#sophie devereux

[ambroserookwood]

The Witchcraft Job, Chapter 26

To get the dirt on who's really behind the theft of Orville Bishop's paintings, Harry gets blind drunk with an old friend. Eliot gets the impression that some members of the team know more about their client's past than they're telling.

[yafilthynerds]

Okay my brain just went wild with this.

Parker hears Nate using the, "Let's go steal a [blank]" phrase and likes it so much that she starts using it privately in her own head.

"Let's go steal a bagel" on the way to the break room where Hardison has a sign on the Einstein Bros box that says "Free to a good belly."

"Let's go steal a seat" when Nate calls them into the conference room to talk about the next job.

"Let's go steal a violin" when she's, y'know, actually doing the thing.

And then it just starts to cascade into abstract things.

"Let's go steal an Elliott" when she's trying to befriend him by listening to him talk about someone's poor knife holding technique.

"Let's go steal an Alice" when she's learning to pretend to be Alice for the Jury #6 Job.

And then, eventually, she realizes what she really wants... and goes to steal a family :3

leverage season 1 plot

[myths-tournaments]

Found Family Tournament [Round 5/Quarterfinals - 1/4]

(list of characters under the cut)

HOW TO TRAIN YOUR DRAGON

Hiccup Toothless

LEVERAGE

Nathan Ford Sophie Devereux Alec Hardison Eliot Spencer Parker

[camlannpod]

Trailer Drop! Camlann releases in January 2024, subscribe now wherever you get your podcasts.

Transcript available here, or click the Read More below.

[Image Description: A blue-back painted background shows mountains that vaguely look like a figure lying down face up under a starry sky. Orange looping text says the title 'Camlann' and 'Subscribe where you get your podcasts'. White bold text says 'Trailer, Listen Now'. A wave form wobbles as the audio plays, and subtitles appear beneath it in white text.]

Camlann - Teaser Trailer Transcript - 6th November 2023

[Camlann is written and directed by Ella Watts and produced by Amber Devereux at Tin Can Audio, with production management from Ross McFarlane. This transcript was written by Ella Watts.]

A dial tone - it’s a low, warm trilling beep which rings in sets of two, six times, before stopping abruptly.

The voice that follows is feminine and light, with a precise English accent. The character speaks with a sense of formality, and formal warmth - like you might find in a hospital.

RECORDING 1:

Please hold. Your call is very important to us and we will get to it as quickly as we can. The Cataclysm is frightening for everyone. Remember, in times like these we need to stick together more than ever. If you need emergency assistance, please call 999 -

The dial tone returns, ringing three times. The voice that follows is light, masculine, with a Scottish accent.

RECORDING 2:

Your position in the queue is -

The voice that follows is androgynous and light, a different Scottish accent to the one before.

RECORDING 3:

Three-hundred and thirty-three

A long, continuous droning beep as the phone connects, which ends abruptly. 

The voice that follows is feminine and Scottish, specifically Glaswegian. She sounds confident, but somewhat rushed - like an emergency phone operator. She is immediately authoritative and polite.

PHONE OPERATOR:

Hello, you’ve reached the Cataclysm Casualties Hotline. Can I take your name and date of birth?

At this point, a very soft static begins to build in the background. 

The first voice we hear is androgynous, English and precise.

PERRY:

Peredur Green

The second voice is a low, feminine voice with a Welsh accent.

MORGAN:

Morgan Jones

The third voice speaks with a Chinese accent, and is light and feminine.

GWEN:

Shújūn Liu

The fourth voice is low and masculine, with a broad Scottish accent. 

GWAINE:

Gwaine Turner

The fifth voice is light and masculine, with a light Welsh accent.

DAI:

Just call me Dai

The Phone Operator is business-like and professional.

PHONE OPERATOR:

Ok, and who are you calling for today?

The static keeps building softly, getting slowly louder. 

Dai sounds frustrated and anxious, and he speaks quickly.

DAI:

My Mum. Siân Thomas? She was in Aberystwyth.

Gwaine speaks firmly and slowly. He falters when he clarifies Kirkwall, revealing his anxiety.

GWAINE:

Matthew and Louise Turner. In Kirkwall on Orkney. 

Gwen sounds audibly anxious, speaking with urgency and a slightly higher pitch.

GWEN:

My father, Kai Liu.

Morgan says Ben’s name as if around a lump in her throat - she sounds sad, like she already knows something has happened to him.

MORGAN:

Ben. Ben Jones. 

Gwaine sounds comfortably skeptical - as if what he’s referring to cannot possibly be true. 

A new drone builds alongside the softly building static - like a swarm of bees or string instruments being played vibrato. It slowly gets louder and louder, a low pitched sense of intensity and dread.

GWAINE:

I saw something on the news about a sea serpent?

Morgan sounds like she’s going to be sick. She’s deadly serious, firm and clearly seriously worried.

MORGAN:

He’s fifteen years old.

Perry is authoritative and comfortable with the bureaucracy, though they still speak with a sense of urgency.

PERRY:

Anna and Sophie Green, in Portsmouth. 

When Gwen speaks, there’s a sense of dread in her voice.

GWEN:

What’s happening in Kowloon?

Perry sounds incredulous and confused as they ask their question, full of disbelief. 

The droning bee swarm sound gets louder, it’s hard to tell if it’s musical or a sound effect, only that it’s building a sense of dread like a horror film.

PERRY:

Listen, is this real? I’ve been seeing news reports about dragons -

The phone operator sounds guarded and distracted when she answers, clearly avoiding the questions.

PHONE OPERATOR:

Let me look that up for you. Where are you calling from today?

Each of the following answers comes quickly and firmly. Gwen’s stands out.

PERRY:

Bristol

MORGAN:

Bristol

GWAINE:

Bristol

DAI:

Bristol

GWEN:

Leicester

The phone operator sounds sincere and sympathetic in the way that a doctor might when delivering bad news to a patient. 

A new sound effect joins the static and drone - background voices or muffled clanging metal, like the echoes you hear in a swimming pool. It sounds strange and surreal, contradicting the sensible pragmatism of the Phone Operator’s delivery.

PHONE OPERATOR:

I’m so sorry, it looks like we haven’t got anyone listed under that name on the database. This means they have’t been listed as a fatality. Call back tomorrow, and if you haven’t heard anything from us or your loved one in three days, try the online form. 

Very softly, music fades in - synthetic strings playing a warm, hopeful folk music kind of melody. The strings build.

PHONE OPERATOR:

I know this is scary, but it’s ok. We’re going to get through this…

Everything pauses - the sound effects, the music, and the Phone Operator herself. There’s a beat of silence.

PHONE OPERATOR:

…together.

The music resumes, louder than before, as everything else fades away. The tune builds from strings into a melodic keyboard like-tune on a synthetic instrument that sounds like fairy lights. The music is warm and hopeful. 

It dips in volume under the following voiceover - delivered by a light, masculine voice with a Welsh accent, the same actor as Dai. His delivery is confident and formal.

VOICEOVER:

Camlann, a post-apocalyptic audio drama by Ella Watts, inspired by folklore and Arthurian legends. Coming January 2024. Produced by Tin Can Audio. 

The music builds - the synthetic keyboard and strings joined by a synth that sounds almost like an organ, building to a gentle, slow crescendo before dipping back down - each instrument falling away until only the strings are left playing the core melody of the tune, more and more quietly until the music fades and the trailer ends.

[geeky-nightphilosopher]

Eliot Spencer's Disney song is from Beauty and the Beast- and it's "Something There."

Nate Ford's Disney song is from Frozen- and it's "Fixer Upper."

Sophie Devereux's Disney song is from Mulan- and it's "Reflection."

Alec Hardison's Disney song is from Hercules- and it's "Zero to Hero."

Parker's Disney song is from The Little Mermaid- and it's "I Want to be Where the People Are."

Breanna Casey's Disney song is from Moana- and it's "How Far I'll Go."

Harry Wilson's Disney song is from Mulan- and it's "I'll Make a Man Out of You."

Let's discuss.

[familiarboat1]

Hayley's character (Taylor's version)

I'm not even a Taylor swift fan, but I think the title works!

I felt like Hayley lost her character. I really do like Hayley. Even though she isn't an original. I believe she did deserve a storyline of her own. At least a character arc. I know Hayley's change in character could've been motherhood. But they never really focused much on it. I've written a character arc template for her.

TVD Hayley Marshal was a kid looking for her family. She lived alone. She didn't mind doing bad things. Hayley was even smug about it in the vampire diaries, but who can blame her. At times, I thought the main cast was annoying with all their rainbow stickers and frequent "accidents". It is rather poetic the person she came to to give her information about her family becomes her family. I'll give them that. However, in the Originals, her arc should've been her realizing, no matter how badass she may think she is, The Mikaelson's- The originals are way worse. And then carry on with her written character. The writers could've simply done this by her doing questionable things- which she does in the first season, by putting Oliver against a wall , planting a seed of doubt in Davina, Going out to the 'doctors' when the Mikaelson's told her not to, or threatening Sophie Devereux. Keep those scenes but completely erase all this talk about Hayley being good, or hinting that she's good. Let the Mikaelson's plan something horrendous, and Klaus just expects her to go with it. And write a scene where he sees her hesitate, and he says something along the lines of "I thought you of all people would be ok with this." And after her child is born. Her depressive episodes would've made so much sense. Not that it doesn't make sense, "I don't want to live like this, Elijah" would be a great end to her character arc. As in Taylor's version we see her unravel instead of completely snap. Seems more thought out. Hayley did die and turn into a hybrid. Season two continues, I think this is when they should've invested in Haylijah. Elijah sees Hayley broken as a vampire and tries to help her. They should've let Elijah try to help, and let them be in a relationship after shortly, and then Hayley and Elijah break up because Elijah didn't tell her he loved her. We got Klaus to help her , so I'm good with my Klayley moments. I'm just saying they should've stoped Just completely break Haylijah off at the very start of the season, and the entire Jackson thing is fine. But Her and Jackson don't get married till' 2/3rds of the season. . Then start the Gialijah relationship towards the end and Gia dies at the end of season two due to Dhalia's plan.(We'd change how she dies but she still dies in the name of Dhalia) Hayley then stays her regular character in seasons three to five. Personally, I like Klayley, so let's add it. It can easily be written after Jackson dies, Both Hayley and Klaus could have an arc relating to wolves and taking care of their child. And she did die at the end of season five. As a vampire too, which was cruel. I don't know what Julie Plec has with orphans, but she seems to love to write them. Do you guys think she should also die in Taylor's version?

[wvsteria]

sophie devereux & abigail mckinnon ;; @tragcdysewn​

❝ Try not to crack under the stress. ❞

“i hope you can forgive me. i’m going to be rambling a lot tonight. i mean i just found out-” sophie shook her head at having just seen her sister here. “i just showed up here out of the blue and my sister is suddenly walking down the street and when i could’ve sworn we’ve buried her.” sophie may or may not have a bottle of beer in her hand, attributing to her rambling. “i mean i am trying so hard not to crack under the stress but-” they motioned to the drink. 

[goodomensguy]

In order,

Sophie Devereux

Harry Wilson

Eliot Spencer

Parker™️

Alec Hardison

Breanna Casey

list of genders i think are really awesome

cis women who are so femme it loops back around to genderfuckery

genderfluid but like, really fast (high pressure (gender)liquid?)

anything that sparks tumblr discourse about you specifically

trans people who aren't "presenting" as any gender. see also: autistic people who aren't "presenting" as any gender

otherkin/therians whose spirituality influences their gender

everything 2007 scene kids had going on

[nashvillehq]

@davidadebayo

@sophie-jackson

@gemma-devereux

@marti-garcia

[artistopencalls]

Call for artists: Our friends @mdp_info 🖤➡️ https://linktr.ee/MDP_info ⬅️ are calling for applications from artists working within sculpture and/or installation art for their brand-new course, Critical Mass / / SCULPT. Deadline for applications: Sunday 14 May, 5pm. Find out more via their Insta profile and website. 📷 Island/Enyan, Sophie Lee, 2015 | Image: courtesy of the artist (at Mark Devereux Projects) https://www.instagram.com/p/Cra5ivLoQ_T/?igshid=NGJjMDIxMWI=

[bloodofthefates]

Like the thin veil between the living and dead on the sacred hallowed grounds of the cemetery, Hayley existed between two worlds. Leaving behind her life as she’d known it to take on this next chapter of life that proved more perilous and dangerous than ever before. Raised believing she was an ordinary albeit unwanted human child, abandoned as a newly turned werewolf teenager and now to forge a new path into supernatural motherhood with no one else to lead or guide her. Zoro’s protection now meant more to her than ever before, navigating such known waters at every turn and she relied not only on his capabilities to fight and kill if necessary to protect her and the life of her child but also his years of experience. She wondered, wanting to ask if he’d ever come across another wolf or any other creature that had been known to conceive a supernatural creature though Klaus’s parentage alone made her pregnancy miraculously and terrifyingly unique. Hayley instinctively drew in to Zoro as he kept himself close, shielding her with his body against pedestrian traffic as they made their way out of the cemetery. She was glad to be rid of the presence of so many spirits, but the sudden and stark contrast of so much life around her with loud screams of laughter had her jumpy at just about every turn. “Klaus is protective…in his own way.” She amended, hardly sounding half convinced herself as she offered a pathetic half shrug and dug her hands down deeper into the pockets of her sweater. “He may not care what happens to me directly but I think he cares more about this baby than he’s willing to let on. Elijah thinks so too.” Hayley glanced down at her stomach, the ghost of a smile tracing her lips before Zoro’s next question had her gaze wandering far from the kitsune for any kind of distraction. “That’s… a little more complicated.” She confessed, biting her lip as she weighed how exactly she was supposed to explain this part of the deal she’d had no say in regarding her own personal safety and well-being. “Not only am I some supernatural ticking time bomb-” Her answer was suddenly cut short with a gasp of surprise, Zoro’s senses far more attuned than her own at the moment as he caught hold of her and pulled her out of the way just in time to keep her from colliding head on with a runner in a fluorescent vest. 

Catching her breath as she held onto Zoro’s forearm a moment longer to regain her bearings, she took a deep breath and shook her head before sighing to continue her guilt-ridden confession. “Think of me as the living, breathing life insurance policy of the French Quarter Coven.” She ground out with gritted teeth, rolling her eyes as she pressed onward, finding her pace quickening as she channeled her anger and frustration toward Sophie Devereux. “To keep Marcel or anyone for that matter from just outright killing me and getting rid of any evidence of the baby, they performed a linking spell. Linking my life to one of their witches…” She stole a sideways glance to Zoro to gauge his reaction. “If I wasn’t so pissed off about having no choice or say in the matter, I might even be impressed by their balls to go against the entire Original family.”

She was right, he didn't like it.

But he also didn't argue or try to come up with an alternative. It was clear that she was under some level of protection with the Originals and Witches at the moment. Until either proved dangerous it was wise to keep allies at their side. After all, her protection was the most important thing at the moment. Until they gave him a reason to believe that the Mikaelson's weren't safe for her, he'd put up with them.

It didn't surprise him that the Hybrid was having issues coming to terms with everything. Their paths had crossed about a hundred years ago when he'd come to this very city hunting for a lost Kitsune that had been kidnapped and sold into slavery. The originals hadn't helped then, though they hadn't stood in his way. Offering what little information they knew of, for a price of course.

They were old after all. Ancient even by supernatural standards. Few other species could even live that long, his own included, and as time passed. As the years turned into decades and then centuries....one could lose the part of them that had made them like humans. It was easy after a while to become cruel and cold unless there were those who could pull you back.

Following Hayley out of the cemetery and into the streets of New Orleans he moved closer. Positioning himself close to her side so that he could ensure her safety, keeping himself between her and the road, dark hues flicking over anyone who came close to her. "So two out of the siblings are willing to protect you. That's more then most have ever had from that family." His gaze shifted to hers out of the corner of his eye as he added. "And the witches? How are they involved."

Even as he asked the question he reached out, catching her side and pulling her out of the way of a runner on the sidewalk that hadn't bothered to look before turning onto the sidewalk they were on. One arm easily lifting her as he pivoted to prevent them from crashing before returning her to the ground. If his fox ears had still been showing they'd have been flat against his head in displeasure as he glared at the runners back.

[unhallowedarts]

I love that Nate is basically the Anti-Grifter. What I mean is, what Sophie does is, she’s so charming and offers something so tempting that people LIKE her enough not to ask too many questions..... and then..... Nate is just so OBNOXIOUS that everybody wants him to GO AWAY so they don’t ask too many questions cause they just want this horrible interaction to be OVER :P

[myths-tournaments]

Found Family Tournament [Round 4 - Poll 2/8]

(list of characters under the cut)

THE LAND BEFORE TIME

Littlefoot Cera Ducky Petri Spike

LEVERAGE

Nathan Ford Sophie Devereux Alec Hardison Eliot Spencer Parker

[mj-spooks]

Sophie: I’m thinking... The Swedish Rail con.

Nate: Eh... Cairo Flyer.

Sophie: Oh, no way. I’m not wearing that dress again.

*pause*

Nate: Oh.

Nate and Sophie: *speaking in unison to emphasize the off the charts levels of UST* The Double-blind

Me:

[asterlark]

one of the great things about n*te being dead is that now sophie and tara can finally get together 😎😎😎

[mywingsareonwheels]

It’s Ridiculous Crossover Time Again...

... and this is even more obscure than usual so no idea if anyone will be entertained by this other than me and Partner, who helped me come up with the concept last night.

- Leverage/Shetland crossover. Ships, if relevant, are the Leverage OT3; Jimmy/Duncan. Obviously. I’ve not seen “Redemption” so assume this is sometime between the end of the main “Leverage” show and that, but that Sophie occasionally works with the OT3 and is here. :-)

- the Leverage crew are in Scotland, and get a client in Glasgow who’s been severely wronged by Graeme Benson (probably a small business owner who Benson did his thing to and then some and it caused some massive knock-on suffering). They start working at a scam to take down Benson.

- leads take them to Shetland.

- due to Shenanigans of some kind both Jimmy, Cassie, and Duncan all find out what’s going on. Duncan gets somewhat involved and expresses interest in helping to spring the trap, possibly by letting Benson start to muscle in on the bistro and appearing to take the advice of yet another dodgy accountant.

- Duncan is SO ENTHUSED. Because it will bring down Benson, because it’s deeply entertaining, because dammit he has standards when it comes to business dealings and how you treat people in your work life and it offends him when others don’t.

- Cassie also thinks it’s fricking amazing because whatever Jimmy’s influence she does have a fair amount of Duncan’s (and possibly Fran’s) chaos energy.

- Jimmy just wishes he didn’t know because strictly speaking he should stop this happening but... ah fuckit, he and Tosh are going to go and solve a crime over there now, he knows nothing, it’s fine. Duncan can fill him in later when it’s far too late for him to do anything. :D

- as part of his cover Eliot works as a chef in the bistro. He’s amazing. Obviously. Duncan gets him to train the rest of the staff while he’s there.

- Cassie and Parker hang out a lot and Jimmy and Duncan are both extremely unnerved by how well they get on. “Cassie I thought you had lost your keys?” “Oh that’s fine, Parker showed me how to get in.” “... ?!?!?!”

- Hardison plays at the ceilidh a few times. Not as part of the con, you understand, he's just enjoying himself, and rather likes picking up the Shetland fiddle style.

- Sophie is obviously extremely Jimmy’s type and Duncan gets insecure and I-am-not-worthy-and-have-no-right-to-be-upset-if-my-heart-gets-broken-given-my-relationship-history-but-also-ouch. Reassurance and kisses happen. Anyway, Sophie has a really sweet fling with Rhona just because. Rhona joins Duncan in the, “I know nothing, I’m going to do some work over here” thing. Also well, if the polis don’t bring her any evidence it’s not like the fiscal can do anything is it?

I will probably never write this but I am so very much enjoying thinking about it. :D