Can We Talk About Percy Seeing His Mom In The Underworld?

it is so funny that leverage was like "alright this is the last season let's split up our main characters for two episodes and do slightly different genres than we usually do. we're gonna send nate and sophie on a charming little art theft slash murder mystery and send eliot and parker and hardison on an incredibly high stakes spy thriller. both episodes are gonna be SIMMERING with polyamorous sexual tension btw."

If you are currently sitting or laying down this moment ask yourself if you are resting or rotting. Change your behavior accordingly

I bet the first time Nana meets Eliot- she sees the God fearing, flag wearing 18 year old boy. (The one that Eliot looks for in the mirror and can't find.) Nana doesn't see a criminal. Doesn't see a man who has blood on his hands. She doesn't see a warrior bleeding and crying out for mercy. Just a over tired, stressed, broken 18 year old- trying to prove to the world he's worth fighting for. That there's hope in saving him. Nana doesn't question Eliot's roaming eyes. Roaming eyes that are either looking for danger or looking for exits. The older woman simply smiles and pulls him to the kitchen. Makes him sit down and puts a mug of coffee near his callous hands. Nana doesn't react when she hears screams, moans, and groans at night. Nor in the morning does she make a remark about walking by the room and seeing Hardison and Parker next to Eliot on the twin bed. (Eliot is in the middle.)

I bet when Nana first meets Parker, she doesn't question her habits at all. Some how (Hardison, obviously,) has Parker's favorite candy and cereal. Some times, Parker will sit right in front of Nana with a brush and a hair tie. Nana will gently brush her hair while she plays with whatever child is in front of her. She doesn't slap Parker's hands away when she grabs extra food. And she definitely ignores seeing Parker sneaking into the room Hardison and Eliot share. (Nana saw it when they walked in- Parker feels safe with them.) In the mornings and the windows are open- she looks out to see Parker and Alec on a bedsheet curled up to each other. She smiles. Nor does she comment on missing things after they leave. Especially since a few weeks later- those things return outta the blue. Nana has no qualms when Eliot shows up with both Parker and Hardison behind him- Parker sick and Hardison injured.

"Sorry, Nana," Eliot apologizes, looking meek at coming to her place, "I can't get them to list'n. Can't get 'em to rest." And together- Nana and Eliot get the two trouble makers on the couch. She might not question the reason why Eliot showed up with the two. However she does give Eliot a sparing look. She see's the ragged, tired look. It doesn't take a whole a lot of brain power to know that the two so called trouble makers- got Eliot into the dog pile. (He was suppose to follow her into the kitchen- he didn't. She knows Parker and Hardison grabbed his wrist.) (What can anyone say? She has eyes on the back of her head.) (Eliot allows to get pulled onto the couch with only mild, gruff, complaining.) When she goes back to the living room to check on her charges- she finds Eliot in squished in the middle- being used as a pillow. (He's knocked out too.)

Nana doesn't mind Parker teaching her kids how to pick locks. Or watching Eliot teach them self- defense. She doesn't question it when she see's little four year old Becca with pig-tails- standing by the counter helping Eliot with breakfast. Nana hums when she opens the door on a Saturday morning and see's Eliot, Parker, and Hardison (though Hardison begrudgingly-) with a tool box. After all she had left a message to Alec that her sink was leaky.

Instead, she makes coffee and pulls out Parker's favorite cereal. She asks if They are staying for lunch and even dinner. Makes causal remarks about one of her more difficult children- and watches as Parker and her baby Alec go and find the kid.

None of them comment about Parker recruiting half of kids that come from Nana's house. They keep it hush- hush when neighbors stop by for a cook out. Many of the neighbors ask about the trio- and Nana only replies with a smile.

"They're my kids." She says fondly- watching as Eliot grills as Parker is poking and prodding the chef. And Alec is simply smirking as he's showing Isak how to hack.

I bet Nana treats Eliot and Parker like her family. Because they are Alec's family.

you’re my son. 🥺

The part I appreciate the most in the Lockwood and Co show is how it handles depression and suicidal thoughts in teenagers. As a theme, it’s not often (ever) done well. Lockwood and Co is the only story I can think of that depicts it in a nuanced, realistic, non-romanticized way

but first, before I get into it: [if you’re in crisis or need someone to talk to and don’t want to/can’t use your national hotline, highly recommend Samaritans, genuinely saved my life] okay, let’s go

Lockwood is the most obvious, with his general disregard for his own life and admitted suicidal ideation. Lucy struggles with her self-worth and the intensity of the emotions she’s subjected to. George worries that he doesn’t belong, that there’s something useless or wrong about him. The show depicts these thoughts and feelings in a way that isn’t overblown or dramatized, it’s all but casual. Which is how it happens. Depression or suicidal thoughts don’t crash into you all at once, they creep into your life without you noticing

But more importantly (and again, something I’ve never seen anywhere else), the show also offers counterpoints to those thoughts and feelings. It shows that there is a way out, even though you may feel trapped and hopeless. This is crucial for the show’s target demographic. Bad media depictions of depression or suicide get internalized, contribute to the stigma, and make it harder for people to ask for help. This show doesn’t do that. This show tells its audience that, yes, things are scary and painful and it fucking sucks, but it’s not hopeless. And it says it so well

In the second episode, when Lucy wants to quit, she admits something that I’m almost certain she’s never told anyone

“sometimes I just think I’d be better off dead”

And when I watched this the first time, I expected Lockwood to react the way I’ve seen people react in my own life; with silence or panic or downright dismissal. But he didn’t. He stays calm and he says something that is so so important to hear when you’re struggling under the weight of feelings like this

“I understand that”

Keep reading

My all time favorite quotes of Hardison and Elliot showing support for Parker (S02E13 - the Future Job)

Tara: “He is good.”

Hardison: “He should be shot.”

Parker: “…cut off his arms. And his head. Yeah, I wanna kill him. Can we make that happen?”

Elliot: “Yeah, I can. I mean, I could…” (heavily implies murder)

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.

HELPPP

I’ve seen some people complaining about Channing Tatum/his accent in Deadpool & Wolverine, and I just want to set a few things straight.

Channing has been on the docket to play Gambit since 2005, but each and every time, the character was cut from the script, he had a prior contract, or the director kept getting replaced until the project was scrapped 4 years later with the Fox/Disney merger.

He has family in Louisiana and grew up in the bayous (albeit in rural Alabama). This character has meant something to him since CHILDHOOD when it comes to representation in media.

Gambit doesn’t speak SAE (Standard American English). He’s a street urchin from Acadia/New Orleans. He grew up speaking Cajun (a mix of Southern American, Canadian French, and España Spanish grammar applied to a mostly English vocabulary) and Louisiana French (an offshoot of Canadian French from Acadians).

Every person I’ve seen online who ACTUALLY GREW UP around people who speak Cajun, Creole, and/or Louisiana French has said that his accent is SPOT ON, maybe even a little too clear.

All this to say: if you can’t understand Gambit in Deadpool & Wolverine, you’re not supposed to. That’s the bit: unless you’re used to those dialects and accents, you’re shit outta luck trying to parse it out without help. Hell, even Rogue, who grew up in the South, doesn’t know what he’s saying half the time.

Please!!

Friends. If you do nothing else this week, please. Please stream Lockwood and Co as much as you can. The completed viewing hours matter so much and this story deserves a season two. The fandom has grown exponentially in the last three weeks, people are loving the show and finding the books. It has more than earned that renewal but Netflix needs the numbers to authorize it.

Let’s give them no choice.