They have this cool kick-ass fight against the bad guys and then they all get in the car and look like they got on the interstate going the wrong direction at rush hour in the middle of the worst family vacation ever.:
One of the little things I love about Leverage is how people react when Parker does her social-norms-are-for-losers thing and undresses to change in front of the others.
This is a pretty standard scene, right? Female character changes in presence of male character, male character turns away but then looks back or sneaks looks through a mirror. Female character either doesn’t notice or tells male character to turn back around. It is all very funny, laughs all around, haha.
Except that in Leverage they don’t do that. It happens not infrequently that Parker starts changing in front of Hardison or Eliot or whoever. But they don’t turn back around to look at her. They firmly plant themselves facing the other way and keep looking that way. (Even when it’s already been established that the male in question is attracted to Parker.) Heck, Hardison turns statues around so they’re not facing Parker. They genuinely respect her privacy - more than she does, for that matter.
This is Parker thinking maybe, just maybe, she may have found a place. This is a girl who can get into anywhere but fits in nowhere thinking there might be something here worth staying for. She doesn’t really know these people, doesn’t trust them yet, but she can’t shake the feeling that with these almost-strangers with all their jagged edges she may have found the one thing she always wanted but could never steal: a place to belong.
She doesn’t want to jinx it. She spent an entire childhood being told that she doesn’t fit in, that she’s too strange and destructive and damaged to belong anywhere. But they called her, they asked her to come, and when she did she found that there was already a space prepared for her, just waiting for her claim, waiting for her to mark it as hers. Waiting for any indication that she might stay.
So she buys a plant. She doesn’t really know what it does, but she does know what it means. It means I’m here, it means I’m staying, it means I want this place to be mine.
I have not appreciated Christian Kane enough as an actor until this episode because that whole conversation with Moreau you can somehow feel that half of Eliot’s mind is on Hardison slowly drowning in that pool, waiting for him to save himself, you can see it in the way he relaxes ever so slightly when Hardison gets out
and the way Hardison trusts Eliot to be on his side through all of this even though he’s kept such terrible secrets
and “Don’t ask me that, Parker. Because if you ask me, I’m going to tell you.” I CRIED. TUMBLR, YOU ARE WITNESS TO MY TEARS
Holy shit. Eliot using a gun. And killing people. I never thought I would see the day. Though the emotional impact is undermined by his completely ridiculous Matrix antics
PARKER IS IN THE MOOD FOR PRETZELS. Hardison’s face aaaaahhhh!
Eliot, HARDISON AND PARKER WOULD FORGIVE YOU I PROMISE BB