#i live in the s2 flashbacks I LIVE THERE

[insectduck]

My niche Keith Kogane headcanon is that "Thief" by Imagine Dragons from the Smoke + Mirrors (Deluxe) album is HIS song, no if ands or buts, it just screams mullet emo 'delinquent' in the desert bonus with space motifs. If you told me it was written by the angsty fuck himself I'd totally believe you lmao

[sam-reid]

estaspalding: Shoot Day #2

[tonydaddingham]

LWA: /Does/ Aziraphale build actual relationships with humans? It's an interesting question, because his interactions with Maggie or Nina are not much more intimate than they were with Anathema Device after he and Crowley ran her over. Aziraphale doesn't go to the pub because he wants to /avoid/ people ("this is why I don't go to the pub!"). Gaiman has said repeatedly that Aziraphale is just not that interested in interacting with people beyond a certain point. He's polite and friendly to everyone--which is the point: he's polite and friendly to everyone, including the two guys who threatened him in Edinburgh. Aside from the ball in S2, he doesn't invite humans into his shop to socialize. We know he went to a "gentleman's club" to learn how to do the gavotte, but enjoying a night out is still not the same thing as developing individual friendships. Presumably, like Book!Aziraphale, he was on good terms with various prophets, but even Book!Aziraphale doesn't go much beyond thinking about them with mild fondness. He and Crowley are attached to /humanity/, rather than to individual humans. The flip side of this is that it's not clear that either one of them would be much fun to be around for any length of time! They are canonically reality warpers, they don't exist in time the same way, and beyond a certain point they don't understand human psychology.

I was idly thinking about miracle ethics the other day, which maybe has some bearing on this question. I'm not sure that either the novel or the TV series has a thought-out position on the matter (in the novel, Adam denounces "messing about," but then Aziraphale and/or Crowley miracles up a reservation at the Ritz...which is surely messing about, or is it?). I think everyone is in agreement that in S2, the ball crosses a boundary line once Aziraphale begins overwriting everyone's minds, and both Nina and Maggie call him and Crowley out for treating them like toys. S1 and S2 also suggest that Crowley's interrogation technique is troubling, and it's noteworthy that Aziraphale dislikes it: in S1, Aziraphale objects to hypnotizing Sister Mary Loquacious and at least tries to be kind while questioning her, while in S2 he resists interrogating Gabriel "properly." Crowley's second interrogation in S2 comes across as invasive and even violent, enough so to cause Gabriel pain. By contrast, neither the novel nor the series seems to suggest that there's anything wrong with Aziraphale doing the Jedi mind-warping thing if it's in self-defense. (In fact, it's arguably odd that he /doesn't/ do it in 1793 and 1941.)

LWA!!!✨ hello, hi, been a while! i hope you're well :)

you're right, it is an interesting question! and its boggled me for a good little while - but the conclusion ive clumsily arrived at is that it's kinda as you say and what neil has said, but i do wonder if there's a little bit more to it (at least from how ive interpreted it, anyhow). because whilst i think aziraphale doesn't initially want, need, or set out to form emotional connection to humans, he arguably ends up doing it anyway, and to those humans the connection is indeed meaningful. in time, i think they come to mean something to aziraphale too.

because my thought process on this is indeed clumsy, the points im essentially trying to make are the following:

aziraphale definitely has respect and admiration for humanity - and this is in part due to things about humanity or that humanity has come up with that aziraphale personally enjoys

he indeed doesn't invite humanity into his inner sphere, or actively seek it out (your eg: bookshop and pub), and its his innate benevolence as an angel that manifests as friendliness and politeness

but i do think he does inevitably end up forming connections with certain individuals out of his tendency to kindness and protectiveness, even if he doesn't intend on forming those connections originally

whilst he may not have huge emotional investment in these relationships he unwittingly cultivates, they certainly have meaning to the other party

and whilst he may not feel any deep attachment to individual humans, he does seem to develop more personal sentiment as time goes on.

i think it's fair to say that the bonds, significant or otherwise, that form between aziraphale and individual humans appear to be a byproduct of his kindness and potentially of his protectiveness. that would track, given his perceived original purpose on earth, but i think aziraphale carries out his duty a little more subjectively than was originally intended.

he was sent to earth as guardian of the eastern gate which, by my reckoning, was more to keep danger out of eden rather than to directly protect adam and eve. but he hears they are to be exiled from paradise, will be thrown into the cold whilst eve was pregnant, and gives them his flaming sword as a means of protection. the scene from s1 doesnt show that they converse to any extensive degree, or that there is any significant interaction between them, but from aziraphale's recount of it, it does appear to be out of kindness and anxiety about what will happen to them without it (immediately proved right by the lion sequence). i don't think it would therefore be much of a stretch for adam and eve, retrospectively, to look back on their brief interaction with aziraphale as meaningful, and that there would have been an idle outline of a bond between them as a result; but in aziraphale's part, his connection to them appeared to start and end with this rebellious act of kindness, rather than any deep, personal stake in their wellbeing - again, perhaps just sheer protectiveness over god's first humans (that he helped to design and bring into being?) because to his mind it was the right thing to do.

next that springs to mind is shakespeare; whilst this could be seen as self-serving, i don't think that's entirely the case. it wasn't until shakespeare was whining, "been like this every performance, juliet, complete dud; it'd take a miracle for anyone to come and see hamlet!" that it seems to even occur to aziraphale that he could do something to help. he does push this on crowley to perform, but it is essentially his idea. and actually... what would aziraphale have to gain by it being more popular? he's seen the play and presumably enjoyed it, and whilst popularising it would perhaps mean he could see it again, i doubt he was thinking this deeply about it. instead, i think he just wanted it recognised as an act of kindness. he doesn't outright compliment the play (only compliments burbage), but the fact that he sees it as worthy of being made popular would indicate that it deserves it. the interaction he has with shakespeare didn't form any significant bond, but given shakespeare's exploration of fatalism in his work (especially hamlet), i don't think it's impossible that he would have looked back on this interaction as being potentially linked to hamlet's sudden (?) rise in popularity, even if he didn't fully understand just how true that is. again, a connection that to aziraphale maybe means very little, but to shakespeare may have meant a great deal.

then jumping to current day, aziraphale certainly appears to have possibly his most significant human relationship (as far as we can call it that) in the form of maggie. we know that she has been around the record shop since she was very young, and so has likely known aziraphale all that time, and he does seem familiar with her. it seems that it goes beyond friendly professionalism, or generic fondness; it takes him a while to understand the situation about the rent, and it's largely self-serving to forgive it, but the first interaction we see between them is aziraphale being kind enough to wipe the debt and allow her to keep her tenancy. again, yes, mainly so he has his steady supply of 78rpms, but the way he immediately jumps to "why? don't you like it anymore?", and "well it's entirely my fault for not collecting the rent!" feels like he genuinely at least has some feeling of protectiveness over her. when talking to her in the record store about nina in ep2, he again seems genuinely affected that she's upset, and that he can't quite help her with the issue. now, again, it may not be the case that aziraphale feels anything for maggie beyond fondness, almost like one would for a child, but her reaction on both occasions - and her subsequent protectiveness in kind over aziraphale come ep5 and 6 - indicates that from her perspective, whatever relationship they have with each other holds importance.

(caveat to the above, for anyone else reading - i do feel like there is something more to maggie, which ive half-heartedly theorised about, but may well look further into in the future. in any case, i think there may be more to why aziraphale and maggie have the level of connection that they do - and no, not that maggie is a demon)

there are multiple other interactions he has with humans that kind of follow the same theme. aziraphale seems to act out of perhaps self-interest predominantly, but there is always an element of kindness and/or protectiveness that comes along with it. and no, aziraphale doesn't appear to invite connection with all of humanity/just anyone, but i think this is the point; instead, i think he does evolve to entertain forming connections to certain individuals based on their own merit. i think it would be ever so slightly reductive to consider that he only does this out of angelic, detached benevolence, and instead i think it's a mark of a deeper personal character development; that aziraphale is allowed to form meaningful human relationships because his purpose on earth is no longer dictated to or audited by heaven, and he is free essentially to do as he wants. i don't think it's a stretch that aziraphale has suffered by his ostracism from heaven and the other angels, and other than crowley he has no interest in being friendly with demons; so why not open himself up to connections with the beings that he designed and nurtured, has protected, and has provided him with various means of finding happiness?

moving on to miracle ethics... yeah. the ball was a complete nightmare in this regard; aziraphale may have his ulterior reasons for the ball and it going the way it did (👀 @ crowley), but it is a huge violation in more ways than i probably could talk about and keep this answer length somewhat reasonable. that being said - did aziraphale even intend it to go as far as it does, or is he so furiously driven by his subconscious (?) motive to manifest a further development in his and crowley's relationship that even he is swept away in the tide? he remarks in ep2 that you cant just miracle up love, but instead he could create a situation (inspired by austen - what a dork) where it would happen organically.

there certainly isnt, as far as i recall, any intent on aziraphale's part to play god by assuring that the falling in love of nina will happen, but perhaps more in his own personal excitement for what the ball may precipitate for him and crowley, his power has manifested a bit more than he originally planned or even noticed. nina and maggie's comments about treating them like toys is still true - you could say that about humans setting up their friends or engineering blind dates etc - but i don't think aziraphale ever meant for the scale to be what it was. guests came in through the door in their fancy clothes; there's certainly no indication from aziraphale's perspective that they weren't already dressed like that (if he even noticed, frankly). there's nothing to suggest to aziraphale that humans wouldn't know how to dance the quadrille, and he doesn't partake in any conversations that sound like they are directly lifted from the pages of pride and prejudice. and that would parallel, as you said, his apparent disdain for the forceful removal of control that crowley seems to prefer to use. maybe this is a reflection on it being unkind and therefore against his angelic identification, or a more personal distaste for removal of agency (aziraphale seems pretty adamant in both s1 and s2 that being human comes with choices, even if the context in which he asserts this is... questionable).

as for aziraphale and his little dalliances with miracles being used in self defense; ill be honest LWA, im drawing a blank on when this occurs - other than perhaps the men that turn up in the shop threatening him into selling... is this the scenario you mean? (feel incredibly dim rn, but it's been a long day!)

[reputayswift]

I want to know who on The Bear team became a Swiftie between seasons 1 and 2

[louiswilliamtomlinsons]

what’s the worst twdg season in your opinion season 2 or season 3 👁️

season 3!!! i remember reading about the original plan to make it darker and high stakes and the plot was so much interesting and engaging than what we got in the end. at least season 2 had its good moments, but i did not enjoy season 3 AT ALL, and i hate it because i actually like javi and i was excited about latino character as a main protagonist, but then i got so disappointed. rip season 3 you could’ve been good if telltale hadn’t prioritized quantity vs quality

[xflashbastardx]

{ speaking of 1941

in retrospect this was kind of a wild choice, Crowley }

[maraczeks]

newsroom rw thread pt 21

[killerlookz]

Growing Pains | Spencer Reid

pairing: s2!spencer reid x gn! reader

description: after spending what felt like an eternity pining over Spencer Reid, the two of you finally began moving towards becoming something... until his run-in with Tobias Hankel seemed to put a stop to every aspect of Spencer's life, even his relationship with you.

details: Spencer's post-revelations related trauma, angst! and fluff (hurt with comfort), sporadic flashbacks

word count: 2,321

i hate that i can't love you, but I'm just in the way / but you say i won't be here forever, and you'll take as long as it takes

Your cold hands ached as they struggled to make a fist, raising that balled-up hand to the dark, wooded door.

Every day for the last week and a half you'd come to this very door, that of your friend, Spencer Reid. And every day for the last week and a half you would knock on the door and hope with anxious breaths for an answer. Only to receive no response.

Part of you would worry he was dead if it wasn't for the fact that at the very least he had managed to at least call out of work each and every day. It was so typical of Spencer ,it almost made you smile. Even after all of the trauma he had just gone through, he still made sure to call out of work. No one expected to see him back at the BAU for a while. Not after Tobias Hankel.

Despite all too much of it having been live-streamed directly to you and the rest of the BAU, you knew very little of what had actually happened to Spencer in the time he had been taken by Tobias Hankel, nobody did. And the truth is, you barely knew of what was live-streamed. Maybe it made you "weak" in comparison to the rest of the team, but you just couldn't bear to look at Spencer in that state. The anxiety of not knowing whether or not Spencer was going to live was already too much to handle- even now, knowing he was safe, you still had trouble sleeping, the scenario of having not made it in time playing through your mind over and over again.

Knock, knock, knock

You held your breath in anticipation as your hands hit the door, you bit your lip in a painful desperation. Please, Spencer. You beg, your voice cracking as you whisper to yourself.

No response.

It wasn't like Spencer to not talk to you, especially not for days on end. The two of you had been friends since the academy. You were instantly drawn to him, maybe it was his impressive memory, or how passionate he was about his work, maybe it was his awkward boyish charm, or his sweet smile, or how his eyes lit up when he won a game of chess or cards, and the way he scrunched his nose whenever he laughed, maybe it was the way his sweaters never fit just right, and his socks never matched, or-

It was more than sufficient to say that you had fallen head over heels for Spencer, more than you had for anyone else in your life, you were in love. He was kind, and inviting, and you could never understand why everyone else seemed to make fun of him. And finally after what felt like an eternity of pining, and planning for the perfect moment- a french film marathon at Spencer's apartment and a few too many glasses of cheap wine was what let your feelings slip. You could still feel the way your stomach dropped as the words left your tongue,

"You know I love you, Spence"

"Yeah- like- as a friend." He stuttered, obviously caught off guard

You could have saved yourself then, played it cool, and said yes, but before you could stop yourself your head was shaking no.

Spencer's eyes widened and the corners of his mouth curled into a sheepish smile, "Really?" He looks down at his lap, his fingers rapidly tapping against his knee, "I- wow- I-" He shakes his head and looks back at you, "I love you too."

With a few blinks you find yourself back in reality. You could only live in memories for so long. You sighed, as tears welled up in your eyes. Part of you wondered if you were being selfish, crying about how you missed him when he was going through so much worse.

You wiped your stinging eyes, fuck it. You needed to know how he was doing. You reach into the pocket of your coat, feeling around before gripping the cool metal of your key ring. You pull it out of your pocket before gripping the keys that hung from it tightly in your hands. The dull metal pressed into the skin of your hands, and your cold, stiff fingers gripped harder to the point where it hurt. You closed your eyes, wincing as you tightened your fist around the metal even harder, trying to convince yourself to go through with your plan. At some point of you and Spencer "going steady" you had exchanged keys to each other's apartments.

You released the key ring from your grip, a red indent left in the palm of your aching hand. You sift through the various keys and with a loud jingling sound, the other keys fell to the bottom of the ring as you gripped the key to Spencer's apartment between your thumb and index finger. You sigh once more, telling yourself the worst that could happen is if he really doesn't want to see you he will tell you to leave and you will listen.

You push the key into the lock and twist it until you can turn the door handle. The door opens with a creak, and you step into the dark apartment, careful to close the door softly behind you. You can barely see two feet in front of you, all the lights are off and the blinds are drawn. Your hand slides up a wall as you fumble around for a light switch, flicking on the soft, warm wall light next to the door. You blink a few times, getting used to the light before your gaze darts over to the kitchen table. The apartment was almost unrecognizable. It was cluttered to a degree that you had never seen from Spencer before. He was usually so well organized. But now, papers, takeout containers, and half-drunken cups of coffee were scattered around the dark wooden surface.

It broke your heart to see Spencer's living spaces in such disarray, if this is what his apartment looked like, you couldn't even bear to think about what you might find if you were to peek inside his mind. Even with the lights now on, the dark green walls of the apartment never felt this dark to you.

You tread softly toward his bedroom, careful not to make too much noise against the creaky wood of his apartment floor. Part of you was aware of how creepy this seemed- and you worried maybe you'd scare Spencer by entering his room. Still- maybe it was selfish, but you missed him too much to allow another day go by without seeing him. Allowing Spencer to just stay holed up in his apartment for days on end was not going to do anything for anyone.

You press your hand against Spencer's bedroom door, it's opened just a crack and you're able to push the door open with a small creak. The room isn't as dark as the rest of his apartment, a few small beams of light from the setting sun peek into the small room from blinds that haven't been fully closed, drenching it with a warm orange color.

Spener's clothes are scattered throughout the room, and his brown leather bag had been thrown on the ground near the door, papers and books spilling out of it. You could almost guarantee it had been in that spot from the moment he got home from that dreaded case.

Your eyes flick up to the bed in the middle of the room where Spencer lay, his face down, stuffed into the pillows. His comforter had been kicked to the side, and the fitted sheet had come off one of the corners of the mattress.

You wondered just how much Spencer had actually left his bed since he had gotten home, the takeout containers and coffee cups in the dining room signified to you at least he did at some point leave his bedroom. Still, the sorry state of everything made you want to cry. How could anyone do this to him?

You slip off your shoes, and inch across the soft carpet closer to the bed, careful not to step on any of the clothes that were strewn about the floor.

"Spencer," You say, just above a whisper, attempting to let him know of your presence. He barely even stirs in response to the noise, turning onto his side deep in sleep.

As you got closer to the bed you could see him more clearly. His hair was a mess, long curly strands stuck to his cheeks with sweat, his eyes shut tight and his mouth almost turned down into a frown. Even in sleep, he looked so upset, so tortured. It made you sick to your stomach to even think about what he could have been dreaming about.

"Spencer?" You say again, weaker this time- your voice trembling with nerves.

No response.

You sigh, pulling off your jacket and allowing it to collect on the floor with the rest of the scattered clothes. You sit down on the edge of the bed and think carefully about your next move. You don't want to frighten him, but it may be impossible not to not after you basically broke in.

You reach a delicate hand outward and move a couple pieces of Spencer's hair from his cheek. His head moves slightly in response, but you continue to smooth your hand down the rest of the length of his hair. You can tell it's tangled, even without combing your fingers through it. You let your hand fall further, down his neck, resting on his bare back. He's warm to the touch as you rub soft circles on the exposed skin.

"Spencer?" You say again, louder this time leaning your body towards him.

His eyes flick open and he's jolted awake, swatting your arm away as a gasp leaves his mouth.

"H-hey," You grab his arm to prevent him from swinging any further, "It's just me Spence."

He stares at you wide-eyed, pupils dilated with a mix of confusion and fear. His throat rises with a thick swallow and his lip trembles. You begin speaking frantically,

"I-I'm so sorry I didn't mean to fright-"

"W-what are you doing here?" He asks, his voice is weak but there's a pointedness to his question.

"I just- I wanted to make sure you were okay- I haven't heard from you in a while and I was so worried about you I just-" Your brain was going a mile a minute before all of a sudden... your train of thought disappears as you look into Spencer's obviously pained eyes. His eyes blink rapidly as he attempts to hold back tears. The sheets have fallen off of him and his bare chest is shiny with sweat as it rises and falls rapidly. You let go of his arm, letting it drop down beside him. "I'm sorry," You whisper, too saddened at the state of him to continue.

Spencer stares at you for another moment before looking down, a single tear dripping down his pale cheek. Even now, like this he was still beautiful to you. And despite everything you couldn't help but for your heart to fill with love. But as your heart felt with love, the rest of your body overflowed with anxiety as you contemplated what to even do or say next. You stutter,

"D-do you want me to leave-"

"No." Spencer cuts you off. "Stay." He looks back up at you, "Please." His eyes are wet with tears that threaten to escape down his face.

"Of course," You nod, "of course," softer this time.

"Can we lay down?" Spencer asks, twisting his face. You nod fervently, swinging your legs onto the bed. You pat the pillow next to you, beckoning Spencer to lie back down. He does so, slowly, and you follow, your faces inches from each other, heads on the same pillow.

You inch yourself closer to Spencer, heat radiating off of his trembling body. You place a hand upon his cheek, stroking your thumb slowly back and forth.

"Am I ever going to be okay?" Spencer sniffles. The question feels like a knife had been stabbed right through your heart.

"Of course you will, Spence, " You assure, soft yet firm.

"It doesn't feel like it," He shakes his head, forcing your hand to fall from its spot on his cheek.

"These things take time, lots and lots of time."

"Yeah but-" He starts, getting choked up again, "What if you don't want to wait for me?"

"Wait for you?" You ask, confused as to what he meant.

"If I'm like this for too long." He answers, "You won't want to be around anymore."

"Oh Spencer," you shake your head, "No, no" You put your hand back onto his cheek.

"I feel like such a burden- that's why I haven't called," His voice breaks as he starts crying, really crying this time, "I mean- I'm an FBI agent, I should be able to get through this. Everyone else on the team would be back to work in an instant. And I can't even get out of bed."

"Spencer." You cut off his ramblings, "You are not a burden- you could have died, Spencer, no one is expecting you to be alright."

"I feel like I should be." He pauses, "I just don't want everyone to sit around worrying about me, I don't want you to sit around worrying about me. It's not fair."

"I worry because I care." You relay a small smile, "Because I love you."

"And that's what I'm afraid of, one day you'll realize you've spent so much effort worrying about me that you won't want to love me anymore."

"Never." You wipe the tears from Spencer's eyes, trying to give him gentle reassurance. "I'd wait forever for you to be okay."

a/n: woah long time no post? I haven't posted a fic on here in almost two years! sorry I'm a little rusty, I've been deeeep in a creative rut. I'm accepting requests now however, Ive missed you guys!

[rideofthevalkyriess]

home sweet home | series masterlist

Gojo Satoru x Reader/OC {Small Town au}

Home is where your Heart is.

🌿 Pairing Small town au! - Doctor!Gojo Satoru x Teacher&Painter!OC/Reader; Doctor!Gojo Satoru x Dancer!Utahime Iori

🌿 Summary

Satoru, or more formally known as Dr. Gojo was a great doctor from the big city. He lived a life that everyone thought was perfect: he worked at the city hospital, lived in a beautiful apartment in the center and was engaged to Utahime Iori. However, he had a big secret that he hid from everyone, which is that Satoru was actually already married to his childhood friend who he left behind in his hometown. And now, it's time for Gojo to face the past and the choices he made, especially his beloved wife.

🌿 Warnings [+18], smut, mature themes, angst, cigarettes and smoking, drugs, drinking/alcohol, adultery, commitment issues, marriage problems, divorce, death, illness and chronic disease, miscarriage, family drama, angst with a happy ending; (more to be added)

🌿 Additional Things fluff, romance, slow burn, slice of life, friends to lovers (sort of), she falls first but he falls harder, gojo is an arrogant with good heart, flashbacks, small town life; (more to be added)

🌿 Inspired In Sweet Home Alabama, Desperate Housewives, Gilmore Girls and Breakfast at Tiffany’s;

🌿 Chapters

Chapter I “Get Out of My Life”

Chapter II …

Chapter III …

Chapter IV … 

Chapter V …

Chapter VI …

Chapter VII …

Chapter VIII …

Chapter IX … 

Chapter X …

© rideofthevalkyriess. all rights reserved. do not copy, repost, translate, or modify my work without permission. dividers credit. thanks for reading! S2

[teambyler]

Byler kind of HAS to end this way in Season 5 - Let's talk #Castlegate

Let's have another Gate, shall we? =D

We're all freaking out and speculating how Byler will culminate. I've already given my best guess how it'll happen. But it's still a guess.

But I'm PRETTY SURE on a scene that would happen late in the season, If Byler is endgame. It's almost borne by NECESSITY.

I'll explain:

In s2 we saw Mike donating his toys, like his parents told him to...

In s3 we saw him tell Will, "We're not kids anymore. I mean what did you think, really? That we were never gonna get girlfriends? That we were just gonna sit in my basement all day and play games for the rest of our lives?"

And Will destroyed Castle Byers...

As someone points out in the comments, this wasn't just Will thinking he was "stupid" for wanting to play games, but for wanting a life with Mike...

A theme for Mike has been telling himself to put away "childish things," to "grow up" and be "normal." But he doesn't really want to: in s4 he's playing D&D again. He tries to bury his feelings for Will, but he gives up on that also.

If he and Will get together in s5, then there's no use trying to be "normal" when you're a boy with a boyfriend in small-town Indiana. They will start defining for themselves who they are. And that could include "playing D&D and Nintendo for the rest of their lives."

That's why, at the end of Season 5, after Mike and Will get together, they have to rebuild Castle Byers. They get to rebuild their childhood dreams and hope for the future.

We've already seen that Castle Byers will be featured in the season 5 BTS video:

Castle Byers is probably important in s5 for a number of reasons. It's where Will hid in s1 while in the Upside Down.

It's a possible place for the planned Miwi flashback(s) of young Jonathan, Mike and Will. Jonathan helped Will build Castle Byers when Lonnie left. Young Mike and Will must have spent a lot of time there playing pretend, playing out stories that became their D&D games. (I'm hoping for a flashback of a young Mike playing a paladin swearing allegiance to Will saying he'll always protect Castle Byers!)

When Gaten Matarazzo read the script for the final episode, he called it a "full circle" moment. I'm sure there'll be several moments. I'm willing to bet money we'll see the Original Four playing D&D together. I'm pretty sure another will be Mike and Will going to Castle Byers together and rebuilding it.

And of course, they'll kiss there!

This, more than anything, is a way to show they've fully accepted who they are, who they've always been, and always will be.

It's a perfect way to culminate the "childhood friends to lovers" trope: they end right where they began.

-teambyler

[neyafromfrance95]

galadriel's storyline in s2 so far is perhaps the most emotionally charged, complex and intriguing for me!

first of all, i love trop for allowing galadriel to be oh so ambitious and stubborn in her proclivity to lead and do what she set her mind on to. this defining trait of hers is both her virtue and flaw.

she has always been alienated by the other elves and now it's gotten far worse than ever before. i'd say elrond judges her far too harshly and unfairly when he should be the one giving her solace and benefit of the doubt as her closest friend. in the end of the day she was right yet she is stripped off of the leadership by the high king.

and of course the highlight is galadriel's inner struggle to reconcile her feelings for halbrand and the fact that halbrand is sauron, her arch-nemesis, the murderer of her brother.

ladies & gents, they really went there. that moment when she chokes out that she can't let *him* in and then can't help but remember them admitting to having a deep connection??? ohhhh, brother. that was something. that *was* the confirmation that she has feelings for him. gil-galad calling her out for calling her deceiver halbrand instead of sauron? ohhh, what a drama! her whole storyline is emotionally intense, passionate and complicated which is so very rare for this genre, tbh.

sauron and celebrimbor's scenes also showcase how different sauron's relationship with galadriel is. while annatar flatters celebrimbor, the insincerity of his friendship and the goal of exploitation of celebrimbor's skills is obvious, there is nothing more to that relationship or seemingly to any other relationship sauron has ever had as he is selfish and greedy. which makes sauron's s1 proposal to rule together all the more significant since he offered to share his power with someone else. leaving galadriel to live was also something that didn't benefit him in any way, in fact it put him in a disadvantageous position, yet he chose to do something so uncharacteristic of him.

and power is something galadriel is clearly very attracted to. that scene when the ring rolls to galadriel's feet as if it was choosing her and her putting it on and instantaneously embracing all the power it gave to her? insane.

while galadriel and sauron haven't reunited yet, you could feel that the show centered their *connection* in the story as it was highlighted when sauron's flashbacks concluded with him looking at her.

also, why is no one talking about morfydd's acting? her performance is on pair with charlie's, imo!

anyways, the wait was worth it, at least for me. galadriel's storyline is only going to get more gripping and enthralling from now on!

[genericpuff]

This might be kind of a stupid question, but in total, how many times did Rachel retconned LO? I clearly remember Hypnos being trapped for 10 years and then it getting retconned to "a few days"

Also, Hera, Demeter, Hestia going from friends to sisters

Did something else get retconned…?

UHHHHHHHHHHHHHH-

this question got me thinking so hard i consulted the UnpopularLO crew, here's what we were able to come up with but there are almost definitely more examples:

Melinoe claims she's only been trapped for a few days but this contradicts what Hypnos told us about Kronos using a child deity to overthrow the Underworld in the first place. Unless this just means Persephone showed up just a day or two after everyone fell into a deep sleep, but considering the state of the Underworld when she arrives and other things we're told after the S2 finale, there's no way this is the case.

Speaking of Melinoe, the whole concept of "the interloper" was clearly something Rachel came up with on the fly and didn't have an actual solution to because when we're first told about them, they look nothing like Melinoe:

The weird replacement of Hades' imagined childhood self with Melinoe as a dream child who was actually "always present" throughout the first two seasons. Like, why is Hades so familiar with the ghost child 'checking in on him' if this was some random thing that started happening due to Kronos messing around with the timeline?

The sudden 'reveal' that Ouranos was the one pulling the strings and manipulating Apollo since the very beginning even though that makes zero sense and was completely unnecessary to explaining Apollo's motivations. Apollo himself even constantly flip flops between being some evil mastermind out to get Persephone for a very specific purpose (overthrowing Zeus) and being just a completely oblivious obsessed asshole who doesn't understand consent and actually believes Persephone is in love with him. After all, why would Apollo go on a date with Daphne and then ask her if she'd be willing to cut her hair to look like Persephone's if the goal was to get his hands on Persephone specifically for the purpose of using her powers to overthrow Zeus? How in the world does Daphne factor into that?

Throughout S1 and 2, the gods claim that the mortals are largely disposable and easily replaceable, but then when Persephone causes the plague, suddenly mortals need to be protected because their beliefs and rituals are necessary to sustaining the gods (funny how Hermes bounces between the mortals being necessary to save at all costs but also just inconvenient to live without, like which is it lmao):

The whole "plan" to overthrow Kronos bouncing between being Hera's idea and being Zeus' idea. Rachel just couldn't seem to decide if she wanted a strong female character like Hera to be a victim manipulated into abuse or willingly choosing to put herself in harm's way for the "greater good". IIRC it's written out in the end that Hera and Zeus couldn't even remember who came up with the plan first (but don't quote me on that, I need to find the panels, they do stick out in my mind but I don't know which episode they're specifically from)

The reveal that Hera was the missing fertility goddess depicted on the mural when the original reveal of the mural looks nothing like how it looks later in the flashback sequences. This is the same as the Interloper problem where Rachel was clearly grasping at setting up some kind of mystery box that she didn't know the contents of.

The reveal that Zeus and Metis had a relationship which is what allowed him to use her powers in the first place (because within that same episode Rachel revealed that a bond of love was necessary to using them, but then clearly realized that meant Zeus and Metis had to be in love)

Zeus consuming Metis was changed into some plan to "protect Hera" from being used as a fertility goddess power battery, but then Zeus just went ahead and slowly drained Hera of her powers anyways.

Metis becoming a star after being eaten by Zeus because reasons.

The text messages from Leuce and Hades were retroactively changed into a "manifestation board", probably to absolve Hades of "fooling around" while Persephone was trapped in the Mortal Realm, but all at the expense of a woman who was now retconned into being delusional just for the sake of strengthening the main ship and giving Persephone someone to bully.

The reveal during the trial that Eris was the cause of Persephone's wrath when there was literally zero reason for that to be the case.

The reveal during the trial that Thanatos was actually Hades' adopted son, which really doesn't look good on Hades considering how much of a dick he was to Thanatos throughout the entirety of the first two seasons without any impression given that they might have a canon father-son dynamic.

Apollo and Artemis WEREN'T originally going to be children of Zeus in LO, as Rachel didn't want to create any possibilities for incest within the messy family tree of the Greek gods, but then she decided to make them the children of Zeus anyways as a "plot twist" which is really silly considering 1.) most people would assume they're Zeus' children anyways due to being his children in the myths, and 2.) she still designed them to look just like Zeus.

The subtle but very present SA retcon. This one's so egregious and in-depth I wrote an entire essay about it.

Minthe was originally written with BPD which Rachel decided to "move away from", probably because she realized how shitty it made her look to give BPD to the one character she was pitting the audience against as the "mean other girl" who we all knew was eventually going to be turned into a plant.

Edited panels and changes in the physical books. This is unfortunately not something that I can fully document here, I'm planning on making an actual dedicated post for it, but people have caught changes both in the webtoon version of the comic AND the physical prints that point to Rachel trying to quietly retcon things in the wake of her own bad writing, one of which is present in that aforementioned SA erasure essay in which a scene was added to make Persephone seem more sympathetic towards Apollo. That said, there's also a scene in the trial arc that was changed in the webtoon version, in which Rachel retconned Eris' dialogue from revealing that Hades was the reason Demeter wasn't queen of the mortal realm to reminding her that Hades was the reason (because obv later on we'd get a flashback sequence showing us what happened between Demeter and Hades, which implied that Demeter knew all along what Hades did because he did it right in front of her):

(isn't it funny-weird how Persephone never asks about this despite being in the courtroom when Eris mentions this?)

There are almost DEFINITELY more examples of Rachel absentmindedly and/or intentionally retconning things throughout LO, but that's what we were all able to come up with and should at least get the gears moving in our heads when thinking about other instances of it throughout the comic. Granted, some of these are arguably less 'retcons' and more so just logical inconsistencies / plotholes / etc. but they all still point towards Rachel doing a very bad job at keeping track of her own comic's narrative, its characters, and its twists, even in spite of having multiple other people working for her who all seem to enjoy LO (including heyitsjaki, who is also a webcomic creator), an editor with a background in television writing, and a massive and dedicated fanbase that actively keeps track of her story and its themes arguably more than she does. At that point it feels less "oopsie daisy!" and more just deadass not giving a shit. I don't want to accuse her of intentionally doing this, but it's like she knows her fanbase will just go with whatever she tells them even when it doesn't align with other things she's told them or make sense within the overall narrative - and she'll still be rewarded with Eisner awards regardless - so she doesn't bother to actually try when it comes to the writing, it's just about meeting that panel quota and giving people more H x P fluff.

The simpler answer though, even outside LO, is that Rachel just can't write.

[aq2003]

ok i read a couple gomens fanfictions and rewatched the show well i can definitely say that while it absolutely has fanfic vibes i think s2 captures a vibe of deep unseriousness and insanity that no fanfiction writer would even think about including. because they don't have to worry about overarching plot or (comedy) genre-aligning whatsoever. they're too busy trying to make crowley and az kiss

i have not read any gomens fanfiction but s2 feels like a gomens fanfiction

[justanotherhh]

some trailer things:

big fight around lust/ozzie's place that involves m&m and loona + we know fizzarolli is going to make another appearance, so i wonder how that'll connect potentially. also, new villain?

obvs the whole section of CHERUB working with DHORKS and this massive thing/portal:

john waters big villain episode???? (ghostfuckers from the looks of things)

also more crossdressing in that same episode + millie vs possessed blitz? both millie and blitz giving some evil dead type vibes?

more on stolas' whole social sphere and potential judgement and hell's class politics related to his dating blitz + p much confirmed that blitz will not take stolas' gift in the spirit it was intended

also, "you fucks think you can do this every time-" feels not just like it's about the wider class issues in hell, but maybe like it's personal (potentially with verosika? although it does seem like it's canon that he had more than a little bit of a hand in ending that relationship, so could just be him echoing everything he's been seeing in the treatment of imps and putting that onto stolas in this moment)

and then "thank you blitz, for making me so happy, even for a little while" is during this moment too. lot of teasers for how this is gonna go down (badly, upsettingly, emotionally)

the whole "do you feel any remorse for what you do" feels like a misdirect -- that is, it's edited to look like it's about blitz, but i feel like it's directed at stella or her brother

generally a lot of fun stolas visuals that i won't get into here, but am excited to see more contexts for

also this isn't new, but im always interested in blitz's heart/broken-heart forehead marking

blitz and tilla moment! generally more flashbacks (in the shape of blitz seeming to be almost at the movies, watching his own "failures") around the time of the fire! i didn't see any barbie stuff, alas, but the rest of it looks !!! also lowkey confirmed it was cash who stopped blitz from seeing fizz in hospital

who's this?

another sin? maybe related to ozzie and/or stolas and that judgement of the kinds of people they love?

blitz protecting stolas - maybe from the above, considering the hand motif of it all... stolas really living the life of blitz as a romantic hero, while blitz is barely holding it together as a person the whole time. different genres, my guys. different genres (that's their real communication issue)

this fuck-you-blitz cake looks like a verosika thing to do, esp considering it's her calling him shitty in the VO -- but yay, maybe giving that verosika catharsis, but also generally just verosika!

also the VO part where he says he doesn't want to be this way, he's wearing the same shroud as during his confrontation with verosika. idk, im just. contexts for things. i am curious

is the below also the same episode? I'd think so. it's set during halloween (?) and blitz is then maybe in the blood-covered shroud (costume? undercover? going undercover as a ghost? post-breakup stalking undercover ghost costume?)

MAMMON! and he looks pleased. oh dear.

this blitz + fizz moment

it kinda looks like blitz is wearing the same tee as when he and stolas have their moment + a horse bag + fizz casual wear. fizz generally in this trailer seems to be having the best time (outside the flashbacks). everything makes me suspicious all the time

(also generally hello all the different outfits coming up!!)

fascinated by this:

is that millie?

things we didn't see:

no barbie, no striker, no crimson, no asmodeus (directly, although his imagery is everywhere + fizz and mammon appear), no paimon -- this not to say none of them will show up, but am enjoying that a lot of this is clearly pulling from s1, with the focus on verosika, DHORKS, and CHERUB -- potentially a lot of the s2 villains need some time to lick their wounds a bit (and paimon was never a Villain, just a terrible parent... if he ever returns though...)

and barbie... i do want to see barbie again soonish ngl, she needs some proper introducing, but this is already giving so much callback and continuation of immediate plot-threads, very excited

[werewolfsmile]

The Eliot Spencer Details Masterpost

I have been recording details about our beloved Eliot Spencer on my latest watch through. And now, it's finally time to reveal the details!! If I have gotten any details INCORRECT, I beg of you to correct me, at which time, this post will be updated and credit given. (Note: S1 was aired out of chronological order. I am going by chronological episode numbers - aka the correct order - and providing the episode titles as well to minimise confusion.) !! This post contains details from Leverage: Redemption! Read the episode references carefully if you are wanting to avoid certain spoilers !!

Shirtless Moments

S1 E7 The Two-Horse Job: The flashback scene when Aimee asks Eliot what his excuse was for not coming back to her, we see him being dragged/tortured, shirtless. "Tell us what you did with the monkey!"

S2 E2 The Tap-Out Job: Eliot is shirtless for the fight match.

S4 E9 The Cross My Heart Job: Ehh he's not completely shirtless here but whatever. At about 16 mins in, Eliot and Parker are getting changed together, Eliot strips to a singlet then throws his shirt at me the camera. (I didn't include other scenes of Eliot in a singlet here because in this scene he's actively undressing, whereas in others he's not.)

Necklaces

The earliest sighting of his guitar pick necklace is S1 E2 The Homecoming Job. It continues to pop up frequently in episodes, though noticeably less in S1. I thought about recording every occurrence of it here but ... lmao it's in legit waaayyyy too many episodes for me to bother.

S2 E10 The Runway Job: Honourable mention of the necklaces Eliot wears with his fashion week outfit. The longer one is kinda dogtag-esque, the shorter one is ... I think it's a fleur de lis? He also wears a range of chain necklaces later in this episode.

S4 E18 The Last Dam Job: Bird pendant (possibly kingfisher) visible at 34 mins 39 seconds. Full credits to @wolves-in-the-world for this one including the time stamp! You can check out their reblog of this post with more details here!

Dammit Hardison

S1 E13 The Second David Job: The FIRST INSTANCE of dammit Hardison in the entire show! Said upon discovering each other in the gallery, around 4 mins 15 seconds.

S2 E1 The Beantown Bailout Job: Said around 22 mins 30 seconds, immediately following, "What are the odds that Eliot's crotch will actually explode?" Iconic.

S2 E6 The Top Hat Job: When setting up for the magic show and discovering the rabbit missing, roughly 19 mins 45 seconds.

S3 E3 The Inside Job: Running from security, around 31 mins 30 seconds.

S3 E4 The Scheherazade Job: Trying to enter McRory's at the same time, around 1 min 30 seconds.

S3 E5 The Double Blind Job: This is an honourable mention because this time NATE is the one to say dammit Hardison! 9 mins 15 seconds.

S3 E6 The Studio Job: Upon discovering the master tape isn't in the case, roughly 32 mins.

S3 E7 The Gone Fishin' Job: Eliot and Hardison running in the woods for their lives, arguing as always. This one is a bonus 'dammit' because Hardison says it straight back to Eliot after Eliot yells it at him! Around 21 mins.

S3 E12 The King George Job: Discussing Hardison's forgery work, followed by Eliot regretting touching anything. Around 23 mins 55 seconds.

S3 E13 The Morning After Job: Pretending to be cops and accidentally ending up with a prisoner to take back to jail, around 16 mins 20 seconds.

S3 E14 The Ho Ho Ho Job: Honourable mention of Chaos mocking Eliot by saying dammit Hardison. Roughly 21 mins 15 seconds.

(phew, S3 was rough on Hardison! given what Eliot was going through with the whole Moreau thing.... ooh that's delicious angst)

S4 E5 The Hot Potato Job: Honourable mention for Sophie saying it this time! While playing the role that was meant for Eliot, around 24 mins.

S4 E6 The Carnival Job: Mixing chemicals for a distraction, roughly 25 mins 30 seconds.

S4 E17 The Radio Job: Hardison running away from being thrown off a high floor, around 5 mins.

S4 E18 The Last Dam Job: Sneaking around at the Bellington Dam, roughly 13 mins 35 seconds.

S5 E1 The (Very) Big Bird Job: 'Accidentally' putting a brew pub menu in front of Eliot, around 10 mins 20 seconds.

S5 E15 The Long Goodbye Job: Emotional scene that we do not speak about, around 12 mins 40 seconds.

RS1 E1 The Too Many Rembrandts Job: After knocking Harry out and asking Hardison to help carry Harry, and Hardison refuses. 11 mins 40 seconds.

RS1 E2 The Panamanian Monkey Job: Upon discovering that security is headed to the vault where Parker is, and the only way down there is through the vents. Around 34 mins 10 seconds.

RS2 E1 The Debutante Job: We get 3! In this whole episode! Probably to make up for Hardison being gone for most of Redemption. Anyway! First one when Eliot and Hardison are in Ralphie Roy's place and Hardison has no idea who Ralphie is, around 23 mins 15 seconds. Second is when they're breaking into the elevator and Hardison won't help fight or move the unconscious guards, roughly 37 mins 40 seconds. And third, after the job when Parker says that Hardison was the one who took out all the guards. Around 45 mins 10 seconds.

RS2 E3 The Tournament Job: Right at the start after Eliot says gaming isn't a sport and Parker texts Hardison, so Hardison starts blowing up Eliot's phone. Lmao. Around 4 mins 20 seconds.

RS2 E4 The Date Night Job: After realising Breanna stole his truck, Eliot says dammit, then aims it at a grinning Hardison, since Breanna is already running away. Around 46 mins 50 seconds.

Dammit Parker

S1 E4 The Snow Job: Parker jumps out of a second floor window, Eliot catches her. 15 mins. (Parker gets a dammit from Eliot before Hardison does!!)

S3 E8 The Boost Job: Parker driving erratically, Eliot thrown around in back seat. (Technically there's a pause between dammit and Parker but I'm still including it) 35 min 35 seconds.

S5 E12 The White Rabbit Job: Searching the mark's house, Parker wants to steal a shirt. Again, this isn't technically a proper dammit Parker, as Eliot instead says, "Put it back! Dammit." But I'm still including it because it was aimed at her. 21 mins 20 seconds.

RS1 E9 The Bucket Job: Parker is pretending to be a hacker heavily modelled off Hardison. Not a proper dammit Parker as, again, Eliot only mutters "dammit" under his breath, but still counts to me. Just after 18 mins.

RS1 E10 The Unwellness Job: At end of episode, after Parker admits that she didn't even learn Eliot's name till after the team broke up the first time. 44 mins 30 seconds.

RS1 E13 The Hurricane Job: After washing up on shore and entering the Beacon Inn, Parker and Eliot are bickering about Maria. He doesn't strictly say dammit Parker but there's absolutely no doubt who he's directing the dammits towards. 3 mins 30 seconds.

RS2 E6 The Fractured Job: When farewelling Billy and Parker says next time she'll finish telling him about the robot bodies. Again, it's just dammit not dammit Parker but it's close enough. 41 mins.

RS2 E8 The Turkish Prisoner Job: Another standalone dammit that is most definitely aimed at Parker! When breaking Romero out, Parker says she's a firefighter (with far too much glee), around 14 mins 30 seconds.

RS2 E10 The Work Study Job: A full dammit Parker this time! When Parker reveals that it's super easy to steal from a university and produces a whole bunch of stuff, roughly 22 mins 40 seconds.

Very Distinctive Moments

S1 E2 The Homecoming Job: Eliot ID's the weapon from the gunshots, around 8 mins. Later, he ID's a guy off his knife fighting style, around 18 mins 50 seconds.

S2 E6 The Top Hat Job: ID's a CIA guy from his stance, roughly 7 mins 45 seconds.

S3 E11 The Rashomon Job: ID's the smell of peppermint on Hardison's breath, around 21 mins.

S3 E12 The King George Job: ID's former British paratroopers by their haircuts, 30 mins 10 seconds.

S4 E1 The Long Way Down Job: ID's a former spetsnaz guy by his footprint, 13 mins 45 seconds.

S4 E5 The Hot Potato Job: Honourable mention of Eliot ID'ing ex-military personnel by their stances, he just doesn't say very distinctive. 18 mins 50 seconds.

S4 E11 The Experimental Job: Honourable mention of Eliot ID'ing a helicopter by the whumpa-whumpa (there's 7 of them did you know). Around 7 mins.

S5 E3 The First Contact Job: ID's military satellite transmission by the static, 7 mins 20 seconds.

S5 E9 The Rundown Job: ID's a Navy Seal who enlisted between '90-'95 by his watch, around 16 mins.

RS1 E2 The Panamanian Monkey Job: ID's a drone (Breanna's) from the sound. 11 mins 50 seconds.

RS1 E3 The Rollin' On The River Job: ID's Russian mob by the tattoos, 36 mins 30 seconds.

RS1 E7 The Double-Edged Sword Job: Honourable mention for Maria ID'ing the way Eliot disarmed her gun, 7 mins 50 seconds.

RS2 E4 The Date Night Job: Eliot ID's a guy as not having a distinctive anything - which is what is so distinctive. 20 mins 40 seconds.

RS2 E13 The Crowning Achievement Job: ID's MI6 off their search pattern, 6 mins 50 seconds.

Known Family

S1 E6 The Miracle Job: When discussing Bibletopia, Eliot says his nephew would like it. This is the ONLY mention of a nephew in the entire show, Redemption included; nor is there any direct mention of a sibling beyond this (which leads me to believe that this nephew is actually the son of a close friend/cousin/military buddy, rather than a direct family relation, but that's just my headcanon).

S2 E3 The Order 23 Job: When talking to the abused boy, Randy, Eliot says he has an uncle named Randy.

S5 E11 The Low Low Price Job: Eliot's dad owned a hardware store and he wanted Eliot to take over one day. But Eliot wanted to get out of that small town, so he joined the service. Fought with his dad the night before he left and hasn't been back since. He goes back at the end of this episode and knocks - but his dad never answers the door 😭

RS1 E9 The Bucket Job: While interrogating/torturing Eliot with Red Haze, Bligh says that Eliot's dad's friend from Vietnam has invited Eliot to join them for Christmas. At the end of the episode, Eliot goes to join them for dinner, only to get a message from 'J' that his dad was a no show. This 'J' is widely accepted as Eliot's unknown sibling but that is incorrect! 'J' is Eliot's dad's buddy from Vietnam!

RS2 E6 The Fractured Job: The ultimate Eliot family backstory episode!! (if you haven't seen it yet and don't want spoilers, skip this one!) Eliot was adopted by a black couple, Billy and an unnamed woman, after being abandoned/surrendered at a hospital as a baby. His father was a war hero who got none of the glory and sustained a wound, ruining his civilian career path, so Billy never wanted Eliot to follow in his footsteps. Eliot loved the stories of his dad in the military so joined up to be like him. His mother died while Eliot was on an op and he couldn't get leave to come back for the funeral, deepening the rift between him and Billy. Ultimately, they reconcile, (Eliot says his dad was always a hero to him, Billy say's he's proud of Eliot, they hug), and I cry every time 😭❤️ [Edit: Eliot being a baby at the time of being found at the hospital and consequently brought home by his adopted mother is unconfirmed and my presumption. We have no clear info on his age at adoption. Thanks to @nival-kenival for picking that up!]

Phrases: Ain't

S1 E4 The Snow Job: Said to Nate, right before Nate tells him to go skip some rope.

S1 E9 The Stork Job: Says it twice while conning Irina.

S1 E10 The Juror #6 Job: Upon being told to go help Parker instead of watching a sports game, Eliot takes his beer back.

S2 E2 The Tap-Out Job: Discussing the fights the mark runs, says they ain't the UFC.

S2 E3 The Order 23 Job: Said right before threatening to throw Randy's abusive father over the railing of a stairwell.

S2 E4 The Fairy Godparents Job: Upon spotting a hitman sent to kill McSweeten and Taggart.

S2 E8 The Ice Man Job: After hearing Hardison call himself the Ice Man, says he won't bail him out when things go wrong.

S2 E9 The Lost Heir Job: While trying to get Parker to the court room and end up cut off by the police.

S2 E11 The Bottle Job: When Hardison wants help to clean up Nate's apartment and Eliot refuses.

S2 E14 The Three Strikes Job: When Nate says to meet outside the ballpark but Eliot refuses because now he's sucked into the sport.

S3 E3 The Inside Job: Twice while arguing with Hardison about how to rescue Parker, once when Parker offers him a lift down the stairwell with her on her harness rig and he refuses. This is the most he says ain't in a single episode!

S3 E7 The Gone Fishin' Job: Once when the militia try to make him kneel, later when the militia kid catches him and Hardison near the train tracks.

S3 E11 The Rashomon Job: When Sophie changes her story to mock Eliot's accent and mannerisms.

S3 E15 The Big Bang Job: When confronting Moreau with Hardison.

S4 E1 The Long Way Down Job: Upon arriving at the base camp and complaining to Nate.

S4 E7 The Grave Danger Job: When looking for a buried Hardison and hearing the sprinklers.

S4 E10 The Queen's Gambit Job: At the end, swearing revenge on Sterling.

S4 E12 The Office Job: Arguing with Hardison about Eliot's sandwich while searching the warehouse.

S4 E13 The Girls' Night Out Job: When trying to convince Nate to socialise at the very start.

S4 E14 The Boys' Night Out Job: Exactly the same as the previous episode, so this one barely counts.

S4 E17 The Radio Job: In the patent office, when trying to figure out who lured Nate into this situation. The same scene is used later as a flashback.

S4 E18 The Last Dam Job: Warning Nate of the consequences of taking a life with your own hands.

S5 E2 The Blue Line Job: When ambushed by Marko when leaving the ice rink.

S5 E9 The Rundown Job: Once when going to wring information on the hit out of Riley, once when Hardison steps on the trigger plate of the claymore.

S5 E13 The Corkscrew Job: First time talking to Betty about how Leonard's a jerk.

RS1 E1 The Too Many Rembrandts Job: Twice when ambushed by RIZ thugs in the warehouse.

RS1 E2 The Panamanian Monkey Job: Once when discussing Ryan Corbett at the start, once when refusing to let Hardison have a turn with the diamond-tipped drill.

RS1 E3 The Rollin' On The River Job: When warning Breanna to be certain of her calculations for how to get him and Parker out of the casino's vault.

RS1 E8 The Mastermind Job: Once when discussing hiring people to overthrow a government, once when discussing how they're going to do like 6 things at once, including saving Harry.

RS1 E9 The Bucket Job: Said twice while talking with Blanche, after Blanche helped rescue Eliot from RIZ.

RS1 E14 The Great Train Job: While digging through the tainted soil with Harry.

RS2 E1 The Debutante Job: When trying to get to Volkov's plane with Parker and seeing that two guards are in the way.

RS2 E5 The Walk In The Woods Job: Talking to Paul after rescuing Harry, who was pretending to be Eliot.

Fun fact: for every ain't that Eliot says, Hardison says at least two more. And that's too many for me to bother recording!

Phrases: Y'all

Never. Not even once.

Hardison, on the other hand, says y'all all the damn time - every season, multiple times, sometimes even multiple times in the same episode.

Honourable mention for Chaos saying y'all as an incorrect mockery of Eliot's accent in S3 E14 The Ho Ho Ho Job.

... Okay, okay! So Eliot says it a few times in Redemption! But only in ONE episode!

RS1 E1 The Too Many Rembrandts Job: Said 4 times when playing a character and convincing people to clear out of the auction house.

That's it.

Aliases

These are all the names that Eliot's gone by or used on cons that I could find, not just full blown aliases.

S1 E1 The Nigerian Job: Detective Lieutenant Carden (the scene with this alias was cut from a lot of versions of this episode)

S1 E4 The Snow Job: Vince Fetkey, Hans Von Schwesterkrank

S1 E7 The Two-Horse Job: Brad Mackie

S1 E9 The Stork Job: Dale

S1 E12 The First David Job: Professor Sinclair

S1 E13 The Second David Job: Professor/Dr Adam Sinclair

S2 E2 The Tap-Out Job: Kid Jones (on the fight match poster)

S2 E4 The Fairy Godparents Job: Coach Brewer

S2 E5 The Three Days Of The Hunter Job: Earl

S2 E9 The Lost Heir Job: Officer Hilts

S2 E10 The Runway Job: Julian

S2 E14 The Three Strikes Job: Roy Chappell

S3 E1 The Jailhouse Job: Dr Abernathy

S3 E2 The Reunion Job: Lloyd Hickey

S3 E4 The Scheherazade Job: Guy Hamilton

S3 E5 The Double Blind Job: Phil

S3 E6 The Studio Job: Kenneth Crane

S3 E7 The Gone Fishin' Job: Agent Quint

S3 E8 The Boost Job: Skeeter

S3 E9 The Three-Card Monte Job: Detective Moffat

S3 E10 The Underground Job: Eric

S3 E11 The Rashomon Job: Dr Wes Abernathy

S3 E16 The San Lorenzo Job: Ray Laroque

S4 E2 The Ten Li'l Grifters Job: Charlie Siringo

S4 E4 The Van Gogh Job: Lieutenant (only granting him this one because CK played him in the flashback)

S4 E5 The Hot Potato Job: Tom Boonen

S4 E12 The Office Job: Mr Dennis

S4 E14 The Boys' Night Out Job: Luigi

S4 E15 The Lonely Hearts Job: Jackson Cooper

S4 E16 The Gold Job: Tobias Bowden

S4 E17 The Radio Job: Cowboy (*cough* John McClane *cough*)

S5 E2 The Blue Line Job: Jacques "Jack" Labert

S5 E3 The First Contact Job: Willie Riker

S5 E5 The Gimme A K Street Job: Steven Turner

S5 E6 The DB Cooper Job: DB Cooper/Young Steve Reynolds (again, technically not an alias but whatever it's here anyway)

S5 E7 The Real Fake Car Job: Barry McElroy

S5 E11 The Low Low Price Job: Archer

S5 E14 The Toy Job: Carl

Honourable mentions of Eliot being called: "Rambo" by Hardison in S1 E2 The Homecoming Job [thanks @independent-fics for this!]; "Emeril" by Parker in S1 E3 The Wedding Job [thanks @aardvaark for this one!]; "Sparky" by Parker in S1 E10 The Juror #6 Job and by Tara in S2 E15 The Maltese Falcon Job; and "Skippy" by Hardison in S3 E7 The Gone Fishin' Job.

RS1 E1 The Too Many Rembrandts Job: Will Gallagher

RS1 E6 The Card Game Job: Glenn the Savage

RS1 E7 The Double-Edged Sword: Emmett Milbarge

RS1 E8 The Mastermind Job: Frank Farmer

RS1 E10 The Unwellness Job: Hank

RS1 E12 The Golf Job: Reed Wilkins

RS1 E13 The Hurricane Job: Calvin

RS1 E15 The Muddy Waters Job: Armus Vagra

RS2 E7 The Big Rig Job: Kris

RS2 E8 The Turkish Prisoner Job: Nick O'Brien

RS2 E10 The Work Study Job: New Blood, Caterpillar

Honourable mention of Eliot being called "Skipper" by Hardison in RS1 E16 The Harry Wilson Job.

Known Associates

This is in direct reference to hitters/people from the criminal world that Eliot knew or was aware of prior to the Leverage Team. Quinn is not included in this list due to that distinction (sorry Quinn).

S1 E3 The Wedding Job: The Butcher of Kiev

S2 E7 The Two Live Crew Job: Mikel Dayan

S3 E11 The Rashomon Job: Gutman

S3 E15 The Big Bang Job: Chapman, Damien Moreau

S3 E16 The San Lorenzo Job: Damien Moreau

S4 E4 The Van Gogh Job: Frank, Randall

S4 E6 The Carnival Job: Roper

S5 E4 The French Connection: Rampone

S5 E9 The Rundown Job: Riley

Trivia

S2 E6 The Top Hat Job: Eliot claims he only sleeps 90 minutes a day, and that he cured his claustrophobia as a kid by locking himself in the woodshed behind his house for a couple nights.

S3 E6 The Studio Job: Eliot is nervous to perform in front of an audience, to the point that Parker startles him and she's surprised that she did. Interesting to note that he seems to have no issue playing sport in front of crowds.

S3 E7 The Gone Fishin' Job: Eliot says he hates beets.

S4 E5 The Hot Potato Job: Eliot chews gum. He does this throughout a LOT of episodes across the seasons but I've only noted down this one episode for it.... thanks, past me 🙄 [Edit: thanks @nival-kenival for more info! Another confirmed episode is S1 E2 The Homecoming Job, and S3 E13 The Morning After Job!]

S4 E9 The Cross My Heart Job: Eliot says he fought a guy with a Nerf sword in Damascus, 2002.

S5 E11 The Low Low Price Job: Eliot drives an F-150 to his dad's house in Oklahoma. This is a THIRD vehicle that apparently belongs to Eliot, in addition to the Chevrolet Silverado and Dodge Challenger we see in other episodes. The F-150 is not seen again.

S5 E12 The White Rabbit Job: Eliot has 'special sedatives' aka a little psychotropic he picked up outside of Bogota.

Eliot mostly walks at the back of the group, presumably to be the rear guard and make sure no one falls behind. See ... just about every damn episode for evidence.

RS1 E3 The Rollin' On The River Job: Parker says that Eliot has cut his way out of an ice cave, escaped a gorilla enclosure, and catered a wedding for the mob.

Eliot is seen wearing glasses throughout various episodes. A flashback in S1 E1 The Nigerian Job shows him wearing presumably his own glasses. All other instances of him wearing glasses (that I can think of) are when he takes someone's glasses for a con. It is unconfirmed if Eliot actually needs glasses to correct his eyesight or not, but is a fandom headcanon. In S3 E1 The Jailhouse Job there is an interaction where Nate ribs Eliot for taking so long in a fight, and Eliot says it's because of new glasses. An argument could be made that this means Eliot does require glasses. [Thanks @independent-fics for picking this up - for pretty much all the details pertaining to Eliot's glasses!]

And there you have it! All the details that I've spent the last 3 months collecting!! Now it's time for me to take a good, long break because my brain is fried! 😂

Once again, let me know if you find any errors so I can update the post. Data from Redemption S2 is where I've most likely missed things, since I don't have it on DVD and it's sooo much harder to scrub through streaming footage to find things. When will they release RS2 on DVD I need itttt.

If you've made it this far, thanks for reading! I hope this post can be a helpful reference for you!

[lactoseintolerentswag]

Rise Characterizations Pt. 5!!!!!

Okay I promised I'd share my Splinter reference notes, so here I am! Also wanna take a moment to thank everyone reblogging the prev. parts. All the tags/notes are so sweet!!! Anyway, here's our one and only Rat Man,

Splinter Character Notes

Language Habits:

Catchphrase: "HOOOOOT SOUP!!!"

Will yell "whoa/oh nelly!" when in a tight spot or stumbling around

Makes puns/dad jokes, and laughs at said jokes to himself

A poor liar, will skirt around the truth until you drop it

Penchant for interrupting people if he's not interested, devout user of "yada, yada", "ah, bup, bup, bup"

Verbalizes his attacks/moves, something his sons pick up on. Could be a habit picked up from his action star days, such moves include: lights off jitsu, and slow motion jitsu

Uses 2010's slang, (i.e. "totes", "chillaxed"), could see him incorrectly using up to date slang to embarrass his boys

In a group refers to his sons as "boys"

One by one will refer to his sons by their designated colors, but will pull out the full name (not nickname) if the situation is serious

Also refers to Donnie as "the funny one"

Personality:

A performer, well he is an actor after all. He knows how to captivate an audience. Splinter likes attention--something that may be connected to his strict childhood with high expectations--but he also performs for his boys. To keep them happy, but most importantly safe. This also means he keeps his true emotions tucked closely to his chest

Jovial. Despite his dark past and heavy responsibility thrust upon him at a young age, Splinter is always laughing. He finds the fun in everything

Secretive. As mentioned before, Splinter tends to keep things close to his chest. Despite this, he's a terrible liar. He'll just avoid the truth until it comes back to bite him in the ass. This makes him sometimes a little emotionally unavailable

Lazy. He always finds the easiest way to do something, and procrastinate on his responsibilities as long as possible

Vain. He's glory seeking for all the proper attention he lost in his youth. So the Lou Jitsu aspect of his life boosted his ego in irreparable ways. He also uses the identity of Lou Jitsu to escape from the idea of being stuck as a rat. Glorifying the past is way to find comfort for him

Adrenaline junkie. Part of that glory-seeking and glorification of the past manifests into him needing adrenaline to feel alive. (i.e. when he steals the tank)

Attentive and empathetic. He can be a little hare-brained when it comes to remembering the details, but he's always very attentive to his sons needs. In flashbacks he's shown to supply them with items needed for their interests (i.e. little Mikey gets art supplies), and always apologizes when he messes up (i.e. the conversation he had with Donnie). This empathy also extends to other people and animals, as he was sympathetic with Cassandra when she was lamenting about the foot clan and was immediately worried about the turtles Draxum had in his lab

Protective. He would sacrifice everything to save his sons, and he does

Miscellaneous:

His tail is Very expressive, and one of the most active parts of his body, so if you want to subtley show emotion I'd focus on that

Has a Lou Jitsu body pillow

Remembers all his stunt double's names

Snores loudly

Talented singer, can sing opera and lived next to a karaoke bar in Japan

The show he watches the most is called "Soapy Treadmill", a Japanese game show where they throw things like scorpions at people who are soapy on treadmills

Has a "do not touch!" cabinet, full of trophies, mystic artifacts, and mementos of his past

I have a List of all the mentioned Lou Jitsu movie names mentioned in S1, but I'm probably gonna wait till the end of my S2 rewatch and post it separately (it's also long too). Will link here!

I'm also gonna add a recommendation here at the end.

This is for the white and non East Asian folks. I'm not as well-versed in East Asian or Japanese culture, but Splinter is a first generation immigrant! He keeps a distance from his heritage because of the trauma of his youth, and the role Lou Jitsu probably also forced him to westernize his identity to make it more palpable to Hollywood. But it would be a disservice to sever parts of his identity, because one is uncomfortable or not knowledgeable in writing it.

For my white folks intimidated by writing a person of color because they want to get it right, research always helps. Research helps with everything!!! writingwithcolor here on tumblr actually has a lot of useful resources, here's their guideline, and a research chart one of their moderators created, which I personally found to be very helpful. I believe their ask box is closed right now, but if you ask questions in the future be nice!!!!

Anyway I'm gonna do April next :)