’d argue is the strongest one in the series. They are incredibly emotionally broken human beings. 
Parker grew up isolated by circumstance and learned not to depend on anyone because no one was there for her.
Eliot chose to leave the family he grew up with and later, to work alone. We’ll probably never know why but really, it doesn’t matter.
They are both self-aware of their brokenness and of each other’s.
But then that fateful day came when Victor Dubenich called them both up with a six figure job that was too good to pass up. And after doing the job, nearly getting killed, getting arrested, escaping, and then getting the best payback ever... these two loners found out that being in a team wasn’t so bad. 
In fact, it was... nice. It’s better than nice, really.  
The foundation was there but the growing together came organically. And sooner rather than later, the team of elite criminals became a family. 
And Eliot and Parker love being part of this strange criminal family. It’s the first family Parker’s ever had. It’s the only family Eliot’s had in a long time.
Eliot recognizes the emotional struggles Parker has because it’s familiar to him.
They both struggle to feel like that they are deserving of this little slice of happiness. Parker’s never had a family before and undoubtedly wonders whether she deserves it or worse, if it will all just go away some day.
Arguably Eliot struggles less with this than Parker but there’s no doubt that he still carries a lot of emotional weight from his time as a hit man.We may never know what he did or what his actual body count is but it’s sure to be high and the emotional burden he carries is heavy.
Tumblr media
He knows, at some level, what she’s going through, and he makes himself available to her to help with that. He may seem gruff, he may seem easily annoyed, but he never pushes her away. He’s there to protect her and to guide her when she needs and asks for it. 
Romantic Involvement
I headcanon them both as being demiromantic, which means they would require an emotional connection before being attracted to each other romantically.
Parker goes to Eliot for counsel and comfort; Eliot protects and guides Parker whenever he can, as much as he is able.
... and sometimes he literally picks her up and drags her away for her own good because, well, it’s Parker.
All in all, they communicate and connect in ways that the others don’t. 
He starts off the series all, “What is wrong with you?” because Parker’s... well, Parker. She’s super thief but she’s just... different... than most people.
But Eliot soon comes around and quickly learns how to talk to Parker. Eliot’s role in the team is that of a guardian and protector and this extends to how he treats and views Parker. Like the others, he never tries to change Parker so much as inform her as why certain things are expected versus not.
However, Eliot also realizes that Parker is not helpless; physically speaking, she’s anything but helpless. However he does recognize emotionally and socially she needs support. More importantly, he recognizes that he is able to help her with those aspects.
Likewise, Parker grows to trust Eliot. He’s there to help her, not to belittle her. He’s strong of character and dependable. She recognizes, on some level, that he understands her in a way that the others may not. She may not understand why he understands, at least in the beginning, but that he is there and willing to help her, she appreciates that.  
Much of Eliot and Parker’s relationship is a deep, mutual understanding and less verbal communication. Eliot is the type of person whose actions speak far louder than his words. Meanwhile, Parker is... well, Parker. 
They don’t need words to communicate, either. Best example, hands down, is on the train during The Rundown Job. Another great example was during The Long Way Down job when Parker slipped the phone into the goon’s pocket while Eliot burned the notebook.
Do they love each other? Yes, most definitely. In a romantic sense? Would Eliot lay down his life and heart to make sure that Parker was happy? Uh, yeah. Most definitely. 
Would Parker go to lengths to make sure Eliot was happy? I think so but I don’t think she’d necessarily do so consciously. Perhaps more subconsciously, interacting with him, doing things that she knows happy-annoys him, pretty much. (She may not troll him the way Hardison does but she knows that Eliot likes doing things rather than say it.)
Eliot & Parker’s Physical Relationship
Parker’s very physical and I think that physical touch is one of her love languages. But it’s not necessarily in the ways one would typically think of affectionate touch. 
You see her poking Eliot on the show, a lot. And Eliot just lets her like the big gruff teddy bear that he is. He knows it’s her way of playfully communicating with him and it’s okay for the most part.
Meanwhile, Eliot is someone whose actions speak louder than his words. is literally there to catch Parker. Sometimes, quite literally.
Tumblr media
As evidenced by The Cross My Heart Job, they are very comfortable around each other. I’m sure Eliot’s seen Parker undressed before, more out of Parker’s lack of inhibition than any conscious effort on his part. It’s not a big deal for either of them. 
As for being physically intimate, they are comfortable in each other’s personal space. Parker quite often leans into Eliot so it’s not too much to think that she would eventually cuddle with him as she gets more emotionally attached to him.
Any kind of affectionate touch with Parker, I see her having to initiate or at least introduce Eliot to the idea that she’s open to it. I don’t see Eliot ever forcing any type of physical intimacy on Parker -- he’s not the type and he certainly would never make Parker do anything she’s not comfortable with.
I don’t headcanon Parker as a kissy type in general; even with Hardison she’s not shown to kiss him all that much. Neither do I see Eliot being a kissing type of guy, at least not initially. 
However, I could easily see Eliot giving gentle forehead and top of the head kisses once he’s gotten a sense that she’s okay with it from him.
As for sex? That’s the Big Question (tm), of course. I would think that Eliot would be willing if Parker ever was. But Eliot is definitely not going to be the one to initiate or even entertain the idea unless Parker brought it up. 
Another question is would Parker ever bring it up? I think that’s a definite possibility as long as she’s comfortable enough with Eliot physically and emotionally.
And if they did end up being physically intimate then hell yes he would enjoy every single second of it, every time, and then some.
Casual sex, he has plenty of. But being physically intimate with someone you love as deeply as they love each other would be a whole different thing all together. I could see him going around trying to hide a goofy little afterglow smile. (C’mon, it’d be so cute!)
Next Up: Part 3/5 - Eliot & Hardison
62 notes · View notes
Note
I have my own small pile of headcanons but I kinda wanna hear your past!Eliot/Moreau meta if you have any :D Like, I wanna just bundle Eliot up away from the angst but at the same time, how the show approaches NOT TALKING about that part of his life always made me more curious. :D
Okay you literally caught me at the BEST/WORST moment for this because I was JUST screaming about a new Eliot and Parker headcanon to a friend so OH BOY OH BOY AM I IN THE MOOD TO TALK ABOUT HEADCANONS.
I JUST FINISHED REWATCHING THE ENTIRE SERIES BY THE WAY SO IMAGINE ME HOPPED UP ON SUGAR THAT’S WHAT’S GOING ON HERE
*ahem*
Because you’re absolutely right–to know Eliot, you have to look at what he’s not saying. Nate is known for keeping secrets re: his plans and holding stuff back with that, but his actual backstory and personality are an open book. Multiple people read him like an illustrated children’s novel. Hardison’s backstory is remarkable in its simplicity and lack of trauma compared to the others, which is refreshing in a person of color. Not that Hardison hasn’t struggled or doesn’t have issues, as we all do, but as the backstories of the group unfold it becomes clear that Hardison’s backstory is one of triumph in spite of odds.
Sophie’s backstory, on the other hand, is about what she lies about, not about what she doesn’t say. Sophie’s backstory is like Hardison’s only more amusing, because Sophie’s backstory is her stories on the cons she’s run. And Parker, well, Parker’s backstory is about what she doesn’t want to tell you that you end up finding out anyway. Her brother, her father, her Christmases, her foster home experience, her apprenticeship to Archie. Parker’s backstory unfolds just as her development unfolds and it’s all dragged out into the light.
Eliot’s backstory is never dragged out into the light. You have to look at the dark patches to understand. Because what Eliot doesn’t say, that’s what speaks, that’s what’s important.
For example, we don’t learn about Eliot’s falling out with his father until season five. But throughout all five seasons we see him unusually protective of children, especially when it comes to their relationships with their fathers. And he never mentions his mother. All that he doesn’t say about his parents speaks volumes and tells us, long before we learn about the falling out in The Low Low Price Job, that Eliot had a hard childhood, probably without a mother, and that his relationship with his father could be frustrating and strained.
We see this in The French Connection job as well. We don’t know until season five why Eliot is so into cooking and so intense about it: it literally gave him back himself. Eliot tells Parker, “Y'know, I didn’t feel anything for a long time. And Toby taught me to cook, and after he did, I started to feel stuff again.”
But even before we hear this, we already know it, because we see Eliot taking care of Hardison and Parker through food. He loves cooking so much that Hardison buys Eliot a brewpub as a sign of romantic affection. Eliot never says how he learned to cook or why or when, but we the audience are supposed to read into the fact that he never talks about it because for something so important to him, it’s pretty damn significant that he never talks about how he came to learn how to cook. Ergo, learning how to cook was a pretty damn important and emotional thing for him.
With Eliot, read the silence.
And with Moreau? Eliot is silent. He never mentions Moreau, not all season, although if you watch the season again after you watch the finale, you start to see pretty obvious emotional signs that Eliot knows Moreau, which, kudos to the crew and Christian Kane on that (this is a great example of why you tell your actors plot twists instead of springing it on them at the last minute). Every time Moreau is mentioned, Eliot warns the team, or specifically Nate, against him. He cautions Nate. And he gets very stiff and angry. Watching season three knowing what’s coming, it’s clear that Eliot spends the whole Moreau chase on tenterhooks.
By the time we hear Eliot say, “I did things for Moreau,” the audience should already know that whoever this guy is, he’s a big deal to Eliot, and specifically to Eliot emotionally.
Then let’s look at the timeline. When Moreau meets Eliot again in the pool he mentions what fun they had in Belgrade.
…which is the same city where Eliot met Toby Heath, the chef who turned him onto cooking and gave Eliot back his sense of self. This is also incidentally the same location as the flashback in the pilot that shows Eliot’s skill set–which takes place in a restaurant/café.
Tumblr media
The implication, therefore, is that Moreau was the reason Eliot so lost his sense of self and why Eliot was in such a bad place. Which then brings me to what Eliot says when he confesses he knows Moreau:
“You think you know what I’ve done? The worst thing I ever did in my entire life, I did for Damien Moreau. And I… I’ll never be clean of that.”
Eliot has only twice demonstrated his ability/willingness to kill in the series–with Parker and with Hardison. When the fake psychic exposes Parker’s brother’s death, Parker says she wants him dead, and Eliot straight-up offers to kill him. This is after Eliot tells Hardison early on in the series not to ask him to kill, because if he asks, Eliot will do it. Eliot’s relationship with Parker and Hardison is coded by the writers as romantic and sexual. So if Eliot is willing to break his moral code for them, two people with whom he has a romantic relationship, the implication is that the one other person for whom he broke his moral code (Moreau)… he also was in a romantic relationship with.
This is further implied in the Parker/Eliot interaction that accompanies this. Parker asks him, “What did you do?” and Eliot, tears in his eyes, begs her not to ask him, “because if you ask me, I’m gonna tell you.” Eliot cannot deny the people that he loves, and that’s part of what makes him so wonderful but it’s also part of why he is such a danger to himself because he will give until it hurts and then keep giving past that point, to the point where he can be exploited by those he trusts.
…y’know what I was going to talk about this later but since I mentioned that let’s just dive into it here real quick.
Another thing to keep in mind about Eliot that the audience should have figured out by the end of season three is that Eliot has very submissive behavior. Despite his repeated refrains of, “Dammit, Hardison!” he actually prefers to follow orders instead of give them. I joke about him being a bratty sub with my friends but in all seriousness, it becomes clear pretty quickly that Eliot’s love language is acts of service.
This is a wonderful thing, but it also opens Eliot up to being abused and manipulated, because all the person he loves has to do is hint that they would really really love it if, say, they could have that one delicious risotto for dinner… or if y’know that pesky rival arms dealer would just… vanish… and bam. Eliot takes care of it.
Eliot might not be big on the whole “saying I love you” thing, but he will cook dinner, he will go after the bad guys, literally anything Parker or Hardison say they want, Eliot finds a way to do it for them. A good comparison to this is Hardison, whose love language is gift giving.
(Note: This is all the love language they give, not necessarily the one they receive. Hardison likes to receive words of affirmation i.e. “Good job, Hardison,” which is why he butts heads with Nate because Nate SUCKS at words of affirmation. But Hardison gives in presents.)
Hardison gifts Parker the little Parker II robot. He buys a building in Portland with high ceilings and brick walls and all the structural stuff Parker likes but with a brew pub for Eliot. He gives high-tech earbuds. He gifts Parker the parachute to go with her weighted boots so she can sail to safety. He gifts everyone with state-of-the-art tech to keep them safe.
Parker, on the other hand, gives in physical touch. She scoots right up next to Eliot on the couch and pokes Eliot constantly. She climbs all over Hardison like a jungle gym. She snuggles them.
Eliot doesn’t go out of his way to touch anyone, and he doesn’t buy anyone anything, but he finds ways to serve them. Which is why, when Eliot says “the worst thing I ever did in my life” was for Moreau, that should be pinging alarm bells to any alert viewer. It should tell you two facts. One, I served this man, and he took advantage of it, and two, I served him the way I serve Parker and Hardison now, and that means we had the same relationship.
And this is all ignoring actual Eliot-Moreau interactions!
So even if we IGNORE all of the interactions Eliot has with Moreau, we’re building a pretty damning case here. Eliot’s telling silence, the timeline, and the fact that he admits Moreau had a hold on him, an ability to break Eliot’s self-imposed code, which does not happen easily and is intrinsically tied to Eliot’s love for someone… all of this screams that Moreau was not just a boss but someone personal, and important, to Eliot.
Then Moreau actually saunters into the picture (a moment of silence so we may all drool) and it all dials up to eleven.
Let’s start with the sex angle. Or, rather, the lack of a sex angle.
See, we find Moreau in the middle of a “party” in a hotel pool. There’s plenty of scantily clad women around. But Moreau never once looks at them or touches them. They might as well not even be there. Every other mark who is placed in a similar situation is shown interacting with the women or at least looking at them appreciatively. Moreau straight up ignores them. They might as well not be there. They’re window dressing.
Interesting, non?
This gets even more interesting when you line Moreau up along with all the other marks the team has gone after and realize that Moreau is one of the few marks, possibly the only male mark, that the team doesn’t try any kind of romantic/sexual grift on.
Often when there’s a woman involved you’ll see Eliot slide in and briefly grift her, the biggest example being The Stork Job where Eliot ends up grifting almost the entire episode, aided by Sophie. When it’s a man, though, when have we not seen Sophie charm him? Moreau stands out because he and Sophie don’t even meet until the team gets to San Lorenzo. He’s not grifted… except by Eliot, who lies to him about who Hardison is.
Then consider Moreau’s wedding ring. Now, yes, I know, the costume department was probably just like “yeah okay keep your wedding ring on who cares,” but the writing team is usually good about having the Leverage team bring up any family connections. Especially when the team gets to San Lorenzo, Moreau’s home turf. Moreau has an expensive villa and a wedding ring and, what, the team just conveniently decided not to go after his spouse? When a spouse is probably the easiest way to get to someone?
If the team doesn’t go after Moreau’s spouse, then that means that he’s not close enough to his spouse for there to be any leverage there (ba dum tish). That plus ignoring the women–again the only mark to do so–and the only male mark Sophie doesn’t in some way try to grift…
…I’m just saying.
There’s also the fact that Moreau comments on Eliot’s haircut (“I like the new haircut”), the “delicious five course meal” look he gives Eliot the entire time they’re at the pool together, and the fact that he actually seems pleased to see Eliot, and furthermore, relaxed around him. And we can’t put that relaxation off to just thinking he has the upper hand. Moreau thinks he has the upper hand with Nate in San Lorenzo, but he never relaxes around him the way he does around Eliot.
Tumblr media
Speaking of which, rather interesting that Eliot tries to avoid being alone with Moreau in San Lorenzo… but we’ll get to that later.
So. Moreau and Eliot meet in person. And hoo boy is that a doozy.
Immediately Eliot is completely different from how we usually see him. He tucks his shoulders in. He makes himself small. He postures to the new head of security but with Moreau, Eliot’s careful. Measuring his words. Darting his eyes down.
Moreau, on the other hand, is amused and almost delighted. He looks like he’s been waiting cheerfully for this day to arrive, the day Eliot walks back in through the door. We’ve never seen Eliot so out of his element, and Moreau has all the cards. This is the moment where the audience realizes just how dangerous Moreau is, because we see Eliot’s reactions to him. Eliot is walking the razor’s edge.
This is all just in reading body language. This doesn’t include the actual dialogue. The dialogue… well. See for yourself.
“He prefers beer.” (Note that Moreau doesn’t give the girl a once over, he looks her in the eyes dismissively, every single other male mark would give the girl a once over.) Moreau knows Eliot’s personal tastes.
“Whose Snoopy lunchbox did I take?” This isn’t a random object. Snoopy lunch box? That’s pretty specific. “Whose school lunch did I take” or “whose lunch box did I take” would get the same condescending joke across, but Snoopy lunch box. Moreau’s referencing a specific event between himself and Eliot, reminding Eliot of their past.
“I don’t know you [Hardison] but I do know you [Eliot]. We could talk.” This is accompanied by a smile. Moreau then immediately removes Hardison from the equation by kicking him into the pool so that he is, essentially, talking to Eliot in private.
“Let’s keep it short.” “I already have international buyers so it’s not an issue.” Moreau is toying with Eliot and Eliot is letting him. Eliot is speaking quietly. Barely moving. Shut down, almost, like he’s scared of showing Moreau too much.
The casual behavior that Moreau is showing throughout suggests that even if he knows Eliot’s trying to double cross him, he doesn’t care. The words he’s saying remind Eliot of their past. Both of these indicate that they have, or once had, a deep trust between one another.
“What else you got?” After Eliot has given Moreau his information, Moreau waits a full thirty seconds (thirty seconds he knows the drowning man in the pool can’t afford), even though Moreau has clearly already made up his mind. Again, toying with Eliot. Here we’re seeing Moreau’s ability to manipulate people, and especially his ability to manipulate Eliot.
This entire scene, it’s like he’s pushing Eliot towards a particular something, trying to get Eliot to give him something specific that Moreau wants, and already knows that he wants. This scene right here shows us Moreau and Eliot’s entire relationship and it’s a bone-chilling one of manipulation, coercion, and power plays where Eliot is submissive and scared, poker faced, holding his cards close for fear they’ll be ripped from him.
Now, no relationship starts out this blatantly abusive. Moreau’s behavior shows that he’s clearly fond of Eliot, especially compared to the rest of this episode and the next (The Big Bang Job and The San Lorenzo Job) where we see how Moreau manipulates and treats people of whom he isn’t fond. 
“I like this one. Just like old times. Reminds me of Belgrade.” All said while Moreau is laughing, speaking in a low, amused, intimate voice, staring Eliot right in the eyes as Eliot struggles not to flinch away. Making his like of Hardison more disturbing and threatening than his dislike would be, implying that Moreau liking Hardison is bad news for Hardison, activating Eliot’s protective instincts.
Also please tell me I’m not the only one who heard “we have a deal” and was like that sounds like he wants Eliot to do sex stuff.
If Eliot was a woman, or if Moreau was a woman, I don’t think anyone viewing would be in any doubt that there was a sexual undercurrent to this entire exchange, especially in those last few sentences. And Eliot just stares back, not defiant the way he usually does, but like he’s silently begging for this whole thing to be over.
In fact, the only time Eliot starts to become himself again is when Hardison says he sucked the air out of the chair and complains about Eliot not diving into the pool after him. Now, Hardison couldn’t hear what was being exchanged up there, but Hardison is the most emotionally aware of the OT3, and arguably the most emotionally aware of the entire group (it’s a toss-up between him and Sophie). Hardison, even before he was kicked into the pool, knows something is horribly wrong here not just with the situation but with Eliot. Which leads me to believe that Hardison is berating Eliot for not going in after him not because Hardison genuinely cares (by season three he trusts Eliot in these matters) but because it gives Eliot something to snap him out of it.
And Eliot does snap out of it. He banters back at Hardison, comes back to himself and becomes the Eliot we know and love, which highlights his previous behavior with Moreau even more sharply. Eliot always snarks back. Always. And yet not once did he do that with Moreau. They’ve gone up against guys were were just as “bad” as Moreau is, so why is Eliot scared of this one, why is Eliot not snarking back, why does Moreau hold all the cards, relaxed in a bathrobe, while Eliot stands with his arms folded like a shield?
Because there is something personal, and painful, at play here for Eliot.
Which leads us all to my final belief, which is that Eliot fled Moreau and never actually properly ‘quit’. That is, he gave his resignation over a phone call or letter, and never actually did it face to face.
Why?
Because Eliot’s behavior all suggests a huge lack of closure.
Eliot avoids Moreau at all costs, especially in San Lorenzo, Moreau’s home turf. He never confronts Moreau alone. Never speaks to him alone. In fact he seems loathe to speak to or about Moreau at all. Eliot casually mentions a lot of the other shit he’s done, but he never mentions Moreau or the shit he did with Moreau, which suggests that he can’t talk about it–because he hasn’t faced it and therefore can’t accept it.
Given how Moreau handles his business associates (“you’re either an asset or a liability”), I think we can assume that anyone who wanted to a) quit his employ or b) break up with him had to do it by running for their lives and leaving a Dear John letter. And if we think back to the timeline, Eliot learning how to cook, then we can assume he was hiding out with this chef instead of doing actual work.
And remember–Moreau is happy to see Eliot. He’s amused and cheerful. He establishes his authority by kicking Hardison into the pool but he’s not angry. If Eliot and Moreau had a big falling-out fight, I doubt he would’ve been so jovial.
Which means that instead of confronting Moreau and saying “hey you’re an asshole and I’m leaving you,” Eliot fled. Which means that Moreau thinks he still has some kind of hold over Eliot because he knows Eliot operated out of fear and didn’t have the guts to confront him, and which also means that Eliot never got to face down the man of whom he was so scared. Which means a lack of closure.
Which Eliot finally, finally gets by locking Moreau up. He literally gets to put his asshole ex in jail himself, how many people get to do that? 
MY CONCLUSION:
Eliot and Moreau started out as hitman and boss, respectively, but developed a romantic and probably also sexual relationship. It was emotionally manipulative at best and outright emotionally abusive at worst. Eliot’s love language, as we discussed, is acts of service and so out of that close emotional bond he ‘served’ and did things that he wouldn’t otherwise have done, things that haunted him and fucked him up emotionally. But you can’t always see the forest for the trees when you’re in an abusive relationship, and when you love someone it’s hard to let them go and walk away, and so it wasn’t until Eliot met Toby that he was able to start to rediscover himself and his independence.
Eliot left Moreau, probably by just leaving a note or voicemail, since if they’d fought, I a) doubt Moreau would’ve been so indulgent at the pool and b) doubt Eliot would’ve made it out alive. If Eliot just straight up says “we’re done, bye,” and flees, this also explains Moreau’s amused and commanding presence at the pool–he’s assuming that somewhere, deep down, Eliot left without a proper goodbye because he would’ve stayed if he tried that, would’ve fallen for Moreau’s manipulation again, and Moreau believes he can therefore still manipulate Eliot.
And he’s partially right. Moreau reads Eliot like a book and it’s thanks to the smarts of the rest of the team that they manage to force Moreau to flee to San Lorenzo. Eliot himself is, well, compromised.
Eliot is now in a much better and healthier place, with himself and with the people around him, but yes, Moreau is the asshole ex-boyfriend who rears his ugly head, and in putting him in prison, Eliot is also able to lay his past bad relationship to rest and get closure.
And that is my Eliot/Moreau meta, someone please wrap this poor sweet boy up in blankets, please and thank.
476 notes · View notes
cheshasleverage · 4 years
Text
The Miracle Job Rewatch
Wow it sure took me a while to watch this episode damn. Also I’m gonna start putting these under read mores because they’re too long
Anyways, I think I understand why they might’ve switched the Two Horse Job with The Wedding Job, on account of it would explain why Nate is ordained and can marry off a couple without anyone questioning the validity of it
If we think about it going in the order it was supposed to though, with Nate marrying off the couple before telling the team he was a priest (or was going to be anyways) its kind of funny because that means the team didn’t care about its validity and just wanted to get the con over with
The mural in the church though, it’s gorgeous. The statue? can’t stop laughing at his little Y arms
The priest is definitely a guy Nate would be friends with, what with his humor and all
Listen I’m not religious and I know this is a running theme throughout the episode but seriously who beats up a priest, or any holy man for that matter? Unless the guys a fucking asshole I understand but come on
How did Sophie get that role? Knowing her the actual cast member dropped out or something and she jumped on the chance to play
Eliot playing Russian roulette with a bunch of criminals is somehow not as bad as watching Sophie’s play and I want to think he’s just exaggerating to get his point across but also Death of a Salesman is almost 2 and half hours long so maybe it really was that bad (either way I think Eliot needs to lighten up on Sophie)
Ok Ok, smooth Nate really smooth
Do you think Nate actually watched the play? He probably already knows the premise of Death of a Salesman so he can cover his ass if he fell asleep but the way he was watching Sophie in the first episode makes me think that maybe he is just fascinated with watching how her version plays out
First mention of Maggie, and with Sophie’s tone and with what we already know, we can kind of figure out that whatever she’s telling Nate is important and that the client is possibly connected to Nate (great writing tbh)
“You read the police report?” “Yeah, I do that.” 
The back and forth with Nate being All Business and Paul trying to get him to tell him if it had been Maggie he was talking to is very.... telling of how Nate feels about his “job” and his old life. Nate lost everything, including the wife he really loved, and now he’s driven himself into the ground trying to do anything that might distract him from what happened to Sam and his old life basically. 
I never realized before but parker has probably never actually experienced church or interacted with any religion in a....... religious way
Nate trying desperately to convince the team to help out his old friend like they hadn’t already helped out Sophie’s against the mob, or like they wouldn’t be all over it after learning some dudes jumped a priest. 
They have better hearts than I think themselves, and Nate, give them credit for
They were fully prepared for Nate! Hardison knew he was gonna start asking about who wanted the church and got signs of each place.
“I don’t do gangs” Do you think this is the episode that Hardison started to learn how to defend himself from attackers?
oof, look at how happy and proud Nate looks. That little boy was his life
This scene really drives home the fact that Hardison and Eliot have had very different experiences in life. While Hardison has mainly done cons behind the safety of his hacking and never really had to fight anyone, Eliot has done this before. He knows where gangs have their hideouts, he knows walking into their turf will draw them out, he knows they’ll pull guns or knives etc.
Side note: Eliot grabbing that dudes gun and holding it down his pants while he interrogates them? kind of hot ngl
“A specific range of efficacy” Yeah ok sure, he hates them because most inexperienced people use them in the least effective range instead of the fact that he’s probably got PTSD 
ANYWAYS DISARMING THAT DUDE WITH A HEADBUTT IS KIND OF HOT ALSO
However, Hardison freaking out is exactly how I would feel in that situation, mainly because I (and Hardison) realize that Eliot is there and after seeing what Eliot can do there’s very little chance he would let anything happen
What was that move, Hardison? Did he shove him??
Hey, at least he noticed that dude was acting weird. He’s very observant and picks up on a lot of things which helps out when he’s hacking
“Somebody’s gotta fight the injured, shoot that’s my niche”
Can we talk about how Eliot keeps looking back? Like he’s expecting a gunshot, whether it’s at the gang member or at them
God when the team is going hard against someone they really go hard. First smacking him with wood and changing his pills, then dumping his assistant on the floor to get him alone in an elevator
“You gave speed?” Hardison’s half-assed attempt to make an excuse for Parker because he did beat up a priest but also, speed?
Parker is so smart. Like, especially when she’s doing anything involving stealing but there are moments like this where she comes up with an elegant way of saying “let's ruin this dude”. 
I peg Hardison for being agnostic. Or something along those lines. Mainly because I feel somewhat similarly toward what they’re doing. Cus there’s a difference between taking advantage of someone’s greeds/fears vs taking advantage of their religion and faith
DID PARKER REALLY DRAW BLOOD FROM HIM
Sophie is vicious. I think they all are in their own way but Sophie gets next to her mark, gets cozy and they trust her and then she turns around and uses them for her con
1) Hardison is an amazing artist 
2) Eliot’s got a point because at 10 feet when you’re not moving and your target is standing still, you should have time to aim and hit it
Alright so digging in: Nate harbors guilt over Sam’s death and the falling apart of his marriage..... and his little game of cat and mouse with Sophie. He never cheated on Maggie, there may have been some flirting but he was honest and never slept with Sophie or anyone else, and I highly doubt Sophie ever tried to push him to sleep with her knowing he was married. But he still feels guilty because, well come on, one guilt piles on another and soon it’s snowballing. He’s thinking about every little mistake, whether Maggie cared about it or not, and wondering if he could’ve done things differently, how would things have turned out?
Sophie, on the other hand, knows he was honest, knows there’s nothing he should be feeling guilty about, at least not when it comes to what they had before the team. Maybe she harbors some envy toward Maggie, but she’s also in a very unstable and unsure spot. She doesn’t know where she stands with Nate personally, only professionally as a grifter on his team. And maybe she does feel somewhat guilty, but she’s trying to lessen the burden that Nate’s put on himself (not that she’s supposed to do that, and it’s another reason I’m glad the writers pushed off their romance)
You know you fucked up when the Vatican rolls up
(now I wanna see a job that takes place in/near the Vatican where the team has to avoid the Vatican and try not to get themselves smited for another fake miracle because Hardison, Parker, and Eliot booked it as soon as they heard the Vatican)
Paul really nailed Nate. At this point, Nate is an alcoholic and he’s depressed, like severely. Nate is using this team as a way to maybe redeem some part of himself, and possibly end him in a way that’s well.... it either does some good for someone or it ruins his reputation
I also wonder if Nate ever did go back before they moved. Maybe just once or twice, even if it was just to talk to Paul. 
Also very clever to use Saint Nicholas. After digging around (googling about him) I found out he’s technically the patron saint of repentant thieves
107 notes · View notes
sandalaris · 4 years
Text
10 for 10 for 10
I’ve been tagged by @yossariandawn Thanks for thinking of me! and for all the great questions! (and sorry it took so long. I had a hard time thinking of 10 questions of my own.)
Answer 10 questions, ask 10 questions, tag 10 people.
1. If you could learn a new skill instantly, what would you choose? I’m not sure. I think that if it’s a skill you really enjoy than taking the time to learn becomes part of the enjoyment, so it’d have to be a skill I either only kind of wanted or that I felt was a need over a want. Oo, MMA, good exercise and the ability to defend myself or someone else if I ever need to, and it’s not something I feel really passionately about going through the process of learning.
2. What part of the world (that you’ve never been to) would you choose to live in for a month? Hyère, France. Don’t even have to think about it. About eight years ago I was planning a move and it was on the short list of places I was considering going to. The climate seemed the most ideal to what I wanted to live in and all the pictures were beautiful. 
3. Favorite kind of sandwich or wrap? Grilled cheese? I don’t like sandwiches (or wraps) typically.
4. Show swap! Bring back 3 shows you love, but you also have to choose 3 you like to cancel instead. Oo, gotta think about this one. I don’t want to bring back a show that was already past its peak and I don’t want to say to cancel a show that isn’t ready to end.
Cancel: (I stuck only with shows that I watch and enjoy so I’m not digging at any show just because it’s not my personal preference)
NCIS – I love the show, seen every last episode and will continue watching it until the end, but it’s time for it to wrap up. It well past its prime.
Lucifer – Listen, I love this show, and there’s a ton of great characters and material here to make a long running series, but they have started going in circles with it and that’s making it feel old. How many times can the same characters learn the same lessons before it just feels like the writers are just forcing things back into the same ol’ mold? Let the story grow or move on.
Shameless – It’s a stretch because the finale season has already been declared, but it’s a show that I don’t really need that finale season, even if I will watch and enjoy it, because it’s reached its natural end.
Bring back:
From Dusk till Dawn: the series – I debated on this one. It wrapped everything up so nicely and I’m quite happy with how it ended, but at the same time the writers had plans for the next season and it was never officially cancelled and there’s so much more story that could be told.
Firefly – Although it’s been enough time that it might have to be more of a reboot maybe? Or are we doing the impossible and it’s coming back shortly after it was canceled? Either way, that show was cancelled way too soon.
The Gifted – Yes, it was a bit cheesy but it’s just as good, if not better than, a lot of the comicbook shows still going AND it ended on a cliffhanger. It needed to continue
5. What fandom would you want to get into, but haven’t yet? I don’t know. I feel like I don’t exactly pick my fandoms. I start watching a show or go see a movie or read a book and then if I feel like looking up fandom stuff after I do.  
6. What show or movie do you watch to cheer you up? Probably Community. It’s a good show that has that nice balance of being a ridiculous comedy, but not too silly at the same time. And it hits so many of my favorite tropes. (Leverage could also count.)
7. Favorite condiments? ….salt? That’s technically a seasoning, but I am not a condiment fan. They are mostly gross and just cover up the flavor the food with their grossness.
8. What characters (from different universes) do you think would love hanging out together? Pick as many as you want. I wrote for fun a Kisa (FDtD) and Troy (Community) scene and discovered I really like them interacting (there was other people in the scene, but they stole all my attention in a matter of moments). They connected in a weird way and I loved writing Kisa’s bizarre and confused reactions to Troy. Britta (Community) and Richie (FDtD) would get along well I think. They’d click in that odd way that Richie has with random people and Britta would be a little too oblivious to Richie’s more social flaws/creepy nature, as is her way when it comes to guys with even the tiniest bit of charm and intelligence. Not gonna lie, I kind of ship them now.
I would also put Shawn from Psych with the entire Leverage crew. Sophie is the only one I feel would find him a bit much at times, mainly because she can spot a grift a mile away and Shawn’s kind of always “on” and think it would mess with her trust issues too much for her to be entirely comfortable around him. Nate sees his potential, especially if Shawn’s been brought in to help on a job, and the guy is ultimately one of the Good Guys, and he would go a long way to helping put Sophie at ease. Because Nate’s too smart to be taken in by someone like Shawn and Sophie wouldn’t feel like she’s the only one who sees him for the conartist he is. Eliot would groan and grumble for show, but in the end Shawn’s like a combination of  his two favorite people in the world; Parker and Hardison. Plus, I headcanon Shawn and Eliot as cousins. I think Hardison might find Shawn a little too like himself to ever be best buddies with the guy, but overall they’d get along just fine. As for Parker... I feel like they’d be almost like two kids on the playground who both found out they like the same obscure cartoon none of the other kids have seen. 
I have a little headcanon about Parker (Leverage) and Clint Barton (MCU) having been in the same foster home as kids and having this kind of a past-sibling-esque connection. I like to think that with both their careers they don’t meet up often, but whenever they realize they are in the same place at the same time, it’s a given that they’ll hang out while there.
My roommate keeps yelling over my shoulder Starlord and Micheal (from the movie starring John Travolta) until I agreed to put them. They would get along in a weird sort of fun way that would be fun to watch but hard to be a part of, but since I haven’t see that movie since I was a kid it’s not one I think of.
9. What’s the most underrated show or movie or book or artist that you love and people should really check out?
Ilona Andrews is an amazing author and more people should check their works out. But the most underrated show I think I’ve ever gotten into… honestly would probably be From Dusk till Dawn. I feel like most of my followers are at least aware of it though because I post enough about it, but it was just really good and sort of cut off before its time. A really close second would be Leverage. It’s still the number one show I recommend when people ask me and I just adore it to pieces.
10. What were you obsessed with as a kid?
So many things, but probably Jasmine from Disney’s Aladdin the most. Pretty sure I named more than one stuffed animal after her.
My questions:
1.      What was your first fandom? Are you still a part of it?
2.      Current self care method(s)?
3.      What are three (3) shows you keep meaning to binge watch but haven’t yet?
4.      Do you stay active in fandoms after a new one catches your eye, or are you more a one at a time person?
5.      What was the last movie you saw with someone else? What would you rate it?
6.      Favorite guilty pleasure?
7.      What’s a highly underrated show/movie/book series that you would recommend?
8.      Any new hobbies you’ve started during quarantine? Any you want to start?
9.      What meme do you wish would just die already?
10.  Spread the love to your followers and post at least one link to a fic you’re reading/have read/wish to read/you’ve written yourself/etc. 
I tag: @shyesplease @valeskaj @ithoughtiwasflying @c-sand @mygutsforgarters @bethanyactually @crystallinee-waters @evanberries @nevergonnabemuchmorethanweather @katwithlove and anyone else who wants to do answer! Seriously, I love having people respond even if I didn’t tag someone. 
8 notes · View notes
skylightsalwaysleak · 4 years
Text
So... The French Connection Job. My main takeaway - what the *fuck* was up with Hardison? While he's normally kind of in the middle of my list of episode mvps, I don't think I've ever just wanted to tell him to sit down and shut up.
He started at the beginning by ignoring Parker when she was obviously upset, straight through to refusing to give the delivery guy a proper tip *again* at the end. (And giving him a fifty-two cent tip the first time was also Some Bullshit.) And add to that all the nonsense about lasers and molecular gastronomy during class up to messing around and dragging his feet about doing his part in the actual con because he was miffed at being "supplies?!" It was like if he didn't get to do fancy computer/technology stuff or play a flashy character, it was all a game and not really worth his time.
So Hardison was a write off this episode in last place, and I will just assume he comes back as Awesome, Thoughtful, Charming Hardison in the next ep.
Next to last place was Nate. He didn't do anything particularly awful, but the way he talks to and about Parker sometimes bothers me. "There isn't anything she likes or can connect with?" Come on, dude. You know that's not true. Or if you don't, you are really not as good a judge of character as you think you are. He also seemed to be doing kind of a half assed job on the job itself. Gnar Slabdash? Just because you're doing it as a favor to Eliot doesn't mean you should run a mediocre con. We didn't even get the "Let's go steal an X" line!
Sophie was fine, other than that accent as Rebecca. Was that supposed to be...Irish? I couldn't tell. But the outfit was amazing. And I loved watching Sophie's Acting Exploratorium. I would watch a spin off of just Sophie, her students, and all of the inexplicable tasks they end up performing as part of a con. "Okay, gang! This week, we're going to really delve into what it FEELS like to collapse from a chemical spill on the highway. Grab your jackets!"
Parker! My girl! Feeling feelings and talking about feelings and eating feelings and talking about eating feelings... you did so good. I'm glad she had Eliot around. Hardison and Sophie always try, but they don't always get it. Her face when she has one of her breakthroughs just glows. Gold star.
Chef Eliot won mvp, second episode running. His little collapse of frustration when Leo glued his food to the plate? How the stream of people trying to kidnap him did not make him break stride in his cooking (weirdly reminiscent of Parker's pickpocket dance)? How it didn't even faze his *students* (they were more afraid of their teacher than foreign black-clad thugs)? How his students who initially did not really care about cooking were so happy to get his approval at the end? And definitely how he stopped what he was doing to try and tell Parker what cooking meant to him and how he understood something of what she felt, with no sarcasm or their usual arguing. Chef Eliot and his baby chefs can be on Sophie's Acting Exploratorium.
That might have been the most over the top gloat yet, though. They all had to stop what they were doing, go to the airport and either have Hardison hack them tickets or buy tickets to get past security, stay hidden at the gate area while Lampard was waiting to board, and then arrange themselves in gloating formation riiiight when the DEA were there. I mean... really? 😅 Can you picture Nate setting his alarm to round up everyone for gloating time? Sophie pushing back plans because she had an unexpected gloat come up? And Sophie would so put it in her datebook that way, with lovely penmanship ("2pm - Gloat").
In "not entirely explained" - were we supposed to take it as coincidence that Parker seemed frustrated about her lack of passion at the beginning of the episode, when she was idly flipping through a book even before Hardison's client presentation? Was there something cut? Was she actually annoyed about something else? That scene just felt off, especially as Hardison said she'd been down *lately,* not just since they got Toby as a client. Also, now I want to know what/whose book that was. It looked like an old math textbook, but you know Hardison wouldn't have hard copy, Sophie wouldn't care about the topic, and Eliot and Parker wouldn't keep it around past the time they needed to learn it. Well, Eliot *might*, if it had a lot of sentimental value, but I am not seeing it with that. It might be Nate's, but why tf would he be keeping a math textbook at the brewpub? I've tried to pause it a few times, but Parker flips the pages too fast.
19 notes · View notes