Catradora333 - Daisybelle

"you can't ship those characters they tried to kill each other!" sounds like someone can't appreciate the inherent eroticism of violence 🙄

❤️

“All anyone will ever tell you is that

when the wind stands fair

and the night is perfect,

when you least expect it

but always when you need it the most…

there is a song.” ♥️

My favourite trio closely followed by Parker Hardison and Elliot ❤️❤️

One of the reasons why I think that Lucy, Lockwood and George work so well as a trio is that they very much complete each other, making up for each other's weaknesses.

Like, Lockwood and George are a bit too aloof but Lucy is very emotionally mature. Lucy and George are a bit too flaky but Lockwood is a strong leader. Lockwood and Lucy are a bit too impulsive but George is levelheaded.

They're all very flawed and damaged kids but they raise each other up at every turn, effectively helping the others better themselves.

You know, they just work. They make sense. It's beautiful.

I adore them

(really in my feels about the ot3 because of the @powerpolyculeshowdown so here's some propaganda)

parker and hardison allow eliot to be sillier. more ridiculous. outragous, even. eliot sings the stupid ditties hardison writes special for him, and he rolls his eyes at parkers pokes and prods and the occasional "accidental" face slap, and eliot can express himself for what actually bothers him no matter how nitpicky, versus having to calculate what he should say. (he still argues with hardison that throwing in on a brewpub was a stupid plan given its risk, no matter how many times hardison claims it was always a gift for him.) eliot laughs more. real laughs; you can tell because his smiles look more and more like grimaces: the way his ma perked her mouth which his dad always teased her about (though it was his favorite thing about her), rather than the wide toothy grins eliot learned because he knows, tactically, they are best for charming. parker and hardison let him not feel like he's a monster. or... parker tells him she always thought the big bad wolf had a bad rap, and hardison says some stupid shit about monsterfucking being the hip thing the kids are into these days, anyway.

hardison and eliot allow parker to feel deep. it's food that tastes like a hug and it's gadgets made just for her and it's loving and being loved and it's being one another's real families. she doessn't want to run away, anymore. or... she wants to run but with her friends beside her. or... running cons is all she's ever wanted to do, and all she did, for so long. parker is good at it. she loves it. she loves that hardison and eliot love it too. but... feeling deep is also being deep. she's no longer just her piles of money because she is no longer afraid of herself. her past. the memories that hurt. the habits she thought she needed to grow out of but always missed. these habits, like bleeping sounds that arent words and hands move move moving. hands that were once made to stay now can fly because hardison buys her fidgets and designs some just for her and keeps locks in lucille for when parker feels like infinity and needs the vibrations of ticktickticks to bring her back to herself. and eliot lets her braid and unbraid his hair; he won't let her blow dry it, not yet, but... he lets her pet his hair while it's still hot, now. it frizzes his hair a little, and parker feels her pulse rush throughout the day knowing she did that to him. eliot and hardison kiss her knuckles when they burn.

parker and eliot allow hardison to be mean. vindictive. he is nicer than he needs to be. wants to be... what he needs to be is nonthreatening, for the most part, in many places. he knows what it means to be him: tall and black and queer and gaining muscle and too smart for his own damn good and so very, very tenderhearted. hardison loves so damn deep, and he cares so damn much, but part of caring (the other side of a coin) is not giving a fuck. it's the boiling point of rage and betrayal. the i need to walk away from this fight because you are dead wrong and imma about to say something imma regret, so go fix yourself. the im not gonna forget, im not going to forgive, and im going to get my revenge. parker and eliot would not have questioned hardison's joy at securing the capture of the men that put him in that damn coffin; they hold space for him to be fully himself with all his ugly parts and his petty parts and the parts that do bring hardison shame if he thinks about it for too long. they know he's not perfect, and that? that feels like safety and love and forever to hardison.

Once again talking about missed causal touches of the leverage ot3 in season 4 in “The Cross My Heart Job” Eliot puts his arm around Parker just a little as he’s leading her and Hardison away from the hospital viewing window at the end. And I think he nudges Hardison’s shoulder too to get them moving like!!

(Quick little gif I did just to show it so sorry about the quality but still!!!!)

Like!!! I still stand by something happening in between season 3 and 4. You cannot tell me otherwise the ease this ot3 has amongst each other this season even after arguing for half this episode about the last con

@werewolfsmile I’m tagging you because I know you’ll agree

Literally!!

“first kill got canceled because it was bad” then why are there THREE the kissing booths 😭

The part I appreciate the most in the Lockwood and Co show is how it handles depression and suicidal thoughts in teenagers. As a theme, it’s not often (ever) done well. Lockwood and Co is the only story I can think of that depicts it in a nuanced, realistic, non-romanticized way

but first, before I get into it: [if you’re in crisis or need someone to talk to and don’t want to/can’t use your national hotline, highly recommend Samaritans, genuinely saved my life] okay, let’s go

Lockwood is the most obvious, with his general disregard for his own life and admitted suicidal ideation. Lucy struggles with her self-worth and the intensity of the emotions she’s subjected to. George worries that he doesn’t belong, that there’s something useless or wrong about him. The show depicts these thoughts and feelings in a way that isn’t overblown or dramatized, it’s all but casual. Which is how it happens. Depression or suicidal thoughts don’t crash into you all at once, they creep into your life without you noticing

But more importantly (and again, something I’ve never seen anywhere else), the show also offers counterpoints to those thoughts and feelings. It shows that there is a way out, even though you may feel trapped and hopeless. This is crucial for the show’s target demographic. Bad media depictions of depression or suicide get internalized, contribute to the stigma, and make it harder for people to ask for help. This show doesn’t do that. This show tells its audience that, yes, things are scary and painful and it fucking sucks, but it’s not hopeless. And it says it so well

In the second episode, when Lucy wants to quit, she admits something that I’m almost certain she’s never told anyone

“sometimes I just think I’d be better off dead”

And when I watched this the first time, I expected Lockwood to react the way I’ve seen people react in my own life; with silence or panic or downright dismissal. But he didn’t. He stays calm and he says something that is so so important to hear when you’re struggling under the weight of feelings like this

“I understand that”

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Caspian and co were like "gosh this duel idea is great and all, but how the heck are we gonna get Miraz, whos army is like three times bigger, to agree to it??"

And the Pevensies were all like: "No yeah we'll just send this little shit right here, he can provoke anyone into doing anything, trust us"

While Edmund so-you-bravely-refuse-to-fight-a-swordsman-half-your-age Pevensie just raised an eyebrow, grinning.

the feminine urge to listen to the entire soundtrack of the movie/series you've just finished.