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maplecornia · 3 years

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chapter 24

𝔴𝔬𝔯𝔡 𝔠𝔬𝔲𝔫𝔱: 2.94K

𝔰𝔲𝔪𝔪𝔞𝔯𝔶: You watched them from the sidelines ever since you were a young teenage girl. Now you’re grown up, they’ve returned after 2 long years and everything has changed. What happens when you pull back the mask and find the darkness within? What happens when you see that they’re broken?

𝔞/𝔫: things are getting heavyyy

If you're still enough, you can hear the inner whispers of your heart.

Have you noticed?

You're able to hear everything you have kept locked away. It tries to break through the cage, and you can feel the chains growing weaker and weaker with each passing moment. Each tick of the clock drawing closer and closer to the moment where you can no longer hold it in.

Where you finally break down.

Taehyung sighs and leans back in his chair, the meeting room now empty and dark. It's hard to believe that at the break of day it was filled with conflict and torn decisions.

"I'm against it."

At the sound of Yoongi's sharp dismissal, it's as though the room wakes up. Some in protest, some in shock. Suga raises his brow at the reaction, almost scoffing when he sees it.

"It's too much of a risk." He sighs almost in contempt. "If you want her so badly, why not sign her with Source or Pledis? They're our shareholders for a reason. Plus, since we're all under HYBE it will be exactly like she were a BigHit affiliation. Given the way this industry runs, however, she's probably best out of Kpop and should be signed under HYBE America. After all, she is a foreigner."

Though they are harsh, his words make sense. This would be the most logical approach rather than breaking their ban on female trainees. They made the ban for a reason, Yoongi doesn't understand why they would throw that away for someone who is slightly talented.

Besides, what about every other talented girl before her?

What reason should she have to achieve the dream which they were denied?

"I have to agree with Yoongi," Jin speaks up, his brow furrowed in concentration. "She has a unique and beautiful voice, that much is true. It'd be a shame to let it go, but if you think about it, we wouldn't be letting it go. Giving it to another company under HYBE might provide a better chance for her in the industry."

Taehyung bites his lip, not liking where this is going.

Jin glances around the table, hesitating before he says his next piece.

"We just got back, can we trust that they'll accept us if we do this? Next thing you know there'll be rumors of a scandal."

Though it was all on their minds, it still hurts to hear it out loud.

Can they trust ARMY to be there for them this time?

"It is a bit concerning. She'll be the only female trainee in an all-male company. Can you imagine the rumors? The field day Dispatch would have? She'd be hated before she even had a chance to show them her worth." Jhope murmurs under his breath, his eyes sparkling with deep worry.

They've all faced that. The fear of being hated for just being you. For existing without the mask.

"But I liked her," Jimin says, leaning forward. Though his words are simple, they are said with the most sincerity. "She's someone you hardly ever see, her voice stays with you, it doesn't leave. It's the kind that people can't get enough of. That's something special...shouldn't we take that into account?"

Biting his inner cheek, Taehyung glances up at BangPD, wondering if he knows. Did Jungkook tell him? He knew about Yen, why wouldn't he have found out about him as well?

If only he hadn't saved that recording. If only he hadn't been so careless, then none of this would have happened.

Somehow he feels as though those moments are being stolen from him.

"Jimin has a point, Yoongi. Did you hear her?" Jin speaks up, his gaze glazing over as though he were looking into the distance. Or recalling a long forgotten memory. Yoongi scoffs and smirks bitterly.

"Of course I did, I have ears."

"Are you sure?" Jin mutters in response, but it's almost as though Yoongi can't hear him.

"Think of this realistically, you have to know there's zero to no chance of her making it. Even if she's talented." There's a moment of uncomfortable silence at his words, words which no one wanted themselves to say. Sighing, Suga gestures towards Namjoon.

"Come on, Joon back me up here."

The room turns to Namjoon, waiting to hear his response.

He stays silent for a moment, his hand resting on his chin as he ponders the situation, his deep eyes calculating moves and countermoves. Possible situation and solutions.

All while trying to forget that the possible trainee is Yen.

Biting his bottom lip, he can't help but remember the way she was in the studio. How her eyes lit up with unimaginable love and devotion. A look only a fellow artist would be able to recognize. She was made for this, he can tell. She yearns to sing, to be lost in music, enveloped in a world of her own making. To be able to share that with others.

Looking over at BangPD, he narrows his eyes thoughtfully.

"What are you planning to do?"

Yoongi's eyes widen at Namjoon’s question, and he leans back, looking to BangPD's response. Bang Sihyuk smiles softly, almost as though he expected this.

For some reason, that look irks Taehyung.

Don’t think you can control us. We weren’t made for your chessboard.

"It will be on a purely trial basis. I am planning to sign her as a trainee, but the public will not know about it until I am sure that she will be a good addition." He looks towards Suga, pointedly directing his next statement towards him. "I understand your concerns for her. After all, she would be our first female trainee for a while."

Suga bites his inner cheek in protest, leaning back in his chair and brooding.

"However, I have been planning this for a while now." The room goes silent with the revelation as they turn to him, waiting for him to reveal more. "Ever since you've left for the military, I've been thinking of possible trainees to recruit for a new girl group. The first girl group to be officially under BigHit entertainment. They would be managed, produced, and signed underneath our label. Not through a loophole like BE:LIFT, Source Music, or Pledis. This would be ours and ours alone."

Jimin shakes his head in confusion. "Why now? What changed?"

BangPD sighs, his careful eyes scanning the room in a calm and collected manner.

"I don't know entirely myself." He rubs his face before continuing, playing with the portfolio of Yen. "I thought it was time to expand our horizons, to try something new...I guess you could say I was inspired."

He glances towards Namjoon, and Joon can't help but remember that day all those years ago.

The day when BangPD proposed a plan, an inspiration to him, not quite unlike this one.

Namjoon’s brow furrowed in concentration, he turns to your smiling photo, still spread across the table.

Was it you?

Were you the reason for this inspiration?

"In any case, before I moved any further, I wanted to see if things would work out with her. One trainee. I didn't want to make a mistake like last time, hence the trial period." Bang Sihyuk continues, swaying a bit in his chair.

"Who would train her?" Taehyung mutters underneath his breath, unable to look away from your photo this whole time. Turning to BangPD, his eyes are aflame with conviction. "If we have our normal staff take part in her training, we won't be able to control who else could find out. If her existence were to be completely secret, who could we trust?"

It's a valid question, but Taehyung doesn't like the glint Sihyuk gets in his eyes at the notion. Silently, he wishes he never spoke up. Maybe then he would've been able to stay under the radar, and BangPD would never have to suspect he had any affiliation with the girl.

With Yen.

"You would."

Two words is all it takes.

Two words and the room is in an uproar.

"What are you talking about?! We have enough on our plate with our comeback, and now you expect us to train a girl who shouldn't even be here in the first place?!" Yoongi is so outraged that he stands, his chair rolling back into the wall.

"Yoongi, calm down--" RM begins, but Suga isn't willing to listen to anyone at the moment.

"Do you have any idea how much pressure we're under? And now you want to add an inexperienced trainee to our list of burdens just because she can sing?!" he snarls, his lip curling in disgust, his eyes dark with anger.

"Yoongi-hyung, you heard her voice. You have to admit that we found something here." Jungkook speaks up, meekly. Taehyung narrows his eyes his way.

Just what does Jungkook get out of all this? Taehyung knows he has to be the one who gave BangPD the file of your voice. He was the only other one there, besides Taehyung. Taehyung himself couldn’t bring himself to give you the flash drive, but Jungkook didn’t even think to tell you. He went straight to BangPD as though this were his decision to make. Did he even think of asking you what you thought?

What’s your angle?

Yoongi rolls his eyes, gesturing to the portfolio on the table.

"Yeah, we found something. But not something worth risking everything we built over!"

"Don't you think you're being a dramatic? We aren't even sure if this will work out. It's just a trial, and it's the best option for us to train them given the situation." Namjoon murmurs, rationally. Suga's eyes flame with defiance at the rebuttal and slams his hand on the table.

"And what happens if word gets out before we're ready?"

The room goes silent with the ultimatum, and they all avoid his gaze.

"What happens when we're the cause of her downfall?"

Glancing at each other, they ponder the question. A question that has weighed heavily on them ever since they debuted, ever since they became the star in the public's eye. Ever since the world knew about the boy group...

BTS.

Scowling, Yoongi pulls away.

"I don't know about the rest of you, but I don't have time for this. I have work to do, work that has been waiting for us for 2 years! Or did you all forget our promise?" When they don't answer him, he scoffs, pulling his backpack on his shoulder and walking out the door. "I'll see you at practice."

There's a moment of silence as soon as Yoongi leaves, silence uncomfortable and pressing. Licking his lips in nervous anticipation, Hoseok looks at the rest of them, almost unsure.

"Is he going to be okay?"

BangPD leans forward, folding his hands on the table.

"Don't worry about Yoongi, I'll talk to him later. But what about the rest of you?"

His quick, analytical eyes scan the table, hovering over every one of them. Almost as if he were trying to predict what exactly they would say next.

"Do you agree?"

Now, Taehyung grits his teeth. His grip tightening around the water bottle he was playing with in his hands, he throws it across the wall. As he watches it crumble at the force, he finds the ruin in his mind easing. Water drips off of the wall, and he feels a sort of sadistic satisfaction at the sight of destruction.

Now he’s not the only one broken.

But once that fades, he's left once more with his memories and his regret.

"Dammit." He groans, dropping his face in his hands hopelessly.

Standing, Tae grabs Jungkook by the hand before he can follow the rest of them out. The door shuts behind them, leaving only him and Jungkook in the meeting room, an uneasy silence hanging over them. With words they need to say, questions waiting to be answered.

"Taeh--" Jungkook begins, but in his rush, Tae interrupts him.

"Were you there?"

The silence that blossoms between them grows to a deafening roar as Jungkook gently pulls away from Taehyung's firm hold. It creates a bitter but necessary distance between the two of them. It lets them know that they're different, that what happened back then was something that belonged to one as much as it did the other.

"You heard her too, didn't you?" Jungkook murmurs, his words turning Taehyung's blood cold. Smiling softly, Jungkook runs his hands through his hair. "I saw you as you were leaving, you were the one who recorded her, aren't you?"

Biting his bottom lip, Tae can't answer. Even though he knows that moment wasn't his, even though he knows that his ideas of fate and chance have been destroyed, he's unable to admit to it. He can't find it in him to voice the fact that he was there, that he gave birth to her chance, and he wanted it to be his and his alone.

Jungkook chuckles nervously at the silence before speaking once more.

"I wonder...why didn't you have the same idea as me?"

His hands tangled up in the locks of his hair, Taehyung stares at the slick wooden table, his heart in knots and his mind jumbled.

"Why didn't I?" he mutters to himself, a soft whisper that lingers empty on the air. "Why couldn't I say anything?"

Pulling away from the table, where Yen's future was decided this morning, he swallows hard. By the end of the day, he found himself lingering around this room, the studio, anyplace that reminded him of her.

Laughing bitterly, he rubs his forehead.

"Why..." He whispers, holding his phone tightly to his chest.

"Why can't I forget you?"

Biting his bottom lip, he quickly messages you, having the sudden urge to see you. Maybe then, would he realize what he can't find? Would he be able to create another memory, another moment in time? One that was yours and yours alone?

After a couple of moments, you don't answer.

Maybe...I was just afraid of letting go.

Standing almost decisively, he rushes out of the room, and down the hallways of the building.

I need to know.

As he rides the same elevator you rode yesterday down to the lobby, he holds his phone tighter in his hand.

If I don't find out now, I may never get another chance.

Desperate, he sends another message to you.

One more time.

Catching his face in the metallic walls of the elevator, he can't help but imagine yours smiling up at him. A face that makes everything seem alright again.

That's all I need.

What happens when that is taken away from him? What happens when he can no longer see the person who gives him courage? Biting his lip, he can feel the pain in his chest grow.

Just let me see you one more time.

He doesn't want to let you go.

As the elevator dings and he steps out, he pauses, seeing Namjoon right in front of him. Namjoon glances up, his eyes glazed over and tired, but when he sees Tae, they widen in recognition. Taehyung smiles inwardly to himself, he knows this look. A look lost in the wilderness of creativity and desolation.

"Oh, Taehyung!" he says, and Taehyung nods to him curtly before brushing past him and continuing to the front door. Namjoon, however, catches him by the wrist and Tae pauses, turning around.

"Namjoon?" His face is blank, but something in his eyes tells Tae to be wary. They are sort of dark, not really there, but urgent and anxious. Taehyung wonders how eyes can hold so many words, and yet tell you nothing at all.

"You knew, didn't you?"

At his words, Tae blinks, his heart pounding.

"I..."

"That's why you followed her, how you knew about her injury."

How does he know?

"When were you going to tell me?"

Biting his bottom lip, Taehyung can't help but feel a bit of aggravation towards his older friend. Why can't he keep anything to himself? Why is it a crime for him to live his own life, without everyone looking in? Yanking his arm out of Namjoon's grip, he scowls, turning on his heel.

"When it became your business."

Namjoon stands there, a bit in shock before rushing forward and taking Tae forcibly by the arm once more.

"Taehyung, wait!" At his touch, Tae tries to pull away, but Namjoon won't budge, his eyes desperate and wild. They unnerve Taehyung, make him want to escape, hide away until everything turns back to normal again. "If she's going to become an idol, any affiliation you have with her will only hurt her."

Tae's eyes widen at his words, snapping a hidden string he didn't know he had inside of him. RM doesn't notice, instead, his grip tightens around Tae until he feels as though he's suffocating from the inside out.

"You know that right?"

Gritting his teeth, Tae pulls away from Namjoon, staggering back until he's a good distance away. Raising his eyes to his hyung, Namjoon finds a look he's never seen in his younger friend before.

Loathing.

"Don't act as though you know everything." He spits before turning away and walking out of the door.

Namjoon sighs as he watches him leave before glancing over at the now empty lobby. The lobby where just a day ago, he met a sweet, cheerful girl. Someone who filled his mind with inspiration and wonder.

Smiling sadly, he rubs the back of his neck, looking up at the sky as though that will offer him the answers he seeks.

"Just who are you, Yen?"

𝔫𝔬𝔱𝔢: this one was actually pretty hard to write, i'm ngl ;-;

chapter 25 here

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dtrhwithalex · 3 years

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TV | Leverage (Season 2, Rewatch)

Rewatch of the second season of TNT's LEVERAGE (2008-2012), created by John Rogers and Chris Downey together with Dean Devlin and his production company Electric Entertainment.

In anticipation of the show's reboot / revival / sequel LEVERAGE: REDEMPTION coming to IMDbTV on 09 July this year, I am rewatching the original 77 episodes and writing about my favourite moments and things from each episode, season by season.

201: THE BEANTOWN BAILOUT JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 15 July 2009.

We here at the Rabbit Hole adore the Beantown Bailout Job very much (and by we I mean me). It is such a great season-opener and everything about it sets up the season so nicely. Also let me just say, I love the cheesy intro. I like to imagine that this plays on whatever website the clients usually end up finding the team. It would be so confusing. And wonderful.

This episode, of course, also introduces another of my favourite characters: Lt. Patrick Bonanno, State Police. And I am very sad that there is zero chance we'll ever get to see him in the reboot, since the wonderful Robert Blanche has unfortunately passed away last year. Bonanno was such a fantastic addition to this show and I love him very much. He is just brilliant in every episode he is in.

Aside from the introduction of Bonanno, Beantown is a brilliant episode for various reasons, but I wanna talk about this one most of all. John Rogers talked about this on his blog, I think -- not one member of the team can come straight out and admit that they need the others. It is the impromptu meeting at Sophie's performance that brings them together again (very much against Nate's best attempts). Only once they're at McRory's and Parker suggests stealing something to cheer up Sophie is when they all fess up and tell Nate that they want this team back together again. And then, of course, we have one of my favourite sequences in this entire show: Nate forcefully being bullied back into this family. They do exactly what he did to them in The Second David Job -- they get him to contribute knowledge to the case that they, allegedly, lack. And he knows what they're doing, of course, he's not an idiot. Well played, indeed.

I would also like to personally thank one Nadine Haders, this show's most brilliant costume designer, for every single piece of clothing she put on Christian Kane for this episode. That green sweater with the brown jeans jacket? All my love to you, Nadine. All of it. Also, uncharacteristically, Nate has some very good looks in this episode (the man looks healthy for once!) and I am unreasonably mad about it (actually, he has some very good looks this entire season).

One last thing: I would like to have a word with whoever decided to play the Andy Lange song here that Sophie's departure in The Two Live Crew Job is set to. It makes this first half of the season a circle. Who do I need to have words with? Who?

202: THE TAP-OUT JOB

D: MARC ROSKIN. W: ALBERT KIM. Original Air Date: 22 July 2009.

An absolutely amazing episode for Eliot but also very much for Sophie. They are the Conference Of Mom Friends, and I adore them very much, thank you. It is a fantastic episode for them individually, but especially also for the specific relationship these two people have. There is an amazing post floating around on this website (this one here) talking exactly about this episode and Eliot and Sophie in the role of protectors in their team, their family.

There are a few scenes here that I really like and really, most of them are about or with Eliot. I love in the briefing at the hotel that Eliot does not just dismiss Sophie's misunderstanding of wrestling, but takes the time to explain to her what the sport is about -- and she listens. We also here get a nice glimpse at the fact that Eliot teaches them certain fighting skills and self-defence techniques, which I just love so much. Just as Sophie coaches them all in their grifts, he makes sure that they all have a certain know-how in fighting and protecting themselves. It's so good.

I am also very fond of both the moment where Eliot brings Sophie to the restaurant to meet with Rucker, but also Sophie showing up at the gym at night to talk to Eliot while he's preparing for the fight against Tank. Eliot gives away so much of himself in this episode, and it is very interesting to me that the person he does this with is, continually, Sophie. The others may be on comms, and might be, for all we know, listening in, but it is Sophie he tells these things to. It's like Hardison says later in The Two Live Crew Job: "We trust Nate to make sure the plan works, we trust you (Sophie) to make sure we're all okay." While I would not necessarily call Sophie the heart of the group (that's Hardison), she is very much the emotional centre of it.

This episode is also just very lovely to see how they all take to an environment that is, for once, not big city life. Eliot takes to it immediately, which makes sense, because he probably is from a town not much different from this one. Parker, somehow, fits in immediately as well (I love her I <3 Nebraska shirt). I feel like Nate never has any issues fitting in anywhere, he just takes things as they come. It is Hardison and Sophie who have difficulties -- Sophie because she is, after all, a bit posh and needs certain standards met, and Hardison because his world of technology does not mix well with a small, rural Midwestern town ("Can't hack a hick" anyone?).

203: THE ORDER 23 JOB

D: ROD HARDY. W: CHRIS DOWNEY. Original Air Date: 29 July 2009.

I occasionally see some posts on here that call what the team does to Charles Dodgson in 512: The White Rabbit Job the worst thing the team does to a mark. I have to say, objectively, I think what they do to Eddie Maranjian in this episode is much worse. Of course, Dodgson is a good person, and Eddie is a crook, but still. Objectively? This episode is more evil.

Anyway, this episode has some fantastic moments that I adore a whole lot. I love Eliot and Hardison as cops, Sophie's act is absolutely amazing, and I have a super soft spot for both Nate teaching Parker what he is doing, and also Eliot and his side quest of helping Randy.

I am so incredibly fond of all these little moments where Parker's eventual role of Mastermind is already being planted. She always asks Nate questions, if she doesn't have a part to play in the con, she is with Nate, learning. She says it in the pilot episode already: "I'm really good at one thing, only one thing, that's it. But you, you know other things, and I can't stop doing my one thing, can't retire." And then she does her best to learn the other things Nate knows. This episode particularly, how Nate explains to her how NLP works, that what he is selling is fear. Nate is so patient with her, too. I love them both so very much.

Eliot's side quest with Randy and his abusive dad is an absolutely excellent addition to this episode. Especially after the previous Eliot-centric episode, this small thing just goes to show that, at their core, these are good people. Yes, they are criminals, the lot of them. But they are not bad people. Things like this just make me think that, it had to have been this exact combination of people Dubenich put together. Any other thief, any other hacker, and Nate would have walked away from this alone. It had to be Parker, Hardison and Eliot for this to work exactly as it did. And Eliot looking out for Randy even though they are in the middle of a con, taking his time to make sure Bob, the U.S. Marshall goes to see Randy, is exactly something that brings this point home.

Lastly, I adore that everyone shows up at the court house when Eddie goes to find his money. He knows they all conned him, but they know no one is ever going to believe him. It's a fantastic gloat scene. And I also really love that Nate explains why this works to the others: "So, here's everything you need to know about criminal law. Every crime has two elements, Actus reus, the act itself, and mens rea, Literally "The Guilty Mind." ... Now, for escape, the prisoner has to both break out of custody and show the intent to escape. ... Which brings us back to our friend Eddie and how the brain reacts to fear. In the heat of the moment Eddie didn't ask himself a simple question, who would doubt his guilty mind?"

204: THE FAIRY GODPARENTS JOB

D: JONATHAN FRAKES. W: AMY BERG. Original Air Date: 05 August 2009.

This one was Bernie Madoff inspired, if I recall correctly, who was arrested in 2008, around the time Berg, Downey and Rogers were already bouncing ideas back and forth for this season.

There is so much to love in this episode! Where to even begin. Maybe with Parker replacing Sophie at the client meeting? Or Sophie immediately heading for both popcorn and the cookie tin after the breakup? How about Parker perching on Eliot's arm rest with her food? Nate's headmaster act? Eliot as Coach Brewer (red is a fantastic colour on him, thank you Nadine)? Hipster rich newlyweds Parker and Hardison? The return of my beloved FBI fools McSweetheart and Taggert? Taggert being McSweetheart's biggest supporter in his affection for Parker? Sophie and Widmark? The actual science-sical with all these adorable kids singing about science?

So much to love. Chock-full of greatness, this episode. Also Frakes, once again, directed the hell outta this. I love this episode so very much.

One moment that does, however, absolutely win out over everything else, is the scene at Nate's apartment after Hardison and Parker meet McSweeten and Taggert again:

Eliot: One of you two can identify the gunman, right? Hardison: Oh, yeah, sure. He stopped and let me take a picture of him as I was chasing him. Eliot: Hey, you know what, man? I've been around little kids all day. I don't need to come home and do all this crap.

That line, Mr Spencer? "I don't need to come home and do all this crap"? Home? Sir, we are four episodes into the second season, and you are already calling Nate's apartment home. Honestly, that boy has been invested into this group as a family from the moment Hardison hands him a check in the pilot episode, if not earlier. And I am very much here for all of it.

205: THE THREE DAYS OF THE HUNTER JOB

D: MARC ROSKIN. W: MELISSA GLENN & JESSICA RIEDER (GRASL). Original Air Date: 12 August 2009.

This is another one of those episodes which, when I think about it, I am not entirely into, but then when I watch it, I always love it. It's a brilliant episode, but the mark rubs me in all the wrong ways and I think that's why my general reaction to this episode in theory is mostly "ew". Which I think is kind of the point, as well.

There is much to love in this episode, though. Sophie being Nate in this one, Nate being very wary of this concept and also having difficulties letting someone else take control ("If you don't mind, I would still do the 'Hardison, run it' thing" Nathan you precious little man, I love you so much). I think it's so nicely done. I mean Sophie has run cons before -- she was the Mastermind behind the First David Job, and she runs their con in the Second David Job as well -- but then she was confident, now she is going through things, on the brink of rediscovering herself for who she is. And of course, it bites her in the ass a little bit.

I absolutely adore Conspiracy Nut Hardison and his fantastic apartment. Set Design did a magnificent job here. I am so fond of Parker asking Eliot about the different things -- the council, the moon landing, Loch Ness monster -- and also very much the bit at the end where he and Hardison answer Parker's questions while he prepares food. That ending bit overall is just absolutely excellent and I love it with my whole heart. Eliot cooking for all of them in Nate's kitchen, giving Parker stuff to try, while Hardison sits there and sips his orange soda out of a wine glass. Meanwhile Nate pouring wine for Sophie, and then going over to her to make sure she is alright. For his slightly more sadistic streak in this season, Nate is so good with Sophie here. And honestly I think this conversation here is one of the reasons why Sophie feels able to leave them for a while. It is Nate's reassurance of "Whatever you need, I'm here for you" that lets her take this leave of absence.

206: THE TOP HAT JOB

D: PETER O'FALLON. W: M. SCOTT VEACH & CHRISTINE BOYLAN. Original Air Date: 19 August 2009.

I adore this episode! The fantastic Veach and Boylan on the keyboard for this one (who, I've had to find out, are both tangentially involved with my latest hyperfixation, SHADOW AND BONE -- Veach having written my favourite episode, and Boylan being married to the showrunner), which is just lovely, because they are both excellent.

First off, I would like to, once again, give all my love to Nadine Haders for that Pizza Guy outfit she put Kane in for the recon sequence. A+ costuming, thank you Nadine.

This episode has so many excellent comedic beats and a wonderful many Hardison/Eliot moments. Sophie trying to set up Nate with their client is absolutely hysterical -- especially considering that she had just been broken up with and had been urging Nate to figure out what it is that is between them since day one. I especially love her attempt at finding things Nate has in common with Jameson: "She's a scientist. And well, you're a bit nerdy, aren't you? ... And food, she works with food. Well, you eat, don't you?" Like, girl, what are you trying to do here, really?

I absolutely adore Hardison and Eliot trying to get into the server room so Hardison can access the data they are trying to get before anyone can get rid of it. Eliot hooking Parker's rope to Hardison's belt, Eliot's complete awe at Hardison's ability to remote access their mark's phone ("You can do that?" Eliot, honey, he can do so much more), the two of them wedged underneath the desk, and then, of course, Eliot's huge smile when Hardison hacks the scanner at the door with the help of his gummy frogs. I love these boys together so much, and this episode has given me so many great moments.

I am also incredibly fond of Nate's magician act. That is a brilliant role and it suits him so well. And I love how genuinely enthusiastic he is about magic.

207: THE TWO LIVE CREW JOB

D: DEAN DEVLIN. W: JOHN ROGERS & AMY BERG. Original Air Date: 26 August 2009.

This is an absolutely brilliant episode for so many different reasons. Let me get two things out of the way straight off the bat: 1) Where do I address my "Chaos For Leverage: Redemption" campaign to? and 2) Where do I address my "Apollo Robbins For Leverage: Redemption" campaign to? I want both of them back desperately!

Of course, this episode is important as a major stepping stone in Sophie's character arc. Because of Chaos and his bomb, she has to kill off one of her aliases which is the last thing that then leads to her taking a leave of absence to figure out who she is and who she wants to be. That scene in her apartment with the bomb is also just an excellent moment for the team as a family. The care with which everyone interacts with Sophie, Parker's instant pudding hack, Eliot's instructions on how defuse this situation, Sophie's immediate shift into protector mode once it becomes clear that the only real solution is to run and telling everyone to leave immediately, Nate staying behind and even when Sophie tells him to leave, waiting for her by the apartment door -- they care for each other so much.

I also really love the con-off with Starke's crew. It is so nice to see how similar yet different he and Nate are, and the same goes for the other crew members. I adore their individual confrontations a lot. Eliot's non-fight fight with Mikel Dayan, Parker's thief-off with Apollo, Hardison and Chaos' baby monitor fight. It just really highlights who our beloved characters are and what makes them them, now that we see them, metaphorically, in front of their mirror.

And then, of course, the actual heist is also just amazing. I adore that Starke chooses Nate as his alias to gain access, it is such a great move. Parker and Apollo talking in the ventilation shaft about birds is also just so lovely. And as an admirer of Eliot's arms, I am also very fond of his fight with Mikel. Good choices have been made, I appreciate all of them. The reveal at the end is also absolutely amazing. To beat them they had to save them? Brilliant.

Lastly, of course, Sophie's goodbye at the graveyard with Nate. What a spectacular moment. Also just, the visuals are so beautiful. I love the lighting here. And of course the return of Andy Lange's song, which is just perfect. I am so happy that this is the journey they decided to give Sophie when it became clear that Gina would not be able to be in the full seasons due to her pregnancy. They accommodated her so beautifully and gave Sophie such an amazing moment of character growth. This is why I love this show and the people who made it so much. All my love, to all of them.

208: THE ICE MAN JOB

D: JEREMIAH CHECHIK. W: CHRISTINE BOYLAN. Original Air Date: 02 September 2009.

We love The Ice Man Job! Another fantastic episode by one Christine Boylan who we love in this house. Our very first episode without Sophie being there, and it's a great one. I absolutely adore how they worked in moments with our favourite grifter in a way that so wonderfully accommodates Gina's pregnancy.

I absolutely adore the moments where all of them eventually end up calling Sophie. Parker, hiding underneath the bar after Nate tells her she'll be the grifter in this one, calling her mom Sophie in a panic without wanting the others to know, but still needing her advice and missing her so much. Then Eliot, calling to complain to his mom Sophie about Hardison going overboard again with the grift, needing the knowledge that his concerns are being heard and aren't unfounded, needs to hear the other protector of the family acknowledge his rightful fear that things will go sideways. And of course also Hardison, calling mom Sophie so she can pick him up from the party help him out of the mess he's made, hoping against all hope that she'll be able to help without having to involve Nate. The others both had the luxury to ask Sophie not to tell Nate -- Hardison had no other choice but to let her call it in. Lastly, Nate too, at the end, calling his wife Sophie. And honestly, I love that Sophie drops her phone into her drink after the call, because Nate is the only one not giving her what she wants to hear. The kids, all of them, called with an "I need you" and that is the one thing Nate doesn't give her.

There are many other things in this episode that I love very much. The opening briefing, Parker feeling alone on the big empty couch, trying to sit next to Eliot, but he makes her move. Nate's big DadTM moment of "Eliot, can you please sit next to Parker" and Eliot's very long-suffering oldest child answer "No! I'm sitting here now."

Then of course Eliot and Hardison's two moments -- Eliot telling Hardison "I ain't bailing your ass out" and then when he eventually does anyway, Hardison's smug joy, forcing Eliot to sort-of-hug him back at McRory's. Eliot's unsuccessful attempt to make him helping Hardison a decision forced onto him by Parker, and Parker refusing to accept the "blame" immediately. Their whole dynamic this episode is just so good. Neither Eliot nor Parker being happy with Hardison in this role (Parker's refusal to ride with him in the Ferrari), Eliot proudly watching Parker do her thing over the security camera ("Stuck it!").

Lots of love also to Pasha Lychnikoff as our main Russian goon, who is just fantastic here, our much beloved Lt. Patrick Bonanno, and also Nadine Haders for so many amazing looks, especially on Eliot.

209: THE LOST HEIR JOB

D: PETER WINTHER. W: CHRIS DOWNEY. Original Air Date: 09 September 2009.

Court-room episode, which means we have our friend Chris Downey on the keys here, and he gave us an absolutely excellent introduction for Tara Cole played by the lovely Jeri Ryan. Honestly, the more often I watch this episode, the better it gets. Tara is just so good.

Highlights of this episode include: Sophie's immediate "who died?!" when Nate shows up at her apartment in London, Hardison playing "Where is Waldo Ford," Hardison and Eliot in prison, the first appearance of Nate's lawyer alias Jimmy Papadokalis who wears brilliantly loud and obnoxious suits in outrageous colour-combinations, Hardison stalling Blanchard at court security with his keys, Nate's reveal of Ruth as Kimball's daughter (I am fascinated that he completely drops the character here -- he is just Nate now), and of course, the reveal of Tara at the end.

Honestly, this is such a magnificent episode to introduce Tara's character. We have just watched the team scramble and fuck up without Sophie, and then their next job gets more complicated because of this random lawyer who shows up. And she's so righteous and law-abiding and absolutely not someone they should be taking with them on their job. And Tara plays it perfectly. Her honest try at getting Orson to talk to them, her confusion about her "dogs", her excited smile when she gets to con Blanchard and be a bit dishonest -- it is so good. And then we get that complete 180° when the team finds her in Nate's apartment. Not just visually, but the personality. Her voice drops a bit too. Jeri fucking rocked this introduction. The reveal is so damn good.

210: THE RUNWAY JOB

D: MARC ROSKIN. W: ALBERT KIM. Original Air Date: 13 January 2010.

I have zero interest in fashion but I honest to God love every single one of these characters at fashion week. Fashion!Eliot is absolutely fantastical and I love him. Julien, my beloved. Fashion!Parker is very cute with her braid and even before she gets the model makeover she outshines every single other person at the event. Fashion!Hardison is surprisingly understated but I dig it. Tara as Caprina is also just excellent. And I absolutely, un-ironically adore Fashion!Nate. Jacques is such a character. Nate exchanged the usual "obnoxious and greasy" with "gay," slapped some would-be-French that sounds like German on top of it, and called it a character. And I love it.

I also very much love the three video calls with Sophie in this episode. The kids calling in the beginning, complaining about Tara. I absolutely adore both the "she's hot" moment and Eliot's "...and all the way to Europe?" when Sophie says Nate lets what is good for him walk out the door. Parker's little "I just miss you" before they hang up has me all the way up in my emotions every damn time. Tara calling Sophie to complain about Nate is also just excellent. The whole bit with Nate's "I'm sexy because I'm broken" thing is just *chef's kiss*. And of course Nate's call at the end. I love that Sophie hangs up on him, it is so fair, it is absolutely justified. And I think he knows that too.

So many great other moments too -- Hardison's Steven Seagal comment about Eliot's clothes, Nate's "Julien, sweetheart" and Eliot's little clap before taking the money, Nate and Parker at the mark's house, Eliot and Tara vs the Triads, Eliot and Parker at fashion week together ("It's a fashion show, not Thieves'R'Us"), and of course Tara's "For what it's worth, Sophie was right. You guys are the best I've ever seen ... But no one in the world, is as good as you think you are."

211: THE BOTTLE JOB

D: JONATHAN FRAKES. W: CHRISTINE BOYLAN. Original Air Date: 20 January 2010.

This episode has got to be one of my favourites, if I were forced to chose some. I love a bottle episode, and this one is just magnificent. Excellent client, great mark, fantastic additional characters, wonderful episode for the team. All around just, so good. Not surprising if Frakes and Boylan are at the wheel together, of course.

The addition of Cora is so lovely. I would have loved to see more of her, to be honest. She is such a great character. I love what her presence does to who we see Nate as. I adore when characters get to show new sides of themselves, it's so nice. Also, Nate's comment to Eliot about him not wanting Eliot to like Cora because she's like his niece? Most excellent.

I adore our three police officers too. Mickey, Danny and Johnny are such great additions. I really liked them. How they just went with whatever Nate was planning and in the end decided to just pretend none of this ever happened, it's just so good.

Doyle and the Liams as our villains of the week are also just fantastic. Also I just love Irish accents, it sounds so good. I love to hear it.

Other highlights of this episode include: Tara's "I'm Trish and I'm lonely", the kids going for their individual emergency funds stashed in Nate's place (they are all so fantastically in character, I love it), Nate using his dad's name as his alias, everyone stopping to see if Nate is going to succumb to the booze again, Hardison's excitement about pulling off the wire in under 2h, Hardison faking the weather, Eliot and Parker on safe duty. Also, rewatching this episode, I am absolutely 100% convinced that what Eliot is doing to distract the Liams from Tara conning Doyle, absolutely categorises as flirting. The way he throws that dart at the board and then buys them beer? Mr Spencer, sir, you are flirting with these guys.

212: THE ZANZIBAR MARKETPLACE JOB

D: JEREMIAH CHECHIK. W: MELISSA GLENN & JESSICA RIEDER (GRASL). Original Air Date: 27 January 2010.

The wonder twins with yet another magnificent episode. No surprises here. We have not just the return of Maggie but also of Sterling! We love this!!! (Seriously, I want both of them back in the reboot. I don't care that they're most closely tied to Nate. Bring them back.)

This episode has so many absolutely excellent moments as well. I love the opening sequence in the bar, with them going over possible next clients together, Nate kicking Eliot for flirting with the bartender, and then of course also Sterling walking in. The interaction Nate and Eliot have here is just fantastic.

Sterling: *walks in* Nate: Eliot, I'm gonna ask you not do do anything violent. Eliot: Wha-what are you talking about? I only use violence as an appropriate response. Sterling: Hello, Nate. Eliot: *responds appropriately*

And to think that Sterling only gets beat up here because Mark Sheppard's son was visiting the set that day and wanted to see his dad get beat up by Eliot. We stan one Sheppard Jr.

I very much love the scene where Nate and Sterling go over what they have on Lundy, and then Parker interrupting them out of nowhere, just sitting there on the counter, like she's been there forever (which she probably has). Also just, fantastic clothes on Parker, thank you Nadine. Maggie showing up here is of course also brilliant and I am very fond of Parker making Maggie a fugitive bag. It is so completely adorable. I love my girl so much.

Another favourite moment is, of course, Tara and Eliot getting Chernov to tell them where the sale of the Fabergé egg will take place. Tara not saying a damn thing, Eliot grumpily doing what Tara tells him to ("Do that thing with your eyes that scares people" / "What -- I don't know what you're talking about"), Chernov's complete unease about this whole entire situation, and then of course Tara and Eliot's other interaction:

Tara: What we imagine is always so much better than reality. Eliot, with the tiniest voice possible: Like love? Tara: *just stares at him, confused*

Just, *chef's kiss* this scene.

The scenes in the embassy are also just excellent. Tara and Nate pretending to be a couple, Nate's inability to deal with the idea of Maggie and Alexander, Maggie and Tara hysterically giggling while talking about Nate, Sterling pretending to be drunk (and incredibly gay) to get Parker access to the egg room -- brilliance, all the way through.

I adore Eliot taking charge of the situation once it becomes clear that Maggie and Nate have been taken hostage. Parker doing her magic and switching the bomb with the empty briefcase in the elevators is beautiful. Maggie kissing Nate instead of Lundy in what could have been their final moment and regretting it instantly the moment Parker shows up is excellent.

And the final scene back at McRory's is also just wonderful. The kids watching the news about Sterling with Tara ("I hate this guy" / "Now, you're part of the team"), and Nate talking with Maggie. I adore Maggie in this scene so much. Her and Nate's relationship is so lovely. We know Sophie understands how Nate ticks, but Maggie knows him so well too, still.

213: THE FUTURE JOB

D: MARC ROSKIN. W: CHRIS DOWNEY & AMY BERG. Original Air Date: 03 February 2010.

This episode is so good for so many reasons. First off, I adore Luke Perry (I'm still sad about him) even if he plays creeps like Rand in most everything I've seen him in. He was just so good. Second, Medium Tara is probably my favourite role of hers. It's a lot softer than many of the other characters she's done, and I love it. Also the costuming is just excellent.

But I want to talk about Parker most of all. The scene where Rand cold reads her is so well done. Riesgraf knocked it out of the park here. Also, I love how Nate, as soon as Rand starts approaching and doing his act, barely ever takes his eyes off her. He occasionally glances at Rand, but his attention is on Parker at all times. And it just makes me feel things.

The team coming back to Nate's to find Parker sitting on the floor in front of the couch, crying also makes me super emo. They are all so very careful with her here. Even Tara, who hasn't been with them for that long. I quite like how Eliot and Hardison choose to sit a bit away, giving her space, and Nate carefully approaches and sits closest to her. They are all so good with her here, I love them all so much. And I absolutely adore this part of the conversation:

Tara: So what do we do now? Parker: Cut off his arms. And his head. Yeah. I wanna kill him. Can we make that happen? Eliot: Yeah, I can...I mean, I could...

Also earlier, after Tara acknowledges that Rand is good at what he does, Hardison says "He should be shot." I adore how both our boys would not hesitate to end this man for hurting Parker like this. That's their girl and he went too damn far. And even though Nate suggests a way of retaliation that is less final, he isn't above hurting the man either. Because that's his girl, too:

Hardison: Nate had me rig the table with a mild electrical current. Eliot: You electrocuted him? Nate, smugly: Yes, I did. It helped sell the bit. Parker: I approve. Nate: Thanks, Parker. Eliot: No, her agreeing with you is not a good thing. Nate, whispering to Parker: Thanks.

And add to that the absolute joy each and every one of them have when fucking with Rand to fulfil Tara's predictions? *Chef's kiss.* Absolutely beautiful.

There is so much more absolutely fantastic content in this episode, but I just wanna point out the ending where they meet with the client again. Nate is so good with them here. The way he talks to Jodie about her baby and how she will see her late husband in the child, makes me cry every damn time. Just like Tara says, "Yeah, now I see why you do it," this is why this show is so damn good. It's because of this exactly. Because for one shining moment within so much suck and tragedy, there is goodness and a wrong that has been made right. They help people and it isn't just fleeting momentary relief. They change people's lives for the better. I love this fucking show so much.

214: THE THREE STRIKES JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 10 February 2010.

First half of the second finale! Patrick Bonanno my beloved! I get so sad every time he gets shot here. My man deserves better than this. I love Bonanno so damn much, man. I absolutely adore that Nate goes to see his family at the hospital. Like, this is a cop. The very opposite side of the law Nate and his people operate on. But he goes to see him anyway, because this is their cop. And I love that Bonanno's wife recognises Nate's name. "He wanted to buy you a drink. And then arrest you." That's just so good.

I also absolutely love Richard Kind as Brad Culpepper, the corrupt mayor. I would love to see him back in the reboot, but I doubt there'd be any reasonable explanation why on earth they'd have to see this particular mayor again. I just think Richard Kind is an absolutely fantastic actor.

Anyway, favourite moments. Hardison and Eliot at Bonanno's house is beautiful. I am so fond of how Hardison deals with law enforcement while impersonating law enforcement. He tears them down and builds them back up again, every single time. And I adore how Eliot just smiles at his antics. He crawls around on that carpet with the young cop and Eliot just stands there and smiles. I love them, guys. I really do. Parker pretending to be Brad's pregnant lover with Tara's help is also just most excellent.

And of course: Roy Chappell. Baseball Eliot, my most beloved. There is so much to love about this whole concept. Eliot's reluctance at first because he doesn't like baseball. The discovery that baseball is actually something cool and something he is good at. His absolute childlike joy at the energy drink commercial Hardison made him. His damn hair during the actual game. The sandwich! The enthusiasm about the sandwich. Hardison admitting that the sandwich thing is cool.

I also absolutely love Hardison and Parker as Beavers Fans. The badly photoshopped picture of Dean Devlin and John Rogers as the radio hosts makes me smile so much. So does hearing their voices on the show. Both Hardison and Parker's phone calls to them are also brilliant. Parker speaking Spanish? Marvelous. The two of them demonstrating the Beavers leaving? *Chef's kiss.*

The final showdown with Brad and then the FBI is also just most excellent. Nate going ballistic on Brad because of Bonanno. Hardison and Lucille. Parker giving Lucille a little kiss before they send her to explode as a distraction. Hardison quoting Spock to say goodbye to Lucille. Hardison being pissed at Nate about Lucille. And of course: Jim Sterling, Interpol. The bastard. I love him.

215: THE MALTESE FALCON JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 17 February 2010.

Second half of second finale! And it's a good one, too. This show has absolutely brilliant finales, lemme tell you.

What do we love about this episode? MUCH. Tara's naked bit is excellent. Eliot and Parker sharing a look after watching Tara's naked bit is even better. Parker turning on the porn channels on the hotel tv is hilarious. Eliot talking to the receptionist about the gym is hysterical ("Ah, the fitness spa. Isn't the Zen Steam Garden divine?" / "Yeah....delicious").

Nate on stairs vs Sterling in elevator is probably the pettiest thing I have ever watched on television and it is absolutely amazing. I don't think anything can ever top this as pettiest moment. It is just so good.

Sterling, of course, is always great fun. I love that he has his own little villain theme that announces him before he even enters the screen. Love a good villain theme. And I adore his moment with FBI Bob outside Brad's hotel room.

Sterling: Name's Bob, right? Bob: Yes, sir. Sterling: You've been here the whole time, Bob? Bob: Yes, sir. Sterling: And nobody's gone in or out, Bob? Bob: No, sir. Sterling: Then would you mind explaining, where the HELL THE MAYOR IS?!

Absolutely perfect.

Nate going back to his place always has me all up in my emotions. Also, I think Sterling here absolutely believes that what he is offering Nate, is good for him. That he can save him from himself or something. They were something like friends at some point, after all. And of course, Nate calling Sophie. She is, of course, unbeknownst to him, already on the way to save his ass. But he calls her and finally tells her exactly what she wanted to hear at the end of The Ice Man Job: "I need you. Not the team, me." Sir. I am emo about you.

And then of course the final con and the reveal of Sophie's return. I absolutely love that Parker's first reaction to Tara possibly betraying them was to try and throw her off the roof. That's my girl (I love Tara, but that was fair). Also just, if you pay attention on the boat scenes, you can see Sophie from as early as Kadjic hearing Nate's offer and then leading Nate and Eliot below deck. If you can pick out her hair and know the colour of her coat from the scene in the helicopter, you know that she is there. And then, below deck, you can see her so many times -- at one point essentially back to back with Nate -- before any of the characters know she's there. And can I just say, I absolutely love Nate's completely shocked face when he hears her voice. Those comedically big eyes are just excellent.

Everyone seeing Sophie again is done so well. Hardison and Eliot's confused "Sophie?" when she walks past. Eliot winking at Sophie after they free Nate. Parker hugging her immediately once her and Tara arrive on the ship. Hardison putting his hand on the small of her back as he passes by her to go down the stairs. I just love them all so much.

And lastly of course, the reveal of the plan, Nate cuffing himself to the railing and making Sterling leave his family alone. What Nate says to them always makes me so emo too: "You guys are the most honourable people I have ever met in my life. You have become my family, my only family. And I will never forget that." John Rogers, sir, we need to have some words once I get this lake out of my eyes. And I obviously can't not mention the kiss. Finally, finally Nate gets his shit together. And she slaps him and it is perfect. And then they leave and he sits down and bleeds and Sterling, for a moment, is genuinely concerned about Nate as a person and not merely about Nate as his only way to nail Kadjic.

Bob: Who the hell is this guy? Sterling: I have no idea. Nate: My name is Nate Ford. And I'm a thief.

Yes. Yes you are, you magnificent bastard.

[image taken from the electricnow website]

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