You Have Invited Strangers Into Your Home, Helen Pevensie, Mother Of Four.

Fucking hell, I miss the wilds already

I really hate it here…

Inspired by this post by @lemissingmask

The team holding Eliot back from violence, either with a simple gesture or by putting themselves in front of him.

And the time the violence was encouraged:

I adore them

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

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

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

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

#Something something about Annabeth expecting help from her mother because she was always the perfect kid but getting sent to her own death and Percy expecting nothing because he doesn't believe in his dad and despite everything being saved from death by him

Seriously though, Leverage Redemption, when the hell is Tara Cole making an appearance? She better be coming in season two and I better get some quality Tara roasting the shit out of Harry for his lackluster theif skills and the fact that he used to be a lawyer and Tara being Breanna's vodka aunt who only shows up on holidays with outlandish stories about her torrid international affairs and special expensive gifts that are 100% stolen and I better get some quality sexual tension between her and Sophie

I want Tara to show up and reveal she's become a den mother for one of the Leverage International teams and it's like her own personal version of The Ocean's 8 team full of badass theif ladies and yes they are gay

Leverage Redmption hire me as a writer I already have the episode in my mind I'll do it for free, just please bring back my sarcastic jaded Quantico trained crime wife please

*Spoilers for the most recent percy jackson episode*

Grover is a master manipulator. He just promts Ares with certain topic starters and off the god goes on a tangent. Starts with war, ends with his sister. Like a therapist but with his own goals in mind. Do you think all beings that live beyond the mist e.g. centaurs, satyrs, nymphs, dryads etc. are brought up with knowledge on how to protect themselves against gods [not physically] like mentally almost like a survival guide. The way there's like advice for women to protect themselves against being attacked in public.

percy asking if he can ask a stupid question before asking a completely legitimate question because he's been made to believe all his questions are stupid, so he feels the need to preface them with a blanket understanding that he's aware he's dumb and he doesn't need to be told such, so if the question could just get answered..

Glass Onion Parallels (insp)

I adore him

The best night scenes I’ve watched

I've seen a lot of praise for the Netflix Lockwood and co. adaptation. I haven't read the books, enjoyed the show. Lots of people already said a lot of positive things about this series concerning plot, characters, and so on that I largely agree with

You know what hasn't really been talked about?

How BRIGHT and WELL LIT everything is. Like, this show mostly happens at night, with characters running around with torches to see anything, because their job has to be done during the night.

But I can still SEE EVERYTHING.

I noticed that in the graveyard scenes especially. The sky is pitch black, we know it's the middle of the night. But the grass in green and I can SEE IT.

Love them for not going down the path of GOT, DC, and so many more. Of saying "well, it's the middle of the night, so nobody can see anything, and neither can the audience".

Instead they went "we told our audience it's the middle of the night, we're showing it to them, but we're also giving them the opportunity to see what actually happens on screen".

Amazing.