lydsmartini:

i think about the fact that eliot’s counterpart for the “anti leverage” team was a woman a lot. and by eliot’s counterpart, i mean their team’s brute. their hitter. the one who beats up and attacks anyone who threatens the team’s plan. and eliot isn’t like “oh she’s a woman” even tho hardison was like “u weren’t gonna hit a girl.” and he was like “she killed a man with a mop.” he was scared of her. he respected her. he never once thought he could get the upper hand just because she was a woman.

(via renew-leverage)

(Source: thesofterworldjob, via ailleee)

bootsnblossoms:

neverwhere:

waywardhufflepuff:

zoewashburne:

-So, I have to tell you something.
-Okay.

I bloody love Hardison. I did before this but this scene turned him into one of my favourite characters ever (and given the amount I watch/read that’s an achievement). He has feelings for Parker but doesn’t push them, doesn’t expect anything from her, knows that she has problems forming emotional attachments. And here when he finds out his feelings are reciprocated he doesn’t push her into anything. He knows she’s finding it hard and steps back to wait until she is ready. And then add in the fact he’s a geek, funny, super crazy intelligent, and rather hot to boot….well I never stood a chance. 

Alec Hardison is the antidote to toxic masculinity this world so desperately needs

I think my favorite thing about Hardison is how unapologetically and enthusiastically he loves what he loves. He’s is an incredible character and I agree with you 110%.

(via primarybufferpanel)

Anonymous asked: *skids in wearing a fake mustache* hey moran! you and your writings are a blessing on this earth and i know that you are incredibly busy, but do you have time to talk about elliot spencer? or leverage in general? thank! *skids out again while refixing the mustache*

ELIOT SPENCER.  THE LOVE OF MY LIFE.

Okay, for those of you poor deprived souls who have NEVER HAD THE PLEASURE OF WATCHING LEVERAGE, here is my rapid-fire pitch: take a hitter, a hacker, a grifter, and a thief, add an ex-insurance agent who hunted them all at one point or another and has a guilt complex that is…well, very Catholic.  Mix with a helping-the-helpless motto, and point at the nearest righteous crusade.  It’s Robin Hood for the modern age.  It is the five-season-long, genuinely enjoyable, never grimdark but always sincere, emotionally wringing show you have looked for.  The characters are a delight, the writing is witty and soulful and real, the women are treated excellently, they have racial diversity, every episode is a whole different flavor of wonderfully wicked glee, and it’s obvious in every moment that everyone involved loved working on it.  The found family feelings spill off the screen.  Here is a pitch, here is a pitch, also here, here is MY pitch, there’s another here, here, here’s a spoilery but super detailed one, here, here, and I could find more BUT THIS IS A LOT ALREADY.  It’s on Netflix, go forth.

Eliot, my hitter darling, I love him so much.  

Okay, like, let’s talk about how devoted he is to the Leverage crew.  Eliot is one of the ones who, quite frankly, does A-OK solo.  He doesn’t need Sophie there to grift, he can do it, he can steal stuff even if he’s not as expert as Parker, having Hardison around is helpful but not mandatory, and, as we see when Nate’s taken out of play in the Zanzibar Marketplace Job, Eliot’s a good enough tactician to wing it successfully.  Like.  He’s fine on his own, maybe even more fine than Parker or Hardison, who are a little hit or miss on the others’ fields of expertise.  He’s there because these are his people and he is going to take care of them.  It’s all about taking care of his people.  And I think the thing about Eliot is that that’s always been a part of him, one he’s had to throttle into nothingness for years.  The mercenary life doesn’t lend itself to emotional connections, and for Eliot, who–even if he’s gruff and irritable about it–loves his people with his whole self, that must have been a very lonely life.  Trust no one, because they might be hired to kill you tomorrow.  Love no one, because they might sell you out to the highest bidder.  Be alone, be safe, keep everyone more than arm’s length away and watch for the glint of a knife or the press of a gun.  Touch nothing but the object of the mission, let nothing touch you.  

And then…and then he meets the Leverage crew–only, they’re not the Leverage crew yet, they’re four people hired for a job.  Four, Eliot has to admit, brilliant people, even if they’re all their own unique flavor of bonkers.  And then one of them’s holding him at gunpoint, and then a building is blowing up and he’s pushing them ahead of him out of a building, and let me ask you something.  Do you think he knew, then?  With the fire at his back and his hand in Hardison’s shirt as he dragged him to his feet?  Do you think he had a moment of clarity, running out of that building, or waking up in the hospital, where he knew that his carefully constructed walls–cold and hard and strong as diamond, be alone, be safe–were already down?  

I do.  I think he sat there, handcuffed to a chair with ink on his fingers and Nathan motherfucking Ford out cold in the bed beside him, and wondered when it happened.  Because he pushed Parker ahead of him–Parker, who had pointed a gun at him and lived anyway–and he dragged Hardison along and he made sure Nate was outside.  And it wasn’t a job, he can’t tell himself that, because he wasn’t getting paid.  He just…had a moment of weakness, he tells himself.  He never believed in collateral damage, it’s sloppy, it’s messy, so he avoided it.  He might still need them to get his paycheck from Dubenich.  It’s okay, he’s fine.

I think he might have convinced himself of that right up until they each get a check pressed into their hands by Hardison, a huge check, a go legit and buy an island check.  And then…and then they walk away and for the first time in a lot of years, Eliot thinks I don’t want to go.  And for the first time in a lot of years, he realizes that maybe he doesn’t have to go, and he comes back.  From the very beginning, he comes back, because he’s been a hitter and a hunter and a killer for so, so long, and maybe this is a chance to be a protector instead.  Maybe this is a chance to reach back in time a little and find some scrap of that kid with a flag on his shoulder, who believed in what he was doing.

Maybe this is a chance to have a family.

thehesitantmemer:

it’s really interesting that eliot in any other show would be the hardass, emotionless tough guy but he’s actually a sweetheart who looks after abused kids, mentors anyone he comes across under the age of 20, cooks to relieve stress, and sings like an angel. like good job leverage. you did a good

(via im-lost-but-not-gone)

Tags: leverage

jalecslut:

if you ever finish a show and think ‘i dont know what i should watch next’ please watch leverage. even if you just finished watching leverage, watch it again. there are so many things that youll see that make sense. this little family is so important to me

please watch leverage

(via ailleee)

Tags: leverage

thorinsmut:

bemusedlybespectacled:

le-claire-de-lune:

Leverage episodes I wish we saw:

  • the everyone meets hardison’s nana job 
  • the accidental acquisition of a baby job
  • the canon OT3 we’re not being coy like in the Rundown Job job
  • the one-off not quite canon within the story supernatural/fantasy elements job
  • the fake a cryptid (either bigfoot or el chupacabra) job 
  • the circus job (I really want to see Parker the acrobat)
  • the explain how their clients even find them job. Like seriously do they advertise??? How does this work???

Hardison’s Nana comes to them because some fake debt-collection agency is hounding her for bills she already paid (or rather, that Hardison paid, via the Bank of Iceland). She is played by Nichelle Nichols. There is at least one Star Trek reference.

YES I need this like breathing. Nichelle Nichols is Nana now. Nobody can convince me otherwise.

And the circus job! No one can tell me that the entire crew wouldn’t get in on the circus job and be really into it.

Parker as an acrobat trying to get used to the idea that people are supposed to see her when she’s performing, and then getting into it and loving the applause when she does something extra fancy and death-defying with her ropes.

Eliot randomly is an expert at fire-juggling, because of course he is. He performs shirtless. The crowd goes wild. Never has there been so much thirst in a single room.

Sophie as the fortune teller. Sophie as the fortune teller who’s way too good at her job and has to tone it down a little bit because she’s freaking people out. She also does the knife-throwing act with Eliot, posing beautifully while he throws knives around her. She knows he’ll never miss.

Nate, of course, is the barker. “Step right up, step right up. See the beautiful, the death-defying…”

Meanwhile Hardison is behind the scenes bringing the technology into the 21st century. The light show to go along with the choreography has never been more beautiful, the sound system has never been so good, and the rigging has never been more safe. Also there are bugs everywhere so he can listen in and catch the bad guy, but that’s almost secondary.

In the end Eliot gets to fight the circus strong man, Sophi out-cons the bad guy, and the plan comes together like puzzle pieces falling into place right at the end so you can hardly believe it worked. Just like a good performance should.

They give the circus back to its tearfully grateful original owner and drive off into the sunset–ready to con another day.

Parker keeps her sparkly spandex costume.

GIVE IT TO ME

(via windbladess)

slyrider:
“ exactingleverage:
“ I’m not crying you’re crying
”
@words-writ-in-starlight have you seen this?
”
I HAD NOT.

slyrider:

exactingleverage:

I’m not crying you’re crying

@words-writ-in-starlight have you seen this?

I HAD NOT.