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They're the same image.

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omg did y'all see this

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- leonard cohen

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HOW I MET YOUR MOTHER S01E14, “Zip, Zip, Zip”

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BUY IT NOW: 2 for 1 post deal

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All these big companies changing their logos a dozen of times for something that looks worse every time, while the real all-time GOAT found the winning formula on the first try and then even did a victory lap with it:

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favourite Muse Tumblr funfact is that one of the biggest gimmick blogs on this website is just our Muse Tumblr mutual and that's wild. It's like having a AAA pass to places that literally do not matter. Still are fascinating though.

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i feel like the youth should be reminded that the point of shipping is not for a ship to become canon. the point of shipping is to collect all the canon crumbs like starved mice, run away cackling and make some fun little scenarios with them just for the hell of it.

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What's interesting about the Rashomon job on rewatch is that it highlights why, even though all of them are thieves, Parker is THE thief. The others have plans that play to their skills but when the dagger moves around (as a result of everyone else also trying to steal it) their plans fall apart. Parker is the last one with the dagger because she's flexible, creative, and stealthy enough to pivot repeatedly.

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big fan of stories that, while undoubtedly being about the power of friendship, acknowledge that the power of incredible violence is just as important

the love was there. the love changed everything. the crowbar helped also

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outside of tumblr, leverage really is criminally underrated and unappreciated. the show and cast deserve so many awards. hell, it deserves them just for the rundown job episode alone

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Let Me Rant a Second...

I love this scene—this whole episode—so much, because it’s one of the first that really dive into what the team has actually done for Eliot, and how it’s changed him. A lot of people come out of the military conditioned to obey orders. And it’s not just PTSD, it’s a psychological phenomenon that has been observed to affect 2/3 people after just two days of being under someone else’s command. And not just little things either, two out of three people administered what they believed to be a lethal shock to another human being after just a few days, sometimes a few *hours* of being in someone else’s command. Years of it, and it affects a significantly higher percentage of people. Considering that, it’s little wonder how someone who went on the jobs that Eliot did—ex-black ops, classified jobs, often working alone, became an assassin for hire.

And in that line, when he asks for understanding—he’s not asking for permission, just understanding. I feel like that’s all he wants from Nate and the others sometimes—is to get where he’s coming from, and who he is. As someone who has a different kind of PTSD, I can attest that sometimes someone understanding why you are the way you are and why you do what you do is what makes you feel like you haven’t gone over the deep end. What makes it better, is that understanding is something that Nate is very consistent in giving Eliot. Understanding is something that all of them are very consistent in giving Eliot, often without him having to ask at all. We see it in the “Queen’s Gambit Job” in how he’s treated around Sterling and after he was drugged, and in the “Last Dam Job,” when Eliot comes up in conversation and in his converstaion with Nate when Nate is looking for excuses to kill a man for revenge. We see it in “The Tap Out Job” when Sophie gets concerned over Eliot taking the fall, afraid that it would trigger something in him.

And we see how Nate, and how *his* orders and this team had helped Eliot. Eliot says later with Parker...

And that makes me wonder, just how much this team—this non-judgemental, slightly crazy family that he picked up and that picked him up just because he agreed to another job for a price a bit *below* regular rate for someone of his caliber—just how much this team put the pieces back together to get him to feel like a human again. And to make him feel, if not worthy, than cared for.

I see it a lot with Nate. Parker and Hardison and Sophie too, yes, but in a different way. There are so many times in the show that Eliot *lets* Nate hold him back. He admits things to Nate that he doesn’t to the others, and Nate covers for him. He didn’t tell them about the warehouse of dead bodies that Eliot left behind in “The Big Bang Job,” or any of the kills that he must have known about before the team even got together, because remember in the first episode, he had investigated all of them.

And later, in the same episode, we see Eliot about to kill someone. And it’s obvious—he’s not pretending. He’s furious, this man hurt Toby, ruined his work helping kids, after Toby had done so much for Eliot himself. His eyes look almost glazed over, like he’s not even fully there.

And then...

He lets himself be called back, and he stops. And after, Nate doesn’t give him judgement, instead...

He gives him an out, a way to brush it aside and collect himself.

His family knows who he is, but Nate knows what he’s done. And all of them keep Eliot from going back to who he was, but Nate is the only one we really see face it head off, and pull him back from that edge without judgement. He’s also pretty much the only one who lets Eliot loose, almost like he knows that there’s something inside of Eliot that needs to be let out as much as it needs to be controlled. And that… that is the makings for one of the most heartfelt and awesome character dynamics I’ve ever seen. Eliot’s dynamics with everyone on the team is just… awesome. And so nuanced that you can see it in all the little things and it doesn’t even have to be said out loud. THAT is good writing.

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tfw "popular" fanon becomes so embedded in a fandom & discussions within fandom spaces that people just start treating it as the default and all interactions with others are coloured by this interpretation. have you considered that I actually don't subscribe to this take, which is nowhere in the source material? wait nvm, clearly not.

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Jimmy Eat World in Riding In Vans With Boys (2002)

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FERRIS BUELLER'S DAY OFF (1986) — dir. John Hughes

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