My All Time Favorite Quotes Of Hardison And Elliot Showing Support For Parker (S02E13 - The Future Job)

One of my favourite scenes hands down

Something about... THIS scene

And... ngngnfnds it's something about Lucy not being herself // Lockwood being TOO much of himself...

The words are coming from Lucy's mouth, but they aren't hers; those are Lucy's hands, but she isn't the one using them... an otherworldly force chose Lockwood to be her scene partner here, and once again it's about external voices seeing Lucy's feelings for him before she knows it herself...

And then there's something about how it's in direct contrast to Lockwood, who is PARTICULARLY aware of himself in that moment... this is one of the few times we get a full scene of Lockwood stripped down to a tshirt+hoodie instead of his usual suit+tie number (my brain is buzzing over this, since I presume the suit is sort of a costume for him, with the purpose of masking his inner self/vulnerability)... AND ALSO because this is arguably the first physical romantic scene they share, and while he is clearly concerned and confused about her behavior, the fact that he is having to reckon with Feeling Something Else Too is written all over his face...

I know this take isn't super book-accurate, but it feels almost allegorical to this idea that Lockwood is the one who is being caught off guard and having to realize his feelings early on... versus Lucy, who is there, and she's participating in the dance, but she's also being stopped from experiencing her feelings to the fullest by something within her...

Anyway, I'm sorry this is an absolute rambling MESS because my brain doesn't quite have its thoughts together, but I needed to post this right now immediately, hope you all understand 👋

Ok why have I never noticed this before I love it

hey, friendly reminder, spider's iconic bow shot:

was his almost instantaneous reaction to one of the recom's putting their hands on Tuk. He then has to be convinced by both his siblings to put the bow down and keeps it trained on the recom holding Tuk.

when Quaritch approaches Spider, Tuk hisses at him (hard to see in photo cause they were little baby hisses)

when Jake tells spider to get "them" out of there, spider immediatly calls for Tuk (and grabs Kiri)

now for some cuter snippets

and when Tuk goes to egg on and tease Lo'ak, she hides behind her big brother, and Spider looks amused in the way a big brother is equally amused and tired of their little sisters antics (he's probably defended her, whether she was the one who needed defending or not, many times, especially when it comes to Lo'ak)

and she runs for both Kiri and Spider when the war party returns, making it clear she hangs out with them quite often.

my conclusion? she and Spider are besties, no one puts their hands on his baby sister, I rest my case.

I absolutely adore the clothes that Lucy wears. Just because there’s isn’t a huge range (which would be weird if there’s was since she came to London with a single bag) and also they’re unique to her style. She has a thick jacket for when she goes to cases (since they do get very cold) but also comfy clothes for hanging about the house. I also love the dress she wore to the ball as it felt like something a teenager would pick out. It’s suitable for the ball but it isn’t some massive ball gown or mini dress. It looks like something she could afford and would want to wear. There’s also no stupid sexualisation that sometimes comes with these types of shows where her practical outfit for missions may be on the tight side. It’s just clothes for a teenager that’s so clearly her style. Also practically all of the outfits are blue which I love. A small detail like a characters favourite colour being in their clothes just really helps to flesh out the show.

I also love the use of clothes when it comes to Lockwood. It’s so clearly his armour so when we see him without it it’s almost jarring how much more vulnerable and younger he looks. ALSO DONT GET ME STARTED ON THAT LOCKWOOD WORE PINK SOCKS FOR MOST EPISODES BUT WHEN THEY WENT TO THE BALL HE WORE BLUE ONES TO MATCH LUCYS DRESS😭😭. I just love the small attention to details

lucy carlyle + comfy

new trifecta of movies:

My favourite Eliot Spencer character trait is Friend-shaped To Children. Nate can't look at children without crying. Sophie is politely baffled at the concept of Humans Who Don't Understand Complicated Psychological Concepts Because They Are Literally 6 Years Old. Hardison has older brother energy, which is to say children are comfortable in his presence but they don't actively seek him out, unless of course to play an epic prank akin to the great tradition of Ring and Ditch or Spell ICUP. Parker will try to protect any child she can, but under-12s without autistic criminal intent don't really connect with her, unless of course they are Traumatized™.

Eliot Spencer is continuously sought out by children of all ages. Traumatized or not? Does not matter. Literally baby or cool teen? Does not matter. They will come up to him while he is glaring daggers or actively planning to murder someone and ask him to hold their hands through the security check at the airport. And you know what? He does. He holds their hand every single time.

you have invited strangers into your home, helen pevensie, mother of four.

without the blurred sight of joy and relief, it has become impossible to ignore. all the love inside you cannot keep you from seeing the truth. your children are strangers to you. the country has seen them grow taller, your youngest daughter’s hair much longer than you would have it all years past. their hands have more strength in them, their voices ring with an odd lilt and their eyes—it has become hard to look at them straight on, hasn’t it? your children have changed, helen, and as much as you knew they would grow a little in the time away from you, your children have become strangers.

your youngest sings songs you do not know in a language that makes your chest twist in odd ways. you watch her dance in floating steps, bare feet barely touching the dewy grass. when you try and make her wear her sister’s old shoes—growing out of her own faster than you think she ought to—, she looks at you as though you are the child instead of her. her fingers brush leaves with tenderness, and you swear your daughter’s gentle hum makes the drooping plant stand taller than before. you follow her eager leaps to her siblings, her enthusiasm the only thing you still recognise from before the country. yet, she laughs strangely, no longer the giggling girl she used to be but free in a way you have never seen. her smile can drop so fast now, her now-old eyes can turn distant and glassy, and her tears, now rarer, are always silent. it scares you to wonder what robbed her of the heaving sobs a child ought to make use of in the face of upset.

your other daughter—older than your youngest yet still at an age that she cannot be anything but a child—smiles with all the knowledge in the world sitting in the corner of her mouth. her voice is even, without all traces of the desperate importance her peers carry still, that she used to fill her siblings’ ears with at all hours of the day. she folds her hands in her lap with patience and soothes the ache of war in your mind before you even realise she has started speaking. you watch her curl her hair with careful, steady fingers and a straight back, her words a melody as she tells your eldest which move to make without so much a glance at the board off to her right. she reads still, and what a relief you find this sliver of normalcy, even if she’s started taking notes in a shorthand you couldn’t even think to decipher. even if you feel her slipping away, now more like one of the young, confident women in town than a child desperately wishing for a mother’s approval.

your younger son reads plenty as well these days, and it fills you with pride. he is quiet now, sitting still when you find him bent over a book in the armchair of his father. he looks at you with eyes too knowing for a petulant child on the cusp of puberty, and no longer beats his fists against the furniture when one of his siblings dares approach him. he has settled, you realise one evening when you walk into the living room and find him writing in a looping script you don’t recognise, so different from the scratched signature he carved into the doors of your pantry barely a year ago. he speaks sense to your youngest and eldest, respects their contributions without jest. you watch your two middle children pass a book back and forth, each a pen in hand and sheets of paper bridging the gap between them, his face opening up with a smile rather than a scowl. it freezes you mid-step to find such simple joy in him. remember when you sent them away, helen, and how long it had been since he allowed you to see a smile then?

your eldest doesn’t sleep anymore. none of your children care much for bedtimes these days, but at least sleep still finds them. it’s not restful, you know it from the startled yelps that fill the house each night, but they sleep. your eldest makes sure of it. you have not slept through a night since the war began, so it’s easy to discover the way he wanders the halls like a ghost, silent and persistent in a duty he carries with pride. each door is opened, your children soothed before you can even think to make your own way to their beds. his voice sounds deeper than it used to, deeper still than you think possible for a child his age and size. then again, you are never sure if the notches on his door frame are an accurate way to measure whatever it is that makes you feel like your eldest has grown beyond your reach. you watch him open doors, soothe your children, spend his nights in the kitchen, his hands wrapped around a cup of tea with a weariness not even the war should bring to him, not after all the effort you put into keeping him safe.

your children mostly talk to each other now, in a whispered privacy you cannot hope to be a part of. their arms no longer fit around your waist. your daughters are wilder—even your older one, as she carries herself like royalty, has grown teeth too sharp for polite society— and they no longer lean into your hands. your sons are broad-shouldered even before their shirts start being too small again, filling up space you never thought was up for taking. your eldest doesn’t sleep, your middle children take notes when politicians speak on the wireless and shake their heads as though they know better, and your youngest sings for hours in your garden.

who are your children now, helen pevensie, and who pried their childhood out of your shaking hands?

no, you don’t but he will look after you anyway

ooh what's lockwood and co about should i watch it?

WAS WAITING FOR SOMEONE TO ASK THIS HERE WE FUCKIN GO BROS

So Lockwood & Co is a netflix series based on a book series of the same name. Essentially it's about ghosts and ghost hunters, but with a twist: It's set in our time, but not our time as we know it.

Basically, around the 1970s, ghosts just like. Appeared. For no reason we've been able to figure out. People would die, and their malevolent ghost would come back, especially if they died in a particularly traumatic way. They called this The Problem. The thing about these ghosts, is that if they touch you, you die, and if you make eye contact with one for too long, you become Ghost-Locked, which basically send you into a coma. We're not sure what Ghost-Locked victims see in this coma but they always look horrified so we can assume it's not great. There seem to be 3 types of ghosts: Type Ones are what you normally picture for a ghost, Type Twos can make illusions and are more powerful, and Type Threes are incredibly rare and they can talk and communicate with certain people.

Then there are the ghost hunters. Now ghost hunters are always children, usually teens, because as you grow older you lose your Talent, your ability to sense ghosts/death. There are 3 types of Talents: Seeing, Hearing, Touching.

Another thing about this world is that there's no Internet. You can see in the theme song piles of old broken computers, and I'm not sure it's explained yet WHY the internet was never invented, but we assume it's because of The Problem somehow. But this means that the newspaper and news on tv is mainly how information gets around, and any research done has to come from a library and books.

So basically in this world there are companies that pay teens to hunt for ghosts and get rid of them. The companies are usually run by adults though, so it's fraught with awful shit, they often treat these kids like they're just tools and not like they're actual people. Often the kids don't actually get paid themselves, because their parents can control where their money gets paid to, so parents will send of their kids to ghost war and rake in the money safe at home. Capitalism god ahold of The Problem and figured out how to make hella money of of it, so a lot of these companies that are supposed to help people are actually super corrupt and awful to their employees.

Unless of course, you're Lockwood & Co

These dorks look at em

50 years after the start of The Problem, Anthony Lockwood, the guy on the right, is an orphaned teenager who decided he wanted to start his own ghost hunting company, and the "Co" part of the name includes the two on the left, George Karim and Lucy Carlyle. They run their own 3 person company free from exploitation from adults, which other companies (run by adults) really really hate. Lockwood has a Seeing Talent, Lucy has a Hearing Talent, and George has a Touching Talent.

Basically, these 3 kids are hired for a job getting rid of a ghost, only they find out that this ghost is one of a woman who was murdered, and not of a guy who fell down the stairs like they thought. They look deeper and deeper into this murder mystery and keep uncovering shit that other ghost companies do NOT want them to be uncovering. Things that go beyond exploitation of kids, more murders, weird artifacts, things that might even explain the origins of The Problem itself. So Lockwood & Co decide they want to figure it all out, or die trying.

This show is heartwarming, it's funny, its mysterious, it's got ALL THE FOUND FAMILY VIBES and I think it's a real hidden gem in the piles of TV shows on Netflix. It's been in the top 10 shows on netflix for a bit, but I've never really heard anyone talk about it, I just stumbled upon it when looking for something to watch one day. All in all, yes, you should definitely watch it please please please do it, I swear to god of Netflix cancels this show I'm going to riot

If I think too long about Parker constantly poking Eliot's wounds I go insane. Something something he sees himself as this unredeemable monster but she isn't afraid of him in the slightest and she shows him again and again that she's not scared because she knows him, she knows he's a good man despite what he used to do, even if he doesn't see that.

Finally watching 3x01 of redemption and I loooove the Hardison and Eliot thing where Hardison will poke fun at Eliot, just generally tease him, right after Eliot’s just done this big act of violence - “there’s my special guy, how was your first day of school?” Because it’s very standard “teasing is their love language” but I think it comes from a place of Hardison poking the bear so Eliot will know his family isn’t afraid of him. Like, after Eliot knocks half a dozen people unconscious like it’s no big deal, there’s this characteristic reassurance from his family, this, “I know you’re still you.”