#i just adore Eliot

[aardvaark]

everyones fave thieves

[werewolfsmile]

Just watched The Big Bang Job again today and I rambled about this in an earlier post reblog but it deserves its own post..

The way Eliot dresses makes so much more sense after meeting Moreau and his goons. He rejects all notions of being anything like those well dressed men in their suits again. So blank and uniform, just another soldier in Moreau's private army.

That's why his shirt is always untucked, sleeves rolled up, collar unbuttoned. Not to mention the hair - the biggest rebellion is his hair. A constant reminder of who he is now that stays the same, no matter what he wears.

And it just makes me think how this is such a good representation of the identity crisis he went through (and let's be real, is still going through).

Eliot used to be one of those men. He had his hair short, wore the tailored suits and carried the guns. He didn't accessorise. He suppressed every aspect of an individual personality in order to fit the role that Moreau had for him.

Sure, we're not blatantly told all of those things in the show, but we can infer, simply from looking at Moreau's goons and how they're presented.

Seeing Eliot surrounded by those goons in the pool scene is more than just showing us the threat to Eliot and Hardison - and also the threat that Eliot and his reputation present. It's about showing us the demons of his past, the nightmare that he doesn't want to go back to. Eliot had alluded to his past before but it's been nebulous. Now, we finally see that past take shape and it's hideous.

But Eliot didn't stay like that. He got out - he got free - and he has been reclaiming pieces of himself ever since. Until, finally, he's the evolving Eliot that we know and love. He prefers to dress casual and relaxed, with strong reminders of his roots throughout. He keeps his hair long and loose - not military regulation, not 'professional' as far as male standards go, not even convenient for fighting. It's all a way of stealing himself back, and making sure the differences between who he was then and now are stark and vivid.

I could keep rambling but this is already twice as long as I intended. Just ... Eliot Spencer. He still doesn't view himself as a better man, never mind a redeemable man, but he is. When compared to those goons, his transformation is clear as day.

[wlwinry]

i was wondering why i so consistently feel like the leverage team could outwit the white collar team when the white collar team is shown to be incredibly competent and skilled. and like. part of it is that the leverage team just has more versatility and expertise in different areas rather than relying on a jack-of-all-trades mentality (not that that isn't incredibly effective) but i think a bigger part of it is scale.

the white collar team, neal and mozzie in particular, pull off some crazy impressive shit, but none of it is necessarily earthshattering. it changes the course of the lives of people immediately around them, and immediately involved, but there seems to be less of a ripple effect. it's like what nate worries about in the fourth season of leverage--there's always another bad guy. there's always another bastard in a suit. there's always someone greedy and selfish, a monster of the week. part of it is the procedural format and part of it is just that that isn't the white collar team's job. it's not what they're trained for. take down the bad guy.

and then you look at the leverage team, and a lot of it is monster of the week, but in the middle of that you turn around and you get the san lorenzo job. you get five people destroying every layer of protection around the worst of the worst. damien moreau is the bad guy, as recognized by every other goddamn bad guy. and it's hard as hell but they take him down and change the course of an entire country and possibly the international community around them, and that makes waves.

and yeah, there's always another bastard in a suit, but the longer the leverage team works, the more it spreads. the more people try and do what they're doing. hurley ends up joining leverage international. teams crop up around the world. even sterling moves to protect them in redemption bc of a: his connection to nate and b: the real measured difference they're making. it's why breanna idolizes them. it's why they're able to help two young people who have never committed crimes in their lives take down a downright evil music exec. hardison even steps back from the team to run multiple changemaking programs to do the work of fixing the system and the damage.

the scale is different. the scope is different. factor in that each individual on the team is already legendary in their own respects (cha0s is so terrified of double-crossing sophie devereaux that he fully tries to kill her, the "world's greatest thief" has been chased by nate ford multiple times and almost caught, other thieves refer to parker as the parker because she's just that goddamn good, hardison is rightfully known as a nightmare with a computer, and eliot spencer is eliot goddamn spencer) and...yeah. neal caffrey is incredibly skilled and peter burke is incredibly smart and they're a damn good duo. but the leverage team is a step beyond and i loooove reading fics where that comes into play

[tracing-lines-in-the-infinite]

I love rewatching Leverage.

Started rewatching The Underground Job for some Eliot content and instead remembered that Parker is often taking notes when grifting - both in preparation and during. She was writing out a script for herself and in redemption we finally got to see it develop into using notecards to classify any possible interaction!

Also this is the first time I realized that the kid Eliot meets in the mines is the same kid whose birthday it is about to be when the mine exploded. Making him 14 two years prior (its unclear if he was turning 14 or 15)- which means Cory is only 16/17 years old... hence why the miners always try to keep him as far from "the action" as possible.

When the mine owner complains about how the union demanding workers be paid fairly and have safe working conditions is destroying the business Sophie and Hardison both let their disgust show- they both break!

Parker (or Hardison) keeps a pillow and blanket in Lucille so that Parker can take a nap after too much social interaction [which is now inspiring me to bring a blanket( or maybe a comfy sweatshirt) to my office so I too can nap after too much interaction]

Bonus!

Parker's observations of Pierce:

Image ID: Hardison holding a notepad to camera that says (in all caps):

Learned more on Pierce today, after hours of undetected observation:

She looks right to left...

Opens office door with right hand, answers phone with left...

Blinks 15 times per minute...

Uses hand sanitizer more than 10 [times] a day...

Has 2 cats...

/End ID

There's another shot where she wrote "Smells like Bubbles!" with Bubbles underlined. And Hardison apparently touches his chin every 2.5 minutes.

[ghostlyarchaeologist]

“I’m not doing this because I want to. I’m doing it because I made a promise.”

Leverage S05E06 The D. B. Cooper Job.

[yardsards]

look at this unflattering image of my cat

[farkenshnoffingottom]

Okay the montage of the leverage crew removing obstacles as an oblivious Jenna walks up to Hogan's office and tries to crack the safe is hilarious

"How random is that?" Lol

[geekynightowl1997]

I'm starting to think all of Christian Kanes characters are nerds in someway. And honestly I'm living for them.

[blog-of-reaction]

Parker and Amy are now friends!!! Parker is making more friends and she is being awesome and I love a Parker centric episode hell to the yes.

[claudiaeparvier]

Unpopular opinion: i actually enjoyed season 5 of the magicians

[hittter]

@nursc: ❝ reality doesn't impress me. ❞

eliot gives the statement some honest thought . he's not an idiot by any means , but conversations leaning towards the philosophical are definitely out of his usual wheelhouse . he's more than willing to spend a few extra seconds considering his response if it means not saying something entirely foolish . ( half - foolish is sufficient . )

" well , then , ma'am ... " eliot leans against the bar with a half smile . " what does impress you ? "

[somestorythoughts]

I’m not sure Parker and Hardison had a date night I think they dragged the crew along for family game night.

And it is HILARIOUS.

[leverage-ot3]

okay I absolutely get and adore harry being oblivious about ot3 developments, but consider:

after breanna makes it explicitly clear she’s queer in the card game job, harry starts Researching™

he’s trying to be good, be better. he likes this girl and wants to be there to support her and be her friend, someone she can trust. it doesn’t help that she’s around the same age as his daughter, who barely wants to associate with him anymore

he learns breanna is queer and dives into researching. watching TED talks in his spare time. reading ebooks on his phone in between playing roles in a con (bringing a physical book is less convenient and he doesn’t want to wave around the fact that he’s researching like he’s trying to be performative about it). he reads about legislation and book bans and wonders about how they could work their magic through a con to fix those things. he reads about asexuality and recognizes the flag colors from the sticker on breanna’s laptop, which he files away for later

he learns a lot! he has been peripherally aware of queer stuff- it’s kind of hard not to be in the 2020s, but now he is much more informed on a lot of issues. he has memorized at least 50 different labels and terms and has an index of resources in his head (and on his phone) if anyone might need them. he wants to understand the people he loves and cares about, whether it’s breanna or one of his daughter’s friends, or anyone in his life that is queer and he doesn’t know it yet. he wants to be ready and prepared to support them!

he learns about sapphicness and bisexuality and intersex rights and the gender spectrum. he learns about karyotypes and stonewall and other queer history. he learns about kink (blushing, but still reads because it’s important!) and relationship diversity… which leads him to discover the term polyamory

he tries not to actively apply the terms he has learned on the people in his life because he knows it’s wrong to assume things about other people. BUT. harry spends a few days reflecting on parker, hardison and eliot’s interactions and wonders. he thinks about the long hugs and lack of personal space and near telepathic communication not just between parker and hardison, but parker and eliot AND hardison and eliot. how parker knows how to make eliot take care of himself, how he knows when she forgets to eat because she’s so hyperfixated on planning a con. how parker jumps on his back for fun and no matter what, he always catches her. hardison’s absence is felt when he’s gone, deeply by the both of them.

it could just be a deep friendship, he knows. they have been working and living together for over a decade, of course they would be close!!! maybe they could even be queerplatonic! (another new word he learned!)

but. still. he quietly observes, watches closely, and thinks.

[twwings]

was reminded recently that this month is the 10-year anniversary of my Leverage vid Parachute, aka one of the most popular things I've ever made. Happy ten years to this vid! I still adore this OT3.

AO3 link if you wanna kudos/comment after all this time 💜

a few making-of reminiscences about this vid below!

The sound of Parker's parachute snapping in the wind, at the very beginning, was from freesound.org, and one of the first times I put non-source audio in a vid! I love how that little sound takes you into the soundspace and focuses you on the central metaphor of the vid.

This was also one of the first vids where I edited the music in a levelling-up kind of way. I had cut songs before to make them shorter for vidding, but in this one, I needed to add more song—to make the transition from Parker/Hardison to Eliot have more space to breathe. So I copied the instrumental section from elsewhere in the vid and copied it to create some space between the chorus and the verse introducing Eliot.

I accidentally clipped a WHOLE BUNCH of Leverage in the wrong framerate for this vid? This is back when I was using MPEG Streamclip to make clips for vidding, and I input the wrong framerate. As a result a bunch of clips had extra frames that I had to cut out by hand (reclipping would have taken too long—this was in the last gasp days of using MPEG Streamclip when it would chug and huff away for ages to make a clip, because the footage was getting too big for the program OR my computer to really handle easily).

There's one shot of Hardison that I wish I'd colour-corrected (I colour-corrected some stuff in this vid but it was before my era of being super into colour correction). He's way too green! I notice it every time! Poor green Hardison.

Making this vid really taught me about how important it is to know what kinds of shots you've got and how to spend them—in order to create the OT3 in the vid, it's essential to withhold shots of the three of them in the same frame till almost the end. It's twosomes, twosomes, twosomes, up until the end when SUDDENLY you get these fabulous shots of all three of them in frame and it's such a RELIEF to see that. It's not like, a shot of the three of them in bed together or anything, obviously I didn't have that footage (Leverage Redemption, lookin at you) but the fact that those kinds of shots are withheld throughout the vid and then lavished on the viewer suddenly creates a feeling of something snapping into place, I think, that you wouldn't have otherwise.

When I was vidding the Parker/Eliot section, I struggled a lot, because they had the lyric "hand behind my neck/arm around my waist" and I was looking and looking for stuff where they touched, but the interesting thing about them is that they DON'T touch much, Parker just doesn't touch people who aren't Hardison very much, and the vid flowed much better when I gave up on matchy-matching that lyric that was literally about touch and instead showing the moments where Eliot is helping and respecting Parker (eg teaching her to fight, giving her a boost). Sometimes the lyrics should be disobeyed!

I loved making this vid so much that I made another vid right after it, using some footage that I hadn't used in this vid because it was a little too slow or too sad, and I love that vid too but it gets less attention. Anyhow if you like Parachute and you read all this way, please enjoy my other Leverage OT3 vid, which is called "too peculiar for love."

[gnar-slabdash]

I suddenly woke up stupid early on my day off with multiple weird random aches and pains and a revelation about the Leverage chess metaphors.

They’re all wrong.

Look, I obviously adore the white knight/black king motif, and it works really well for that very specific discussion of Nate’s shift in morality and position at the opening of the series. But the show as well as I and other fans have then tried to take that equation and apply it to other jobs and to the crew as a whole. This is fun and awesome, but I believe you’re going to get it wrong every time if you start from the white knight/black king line. 

Because in all other situations, Nate is not the king.

Couple important things about kings in chess: 1. They don’t move much. They can only move one space at a time, and for most of the game they stay in their own little box, well guarded by other pieces. This is because 2. When the king is checkmated (threatened with capture and no possible escape), it’s game over. There is no more hope. This is the sole requirement for losing the game. No matter who else is in play, if the king is down, you lose.

This is NOT how Nate operates. Yeah, he makes the plans, but he doesn’t just hide in the office while everybody else carries them out. He’s almost always right up in there playing the most obnoxious guy you’ve ever met or smashing windows or something. And if Nate gets captured, it’s not game over, in fact, it often isn’t even a PROBLEM. Let’s look at a few times that happens, just for fun: - In The King George Job, Nate’s getting beat up and Eliot slightly panics and is about to run to help, when Sophie says “NOPE, don’t do that, I can fix this without blowing our cover” and saunters in at her leisure. The jig isn’t up and she’s not even particularly concerned about him getting punched. I love it. - In the Maltese Falcon Job, Nate sacrifices himself to save the team. This is a classic thing to do in chess and chess metaphors, but, I cannot stress this enough, you cannot sacrifice your king. That’s just called LOSING. -In The Long Goodbye Job of course the whole con is structured around Nate getting caught. I guess this one kind of makes sense because the whole point is to look like they HAVE completely lost, but then at the end it appears that Nate’s going to secret prison and everyone else is escaping WITH the black book, so they STILL would be losing Nate but winning the job. 

So if Nate isn’t the king, who is?

Hardison.

Let’s look at our points about kings again:

1. Doesn’t move as far or as quickly: Yes, Hardison ALSO gets out there and participates in the cons, everybody does. But Hardison does stay in the background more often, because that’s where his power is. He does the behind the scenes tech stuff and the remote stuff, he can wreck your shop without showing up through the power of the internet. He also does the forgeries of identities and objects, which are also done in his own space. At the same time, he has less physical power and less range -- you don’t want him in a fistfight, or a gunfight, and his grifts are notorious for being a little. . . uh. . . interesting. So he has limited physical range and power but at the same time. . . .

2. The game is over if you lose him. That far-reaching behind the scenes power is absolutely vital for 90% of the jobs. He does the massive amounts of research and hacking legwork needed just to START a job, even before you get to actually completing the job. You are pretty much dead in the water without Hardison. But that’s just from a practical standpoint. Losing Hardison is also a crisis from an emotional standpoint. He’s our moral compass and our sweet baby brother and when Hardison gets in trouble there is no “well he’ll be fine for a few minutes” and no “well he kinda had it coming.” No, when Hardison is in trouble everything else grinds to a halt and everyone comes running. (See: The Experimental Job, The Grave Danger Job, The Long Goodbye Job.)

So like, yes Nate is in charge. But the king isn’t in charge on a chessboard, the king is just a piece with a very unique role, which Hardison fills much better than Nate does. So, now that we have our real king, who are our other pieces?

Queen: Parker. This has nothing to do with her dating Hardison. The thing about the queen is she can do a little bit of everything -- she can move in any direction, making her the most dangerous piece on the board. Parker’s whole character arc is about learning all the different roles and how to access the whole playing field. She’s the only one who plans and executes an entire episode-length job by herself (okay, with a little help from her girlfriend). Plus, the other cool thing about a queen is she has a built-in transformation story -- a pawn that crosses the board can become a queen, which Parker mimics by initially being dismissed as “the crazy one” and ultimately becoming the mastermind.

Knight: Sophie. I know, I wanted Eliot to be the horsie too, but this makes more sense. The knight’s deal is that it’s sneaky -- it’s the only piece that can turn corners -- and it can jump over obstacles. Sophie’s whole philosophy of grifting is that she shouldn’t need to know about safes or security systems, she should be able to bypass (jump over) all that by insinuating herself with the mark (being sneaky by playing a character to get behind enemy lines)

Rook: Eliot. This is the straightforward one -- it goes in a straight line. It also literally represents the castle walls. It’s also so, so fucking helpful to have around, I fucking hate losing my rooks. It’s your solid right hand man, basically. Is this a little reductive of Eliot? Absolutely, but I’m jamming five complex characters into five predetermined boxes, it’s not all gonna be nuanced. And I think Mr. Punchy would like being seen as the fortress that everybody depends on, and to let all the nuance go under the radar. That’s where he likes it. 

Bishop: Finally, here’s where Nate is hiding. While the rook can only go straight (lol), the bishop can only go diagonally. Nothing can be straightforward for the bishop, he always has to come at things from an angle. Like, you know, constantly looking at all the different angles of a situation and finding the right angle to come at a mark from. Also, the bishops sit right in the middle right next to the king and queen. I don’t know that this is historically accurate, but when my dad taught me to play he told me that was because the bishops were important councilors to the rulers, they were the ones who had important wisdom that would tell them the best plan of attack. So the king here isn’t necessarily the one making the plans -- that’s the bishop. And finally, apparently the bishop is called lots of different things in other languages, but we’re operating in English, which means it makes Nate a priest, and that makes me happy.

[ghostlyarchaeologist]

Beth and Christian completely cracking up in the Leverage Redemption season 1 gag reel.