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everything blows up, silly.

@thieves-r-us / thieves-r-us.tumblr.com

Watch Leverage Sundays at 9/8c on TNT. official website
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You don’t let feelings get in the way. You rotate problems… security, people, timelines. You spin them in the three-dimensional space, like puzzle pieces, until they click. It’s not the way I think, but… I trust your judgment. I really do.

Really the thing that makes me most emotional about that whole scene with the two of them at the finale is how Nate is enumerating out loud all the variables and writing them off in that piece of cardboard and that thing looks like the most difficult math problem I’ve ever seen, and he has that moment when, for the first time, really talks to her out loud about how he sees her and you can tell she’s obviously touched by it. But then he walks away and she composes herself and the only thing she says back to him is the answer. (which she already knew because she had already made the calculation in her mind when he was saying it. I mean, gurl.)  And he smiles at her and they don’t say anything else and everything is beautiful because it’s not just the answer to the question of who was the most appropriate person to take over the crew, it’s the culmination of Nate and Parker’s relationship through the series.

For three years he’s been measuring them but the difference is that Parker observes him and measures him back, she analyzes people and situations and everything around her just like she’d analyze a safe before opening it (people are like locks) and he trusts her because of that because that’s essentially what he does, but that’s also how they communicate; they understand each other at a fundamental level because their brains work alike so they don’t really have to say anything to let each other know that they do, they just click. (like a lock, like everyone in this family, like puzzle pieces. get out with your perfection show) and this scene is all that in a nutshell and I’m still dying at of how much beautiful sense this ‘reveal’ makes, both narratively and emotionally, specially if you step back and notice Nate wasn’t really teaching her those things because everything was already in her, and his job was never teaching them, but knowing what they could already do and exploit that potential. And none of this final move could have been possible without everyone else’s help at making her connect with other people and her own emotions, so if you look at it that way, at the end of the day, this was a 5 people con who run for 5 years and it’s beautiful and symmetrical and perfect.

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I LOVE THE SMELL OF CANON IN THE MORNING. 

You know half their jobs are going to involve fights with the Chinese Triad, people jumping off of buildings and three-way bomb-diffusing stunts, right? Old wild west of unorthodox crime lead by ruthless, cocky, overenthusiastic youths on a mission who learned from the very best, come to me. They’re gonna raise hell. Though I like to believe, as much as they’ve grown and are fully ready to do this on their own, they’re still gonna call Nate and Sophie sometimes, only to find them in some European city setting people piles of money on fire, running around rooftops in Paris, gondola chasing in Venice, traveling the world on Nate’s boat or solving mystery murders on a train through the Swiss Alps, so in those cases they’ll have to call Tara (“if you want to get in trouble again..” EVEN HER FAREWEEL FITS PERFECTLY NOW) and awesomeness will ensue. But mostly I’m still dying over the idea of Parker being the mastermind from the very beginning (you guys this is the best con this show has pulled off because it went on for 5 years and still no one suspected anything. remember when John Rogers said it was all part of a secret plan to make Parker become the mastermind and everyone assumed he was trolling? Leverage; Where trolling within trolling happened and the series finale was a con pulled off by the writers themselves, talk about going out with style.) AND ALSO A MASTERMIND THAT IS A WOMAN, THE BEAUTY OF THIS BLINDS ME and Eliot and Hardison archoring her because the three of them have always been different aspects of the same mastermind figure and now they’re ready and they’re gonna do it together and that’s all that matters!! SHOOOOW!!!!!!  Don’t even get me started on Eliot because you know my heart can’t take this many emotions at once but W O W  ‘till my dying day’ this show’s canon is more cheesy and epic (chepic!) than any other and is my absolute favorite. E L I O T YOU FELL 5 YEARS AGO AND YOU DIDN’T EVEN TRY TO GET UP AND NOW YOU’RE CREATING BREW PUB MENUS AND FIGHTING CRIME IN SUNGLASSES AND YOU LOVE IT.

And of course also dying over the return of the wonderfully misleading shot because it has always been the most perfect/beautifully menacing shot in the entire series and I’ve loved it forever but now they REALLY look like a fucking Irish crime family because it’s their war now and they make it look cool (I think Hardison is now in charge of the fashion aspect of the crew ala Edna Mode, hence Eliot’s fashion-y glasses, am I spiraling too much? tell me when to stop) and it’s so hilariously badass and I know you’re secretly on tumblr Rogers, so thank you.

After the finale they obviously went and kept the cave, built the Eliot signal and turned Parker’s motorcycle into their batmobile because they’ve got 99 problems and personal space ain’t none of them. 

I’M SO HAPPY ABOUT THIS STUPIDLY PERFECT ENDING.

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Hell, next time, give me the gun. I’m your Huckleberry.

AAAAAAHHHH I want to write a thousand books about the feelings this episode gave me at so many levels, like how perfectly the returning characters fitted into the team dyamic because it yuxtaposed beautifully with how they worked with each other in the first season, back when they were still finding new things about each other and just learning how to work together as a team. But I just looove how this show lets all its characters be actual human beings instead of ridiculous archetypes and these two men are negotiators. They’re not your typical rude thugs who like to punch people because it gives them a rush. They have class and manners and they’re good with words and analyzing the space around them. They keep a cool head in most situations and they don’t fight if they have another choice but mostly, when they do it, they like to do it with someone as good as they are, because any other fight wouldn’t be fair. And Eliot and Quinn don’t necessarily have to be friends but I love that they didn’t made them enemies either because they’re professional enough to be able to acknowledge how good the other is and respect him for it. Basically I just love how fucking competent and multilayered all these characters are, but mostly I adore how everytime this show brings ‘outside’ characters, it doesn’t just play with the differences/similarities between all of them (which is great and it always uses them right and I keep loving it for never wasting the potential these situations bring) but also use them to subtetly highlight how different the characters are from the beginning of the show. I already commented on this with the Nate/Maggie, Nate/Sterling dynamic, but this episode did that with the other characters too and it was beautiful and so well handled. 

Like Quinn wouldn’t have a problem with shooting a guy he doesn’t know just to get the job done, and Eliot’s hand shakes just at the idea of it because he’s not that man anymore and he still would be more than willing to do it to save Nate’s soul. And that’s the difference between them and that’s why these kind of episodes always make me sob and burst with love because ugh show your character development has no flaws; they’re not the same because they’ve known each other and now they care about other than themselves, and my favorite thing is how that doesn’t make them worse at what they do, completely dismissing the idea that loving and/or caring or making a character have actual feelings toward other characters doesn’t make them any less good, it actually makes them better and Leverage does this spectacularly because the whole emotional core of it it’s precisely how these characters are the best because they have each other. These kind of episodes make me super emotional and this stupid show keeps throwing them at me and I hate it (but I don’t, just please keep doing it forever, I’ll be here being a puddle of feelings waiting for more)

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I’m her father. New York City, 12 years ago. The little scamp lifted my wallet. When I first met her she was wild, dangerous. To herself and to others. But she had the gift. My perfect thief.

3.03; The Inside Job / 4.18; The Last Dam Job

You all know how much I adore Parker and Archie and how her stealing his wallet every time they meet gives me all the FEELINGS because that’s how they knew each other and the last time they said goodbye to each other she returned him his wallet because she had finally found her place in the world and she was ready to let him go so obviously the scene in this episode with her lifting his wallet again makes me want to die because it’s their thing and that’s how competent thieves with such an emotional baggage together recognize each other and ugh, it’s so perfect for them. Also Archie calling her ‘his daughter’ in front of her real daughter and HER FACE and him going with her without a doubt the moment he sees her because he really can’t stay out of the game makes me sob because these. thieves. I genuinely think Richard Chamberlain is probably one of the best casting choices this show has ever done (damn, the man has so much class) and I can’t think of anyone better to play this wise, sophisticated, badass thief who wears a cane with an extendible stiletto blade like the characters in those Old Hollywood movies, who remains unshakable at everything except when it comes to Parker and him and Beth have an insane amount of chemistry and they play each other so well and I just have so many feelings about this show’s father figures. HELP.
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NATE: Hey, Hardison. You can’t do what I do. // HARDISON: What, you think I’m not smart enough? // NATE: Nah, no, you’re smart enough, that’s the easy part. // HARDISON: What’s the hard part? - 3.04; The Scheherezade Job
JIMMY: You betrayed your own father. You’re more ruthless than me. Crueler than me. Yeah. Maybe you are better than me, huh? - 3.09; The Three Card Monte Job
HARDISON: You know, Nate, it seems like lately you’ve been so focused on the part of the job where we wreck people, I thought it might be nice to show you we actually do some good in the world. I know you’re mad, but— // NATE: Hardison… Thanks. - 4.14; The Boys’ Night Out Job
NATE: Listen, Hardison. The only thing success teaches you in this job is the next time, make it a little tougher. And tougher means more risk, more danger, more pressure on yourself. And that pressure begins to take a toll. You begin to see the absolute worst in people. Their sins, their weaknesses, things you take advantage of. And after a while, you realize that maybe the job has changed you. And not always for the better. - 4.16; The Gold Job

Excuse me while I vomit my feelings here but I just have so many emotions about Nate and Nate’s relationship with his father and how sometimes Nate and Hardison’s dynamic echoes that relationship except for the fact that Jimmy actually did some major damage on Nate because he shaped him since he was a kid and Nate is aware of that and is trying to prevent Hardison from becoming him. And I love how they’ve been dancing around this idea since last season and then this episode happened and it was everything that I wanted and then more because they never disrespected nor understimated Hardison’s ability to run his own crew in the future (I’m too emotionally invested in those characters and I want them to be happy and successful at whatever they end up doing when everything is said and done ok) but Nate step aside and left him do everything even if he knew it’d all probably fell apart and at the end he was far from being an ass about it. He was just waiting him with a backup plan and not a single ‘I told you so’. He even opened up his heart in some scenes and basically was, during the whole episode, the wind in his back, not the spit in his face (it’s gorgeous in Spanish.)

Both characters have grown so much and there’s been such a huge development in their relationship since that final scene in Scheherezade, I just want to hug them both. 

GUH. THIS TEAM WARMS MY HEART SO FUCKING MUCH.

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Ok, PLEASE feel free to delete all this if you reblog, but I just need to say that I absolutely LOVE how obviously this show ships this OT5. I mean, you can watch the show and enjoy it no matter what pairing you ship the most because, honestly, every single combination is possible and it’s great, but this OT5… It’s the whole show, and the showrunners don’t have a problem showing it whenever it’s possible. Here we have these 5 emotionally crippled individuals breaking up in an airport, avoiding each other’s looks, saying that they had a good run but it’s time to move on. Seriously, how Casablanca is that? The resemblance is so amusing and perfect to me. Not to mention their epic reunion 6 months later, (that one-shot sequence when they all see each other and there’s like a magnetic force that pulls them together) when everything is totally awkward and they try to convice each other they’ve been doing great on their own just to admit, a few hours later, that they missed each other so much they ended up stealing diamonds and putting them back and hacking the White House e-mail just because they were bored! Seriously, it’s just so delightfully obvious how the whole thing revolves around their dysfunctional love story that sometimes I have trouble believing this show actually exists.
Source: elenitahb
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Sam would have been 13 this year… a teenager… almost a man… I mean he’d probably be a big pain in the ass but…
In defense of Nathan Ford’s “manpain”: “He was a great dad. He was a far better man with Maggie and Sam than he was before or has been since.” (Jon Rogers, when asked whether Nate was a good dad, The Rashomon Post-Ep Q&A). We wouldn’t have this team, this family of thieves, if Sam didn’t die—if Maggie didn’t leave him. He watches these people form a family around him, grow into their own, change for the better, and while he has accepted them as his new family, that’s what they are, his new family. I think the reason Nate still struggles with associating himself as one of them—as a thief is because he didn’t choose this life. His son will always be something that was robbed from him—used against him. Nate is a victim of the very people he takes down. I don’t particularly think he was an honest man, or even a virtuous man, but an innocent man, yes he was. He’s been systematically destroying his life since his son died, and it hasn’t stopped since the team started working together. You can’t win against someone who has nothing to lose and Nate Ford always wins. Tim Hutton gives a really great and subtle performance here, especially the way Nate says, “he’d probably be a big pain in the ass,” and his eyes flickers off into the distance not able to finish the sentence. It juxtaposes so beautifully with the very first scene of the episode, where they’re all bickering like children, being a big pain in [Nate’s] the ass. I love that every single episode of this show is about the characters and the plot doesn’t suffer for it. They’re all so explicitly tied to a form of loss (“we’re all addicts, Nate, we’re all addicted to our past”), so they stay with and for each other. And they trust Nate, they don’t like it when he drinks but they trust him. That’s what makes Nate and his threats scary, it’s the fact that he has these people who would go the distance for him. Nate literally can’t just stop drinking. The drinking is a symptom of grief, and Nate will always wear his grief like an old suit.
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SOPHIE Everything alright, Parker? PARKER I can’t stop thinking about the Newtons. Nate said they had faith their father was at peace, but… that’s not enough. How do you do it? SOPHIE Do what? PARKER How do you care, that people you like someday they’ll die. SOPHIE You know Parker, we never really talk about it, but if you lost someone when you were just a child [Parker looks away, Sophie tries to make eye-contact], then you might put up walls that you make sure you never get hurt again. Trust me this life is not worth living without the people that make us want to tear down those walls. The thrill of vulnerability the danger of opening your heart. It makes us feel alive. PARKER I feel alive when I’m jumping off a building. SOPHIE Well maybe that’s why they call it falling in love.
I’ve always been fascinated by Parker and Sophie’s dynamic. To Parker, Sophie is like the embodiment of all the female figures in life she’s been deprived of as a child: a mother, a sister, a confidante. I think it’s only natural for her to look up to Sophie and expect her fears to be quelled and all her questions answered, there’s a natural kinship between these two because Sophie is all the above. Here she understands that what Parker needs is assurance and trust because Parker doesn’t quite grasp what unconditional love means. This scene, especially, Sophie associates the thrill of jumping off buildings, to putting her faith in people, something Parker can relate to, it’s not trite or belittling, because people often take things we’ve been taught since birth for granted, but Parker’s a classic case of childhood neglect. This girl, who at a very young age thought she was not worthy to being part of family, doesn’t know how to cope with death or find closure, she’s absolutely terrified that she cares deeply for these people, her people, that the lost of one or all could literally break her. Deconstructing Parker’s character is understanding her basic concept of things like love and death, her arc starts from scratch, a progress of learning curves, and there’s a group of broken people teaching her acceptance and betterment. My perfect thief, you are stunning to behold.
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We’re friends… we’re extras.
Let’s talk about how Nate and Sophie are terrible at being in a relationship like they’re already in one. The First Rule of San Lorenzo: You don’t talk about San Lorenzo… or the kiss or Sophie’s real name. (In my personal headcanon, Nate shouts different names mid-coitus till he gets it right—DOMINIQUE?… CAROLINE?… RAQUEL?). The Second Rule of San Lorenzo: sobriety not optional, develop a drinking habit, or leave your spouse, the Duke on your behalf. I love Nate acting coy like he doesn’t have stellar decision-making skills even under the influence. Yeah, Nate, how ever did you slip into Sophie’s vagina and pass out on the floor. Three, when considering a friends with benefits relationship, act like it’s not a big deal, because that’s mastermind talk for we’re taking baby steps. Lastly, make sure the chances of Eliot and Parker NOT seeing a bra dangling from the staircase is zero. Relationship advice not written by Nate and Sophie. Hardison and Parker, don’t take notes.
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