You Guys Don’t Understand What Netflix Has Stolen From Us. When I Say I Would Do ANYTHING To See Cameron

The Rundown Job was really the OT3 episode, uh?

I knew they worked well together, that's been obvious for a while. But in an episode of just them, it really hits how in sinc they are.

Hardison and Eliot doing their little handshake after watching Parker do her acrobat thing through a lazer grid.

Eliot's first concern being to get Hardison and Parker to safety. Them refusing to let Eliot go up against a terrorist attack. Parker's line about how they change together, for better or worse.

Eliot not being scared of the terrorists attack because he has Hardison and Parker on his side and he believes in them more than anything.

Also when Eliot put his hand on the back of Hardison's neck and looked into his eyes? That was so intimate. The tension was serious with undertones of sexual. It had the same tension as Parker diffusing the bomb.

The silent communication. The celebrating each other's victories.

Eliot throwing down the crutch in favor of leaning on his partners.

I'm sure other stuff I missed, it being only my first watch through and all. But that's the stuff that stood out the most to me.

I'm so tired, I'm so so tired.

Watching TV shows has become the most tiring thing in this dystopian, late-stage capitalistic hellscape.

It doesn't matter how much we love those shows, how much we talk about them, how much we promote it online. Big streaming services will just cancel them on a Friday night and then let them slowly fall into oblivion. If by SOME MIRACLE the show doesn't get cancelled after the first season, it'll just decline over the years, some crazy writer will cook up a poorly written plot, or they'll just lose interest in the project and then leave the fans in the trenches.

Big corporate streaming services just think that views are gonna materialize out of thin air??? They barely promote their new shows and they DEMAND high views just to let them keep going? It's THEIR JOB to promote shows, but obviously they couldn't care less, they only care about money, and they leave the promoting job to the fans which is batshit insane if you ask me.

Streaming services were supposed to be the solution, the chosen one if you will, but they turned out to be the villains.

Owning a movie or a show is now absolutely impossible because God forbid they release DVDs anymore. Streaming services will just randomly DELETE their cancelled shows and movies from their platforms. Fans are now supposed to be PR teams for Netflix, HBO, Prime and whatever other stupid streaming apps out there because they couldn't be bothered to,,, idk,,, do their job and promote their own shows!? They're literally acting like villains.

It feels dystopic really.

I know I probably sound like a person yelling at a cloud but it's starting to become exhausting.

And I know that there are far worse things out there, that there are more important matters to focus on, but I'm so tired.

They're killing art. There are so many people out there that put all their love and all their passion and skills into creating amazing shows that SO MANY other people love and they feel represented by, but they don't care.

This is literally my last straw.

They're killing art with their greed.

theres something so beautiful about things becoming dirty from their job. like a painter's desk being covered in paint stains, or a gardeners pants having mud stains that wont wash out, or a cutting board being stained from all the foods that have been cut on it. just a clear, distinct telling of "this was used as intended and it shows" an object clearly showing it's been used and loved

Same energy

Leverage (2008–2012) & Leverage: Redemption (2021–) x DOCTOR WHO

Okay, somebody can correct me if I'm wrong- but at the end of The Nigerian Job, when the team was convincing Nate that they should keep doing what they did- Eliot's whole argument was Nate. Nate falling apart. Nate needing the chance. Nate not being able to walk away. Nate.

Then, suddenly Eliot became the whole team's body guard. (Something he's grunt and gruffed about.) Yet. Yet. Somewhere (I say it was The Iceman Job and The Inside Job,) Eliot's brain switched from protecting the team to protecting Hardison and Parker. (Again correct me if I'm wrong.) Suddenly his job became more about having Hardison and Parker's back than having Nate's back. Maybe I'm the only one whose noticed- but Eliot become more softer with both Hardison and Parker after those particular jobs. Sure he keeps that gruff, sarcastic wit about him but there's often tones of... protectivness(?) when he interacts with them. Almost like he's telling other people around them- whose in ear shot- that Hardison and Parker are his. Like he's possessive.

Now, I'm not saying Eliot just stops caring about the rest of the team. I mean- he beats up Sterling for Nate and in Redemption Eliot is following Sophie around a handful of times. Their are even times where he has Breanna's back and Harry's. But he seems to treat those situations like a case. He compartmentalizes those situations. With Hardison and Parker- he doesn't. It's like his brain won't let him. He sees Hardison and Parker and it's like- all bets are off.

And on the flip side- has anyone noticed that Parker and Hardison seem to be the only ones that know how to... defuse (is that the right word?) Eliot? Like even Maria couldn't get Eliot to relax in The Hurrican Job. (Of course that's probably because Eliot was hiding who he was to her.) But Eliot always seems to be more relaxed when he's around those two.

In The Iceman Job after when Hardison tries to hug him? Eliot wasn't really fighting it. (I would know- I do that to my brother ALL the time when he tries to hug me.) In The Inside Job- when Eliot went to attack that employee- Parker stopped him. In The Double-Edge Sword Job, when Eliot is furious because an abusive ex comes after a women that they tried to hide- it's Parker that calms him down. It's Hardison who pays off the bartender when Eliot attacks Sterling. It's Parker who is always by his side or close to it. It's Parker who trusts Eliot when their in the back of the van with Vance. (Yes, Parker trusts Hardison too, but Hardison is a hacker- not a protector.) It's Eliot who Hardison listens to when he's not confident. It's Eliot who grabs Hardison from the coffin. It's Eliot who crouchs behind Hardison as Parker flips around him. It's Eliot whose hands are shaking when he they have half a second on a bomb.

Eliot Spencer is Hardison's and Parkers. They own him. In the same way Hardison and Parker are his. He owns them. (Does that make sense?)

For the record- I don't know why I'm pointing all of this out. It's just interesting to me... I guess.

stating the obvious here but 35 portland row is so beautiful as a whole.

i mean theres death and misery and reminders of what's lost soaked into the very floorboards, stained carpets and horror stacking up, tragedy you can touch and something you can't look in the eyes waiting with your blood under its nails. but there is also sugar on the table.

there are pictures on the wall and dishes in the sink and beds with extra blankets and laughing you can hear from the stairwell, and i mean you know who it is because you've heard it enough and you know hes throwing his head back because that's how he sounds when he laughs that hard, and I mean sometimes youll still take a blanket from your bed and sit under it with her because it feels even more like home that way. sometimes youll find your clean laundry on your bed and it's still warm.

I mean it is so so so cold outside and its cold inside here too, but ours is a different cold. cold like a hand in yours right before you grab it with your other to bring warmth. it's a gentle kind of thawing when you feel boiling waters steam on your cheeks and it's a gentle kind of thawing when you start to hear the house creaking as a contented sigh, and then you'll sigh too, and i mean theres death and misery and reminders of what's lost soaked into the very floorboards, but when its spring again we'll do spring cleaning together like those happy families on tv. there is sugar on the table for you because someone remembered how you like your tea.

The fact that articles about which songs are about who were published not even an hour after the album was released infuriates me. This album is so clearly about Taylor and her story; not the men who may have inspired her writings. Never has a Taylor album been so centered around her and her reflecting on herself and people trying to attribute which songs belong to what muse misses the entire point of the work.

“until you can’t tell a prop knife from a real one” and “I want to be remembered in the same breath as the mona lisa” are the same levels of gut punch that truly elevate the knives out series btw

Oh my god. The tears in Luke’s eyes when Percy says the betrayal line. The desperate pleading for them to run away. That he doesn’t want to hurt Percy. The tears in Percy’s eyes. The fear and shaking. Percy apologizing for actually hurting him. The look of horror on Luke’s face as Annabeth comes in. How horrified he looks when he looks down at Percy, who he HURT. The realization that Percy won’t join, and the equaled horror of hurting a twelve year old child.

Then he runs.