leverage shuffle » scenes
the king george job

okay, apparently their computer system is also an antique. possibly steam-powered. which would be cool. hardison, this is an extremely old house. they believe in tradition.

[Caption: Four gifs of Sophie and Hardison in a London auction house, Sophie is standing next to Nate and says into her comm, “The computer records are gonna be bare bones. The real contracts are gonna be paper files.” Hardison looks around in confusion in the office where there are file cabinets lining the walls. “So, that’s not just for decoration?”]

yuri-puppies  asked:

your 'very distinctive kinks' Leverage OT3 post was just the loveliest description of sub!Eliot it just gave me such a nice sensory feeling thanks

You’re welcome. I totally wrote this post because I was thinking how much of a service sub Eliot is at heart, and how cooking for Parker and Hardison is definitely part of his service sub kink, and then I thought, oooh, Parker and Hardison have their Clearly Canonical kinks too.

(Seriously though. Eliot is such a service sub. He loves being able to do things for people he loves that have clearly defined parameters of success. He doesn’t have to wonder if he’s done the right thing, because Parker and Hardison eat his food and smile and go “mmmmm” or he gives them back rubs and they say “oh, Eliot, you’re so good” and if they say he did good, then he did, he must have, he doesn’t have to worry.)

Word Count: 807

Triggers: None

Requested by Anonymous

The Brew Pub was closed, the con was done, and all that was left was Hardison and Parker. Hardison was finishing up tweaking the earpieces. He promised her it would be 15 minutes, tops. That was 30 minutes ago. Parker wasn’t annoyed though. On any given day she would be, but today was different. Today she just watched Hardison work. He was so talented, so smart, so handsome, so…Hardison. Why had he chosen her? She wasn’t really anything special. All she could do was take things from other people. She sighed and set her head down on her arms, which were crossed and lying on the table. After a minute of thinking about all of her own flaws, and Hardison’s lack of flaws, she began to cry. He would probably leave her for someone who was…overall better than she was. During the con, he had been forced to grift, and during that time he had to flirt with a girl much more…girly than she was. As much as she had resisted the feelings between her and Hardison when he first started showing obvious displays of affection, she really did love him and losing him would completely destroy her.

After a second, Hardison looked up. He saw Parker shaking, her head buried in her arms. Immediately he was concerned. Parker didn’t cry. Parker especially didn’t cry for no reason. He quickly stood up and went over to her, carefully putting his arm on her back. He felt her jump slightly, and she raised her head a little to look up at him.

“Hey babe, what’s goin’ on?” Parker blushed.

“Nothing, it’s stupid,” she sniffled, sitting up and wiping her eyes. Hardison helped her stand, and then wrapped his arms tightly around her.

“You’re never stupid, baby,” he whispered into her hair, “Let’s head home.” He made sure to turn off his work light, and then carefully secured his arm around her waist. Normally, she’d be uncomfortable with the closeness, but more and more often she’d become much more comfortable with it.

When they got back to the apartment they shared, Alec made sure to open every door for Parker, ask her if she was ok, basically do what a good boyfriend does when his girlfriend is sad and he doesn’t know why. She got ready for bed before him; she was always quicker than he was. When he got to the bedroom, he found her sitting in the middle of the bed, staring at a picture he kept on his nightstand. His favorite picture of the two of them together. They were both laughing, they were both happy. It was also his phone background. Now he was really concerned. He thought she was just tired back at the Brew Pub. He thought maybe the lights were messing with her eyes. But right now she was crying, and Alec wasn’t really sure what he should do. So he did what he would want someone to do to him. He walked over and sat on the bed next to her and pulled her into his lap. Then he held her close and gradually tipped over until they were both lying down. He then pulled the covers up to cover both of them and snuggled up close to her.

“I love you, Parker,” he whispered. He heard her begin to cry more. “What’s wrong, babe, I just want you to be ok.” He was really concerned now. Parker never cried. She rolled over so she could bury her face in his chest.

“I’m not worth it,” she said through her tears. Alec felt his heart sink. Earlier that day he had had to flirt with a girl to get out of a club. He knew Parker was on coms, and he’d told her it was just for the con, and she’d told him it ok. She clearly wasn’t.

“Parker.” His voice was serious. “Parker I need you to listen to me, ok?” She nodded into his chest. “I love you, Parker, I love you. I need you. I need your crazy ass to drag me to a rooftop and throw me off it. I need you to keep being you. You know how I know you’re the best thief in the world?” He paused, and she stilled, listening intently to everything he was saying, “You stole my heart, girl, and ain’t no one gonna be able to steal it from you. You are my world, baby, you hear me?” Alec shifted back and lifted her chin so she was looking directly at him. “Do you hear me?” He asked again. Wiping the tears from her eyes, she nodded, and Alec leaned down to give her a kiss. To his surprise, she deepened it, pulling him closer.

“I love you, Alec Hardison,” she sniffled.

“I love you, Parker,” he replied.

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???

anonymous asked:

Usually when rewatching shows there are a few episodes I skip over because I don't like them too much but with Leverage im like "Hell yeah Parker's going to jump off a building, Eliot's gonna kick ass, Hardison is gonna say age of the geek, Nate's gonna drink and awkwardly flirt with Sophie while Sophie manipulates like 13 people all at the same time! I'm pumped!


(some of) my favourite quotes

happy birthday @enkiindlethis​, i hope every single wish of yours comes true.

Leverage Con Names

This a list of all the cons/scams/grifts that the Leverage team names during the show. Included is everything from a small one-on-one interaction between a grifter and a mark (eg. Little Orphan Annie) to full blown multilevel integrated cons (eg. The White Rabbit). If it had a name, it’s here.

If it has a black star beside it, it has a canon explanation or demonstration (eg. The Moonwalking Bear). If it has a white star, there were hints or comparisons made about it (eg. The Apple Pie is “like the Cherry Pie, but with lifeguards”). If it’s hyperlinked, it’s a real life scam and the link is to Wikipedia. If it’s totally unmarked, then the name was mentioned but never elaborated upon and is a part of the team’s beautiful argot. :)

  • The Lost Heir ★
    • S1E3, S2E9 
  • A Rip Deal ★
    • S1E5
  • The Spanish Prisoner Scam
    • [in reference to Irina’s adoption con]: “It’s just like the Spanish Prisoner Scam.”
    • S1E6
  • The London Spank 
  • The Geneva Paso Doble
  • The Apple Pie ☆
    • “It’s like the Cherry Pie, but with lifeguards.”
    • S1E9
  • The Cherry Pie 
  • Glengarry, Glen Death ★
    • S1E9
  • The Turnabout ★
    • S2E1
  • Ponzi Scheme
  • The Mona Lisa Variant ★
    • S2E7
  • The Wire Game
    • S2E11
  • The Swedish Rail Con
  • The Cairo Flyer ☆
    • Sophie: “No way, I’m not wearing that dress again.”
    • S3E5
  • The Double-Blind ★
    • S3E5
  • A Fiddle Game
    • S3E6, S3E10
  • The Pill Scare ★
    • S3E9
  • The Berlin Shuffle
  • Little Orphan Annie ★
    • S3E9
  • The Skagway Shuffle ★
    • S3E10
  • The Mummy’s Tiara ★
    • S3E12
  • The Vegas Wake-Up Call ☆
    • Like the Cuban Sandwich except “the boyfriend shows up.”
    • S3E13
  • The Cuban Sandwich ★
    • S3E13
  • An Edward Albee ★
    • S3E14
  • The Spanish Turnabout ☆
    • Sophie: “I’m thinking the Spanish Turnabout.”
    • Parker: “Hmm, no, he’s not going to leave the country. The [Spanish] Turnabout pays off in an airport.”
    • S3E16
  • The Peking Watch
  • The Moscow Circus ☆
    • Sophie, to Nate: “I’m running the Moscow Circus con, you’re the ‘Ivan’. Go.”
    • S4E1
  • The Romanian Circus ☆
    • Nate: “What [Sophie]’s doing is she’s running a variant. It’s called a Snipe Hunt. It’s the [Romanian] Circus, but it’s leaner and faster.”
    • S4E5
  • The Snipe Hunt ★
    • S4E5
  • The Roman Wedding ★
    • S4E6
  • The Peruvian Slide
  • The Boca Backlash
  • The Oklahoma Little Chucky
  • The Chilean Custard
  • The Moonwalking Bear ★
    • S4E8
  • The Big Store ★
    • S4E8
  • The MassDOT Special ★
    • S4E9 (also in S3E7, but unnamed)
  • The Wicked Stepsister
  • The High Minne Scam Variant ★
    • S4E15
  • The Lazy Dachshund
  • The Pizarro Pressure Point
  • The Double-Pronged Monkey Con ★
    • S4E16
  • A Radio Play ★
    • S4E17
  • The Oligschlager Shuffle ★
    • S5E2
  • The Arkham Ascent ★
    • S5E3
  • The White Van Speakers
    • S5E4
  • The White Rabbit ★
    • S5E12
  • A Swap-and-Whisper Campaign
    • S5E13
  • The Trojan Horse ★
    • S5E15
Alec Hardison and representation

I’ve been thinking about this issue ever since reading a post that talked about schema, how the brain creates templates for things, and how this applies to racism. Here’s the example the OP used (paraphrasing from memory): Every time you see a black man on tv, they’re wearing baggy trousers and an oversize white t-shirt. They mouth off to a cop, reach under the t-shirt, pull out a gun, blam! blam! So when you’re dealing with a real-life black man wearing baggy trousers and an oversize white t-shirt, when he reaches under that shirt, do you wait to see what will be in his hand? Do you even really see what is there–his wallet, a bag of Skittles, spare change? Or do you see a gun because that’s the shortcut your brain has been taught by thousands of hours of media?

Then there’s Alec Hardison. John Rogers says in one of the episode commentaries that the original conceptions for Hardison and Eliot were that their hacker should be a large man, not the standard skinny wimp (e.g., Cha0s), and their hitter should be smaller and precise, not physically intimidating at first glance. They could have cast a black Eliot and a white Hardison. Once they had their actors, the actors shaped their roles.

So you have Hardison, the black guy. Who is the least violent of anybody on the team. The only one who can’t handle a gun. The least effective in a hand-to-hand fight. The one whom both Eliot and Nate call “the smartest man I know”. Who has a romantic relationship with a pretty blonde white girl that is completely non-fetishized. Who forms a close friendship with an ex-military country boy. There are a few flashbacks where you see teenaged Hardison in the oversized t-shirt and hiphop bling–and braces on his teeth. He’s not knocking over a grocery store with a gun; he’s knocking over the Bank of Iceland by hacking*. 

Hardison is a triumph for representation. He subverts just about every expectation for a black male of his age on television. And he does it with style and humor and comedy, which sneaks into your brain and makes you feel good. Aldis Hodge and John Rogers deserve a lot of credit for Alec Hardison, and I look forward to Hodge having a long and brilliant career because I think he deserves it. 

*so he can pay his Nana’s medical bills.