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One of the things I love most about Leverage: The Carnival Job is that it's one of the few times we are reminded just how very dangerous all of these people actually can be.

The pivot is so fast, so severe - from kinda fun heist that has Sophie and Nate Sophieing and Nateing to the max - to deadly serious the minute a child is in danger. Eliot's pivot is usually the most commented on - because we love protective Eliot! - but it's also the least surprising because we already know how dangerous he is.

This is emphasized by their badass entry into the carnival. We usually see them together like this during the Gloat, so it's often goofy, or at least smug. Here they are just grim determination.

It's also evident in how they present Hardison - usually he's styled to hide what a big guy he is and to play up his gentleness and goofiness (even before Hodge bulked up for the movies) and to emphasize his brains over brawn role in the team. Here he has his hoodie up, his face shrouded, hands in pockets, which makes his silhouette look bigger.

The camera work also changes in the first few scenes after Molly is taken: starts swooping, mirroring a carnival ride, disorientation.

It's just so many little details that make this such a great show.

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My unicorn lady, Brìghde

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Robert E. McGinnis cover illustration for Jean Vicary's Castle at Glencarris (1972)

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the more i try to explain gender to cis people the more i understand plato's allegory of a cave

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pack it the fuck up everyone this tweet was made unironically

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depiction is not the same as glorification and I need people to get that 

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John Sheppard out of context.

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every object on earth has some amount of milk inside of it

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imagine if your boyfriend was like I can smell an ant. and started tracking

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*It's getting to be that time of the year

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saying ao3 needs to censor certain content is like saying a museum can't have still life art that includes strawberries because you don't like them.

these are not real strawberries. you do not have to, and in fact cannot, eat them. no one with a strawberry allergy will be harmed by looking at them. no migrant workers were exploited in the picking of these strawberries. there were no questionable farming practices or negative environmental impacts from growing or transporting them.

because - and i cannot stress this enough - they are not real strawberries.

if you don't like strawberries, you don't have to look at the paintings. in fact, you can get a map of the museum that lists what works are in what rooms and just. not go in there. if you see one by mistake, you can look away. just keep walking. there's plenty of other stuff to see.

yes, real strawberries can cause real quantifiable harm to real people.

but again. these are not real strawberries.

you may have whatever feelings you like about strawberries, and so can i. you can draw and write about whatever fruit floats your boat, and so can i, even if that happens to be strawberries. and we can hang our art side by side in the same gallery, provided you understand that my strawberries are not about you (and your kumquats are, shocker, not about me) and that - and this is true - neither are real.

and when the fascists break down the doors and grab all the strawberry paintings and heap them in the street and set them on fire, please know that they are coming for your kumquats next.

so if you want a place where you can show off your beautiful kumquat art safely, you're gonna have to tolerate having some strawberries in the next room.

and that's okay. because the strawberries aren't real.

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