hardison/eliot "two good old boys behind the wheel chasing down bad guys in lucille" bit you will always be famous to me
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@fibersofcrime
hardison/eliot "two good old boys behind the wheel chasing down bad guys in lucille" bit you will always be famous to me
You know. the robot bodies.
Nate: This con requires someone to play The Most Annoying Man Alive Nate: ...my time has come
Leverage textposts part 27/?
minor detail i love about leverage: parker can appear & disappear at will with no rational explanation, but ONLY when it’s played for comedy. in more tense and dramatic scenes, she has to have a known entrance or exit strategy as part of the overall heist plan. it’s like she has the ability to teleport but it’s powered by comedic timing lol.
Parker and Nate early season 1 lol.
i just think it’s really important that parker ended up with the two best huggers in the whole world bc she’s got a lot of hugs to make up for yknow. she was so alone and so lonely for so long. and now when she’s exhausted and maybe also a little overstimulated and she needs someone to ground her and wring all the bad feelings out of her, instead of trying to handle it by herself she can go find hardison and he’ll wrap her up in his long strong arms and squeeze her sooooooo tight against his big broad body, and he’ll tuck her face into the curve of his neck where it’s warm and nice and smells so good like sunshine and lemons and fresh air, and he’ll rock her side to side while he tells her it’s alright, baby, it’s okay, everything’s alright, you’re gonna be just fine, i promise you’re alright. or maybe he just hums something for her, something a little tuneless because he’s making it up on the spot and he’s really only a quarter focused on it because the other three-quarters of him are focused on “how can i make parker feel better Right Now, how can i hold her, am i swaying her enough,” etc etc. and parker feels so safe because she knows that hardison will always be there to keep her warm and to chase all the bad stuff away, and as long as she’s got him she’ll always have somewhere quiet to rest
or if she wakes up from a bad dream where she was all alone again, working all by herself, no one else, just her, parker just parker, she can seek out eliot and he’ll tuck her in close and rub her back and say it’s okay, sweetheart, i’m right here, and he’s so sturdy to hold it’s like hugging a tree, you know neither of you are going anywhere. and he doesn’t really say much else, he just stands and breathes with her, and that’s okay—it’s enough to know he’s there. it’s enough to feel how present and real and alive he is, how he’s warm and solid but also a little squishy in his chest and his belly. his hand is steady and sure moving over her back, and his shirt is soft as it’s clutched in her fists, and his hair tickles her cheek and his stomach rises and falls against her own, and with every breath she remembers she’s not alone anymore. eliot will always be here to catch her and he won’t ever abandon her, he’s too loyal for anything else, and that stitches up something in her heart to know that
and god, if both of them get her at the same time?? heaven. heaven and a half. heaven times seven. hardison’s a sturdy pillar at her back keeping her upright and eliot’s a comfy cushion against her front, and she’s got hardison nuzzling into the side of her throat while eliot presses their cheeks together and occasionally kisses her jaw or her temple. and they smell like citrus and trees and sunshine and comfort and safety and sometimes she can’t help but cry a little, just a little, because now she’s got not just one person but two to spend forever with, two people to love and to be safe around, she’s got her boys, and as long as she’s with them?? she’s home.
patience is such a compelling dynamic in relationships sorryyy it’s the peak of romance to me
“i’m not ready” “i’ll wait” and i’ll be in shambles
100% Nate in The Top Hat Job lol
maggie is an underrated character in leverage imo, she’s awesome. she’s complex and smart and cool and she only appears in four episodes yet she feels like quite a well-rounded three-dimensional character. and i love that the show avoided all the usual tropes of ex-wife/girlfriend characters (i.e. she’s not cruel, jealous, vengeful, "crazy", desperate, shallow, etc).
abandoned diptych from march last year ✨
+ the quick warm up :)
i cant leave a painting alone for more than three days otherwise ill never finish it lol
Concept: Leverage episode with a b-plot where a segment of the team are stuck in an escape room (themed after a jailbreak or museum heist, obvs), and are comically bad at figuring out the ridiculous made up puzzle clues.
Miss it every time Neal turns completely jealous possessive bitching about Peter daring to lay eyes on any other criminal and daring to think they have anything to be smarter than the one he caught
The thing Dean Devlin has always known that so many other showrunners have forgotten is you don't need blockbuster-level special effects, grimdark realism that only seems to apply when it comes to violence and misogyny, shock value twist endings, or a sex scene per episode. All you really need is a small group of fucked up strange little guys and gals, a fantastical backdrop to be endlessly explored (i.e. a magical library, an intergalactic wormhole traveling device, the notion of true humanity and redemption amidst a cruel machiavellian world), and some wonder and whimsy.
On “The Last Dam Job”
I think this is honestly the worst we see of Nate. This is Nate so grieving, so furious, that he throws out all the self-imposed limitations and sets out to kill the men who killed his father.
And Nate did kill them. He did it not with a gun, but by setting everything up so that they’d turn on each other in a manner that would lead to both of their deaths. And while I think he did consider just shooting them, when he realized his team had a line he himself no longer had, he manipulated his team such that they wouldn’t see what he’d done.
That’s what all the ‘gun practice’ is about, you see. Nate is telegraphing to his team “I want to kill these men”. He’s making the team see the gun. React to the gun. Nate is inept with that gun when they’re watching, but a pretty good shot when they’re not. He wants them thinking about him shooting Latimer and Dubenich. He wants them thinking of that as the worst case scenario.
And they do. Nate strings out his setup of Latimer and Dubenich until his team are all lined up watching him; he makes sure each man is clear that the only way they can walk away is if the other one dies. He turns, knowing that his team are going to be there to see him shoot or not shoot them, but the water will mask the words he says. He’s set it up perfectly, a masterful and utterly bastardly manipulation, so that his team see him set the gun down and walk away…and his enemies kill themselves, as he set them up to do.
He wanted them dead. He wanted to kill them. He did. Doing what a mastermind does; using his brain, not his hands.