It's Probably Not Healthy How Often I Imagine Portland Row Years Into The Future, After The Trio's Talents

The aggressive one also being the caregiver of the group. 

(aka the softer side of Kirin in The Wilds season 2)

My pettiest and most tenacious gripe with supernatural is that when Lucifer is not taking a vessel but projecting his own image of himself, he should be played by Jared Padalecki. I know that for whatever mysterious reason they wanted Mark Pellegrino back but I just think this was a huge missed opportunity.

Lucifer considers Sam's body his rightful vessel, as much his own body as it ever was Sam's. In the cage he should have presented himself this way when he wasn't actively possessing Sam, and Sam's hallucinations should have been of his own cruel smirk. It's consistent with Lucifer's characterisation, his objectification of and entitlement to Sam. And it's impact on Sam would be so powerful.

After Lucifer, he avoids mirrors. Looks away from the impala's night-darkened windows lest he catch his reflection. His stomach turns at old photos of himself. He doesn't have many, but he's held onto some of his family. In one with Dean, his arm is slung easily around his brother's shoulder, both of them with beers in hand and matching smiles. It's a rare memory of peace, an image he's treasured for years, and when he looks at it now he feels panic crawling up his throat. He grits his teeth to hold back the snarl of "get away from him". He never looks at his hands any more, when he changes the car's oil or cleans the guns. He touches other people as little as possible. Everything's different. His body makes him an invader in his own life. He was born unclean, a soul tainted from the start, but now he looks into his eyes and sees a monster.

Leverage (2008–2012) & Leverage: Redemption (2021–) x DOCTOR WHO

harry muttering to himself as he tries to pick a lock, remembering what parker taught him: not too much pressure on the wrench. nice and easy, like you're holding a woman's hand. gentle, gentle...

me: parker can give that instruction because she has held women's hands because she's bi

I am vaguely trying to make gif sets dlfkgjfdlkg I think it’s okay??? (insp)

I agree with everything that was said and have nothing to add😅. NETFLIX I NEED SEASON 2

If you have ever thought about watching Lockwood & Co. on Netflix, even in passing, please do so! Right now! This is your sign, it's the perfect time!

I apologize for being the asshole who cross-tags, I swear it's not normally me. But hear me out, I mean this with my chest: if you're someone who enjoys the YA genre whatsoever - especially when it comes to ~a group of young people~ banding together to ~fight off supernatural threats~ - then Lockwood & Co is perfect for you! (see I'm doing you a favor, just trust me😂)

It's about ✨the unique characters, the found family, the mysteries, the worldbuilding, the slowburn, the vintage/modern aesthetic, the soundtrack, the cluttered kitchen coziness, the cinematography, the attention to detail, the layers and nuanced storytelling!!!✨ It's literally the most captivating YA-led show I've ever seen, and I'm a big fan of Stranger Things and Shadow & Bone.

It's the character work in Lockwood & Co that makes it stand out from the rest. The main trio fills the hole in my heart. They're so unique and flawed and SHAPED, and the way they interact/work together is like crack for your soul. It's ridiculous how addicting their dynamic is.

Let's see what Twitter has to say...

This show heavily features themes of finding a family and a reason to live & die because of the home you've found with each other. I promise that you will fall in love with these precious, broken kids as quickly as I did.

Brief character descriptions under the cut, cause you're already this far, so why not?

This is Lucy Carlyle! She is wildly talented, takes no shit, and has suffered a lot in her past but holds so, so much capacity for loving others. She is sassy, practical, empathetic, and grounding.

This is Anthony Lockwood, aka tumblr babygirl who uses a facade of confident swagger to mask the well of pain he harbors underneath. He is charismatic, ambitious, reckless, and soft hearted.

And this is George Karim. He is the MOST precious bean who is a brilliant researcher, though struggles sometimes with feeling out-of-step. He is sarcastic, excitable, unashamed, and dedicated.

At the end of the day - all I can say is sorry for the brief invasion into your tag, but also THANK YOU for your consideration in reading this, and thanks in advance for checking out Lockwood & Co 😉💖✨ I cannot emphasize enough how much you won't regret it!

The most important thing about characterization of the Doctor is that they simultaneously be an awe-inspiring ancient eldritch of incomprehensible intellect and power, and also the biggest dork you have ever met.

They walk in eternity, they're made of fire and ice and forever, and it is so embarrassing to be seen with them in public.

Bilbo, knowing for a fact Thorin doesn't know what flowers mean to hobbits: Can I braid some flowers in your hair?

Thorin, knowing for a fact Bilbo doesn't know what braids mean to dwarves: Oh of course, what a nice gesture of friendship.

Gandalf, a few feet away: Are they getting engaged before realizing they love each other back????

PITCH PERFECT ( 2012 ) dir. jason moore

I suddenly woke up stupid early on my day off with multiple weird random aches and pains and a revelation about the Leverage chess metaphors.

They’re all wrong.

Look, I obviously adore the white knight/black king motif, and it works really well for that very specific discussion of Nate’s shift in morality and position at the opening of the series. But the show as well as I and other fans have then tried to take that equation and apply it to other jobs and to the crew as a whole. This is fun and awesome, but I believe you’re going to get it wrong every time if you start from the white knight/black king line. 

Because in all other situations, Nate is not the king.

Couple important things about kings in chess: 1. They don’t move much. They can only move one space at a time, and for most of the game they stay in their own little box, well guarded by other pieces. This is because 2. When the king is checkmated (threatened with capture and no possible escape), it’s game over. There is no more hope. This is the sole requirement for losing the game. No matter who else is in play, if the king is down, you lose.

This is NOT how Nate operates. Yeah, he makes the plans, but he doesn’t just hide in the office while everybody else carries them out. He’s almost always right up in there playing the most obnoxious guy you’ve ever met or smashing windows or something. And if Nate gets captured, it’s not game over, in fact, it often isn’t even a PROBLEM. Let’s look at a few times that happens, just for fun: - In The King George Job, Nate’s getting beat up and Eliot slightly panics and is about to run to help, when Sophie says “NOPE, don’t do that, I can fix this without blowing our cover” and saunters in at her leisure. The jig isn’t up and she’s not even particularly concerned about him getting punched. I love it. - In the Maltese Falcon Job, Nate sacrifices himself to save the team. This is a classic thing to do in chess and chess metaphors, but, I cannot stress this enough, you cannot sacrifice your king. That’s just called LOSING. -In The Long Goodbye Job of course the whole con is structured around Nate getting caught. I guess this one kind of makes sense because the whole point is to look like they HAVE completely lost, but then at the end it appears that Nate’s going to secret prison and everyone else is escaping WITH the black book, so they STILL would be losing Nate but winning the job. 

So if Nate isn’t the king, who is?

Hardison.

Let’s look at our points about kings again:

1. Doesn’t move as far or as quickly: Yes, Hardison ALSO gets out there and participates in the cons, everybody does. But Hardison does stay in the background more often, because that’s where his power is. He does the behind the scenes tech stuff and the remote stuff, he can wreck your shop without showing up through the power of the internet. He also does the forgeries of identities and objects, which are also done in his own space. At the same time, he has less physical power and less range – you don’t want him in a fistfight, or a gunfight, and his grifts are notorious for being a little… uh… interesting. So he has limited physical range and power but at the same time… .

2. The game is over if you lose him. That far-reaching behind the scenes power is absolutely vital for 90% of the jobs. He does the massive amounts of research and hacking legwork needed just to START a job, even before you get to actually completing the job. You are pretty much dead in the water without Hardison. But that’s just from a practical standpoint. Losing Hardison is also a crisis from an emotional standpoint. He’s our moral compass and our sweet baby brother and when Hardison gets in trouble there is no “well he’ll be fine for a few minutes” and no “well he kinda had it coming.” No, when Hardison is in trouble everything else grinds to a halt and everyone comes running. (See: The Experimental Job, The Grave Danger Job, The Long Goodbye Job.)

So like, yes Nate is in charge. But the king isn’t in charge on a chessboard, the king is just a piece with a very unique role, which Hardison fills much better than Nate does. So, now that we have our real king, who are our other pieces?

Queen: Parker. This has nothing to do with her dating Hardison. The thing about the queen is she can do a little bit of everything – she can move in any direction, making her the most dangerous piece on the board. Parker’s whole character arc is about learning all the different roles and how to access the whole playing field. She’s the only one who plans and executes an entire episode-length job by herself (okay, with a little help from her girlfriend). Plus, the other cool thing about a queen is she has a built-in transformation story – a pawn that crosses the board can become a queen, which Parker mimics by initially being dismissed as “the crazy one” and ultimately becoming the mastermind.

Knight: Sophie. I know, I wanted Eliot to be the horsie too, but this makes more sense. The knight’s deal is that it’s sneaky – it’s the only piece that can turn corners – and it can jump over obstacles. Sophie’s whole philosophy of grifting is that she shouldn’t need to know about safes or security systems, she should be able to bypass (jump over) all that by insinuating herself with the mark (being sneaky by playing a character to get behind enemy lines)

Rook: Eliot. This is the straightforward one – it goes in a straight line. It also literally represents the castle walls. It’s also so, so fucking helpful to have around, I fucking hate losing my rooks. It’s your solid right hand man, basically. Is this a little reductive of Eliot? Absolutely, but I’m jamming five complex characters into five predetermined boxes, it’s not all gonna be nuanced. And I think Mr. Punchy would like being seen as the fortress that everybody depends on, and to let all the nuance go under the radar. That’s where he likes it. 

Bishop: Finally, here’s where Nate is hiding. While the rook can only go straight (lol), the bishop can only go diagonally. Nothing can be straightforward for the bishop, he always has to come at things from an angle. Like, you know, constantly looking at all the different angles of a situation and finding the right angle to come at a mark from. Also, the bishops sit right in the middle right next to the king and queen. I don’t know that this is historically accurate, but when my dad taught me to play he told me that was because the bishops were important councilors to the rulers, they were the ones who had important wisdom that would tell them the best plan of attack. So the king here isn’t necessarily the one making the plans – that’s the bishop. And finally, apparently the bishop is called lots of different things in other languages, but we’re operating in English, which means it makes Nate a priest, and that makes me happy.