what the hell is an eliot

@zahnie i am kind of mad tbh bc now i keep thinking about that leverage/batman crossover and it’s ridiculous. they’re using a charity gala as a way to get into the manor. eliot immediately pegs alfred for former mi6, but he can’t figure out what the fuck bruce’s deal is. something about the way he stands or the way he watches the room or his shoulders or something. “is it not distinctive enough?” “oh, it’s distinctive as hell, i just don’t know what it is”. let’s say it’s older bruce so hardison has to get into a hacker fight with tim. sophie can’t grift bc there are too many rich people who’d recognize her in attendance. parker can’t infiltrate the catering service because they run that shit tighter than the white house (WHY is he so paranoid about his CATERERS what the HELL i’ve seen BANKS less lax about tracking employees than this) so she has to pretend to be a model. that backfires so fast because bruce is so nice and wants to know if she’s okay bc she seems uncomfortable. parker is thrilled when she discovers the house is full of secret passages but that also ends poorly when she turns a corner and bruce is standing there like “hey there, you seem lost”. he’s still wearing the tux and drinking his champagne. he helpfully guides her to the bathroom since she is having such trouble finding it. eliot has a tense standoff with alfred bc this is wayne manor alfred and that means he is like an older, british eliot who’ll shoot a motherfucker. hardison and tim get distracted playing wow together and it isn’t clear exactly how that happened. there has to be at least one scene where eliot and bruce are fighting and the rest of the team just watches instead of doing anything useful because it’s actually kind of really hot. they don’t even really hurt each other so it’s fine. probably fine. just let them keep pinning each other to the floor for a while, it’s fine. bruce has a lot of helpful critiques for nate’s plan that nate does not appreciate. the obvious thing is that they figure out he’s batman but it’s kind of funnier if they don’t and just think bruce wayne is an inexplicable bamf. they’ve all learned a valuable lesson about judging people based on appearances. bruce flirts with sophie and nate pretends not to be bitter about it but he gazes out at the gotham skyline and broods. it’s just what happens when you’re in gotham. it’s a very broodworthy skyline. make fun of batman all you want but you look out at that skyline and try not to brood. you can’t. even superman broods. i mean, he looks like he’s brooding. he’s usually trying to remember if he left the oven on because every time he decides to make himself a nice dinner a supervillain attacks and four hours later his baked ziti is charcoal. it still counts as brooding. nate never stood a chance.

a thing I will probably never be over: in the 12 steps job the way eliot’s hand shakes when he reaches into the car to yank the wires out of the bomb

like this is a guy who went up against an entire room of mooks with guns armed with nothing more than a cup of tea and he finished the tea first like………….very little shakes eliot spencer. he has Seen Some Shit and been though seven kinds of hell. he does what needs to be done, and if he goes out in the course of what’s right, then so be it.

but it’s hardison sitting on the bomb. and that’s a whole different story.

10

The Coronation scenes, suggested by @space-delinquents
Eliot | Margo | Alice | Quentin

I feel like it’s impossible for me to explain how much I love Eliot Waugh. So let me start with some of his quotes.

“I bond fast. Time is an illusion.”

Quentin: If you’re trying to tell me that it gets better-
Eliot: Oh, God, no. It doesn’t. I’m trying to tell you, you are not alone here.

“I think something might really be…broken.”

“Becoming me was the greatest creative project of my life.”

“I know I said I didn’t need a family to become who I was supposed to be, but it turned out that I did. And it was you.”
—A letter Eliot wrote to Quentin

Dean Fogg: What were you expecting when you dove headfirst into that fountain?
Eliot: …I was expecting to die.

Eliot is so, so sad, and he is so, so tortured. By killing someone who made his life absolute hell, he discovered he was telekinetic. He had to kill someone else - someone he loved - to protect everyone else. He lost his two best friends for a period of time because of a stupid, under-the-influence decision he made, but the thing that killed him the most was the thought of losing Quentin - and only Quentin.

He threw himself - as his clay-made clone - in front of an attack directed at Quentin without even thinking about what could happen. He didn’t care what could happen to him. He threw himself in front of Quentin, in front of a fatal attack, as second nature. He didn’t care what happened to him, as long as Quentin was okay.

And, despite everything that happened, he still became the High King of Fillory. He will go down in Fillorian history as High King Eliot, The Spectacular, because that is what he is. Despite wanting to die. Despite the bad things that had happened to him. Despite all of that. He will still be known as one of the greatest Kings to rule over Fillory. And even though it is fictional, if that isn’t uplifting and if it doesn’t give you hope, there is something seriously wrong with you.

and today on Daniel Binge-Watches Leverage: 

I love it when Sophie shows up at her own funeral. So #Extra.

“Let’s go steal a country”

The frigging sandwich

Nate running up the stairs and pushing every lift button to delay Sterling. #Iconic. 

I love in the baseball ep when Eliot gets real popular and giggly about being a hero he’s so cute. 

“MR KIRK PICARD” IM DYING

Wait so, Star Trek exists in the Leverage universe, so like, has Hardison ever called Colin Mason/Chaos “Wesley” because that would have been hilarious. 

Eliot just pulled a Die Hard. ~Yippie Kayak Otherbuckets~

“LET’S GO STEAL A TIME MACHINE” I love Parker

Hardison is just eating a fucking pepper like it’s an apple what the hell. 

Have I mentioned how much I love Parker?

Honestly I just love it when the whole team just like specifically gathers in one place just to strike a dramatic pose so the mark notices and regrets all their actions right before they’re taken down. It’s just so Extra and I love it so much. 

I also love it when Eliot is kicking someone’s ass and Hardison and Parker just do that little proud smile. <3

9

@ thatsnarkydragon : oh, man, I have now giffed these scenes so many times, and I still want to cry about it. To add something new, here’s my painstakingly done transcription of the audio commentary for these scenes:

John Rogers: Now, this was interesting. We had a long talk in the writers’ room what this scene was gonna be. Because it is “why hasn’t –” because, let’s face it. Aldis, you’re a good looking man. You’re a very good looking man.
Aldis Hodge: Thank you.
JR: And, Beth, good looking woman. Why has that relationship not progressed farther, you know? And we wanted to not just do the hackneyed “because she was abused as a child,” because, you know, and so we really wanted to work on “why?” And it’s because she doesn’t feel worthy of the friends she’s made and the family she has.
AH: Gotcha.
JR: And a lot of this year is her feeling good enough about herself and feeling like she’s a good enough person to be with.
AH: You know, John, Sexual Chocolate gets a lot of mail about that, you know what I’m saying? It’s true, and I gotta figure out how to explain it.
JR: I know. I know. Boss of Sexual Chocolate also gets a lot of mail about that.
AH: Just saying.
JR: But look at this woman, look at this woman!
AH: That’s ridiculous.
JR: I mean, she’s melting down here. And, by the way, when we’re shooting this? Crew is crying, people behind the set are crying, I mean, she’s just devastating here.
Dean Devlin: She nails this.
AH: Yeah.
DD: It’s also this whole thing about she wants to do the right thing and trying to understand what the right thing is.
JR: That’s what’s great about Parker and what we so lucked into establishing this character first year and that Beth has done a great job of. Most shows have someone who’s just trying to do the right thing, we actually have a character who’s not sure what that is yet. And so it allows us an extra step of that character building. I mean, you know, that’s why we have to go so slow. We don’t want to fastplay this. These are real people in our heads.
AH: Now, what was the motivation between, I mean, as far as putting Parker and Eliot together in that particular situation?
JR: Because, I’ll tell you exactly why, because this is the year Parker starts to figure out that she’s actually a “better person” – quote, unquote – than she thinks she is. And this is the scene, right here. Eliot, because of the events of last year, has come to peace with who he is. And this is the thing, Eliot isn’t trying to redeem himself. A lot of people think Eliot, “oh, he’s doing good things to redeem himself,” Eliot knows he’s going to hell. But he can do some good along the way. And he can help his friends. And that’s his role this year, is a man who is very secure in who he is and who he isn’t in the world. Beth’s previous scene is amazing. This is some great acting, Christian is killing it here. Because what he has to do is he has to reach across this gulf, and, by the way, it only happened because of the way Christian and Beth have played this over the years. Eliot and Parker have a very specific relationship, it’s not brother/sister, it’s not boyfriend/girlfriend, but it is “I know the pain you’re carrying, because I carry a version of it.” And Eliot, at a lot of times, is the only one who can reach across to her, across that gulf, and in that moment, there’s no crying, it’s not showy, Christian acts the shit out of that moment. That is one of the keystone moments of the entire season right there.

Does anyone else have a favorite bit or highlight from The Long Way Down Job?

Eliot is gay... does Fen not know this?

When I purchased ‘The Magicians’ season 1 there was a deleted scene where Margo talks to Fen about the marriage, and what it would entail.  It’s how she finds out Eliot will be bound to Fillory forever and be celibate to one wife.  She also told Fen flat out that Eliot was gay. 

Since that scene was cut has anyone actually TOLD Fen Eliot’s sexual preferences?  Why the hell hasn’t he told her himself, flat out?  ‘I’m gay’ why is that so hard?  Why are the show runners stepping back from having an openly gay character not share such a fundamental part of his identity? 

I’m sure people have ranted about this before, but to me it feels like a form of homophobia in the worst way. I’m just going to lie to this woman about what I want, and who I am, and magically everything will work out… OH AND we are going to have a baby on top of everything… because kids make EVERYTHING better. 

Eliot never married in the books, and that was okay, he was openly gay and proud of it, and he didn’t need a wife to fix things. 

This is the core thing that bugs me about this show.  It bugged me last season, it continues to bug me now. 

none of the magic nerd squad is particularly excited about mother’s day. normally they would spend the day moping around, getting drunk beyond belief, and skipping class, but during a rare point in the day where they are all gathered in the common room together, alice steps forward and hands penny a wrapped box.

“what the hell is this for?” he snaps.

“happy mother’s day.” alice giggles shyly, grinning in a way that she rarely does.

eliot is the first one to burst out with a high-pitched snicker, and the rest of the group follows, laughing at the resigned–yet admittedly motherly–look on penny’s face.

thepriceofdreamingislife  asked:

How about the deaging trope in Leverage?

They’re lucky, really, that it’s Parker. Because Parker, having had the life she’s had, has no concept of time or strangeness and barely blinks to be living in a den of adult thieves she’s never met before.

She’s also already a budding world-class thief, even at eleven, so she’s capable of getting herself out of the vault, even if her escape is slightly more clumsy than adult-Parker’s escape would have been.

So they bring Parker back to the pub, call Nate and Sophie in a bit of a panic, and watch her poke around the place. She disappears for five whole minutes, which gives them minor heart attacks, but she shows back up, seemingly unchanged except for the slight mysterious bulge in her pockets.

Hardison has three computers out, digging deep into the web, looking for what the hell they accidentally stumbled on. Eliot stares at the eleven year old eyeing the exposed ceiling beams a little too curiously with apprehension.

“Want dinner?” He offers.

She shrugs.

“What do you like?”

She shrugs again.

Eliot figures Parker probably hasn’t changed that much, so he pours her a bowl of sugary cereal to hold her over while he makes her a stack of pancakes, with chocolate chips and maple syrup.

When she’s eating, Eliot moves around the apartment, trying to be unobtrusive. Usually that’d be easy, but this is Parker they’re talking about, and a twitchy one at that.

Still, he makes it upstairs, rifles through the bedroom, and comes back down with a well-loved stuffed bunny. “Thought he might keep ya company,” he offers, holding the bunny out to Parker.

She looks at the toy, then him, then back at the toy before grabbing the toy from Eliot’s hands. “How’s you get him?” She demands, her voice relatively quiet.

Eliot shrugs. “Parker, lot a stuff you don’t remember has happened. We’re your friends.”

“You cook for me,” she notes, nodding.

“Yeah,” Eliot agrees, mouth dry. “I do do that. That over there is Hardison. He’s nice. Good guy. Wants to help you out. You could probably con him into anything.”

When Parker’s eyes light up, Eliot groans, already regretting saying it. He just wanted to tell her that they care about her. But this is Parker. This is child Parker, before the team.

“He’s working right now,” he tries to follow up, but it’s too late, Parker is already over there, making big eyes.

Hardison closes his laptop. “Where’re you going?” Eliot demands.

“Ice cream. Parker wants one of the big banana splits.”

“She just ate!” Eliot growls, before realizing that that’s really not his main concern. “Anyways. What about the research?”

Hardison shrugs. “It can wait an hour, can’t it? Let the kid enjoy some childhood.”

Parker smiles.

Eliot shakes his head. “I’m comin’ too,” he announces. “If only to ensure you two come back.”

Rashomon (NSFW)

Originally posted by twinklebrightly

Eliot Spencer x Reader, Parker x Reader, Alec Hardison x Reader

Warnings: Smut, flashbacks, theft

A/N: Just tagged a couple people who I thought might be interested in this. I don’t care how long ago this show aired, I will never not have Leverage feels especially as long as it’s on netflix.


“Hardison, you are not good with women. We have been over this. You’re lucky Parker even likes you.” Eliot grunted falling back on the couch.

Keep reading

8

This con is unpredictable. It can break a mark. It can break a grifter.
It can break a team.

I am in love with everything in this scene.

Keep reading

thoughtscascade  asked:

18 for Leverage?

Originally posted by pixiedane

“This is…exactly what it looks like.” + Leverage

               The bar was empty, which Eliot deemed to be the perfect time to just work on some recipes that had been sitting in his head the past few weeks. He knew Parker and Hardison were in the back – doing what, he didn’t know, he didn’t ask anymore – and even though he didn’t need them for the cooking part, he was already preparing to take his food back there for them to try.

               After finishing up, and plating, Eliot took a step back from his food, grinning a bit. He loved this, he loved the cooking, he loved this part of it, when he was sure it was good, because even if he was having his partners give it a taste test, Eliot was mostly using that as a ruse to feed them something that wasn’t junk food or orange soda.

               He gathered the plates in his hands, nudging out of the kitchen, and then across the room into the back. He could still hear Parker, her voice excited even if the words were low, but he couldn’t hear Hardison, now, as he came into the room to bring them the food.

“Alright, guys, I finished makin’ this…I think we should add it to…the…menu, Parker, what the hell?” he asked, eyes flitting up as he trailed, seeing Hardison hanging upside down from the ceiling, clutching the rope and squeezing his eyes closed. Parker jumped, spinning to see Eliot, before pointing.

“Oh, this? What? No, this…this is…exactly what it looks like.” Eliot just blinked, but Hardison’s eyes went open when he realized Eliot was there, startled.

“Ah, Eliot, man, get me down from here! See, we were tryin’ to do the Spiderman kiss, you know, but I thought we could swap it and she was gonna hang upside down, b-“

“Nope,” Eliot replied, not knowing what else to say, before backing out of the room, and disappearing back towards the kitchen.

“Eliot! Man, come on, she won’t cut me down!” Hardison hollered, but Eliot knew Parker would, eventually.

               He also knew he was probably better off devouring his food in the kitchen, where he couldn’t hear them.

anonymous asked:

Hi Brian, I'm writing my comic currently and am fairly set on the premise. At what point do you decide on the ultimate ending vs creating an open ending for possible future comics without ruining the end if turns out there wont be future issues? Thanks!

there are many many schools of thought on this. 

some feel you HAVE to know the ending before you start or you won’t even know what or why you are writing…

but T.S. Eliot said, “The end is in the beginning.”

but others still…

Don’t rush or force the ending of a story or book.  All you have to know is the next scene, or the next few scenes.  You don’t have to know every moment up to the end, in fact, if you do it’ll be boring as hell to execute.  - Chuck Palahniuk

“There is no real ending. It’s just the place where you stop the story.”
Frank Herbert

The third act must build, build, build in tempo and action until the last event, and then — that’s it. Don’t hang around.

“The end of a melody is not its goal: but nonetheless, had the melody not reached its end it would not have reached its goal either. A parable.”
Friedrich Nietzsche

Begin at the beginning and go on till you come to the end: then stop. ~Lewis Carrol

I’ve personally written hundreds of stories and I’ve discovered… they’re all right.

some stories just tell you what they need or do not need before you start while others tell you one ending but when you get to the end ANOTHER ending reveals itself. the real true ending.  the only ending, and you could have only gotten there by tricking yourself with the original ending.

but. never forget her words…

I wanted a perfect ending. Now I’ve learned, the hard way, that some poems don’t rhyme, and some stories don’t have a clear beginning, middle, and end. Life is about not knowing, having to change, taking the moment and making the best of it, without knowing what’s going to happen next. Delicious Ambiguity. ~Gilda Radner

Word Count: 570
Triggers: None

Requested by @monsoon92

“When are you startin’ that second job?” Eliot called from the kitchen.

Keep reading

My ‘The Magicians’ fic masterpost

So, I’m just gonna start adding all my Magicians fic here as a masterpost … it’s mostly Queliot, but there’s also stuff focusing on the Quentin x Eliot x Margo friendship dynamic, and idk what else I’ll end up writing at this point. 

Keep reading

Originally posted by larinah

The job had gone sideways as you were staring down the barrel of a gun. But before the bad guy could get out his usual boring monologue you heard gunshots outside along with screams. “What they hell is that?!” the guy asked while looking at you 

“That would be my brother” this statement was ended with another scream coming from the other side of the door.


Requested