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vanilla-villainsstuff · 2 years

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HERE'S MY THOUGHTS ON ALL THE MAJOR SHIPS IN LMK

I dunno how controversial this is so...

Takes cover

I don't really like the idea of ppl shipping Nezha with anybody for two reasons:

In the original JTTW, he's mentally and physically a 12 year old who happens to be immortal. Meaning he looks and acts like a preteen. Now, in the show it seems that they made Nezha closer to MK's age. (who's probably 18-20 years old.) I don't really know why this decision was made, but I ain't touching that grey area with a ten foot pole.

Secondly, He... doesn't really have any romantic chemistry with anyone? Sure, he hasn't gotten much screentime but I can't really see Nezha being romantically involved with anyone, he just... doesn't seem to really care for it all that much. (Personally I hc him as aro-ace)

As for Dragonfruit, ehhh...I can see the appeal? It just seems kinda...repetitive as a ship? If Red Son and Mei were love interests, it would more or less be "Red Son not understanding social cues or social interactions or taking things too seriously and Mei helping him out." I don't think it's me being biased towards hetero ships cuz well, there are hetero ships I fucking love it's just, Dragonfruit just lacks that "umph!" factor, y'know? That deeper thing that makes it really stand out as a ship. It's a neat ship, don't get me wrong, I just don't really see why others really like it or make it their otp. Especially since Red Son and Mei seem to hate the idea of being together as seen in Revenge of the Spider Queen, it just seems like ppl are shipping them for no other reason than Red Son and Mei have funny/well written interactions in the show.

Now, why did I put Spicynoodles at the "should be canon" tier and not Dragonfruit? Well...

MK and Red Son are both bad at social interaction/social cues in completely opposite ways. MK is extremely impulsive, impatient, and hyperactive, which causes him to indirectly put him and/or his friends in danger to the point where multiple episodes are dedicated to explaining to MK to take it down a couple of notches. Meanwhile, Red Son is bad at social interaction/social cues because he's sheltered, overly serious, and hot tempered. If Red Son and MK were to be love interests, it could potentially balance things out. (MK showing Red how to let loose and appreciate others' company, and Red reeling MK in from doing something stupidly impulsive.)

Red Son and MK are also very inexperienced with romance, Red Son moreso. Red Son never seems to take romance into consideration, and again, was offended at the idea of being Mei's partner. I'd hazard a guess that Red never had a crush on or dated anyone before. Now, MK'S a different story...MK is explicitly shown to have interest in other men and see them as attractive, (See MK call DBK "Demon Daddy", calling Monkie King "handsome", and never expressing the same with women) so he's definitely had crushes on a few guys before, but it doesn't seem like he's ever dated anyone. So it would be super interesting to see both Red Son and MK figure out the whole dating thing as they go along

The reason why I believe it should be canon is because it could bring out a side of both the characters we don't really see and having both of them discover significant, new things about themselves. It could really flesh them out in a really interesting way and they'd have a very stand out dynamic

So... ShadowPeaches, amirite? But seriously, why do I think it should be canon? Well, I would explain in excruciating detail but this post is already hella fucking long and I'd rather go more in depth on ShadowPeaches in a post all about that ship exclusively.

(Also, to all the dumb brains out there spreading misinformation about JTTW, lemme put this misconception to bed now... MACAQUE AND WUKONG WERE NEVER BROTHERS IN JTTW! Buddha stated that they're vaguely a part of the same species, but not brothers. Wukong and Macaque have precisely zero deeper connection to each other in JTTW, Macaque's birth was never even detailed in the book and Wukong doesn't even have parents. I have researched this topic for weeks, I've read parts of the original JTTW, I have even talked with actual Chinese people on this stupid ass issue, and as far as I can tell, this is just a stupid fan theory being passed off as canon by non-Chinese ppl who haven't read or even properly researched the original JTTW. Shut the actual fuck up, I don't want to hear it.)

And finally, why is it gross to ship MK with Macaque/SWK? After all, didn't I myself say that MK is probably a legal adult, so shouldn't shipping them be fine? No, because it's not about the age thing (although it kinda is) it's about the massive, collosal, power imbalance that could manifest.

While MK is 18-20 years old, SWK and Macaque are very likely to be at least 1,000 years old. (SWK and Macaque were friends years before the events of JTTW, in the original JTTW, SWK gets put under a mountain for 500 years, and in the events of LMK, SWK went missing after sealing DBK under a mountain for another 500 years, so if we're assuming that LMK is following the same lore as JTTW, SWK and Macaque are at least 1,000 years old) Although it seems that Macaque and SWK are mentally and physically middle aged, which still isn't any better. Point being, a romantic relationship between MK and these two would be the equivalent of a 30 year old dating an 18 year old.

Secondly, SWK and Macaque are MK'S teachers and guardians, SWK moreso. A romantic relationship between them would be pretty fucked since SWK is affectively MK'S superior in everyway. MK wants to be SWK'S successor, wants to be close to him, wants to be a stronger person, and SWK having romantic feelings towards MK would just seem like...borderline grooming. Like I'm sorry, but that's why most college teachers, therapists, and doctors have a strict "no dating students/clients" rule since that could potentially lead to their students/clients to be taken advantage of because they're eager/vulnerable.

Now here's the thing: Why is shipping MK with the 1,000 year old SWK/Macaque wrong, but shipping him with the 420 (ha) year old Red Son is fine? Well, multiple reasons, the major ones being that Red looks mentally and physically to be around the same age as MK (both are still coming into their own, both aren't quite mature, plus Red Son is described as a "boy genius", so yeah, Red probably just ages a lot slower in comparison to mortals). Secondly because Red Son and MK are equals, Red isn't MK'S mentor or anything. But yeah to sum it up: even though MK X SWK/Macaque isn't technically p*dophila or whatever, it's still a massive power imbalance and comes off as gross. Stop it.

Andddd... that's all of my main thoughts on these ships! Hope you found this enjoyable, thanks for reading! :)

#monkie kid macaque #lego monkie kid #monkie kid #lmk #monkie kid mk #monkie kid tang #monkie kid red son #monkie kid sun wukong #monkie kid mei #lmk spicynoodles #monkie kid nezha #monkie kid pigsy #monkie kid sandy #shadowpeach #lmk qi xiaotian #lmk monkey king

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offtorivendell · 3 years

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The Significance of Elain and a Cup of Tea 🍵

Do not screenshot this post.

Disclaimer: these are my own interpretations, and obviously not canon - though I do think that the text supports Elain and Azriel ending up together. I'm sure I'm not the first to see this connection, but I had fun writing it, so... here you go.

It's another long one, sorry. Again, maybe go and make yourself a cuppa first.

In stories that involve Seers, they often read tea leaves, using the patterns they leave at the bottom of a tea cup to predict the future.

Elain, a Seer Made by the Cauldron, seems to have an interesting relationship with tea - it symbolises her/her life, and her reactions to her surroundings while she's written with a cup of tea appear to predict her own future.

The tea predicted Elain being Made

Elain lifted her teacup. “Whatever the reason, Feyre, we are happy to see you. Alive. We thought you were—” I pulled my hood back before she could go on. Elain’s teacup rattled in its saucer as she noticed my ears. My longer, slender hands—the face that was undeniably Fae. “I was dead,” I said roughly. “I was dead, and then I was reborn—remade.” Elain set her shivering teacup onto the low-lying table between us. Amber liquid splashed over the side, pooling in the saucer.

- Feyre, ACOMAF, chapter 23

When Feyre, together with Rhys, Azriel and Cassian, visited her family's estate in the human lands, Elain (and Nesta) discovered that Feyre had been Made into a high fae after she died at Amarantha's hands. They are grateful that she's alive - they'd understandably thought otherwise, but rattled by her transformation.

More water than seemed possible dumped out in a cascade. Black, smoke-coated water. And Elain, as if she’d been thrown by a wave, washed onto the stones facedown.

Alive, she had to be alive, had to have wanted to live— Elain sucked in a breath...

Elain’s ears were now pointed beneath her sodden hair.

Elain was still shivering on the wet stones...

From however Elain had been Made… Nesta was different.

- Feyre, ACOMAF, chapter 65

Later on in ACOMAF, after it is revealed that Elain and Nesta were kidnapped by the King of Hybern, Elain is lifted into the Cauldron by the Hybern soldiers, then washed over the edge a Made being, left shivering on the stone floor; in her relief that Elain was alive, Feyre noticed her newly pointed ears - a direct call back to Elain's reaction to seeing Feyre for the first time since she was Made. Feyre was shocked, this time around, and Elain was shivering on the stone ground, as opposed to her tea cup on the low-lying table.

The tea predicted Elain's failed engagement to Graysen

Nesta looked to Elain, still silent and wide-eyed. The tea she’d prepared—the finest, most exotic tea money could buy—sat undisturbed on the table. Elain thumbed the iron ring on her finger. “It is your choice,” Nesta said with unusual gentleness. For her, Nesta would go to Prythian. Elain swallowed, a doe caught in a snare. “I—I can’t. I …”

- Feyre, ACOMAF, chapter 57

Elain, raised to be a fine lady, the prettiest (most exotic) of the Archeron sisters, will eventually lose the life for which she was "prepared," and is left "undisturbed on the table," i.e. Graysen, represented here by the iron engagement ring that he gave to Elain, refused to marry her after she was Made against her will. The ring is also important in that Elain spends a lot of her time in ACOWAR touching it, while she mourned what she lost with Graysen.

Her too-thin shoulders seemed to curve inward. “No one ever does. No one ever looked—not really.” A bramble of words. Her voice strained to a whisper. “He did. He saw me. He will not now.”

- Lucien, ACOWAR, chapter 24

Here Elain predicted, heartbreakingly, that Graysen would refuse to See her again - that her being Made fae would prevent him from not just loving her, but identifying with her. There are a couple of great analyses out there that discuss whether and why Elain truly loved Graysen, but what we cannot deny is that they shared a goal, and that goal gave her purpose.

All of that aside, I think we can all agree - his loss!

The tea predicted that there was nothing wrong with Elain

Nesta, sharp-eyed in the corner, had kept quiet. After a long minute, Madja asked us to join her in fetching Elain a cup of tea—with a pointed glance to the door. We both took the invitation and left our sister in her sunlit room.

“What do you mean, nothing is wrong with her?” Nesta hissed under her breath as the ancient female braced a hand on the stair railing to help herself down. I kept beside the healer, a hand in easy reach of her elbow, should she need it.

“What I mean,” Madja said at last, sizing up Nesta, then me, “is that I can find nothing wrong with her. Her body is fine—too thin and in need of more food and fresh air, but nothing amiss. And as for her mind … I cannot enter it.”

- Feyre, ACOWAR, chapter 28

Madja, the Night Court's chief healer, informed Feyre and Nesta that there is nothing she can find wrong with Elain, other than a lack of food, which she is still refusing at this time. Nesta's words, to me, symbolised the concern that the IC and Lucien have for Elain - they're not 100% sure that she came out of the Cauldron with a sound mind - but Madja reiterated her point: there is nothing medically wrong with Elain, and she cannot enter her mind.

Is it because Madja is not a daemati, or something else entirely?

The tea appears to predict a failed relationship - and potentially a false bond - with Lucien

She’d [Jesminda] seen him not as a High Lord’s seventh son, but as a male. Had loved him without question, without hesitation. She had chosen him. Elain had been… thrown at him. He glanced toward the tea service spread on a low-lying table nearby.

Forced his hands to be steady while he poured himself a cup of tea and sat in the chair opposite Nesta’s vacated one.

For a long moment, Elain’s face did not shift, but those eyes seemed to focus a bit more. “Lucien,” she said at last, and he clenched his teacup to keep from shuddering at the sound of his name on her mouth.

But Elain blinked slowly. “You were in Hybern.” “Yes.” It was all he could say. “You betrayed us.”

She did not love him, want him, need him. Another male’s bride. A mortal man’s wife. Or she would have been.

- Lucien, ACOWAR, chapter 24

The only time we've had Lucien’s POV (so far) in this series is significant, in that he almost immediately compared Elain to Jesminda, his late first love, and he mused that, while Jesminda had chosen him, had loved him without hesitation, Elain had been thrown at him - very romantic - and she certainly goes on to hesitate in any interactions she has with him. It follows, then, that Elain might not choose Lucien.

Additionally, Lucien forcing his hands to remain steady while pouring the tea, then clenching the tea cup (read: dealing with Elain), could be read as symbolic of the bond between them restricting them both. Lucien then went on to call Elain "another male's bride," which is (potentially, of course) Very Important.

Who might that other male be? We have our suspicions. 🦇

When discussing Elain's health, Madja said the following:

The ancient healer jerked her chin toward Lucien. “See what he can do. If anyone can sense if something is amiss, it’s a mate.” “How.” The word was barely more than a barked command. I braced myself to warn Nesta to be polite, but Madja said to my sister, as if she were a small child, “The mating bond. It is a bridge between souls.”

- Feyre, ACOWAR, chapter 28

The beginning of chapter 29 in ACOWAR had Feyre experiencing "the most uncomfortable thirty minutes" that she could recall; Elain and Lucien were having tea, so that he could attempt to sense if "anything was amiss" - as Madja had instructed.

Lucien and Elain sat in stilted silence by the dim fireplace, an untouched tea service between them. I didn’t dare ask if he was trying to get into her head, or if he was feeling a bond similar to that black adamant bridge between Rhys’s mind and my own. If a normal mating bond felt wholly different.

A teacup rattled and rasped against a saucer, and Mor and I glanced over. Elain had picked up the teacup, and now sipped from it without so much as looking toward him. In the dining room across the hall, I knew Nesta was craning her neck to look.

The sound [Amren in the other room] seemed to startle Elain, who swiftly set down her teacup. She rose to her feet, and Lucien shot to his. “I’m sorry,” he blurted. “What—what was that?” Mor put a hand on my knee to keep me from rising, too. “It—it was a tug. On the bond.”

Elain sidled toward Nesta, who seemed to be at a near-simmer. “It felt… strange,” Elain breathed. “Like you pulled on a thread tied to a rib.”

“There’s a bond—it’s a real thread,” he said, more to himself than us.

- Feyre, ACOWAR, chapter 29

The words that signify what is between Lucien and Elain here seem quite telling - stilted, dim, untouched - a call back to the "undisturbed" tea service that Elain laid out for their meeting with the queens, which foreshadowed the end of her relationship with Graysen.

The stilted silence and dim fireplace suggest that there is no communication down their "bond," and that they lack the fire of other truly mated couples. More specifically, they could be referring to Feyre/Rhys (bond communication) and Nesta/Cassian (fire between them). Will touch play an important role in Elain's eventual romance?

Elain sipped her tea - read: will live her life - without looking to Lucien at all, while Nesta, Feyre and Mor all watched her/them. Feyre took a moment to wonder if a "normal mating bond" felt different to what she shares with Rhys, not knowing that what Elain and Lucien have may not be normal at all.

Not long after this, Lucien attemped to reach Elain down the "thread" (singular) of their bond and startled her; Elain quickly stood up, then shared that her bond felt strange - almost as if she was answering Feyre's thought. A "normal" mating bond should not feel "strange." What is wrong with the bond between Lucien and Elain? He was unable to sense anything, as Madja said a true mate would, and a little later on, Azriel figured out that Elain was a Seer.

I found my sister in the kitchen, watching the kettle scream. “He’s not staying for tea,” I said. No sign of Nuala or Cerridwen. Elain simply removed the kettle from the heat.

I knew I wasn’t truly angry with her, not angry with anyone but myself, but I said, “You couldn’t say a single word to him? A pleasant greeting?”

Elain only stared at the steaming kettle as she set it on the stone counter.

“He brought you a present.”

Those doe-brown eyes turned toward me. Sharper than I’d ever seen them. “And that entitles him to my time, my affections?”

“No.” I blinked. “But he is a good male.” Despite our harsh words. Despite this Band of Exiles bullshit. “He cares for you.”

“He doesn’t know me.”

“You don’t give him the chance to even try to do so.”

Her mouth tightened, the only sign of anger in her graceful countenance. “I don’t want a mate. I don’t want a male.” She wanted a human man.

- Feyre, ACOFAS, chapter 18

I felt like this passage is partly prediction, and partly a way for SJM to let us into Elain's head; for Elain to speak her truths. A couple of lines did stand out to me, though:

I read Elain "watching the kettle scream" as synonymous with what must have been going on in her head at the time. Scream is an odd choice of word, as most would describe a kettle as whistling. As an aside, there is an interesting parallel that exists with Azriel, in his bonus chapter of ACOSF, where being with Elain makes the noise in his head quiet down.

Elain staring at the steaming kettle seemed to indicate that she might be evaluating her life - could the steam be a metaphor for the mist she will have to See through to find the fourth Dread Trove item? Lucien "not staying for tea" (read: Elain's life) sounded like confirmation (to me, of course) that they will not pursue a romantic relationship together.

Elain’s declaration that Lucien doesn't know her, and that he cannot buy her time or affection with gifts is *chef's kiss* good, though please don't read this as anti Lucien - it's more anti Feyre's poor choice of words.

I have discussed '"I don't want a mate. I don’t want a male.” She wanted a human man.' here, in depth, but a quick summary is that I think Elain wants someone to See all of her, including her humanity, and that her humanity will probably be helpful with her future love interest.

The tea appears to predict Elain's eventual relationship with Azriel, and maybe even a mating bond

She looked away [from Lucien]—toward the windows. “I can hear your heart,” she said quietly. He wasn’t sure how to respond, so he said nothing, and drained his tea, even as it burned his mouth. “When I sleep,” she murmured, “I can hear your heart beating through the stone.” She angled her head, as if the city view held some answer. “Can you hear mine?” He wasn’t sure if she truly meant to address him, but he said, “No, lady. I cannot.” Her too-thin shoulders seemed to curve inward. “No one ever does. No one ever looked—not really.” A bramble of words. Her voice strained to a whisper. “He did. He saw me. He will not now.”

- Lucien, ACOWAR, chapter 24

Firstly, and so significantly, Elain looked away from Lucien, and towards the windows, instead. We know that, earlier in that scene, Elain was talking to Feyre about being able to see the sea from where she sat, but I think that when Elain is mentioned as being around tea, her words tend to take on a deeper meaning - I interpreted this as Elain removing herself from the conversation she'd been having with Lucien. The next words out of her mouth, then - that "In my sleep, I hear your heart beating through the stone," appear to be spoken not to Lucien, but someone else.

Who do we know who always seems to be looking out windows to the garden, in search of Elain? Who could potentially be flying over Velaris, to or from the House of Wind? It looks like our flower grower might have started the trend!

Who sleeps at the House of Wind, where Elain and Nesta also stay? Aside from Lucien as a guest, there are two longterm residents. One of them is mated to Nesta, while the other one displays some strikingly familiar behaviour towards the middle Archeron sister.

Secondly, the tea burnt Lucien's mouth, then he thought to himself that there's a good chance Elain might not have been addressing him, may have intended to say that to someone else.

Lucien himself told us what was happening, which brings us to:

Elain sat silently at one of the wrought-iron tables, a cup of tea before her. Azriel was sprawled on the chaise longue across the gray stones, sunning his wings and reading what looked to be a stack of reports—likely information on the Autumn Court that he planned to present to Rhys once he’d sorted through it all. Already dressed for the Hewn City—the brutal, beautiful armor so at odds with the lovely garden. And my sister sitting within it. “Why not make them mates?” I mused. “Why Lucien?” “I’d keep that question from Lucien.”

- Feyre and Rhys, ACOWAR, chapter 24

In direct contrast to the tea that Elain and Lucien shared - stilted silence, dim fireplace, untouched tea service (i.e. their bond) - Elain and Azriel sit comfortably - we can assume, due to the lack of negative adjectives - in the sun, a cup of tea (read, once more: her life) "before her." The wrought iron table could potentially be symbolic; that Elain will be hammered into shape by the events of her life, ultimately becoming strong.

Elain is, however, "silent," which may have been indicating that she will spend some time not voicing her own wishes/being passive in her life - we have seen this throughout ACOWAR and ACOFAS, until ACOSF, where she finally started to speak up. It might also mean something else, which I mention further down.

Azriel is even sunning his wings. If you haven't seen it, this is how birds sun their wings - and they look hilariously comfy as they do.

Image source. Can someone please draw the Rhys/Cass/Az version of this?!). 😅

The pose makes them vulnerable; we know exactly how sensitive and possessive Illyrians are about their wings, and how private Azriel is in general, but he trusted Elain enough to expose himself (figuratively - and also, sort of literally) right from the start, just as Elain trusted his reactions at the first "family dinner," back in ACOMAF.

I discussed the relevance of how Elain, the sun, lays bare Azriel's shadows in this post, but the mutual trust and comfort here is, in my opinion, more evidence that Elain and Az share some sort of bond, be that mate or other, that makes him feel innately secure around her. Outside the Night Court, Rhys only ever showed his wings to Feyre, and while Azriel's wings can't be summoned at will like Rhys' can, the same principle stands - protect at all costs, so the parallel is there.

I also think Az may have been showing off his wings - just a wee bit. This is when Feyre uttered her iconic - and maybe prophetic - line, "Why not make them mates?" Feyre, who had thought from the start that Elain and Azriel would make a handsome pair. This is yet another parallel to a canonically mated pair, as we saw Cassian (not so) subtly showing off his wings to Nesta in chapter 29 of ACOWAR.

Oh, and Azriel knew Feyre was watching. So did Cassian. Perhaps they didn't care?

I know Elain x Azriel is not the most popular ship for either of them, but the evidence, to me, has been here all along - not just for a chosen relationship, but also a potential bond. Of course, this shouldn't stop people from shipping who they want. 🖤

The tea predicts that Feyre will become too overprotective of Elain

Rhys smiled at me over his shoulder. Enjoy your tea, you overbearing chaperone.

- Feyre, ACOWAR, chapter 29

" You think I stifle her?"

- Feyre (in response to Rhys), ACOSF, Feyre's bonus chapter

No matter who you ship, the one thing that almost everyone can agree on is that ACOSF demonstrated that Elain is frustrated with being coddled, protected, and not seen; she wants to grow, to come into her own and to have her help be both welcomed and valued.

Unresolved/potential predictions

The following are just bits of text that jumped out at me, that could hint at future events (or could end up being nothing, of course).

Elain thumbed the iron ring on her finger. “It is your choice,” Nesta said with unusual gentleness.

- Feyre, ACOMAF, chapter 57

A hint that Elain's story will be revolve around her making her own choices, both in terms of her love interest and role within the Night Court.

"And as for her mind… I cannot enter it.”

- Feyre, ACOWAR, chapter 28

Elain apparently has an impenetrable mind - will this be important when she deals with Koschei, the queens and other future enemies? Is she an anti-daemati?

But Elain blinked slowly. “You were in Hybern.” “Yes.” It was all he could say. “You betrayed us.”

- Lucien, ACOWAR, chapter 24

Future foreshadowing?! I really, really hope not.

Slow blinkers tend to have quick reflexes, let's hope that this is suggesting Elain will be quick on her feet.

- Feyre, ACOWAR, chapter 24

Will Elain become involved with Azriel's spy service, or work with him in some capacity? Spies must be able to stay silent, to keep secrets - and we know from ACOSF that Elain is adept at secret keeping.

#elain archeron #seer #elriel #pro elriel #anti elucien #feyre archeron #azriel #azriel shadowsinger #acotar #acomaf #acowar #acofas #lucien vanserra #divination #acosf #tea #tea leaves #spy elain #anti gwynriel

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dtrhwithalex · 3 years

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TV | Leverage (Season 1, Rewatch)

Rewatch of the first season of TNT's LEVERAGE (2008-2012), created by John Rogers and Chris Downey together with Dean Devlin and his production company Electric Entertainment.

In anticipation of the show's reboot / revival / sequel LEVERAGE: REDEMPTION coming to IMDbTV on 09 July this year, I am rewatching the original 77 episodes and writing about my favourite moments and things from each episode, season by season.

(Just a note, this first season was aired out of order, so the dates won't actually form a chronology, since I'm going with the intended order rather than the one they were aired in.)

101: THE NIGERIAN JOB

D: DEAN DEVLIN. W: JOHN ROGERS & CHRIS DOWNEY. Original Air Date: 07 December 2008.

I have lost count of how many times I have seen this episode (or any episodes of this show to be completely honest), but it holds up every single time. It is one of my favourite, if not the favourite TV pilot episode I have ever seen.

The way this pilot sets up who the main characters are and what the core of this show is, is simply perfect. The introduction of Nate at the bar being approached by Dubenich, then the intercut between him convincing Nate to do the job and the actual job happening -- just wonderful. The same goes for the individual introductions of the other players. Nate's comment about Parker ("no, but Parker is insane") which plants a thread for the rest of the show already, the flashbacks of each character to exemplify who they and what their talents are, combined with the episode then showing you those talents and what Nate can do with them -- which is, of course, his talent -- sets up this whole show so well.

So many seeds that come to fruition throughout the show are already planted right here. Nate's mentoring of Parker to become his eventual successor as Mastermind ("Haircuts, Parker, count the haircuts" -- "I would've missed that"), Eliot's role as protector, the iconic overhead shots and the gloating, the alternate revenue streams, "Hardison dies in Plan M" -- it's all already right here in this episode. A brilliant piece of writing. Hats off to Rogers and Downey, no questions asked.

Rewatching this episode made me think of what this show is about, in its essence. Yes, it is about standing up for those who can't do so themselves, taking on the bigger bad, showing how corrupt and terrible the world can be, but also how much good there is to still find in the world. But also, this show is about a lonely man being actively bullied into the family he didn't know he needed or wanted, but will eventually come to realise is the one thing, the only thing that is keeping him alive. LEVERAGE is the story of a man and his crusade to avenge the death of his child, but is is very much also the story of a man who finds a reason to keep getting up every morning in the four people who are on this crusade with him. And this pilot episode already holds the seed and the potential of all of that. And that is why this show is to this day still my favourite show of all time, because it is utterly perfect in every way.

102: THE HOMECOMING JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 09 December 2008.

I absolutely love how John Rogers was like okay first episode, some greedy asshole who does whatever he wants for his own gain, we'll take him down a notch. Episode two? Hmm, oh yeah, the government is completely corrupt, filled with rich greedy assholes who do whatever they want for their own gain and always get away with it. Not on my watch (I love him very much, thank you).

This episode, once again, so good. The re-introduction of every character in this new reality of Nate's crusade is just as brilliantly done as the original introduction of them all. Sophie at an audition (love the John Rogers cameo here) completely butchering it once again, Eliot beating up some thug, Parker stealing valuable art, and Hardison doing what he does best: creating a beautiful office-slash-home space for the team, putting his all into their backstories, the equipment, the behind-the-scenes workings of what they need to get the job done. My man.

The message of this particular episode is also just something I am very fond of. The rehab facility doctor's words in the beginning, and then in the end again -- "people don't just show up to help. that's not the way the world works" -- as well as Nate's ultimate answer to her, "so change the world." That right here is the message of this show. It's already right here, all up in your face, episode two.

I completely adore what this episode does for the character dynamics already. The detail Hardison puts into the other's backstories, the interactions around the conference table, Eliot sharing his knowledge, Nate explaining the money laundering scam, the whole thing about laws being in a wooden box, Sophie elaborating why she knew Congressman Jenkins was lying to her -- they don't just work together, they already start giving the others insight into their talents and their knowledge and share that. It's beautiful. I especially adore the shot of them at the end, everyone leaning against the car while watching Corporal Perry and the other veterans debating what to do with the money. They are already so comfortable and at ease with each other, leaning into each other's spaces. They're family. You can see it here already.

Absolutely fantastic episode. For a long time, whenever I thought about The Homecoming Job, I somehow associated a more negative emotion with it than with other episodes, but I don't quite know why, because this is a brilliant episode and I love watching it.

103: THE WEDDING JOB

D: JONATHAN FRAKES. W: CHRIS DOWNEY. Original Air Date: 13 January 2009.

We love Jonathan Frakes in this house and every single time his name shows up with the director tag on this show, I know that I will enjoy every last second of the episode I am about to watch. Frakes directed the hell outta this thing. The Wedding Job is an absolutely excellent episode. Dan Lauria as our main baddie Nicky Moscone is perfect casting and there are so many great comedic beats in the scenes with him and Nate. Everyone, generally, is so weirded out by Priest!Nate, but Moscone just takes the weirdness in stride. This episode holds a very special place in my heart because it contains the introduction of my favourite FBI duo -- McSweeten (McSweetheart, as we call him) and Taggert. I adore these two bumbling fools so much, and I am so glad they kept being brought back, because they are both just so lovely. McSweetheart especially is very dear to me because of the D.B. Cooper Job from the last season (where, I ask, do I start my McSweetheart for Leverage: Redemption campaign?). Overall just such an excellent episode, really. So many great moments between our main characters--Sophie and Nate and their little "relationship" problem, Hardison and Eliot talking about marriage, Parker pretending she was waiting in the screening room to have sex with Hardison, Hardison appreciating Eliot's cooking. I also absolutely adore the beginning, the four of them convincing Nate that Teresa is definitely the type of client they take on. And Nate's resigned "Yeah, okay, yeah. Let's go rob Nicky Moscone. A guy who kills people and lives in our city. Yeah, let's go do that" as if they weren't going to go above and beyond any of that in the five years they will spend together on this crusade of his. You're so precious, Nathan. Of course, the ending of this episode is beyond brilliant, and lives both in my heart and my head rent free. It is such a magnificent found family moment. Getting Teresa the restaurant back, the news footage regarding Ray's appeal, and of course, Eliot cooking for them all, and them celebrating together, all of them. It is such a beautiful moment.

104: THE SNOW JOB

D: TONY BILL. W: ALBERT KIM. Original Air Date: 27 January 2009.

I adore what the client says to Nate in the beginning of the episode: "You work hard, you play by the rules, but when you need help, you really need help? They let you hang. They let you hang and it's your kid who pays the price." This show hammers home its message so many times in such great character moments and it makes watching these brilliant people take on these greedy bastards and robbing them for all they've got that much sweeter. It is such a satisfying thing to watch. Especially because they're all so damn good at this.

This is a great episode but it is infinitely funnier if you know and speak German, because it makes the scenes between Sophie and Eliot absolutely hysterical. And the delivery of the line that Ute Ausgartner says when she discovers they replaced her with Sophie is just wrong enough to crack you up.

Again some wonderfully brilliant comedic beats -- the Frakes cameo in the hospital waiting room, Parker casually hanging off the ski lift, Hardison and Eliot arguing over who puts dye in the dead body, Eliot carrying off a pissed of Parker, and so many more.

This episode also, for the first time, really gives insight into Nate's drinking problem. We had the one moment in The Homecoming Job, but this episode starts to explore it more in depths. And something that I've always appreciated about this show is that it never glorifies the drinking, but Nate is also never vilified for it. It is a fact of Nate's life and they explore different aspects of it, and everything is done with such care (which does not surprise me one bit since this is John Rogers' show).

The ending of this episode is also, once again, so beautiful and nicely done. It is just so incredibly satisfying to watch these greedy bastards get what's coming to them, and to see the clients be compensated beyond anything they'd ask for.

105: THE MILE HIGH JOB

D: ROB MINKOFF. W: AMY BERG. Original Air Date: 20 January 2009.

Another fantastic episode (you will realise that I will say this about every single of the 77 episodes this show has)! Amy Berg wrote some excellent stuff for this show, and this episode is one of them. Always a lot of great character relationship moments, and absolutely brilliant comedic beats.

I am very fond of the fact that here, in the early days, we have the whole team present around the table during the client meeting. We see all their reactions and inputs here already, and not later when Nate or Hardison (usually) relays the information of their next job to the rest of the gang. It's a very lovely moment.

I am also very fond of the entire recon bit at the GenoGrow office. Sophie's French rave-girl act, the others having to climb stairs, Hardison's absence, the cut from Parker's bomb to the microwave at the HQ, Nate, Eliot and Parker yelling "Oh it's right behind us, it's chasing us!" and grabbing Sophie on the way out, meanwhile the security guys completely buying it. Absolutely brilliant, all the way through.

Both Hardison's adventure at GenoGrow as well as the others on the plane contain so many great comedic moments. Hardison's Spanish maintenance guy act, his interactions with both Cheryl and Steve (talking into the cupboard? His fake meeting and getting Steve to take a dive? The whole birthday thing? A+ all around. Amy Berg, everyone) and of course the reaction he has to the plane safely landing on the highway ("lord I was so scared, I wanna cry and call my momma" I love him so much, y'all). I also have big feelings about Nate's pep talk to Hardison, "you can do this, I trust you ... the only guy I can count on in a situation like this." Sir, I am experiencing an emotion alright.

The sequences on the plane are of course also absolutely fantastic. Nate and Sophie's domestic, Parker's day job and her interactions with Marissa, Eliot being a big softie who holds Marissa's hand all the way up to the in-flight bar and hugs the woman he sat down next to when they safely land (womaniser, big softie. tomayto, tomahto). Also big shoutout to the fake names Nate and Sophie have. We love our DOCTOR WHO references in this show. I love these nerds very much, thank you.

106: THE TWO HORSE JOB

D: CRAIG R. BAXLEY. W: MELISSA GLENN & JESSICA RIEDER (GRASL). Original Air Date: 16 December 2008.

This episode also holds a very special place in my heart because it contains the introduction of our dearly beloved antagonist, Mr Jim Sterling, the absolutely amazing Mark Sheppard. We love Sterling in this house, yessir (again, where do I have to address my Jim Sterling For Leverage: Redemption campaign to?). Every moment he is in is fantastic, but I especially adore the conversation he has with Nate at the race track (especially the "Nathan Ford is a common criminal" -- "Common. That's just hurtful" bit of it).

This, of course, is an episode by our wonder twins, Glenn and Rieder (now Grasl), which they ended up naming the in-universe safe company after. Always fantastic work when the two of them are involved. Some amazing character moments again here.

We get to see some of Eliot's backstory with Aimee which in turn gives us two fantastic moments with him and the women of the team. I love his interaction with Sophie at the racetrack: "I like Aimee, I do. I mean it, I like you both, Eliot. I just, I don't know what comes of chasing the past, you know." -- "Well Sophie, sweetie, I don't think you and Nate get to serve me that particular meal." Just fantastic moment between these two, who I like to call The Conference of Mom Friends whenever they are in scenes together. The other interaction is with Parker in the car: "We need you to do this. I need you to do this." I adore Eliot and Parker's relationship and this already is a very early glimpse at the dynamic they develop which will eventually lead to beautiful moments like that in the ice cave in The Long Way Down Job in season four.

I also love how it is Hardison and Parker's discussion about horses that ultimately reminds Nate of the Lost Heir con. Aldis' delivery of "Wilbur loved Mr Ed! He loved him like a second cousin twice removed" is absolutely brilliant. Unsurprisingly, however, my favourite interaction of this episode is the one Eliot has with Aimee at the end: "You're never gonna be the kind to settle down, but I'm glad you found a family." -- "Th-those guys?" Yes, Eliot, those guys. You might not know it just yet, but that is absolutely your family, and the fact that an outsider already comments on it this early is simply perfect. My deepest gratitude to you, wonder twins.

107: THE BANK SHOT JOB

D: DEAN DEVLIN. W: AMY BERG. Original Air Date: 30 December 2008.

Amy Berg on the typewriter once again (typewriter? Alex what are you talking about this was 2008...)! I really like this episode a whole lot. An excellent one for Nate/Sophie, as well as Hardison/Parker. I have a huge soft spot for my crime children pretending to be law enforcement. Any combination of them is good, but Parker and Hardison as FBI agents especially is just exquisite.

This episode is also just fantastic for illustrating some of the small town criminal activity that happens from the top down. Judge Roy's entire bit about how "these little people" will do and say whatever he tells them to do and that, because he is the law in the town, he gets to decide what is actually true and what is not. To then have Hardison fake security footage and them turning the story against Judge Roy is of course poetic justice. I adore the moment when the bank manager Frank decides that sticking with the false facts these random people have come up with is the better choice than having the judge remain in charge.

I also really love the interaction Derrick has with Sophie and then later with Parker, as well as the moment of uncertainty in-between. His "I don't know what to do with that" when Sophie tells him she's a thief is so funny and so good. The turn of "but they're criminals....then again" when he looks out of the window on the way to Parker is also just a nice moment to illustrate exactly what Parker then later says, "sometimes bad guys are the only good guys you get." Ethics and justice are such muddy concepts and especially in situations like Derrick is currently in, there is no way of knowing who is actually good, who is bad, and who is just trying their best. It is a lovely moment and once again, one of those great instances of "important message within character moment" that this show does so well.

Of course, I am also very fond of Hardison's mention of DOCTOR WHO, his "Geek power baby, stay strong" line, Eliot's fight scene with the crack dealers ("stay in the car!"), Hardison's bullshitting the demands at the bank (Hall & Oates!) and, of course, last but not least, the return of my favourite FBI fools, McSweetheart and Taggert, getting yet another win laid in their lap by the Leverage crew. This episode is filled to the brim with greatness.

108: THE MIRACLE JOB

D: ARVIN BROWN. W: CHRISTINE BOYLAN. Original Air Date: 23 December 2008.

An absolutely excellent Nate-centric episode! We finally get a bit more of a view into Nate's past, aside from the ever-present flashback to Sam's death at the hospital. I really like the relationship of Nate and Father Paul, which I think is very interesting and so well done. Through Paul we get another side of Nate, which may have stayed hidden otherwise. I am also very fond of how Maggie is introduced here. She doesn't get a voice yet, but we learn about her through Nate, Sophie and also Paul, and I quite like that. It sets up expectations for her appearance in the finale, which is really intriguing.

This episode has so many great comedic beats as well, and I barely even know where to begin. From the team's inability to deal with Sophie's acting talents (or lack thereof) to the whole "It's not Santa" gag, the amazing faces Sophie pulls when the mark tells her about Bibletopia, Hardison's "God will smite us" thing -- there is just too much good stuff in this episode.

One of my favourite interactions in this episode was on the construction site, after Grant takes what he thinks are his meds.

Sophie: What is that you just took? Grant: Xanax. For my nerves. Parker: Actually caffeine. With a dash of dextroamphetamine. Eliot: You have him speed? Hardison, shrugging: He beat up a priest!

The look Eliot gives them then with a half-shrug, an expression which cannot be described as anything but "aight, fair enough" -- just absolutely excellent.

What I also really loved about this episode, is that we get to see more of the HQ than just the conference room. We have the team meeting in Nate's office, we see Sophie picking through her mail, Hardison making space so he can build fake Saint Nick statues. Added to that, the team is setting into such a nice familiarity with each other. Eliot brings Sophie a cup of coffee to the meeting in Nate's office. The fact that they all do get mail at the office. This is their space. I love it so much.

What this episode also gives us, is a first instance of the con possibly going side-ways because of how convincing it is. I adore that their possible downfall will never be incompetence, but rather over-competence. They are so good at what they do that sometimes their talent comes to bite them in the ass. We see this again, a bit different, in The Juror #6 Job.

The ending of this episode is very dear to me. It is a very lovely moment between Nate and Paul, but also Nate and the team. It creates such a beautiful moment of intimacy between these characters, which I think is done with extreme care, and it shows. This episode also very nicely sets up a nice sort of grounded-ness for the next episode, which I think the subject matter really deserves and needs.

109: THE STORK JOB

D: MARC ROSKIN. W: ALBERT KIM. Original Air Date: 06 January 2009.

This one and the next episode are excellent Parker-centric plots and this one in particular also has some wonderful Parker/Hardison content. Nate, also, is just very good in this episode as well. Keeping the tone the last episode established especially toward the end, this episode has such a nice grounded-ness to it. Nate's first meeting with the client is so careful in a way, and we don't always see that. Generally, Nate is careful and considerate in this episode, I think. Even when Parker goes rogue, he is so good with Parker (I attribute the brashness entirely to his director role here). It meant so much that he doesn't shoot down the idea of coming back for the other orphans, he knows how important this is to Parker (and Hardison).

With this episode we learn that both Parker and Hardison have grown up in the foster system. I really adore the conversation they have at the van after they find out about the orphanage -- Hardison telling Parker about his Nana, Parker's fear that foster system will be cruel to those children, Hardison's "I like how you turned out" -- it is such a lovely and meaningful moment. This and the "we're a team" / "a little more than a team" moments are such great instances that highlight the importance of these characters and their relationships in this show. It isn't just some crime procedural where every characters is replaceable at any given moment -- this show is about people, and about these specific people.

On a lighter note, I also really adore Nate and Sophie's dynamic in this. How they coach Parker and Eliot individually but at the same time, while also arguing about Sophie conning Nate back in the day, is just brilliant. Their "delightful banter" as Hardison calls it, is so good, and I absolutely love that Nate figures out the way to con Irina is the same way he would have to con Sophie. It's just too good.

David S. Lee as Nicholas is also incredibly good, although since watching THE LIBRARIANS I always expect him to swoon over a blonde and call her Duchess any minute.

110: THE JUROR #6 JOB

D: JONATHAN FRAKES. W: REBECCA KIRSCH. Original Air Date: 10 February 2009.

The lighter of the two Parker-centric episodes, but a brilliant one nonetheless. This episode also brings us the introduction of Peggy played by the lovely Lisa Schurga. We love Peggy in this house and, once again, I ask: where do I address my Peggy For Leverage: Redemption campaign to?

This episode is great for many different reasons, one of course being that Hardison is so good at what he does, that Parker's alias has to go to jury duty. What a talent, we absolutely have no choice but to stan. I love him so much. Other fantastic things that make this episode absolutely excellent are

- Nate's "there is not some evil conspiracy lurking behind the curtain of every routine civic activity" speech which he then has to retract,

- Sophie teaching Parker about persuasion with the help of Eliot who is absolutely precious in this interaction,

- Eliot's friend Donnie, who poses as another employee from the company Sophie pretends to be from, who then turns out to be Scottish,

- Nate and Sophie sending the kids off to work at the door, with a briefcase and handshake for Hardison and a snack and high-five for Parker,

and Hardison's entire act as a lawyer. He is so good. Of course his stalling is brilliant, but the turn-around once he has to actually try and win the trial? A masterpiece. I love how he tears the doctor apart for his drunken airplane misconducts, but what takes the cake by miles is of course his closing statement. He is just, so good, and such a goodhearted, wonderful person. I love how he directly addressed Parker. Hardison is full of sunshine and I love. him. so. much.

And I would be remiss not to mention how incredibly fond I am of the rest of the team watching the feed of the jury room from the HQ with such proud looks on their faces as Parker leads the other jury members and they vote in favour of the plaintiff. This is their girl and she's done so well. What a brilliant episode. My love to Becky Kirsch, honestly.

111: THE 12-STEP JOB

D: ROD HARDY. W: AMY BERG & CHRIS DOWNEY. Original Air Date: 03 February 2009.

Another episode, another instance of me asking the question: Where do I address my Hurley for Leverage: Redemption campaign to? We love Hurley! Drew Powell is absolutely fantastic, I adore him. Also huge shoutout to Joseph LoDuca for that absolute banger of a song that plays during the intro and the credits.

This episode has some fantastic Eliot/Hardison moments that are very dear to me. The two of them looking for Hurley and fighting over Hardison's slushy spill is just lovely. The whole car bomb sequence is also just completely brilliant. It's such a step in their relationship and I love it so much. The moment of "D'you want me to kick it?" / "God, I'm gon' die" is a wonderful comedic beat in this tense situation, but it is the bit after that I really adore. Hardison figuring out how to trick the bomb and then,

Eliot: What's our margin of error here? Hardison: 'bout half a second. Eliot: Run the ba-bag of bricks by me again? Hardison: Are you ready? Eliot: No.

I am just, so fond of these two. Also the fact that Eliot's hand shakes when he reaches for the cables and waits for Hardison's signal always puts me all up in my feelings about him. I also of course adore the scene at the rehab facility with Hardison's "I'm with him. No, I am with him. See, he thinks the flirting makes me jealous, but it doesn't. But if you was like Brad Pitt or Denzel or somebody, oh girl it would be on." It love it so much.

Nate, of course, is also just great in this episode. His entire experience in rehab is another wonderful insight into his character, his issues, how he sees himself and so on. The hallucination of Sterling says so much about him. I think this also very nicely sets up how Nate behaves in the finale double episode.

I also really want to mention Parker here, because Parker in rehab is also something I am very fond of. I love the moment where she pickpockets the Koreans searching for Hurley and then so innocently comes to Nate to confess what she's done and tells him in this tiny voice "I didn't meant to, it was just instinct." I love her so much. And her, at the end of the episode, skipping along and then running toward her people, jumping on Eliot while tossing her stuff at Nate, and then going to hug Hardison, is such a lovely moment. I love how the three of them then walk toward the car arm in arm, too. I love these kids.

112: THE FIRST DAVID JOB

D: DEAN DEVLIN. W: JOHN ROGERS. Original Air Date: 17 February 2009.

First half of the first finale! I gotta say I really love the David Jobs very much. It is such a fantastic first finale. I really adore how the opening of this episode is mirrored in the opening of the second half.

Given the set-up of the previous episode, I really like how for a first time watcher, this opening sequence very much looks like Nate is completely off the rails doing his own thing getting revenge on the man who, basically, killed his son. It isn't until Blackpoole introduces Nate to 'Portia' and we see Sophie turn around that it becomes clear that we're on the con, which I think is done very nicely. Only then giving the viewer the "how we got here" part is just great.

This episode of course also brings us, finally, Maggie (yes, I'll ask again: where do I address my Maggie For Leverage: Redemption campaign to?). I absolutely love how she is introduced here as Eliot's date. I also love how absolutely terrified Eliot looks once he realises that she isn't just anyone, but Nate's ex-wife. Maggie is such an excellent character, and I adore her. I also am very appreciative that this episode holds the singular moment of jealousy Sophie has toward Maggie. After her momentary outburst as Maggie tells Nate she hasn't stopped caring about him, we never see it again. Even better, once Maggie learns about Nate's crew, Sophie and her even become friends. And it is lovely.

We also have some great Parker/Hardison moments in this episode as well. I adore Parker and her enthusiasm for their "little naked man" and Hardison being weirded out about it (and turning the little David around so Parker can change in private). I, of course, absolutely love the kiss (and Eliot's grinning question at Sophie who of the two of them Parker had kissed) and then the theft of the First David. Hardison is so in awe of Parker and it is a sight to behold.

I also quite enjoy the "downfall" in this episode. Sterling showing up (we love the bastard), the fight between Eliot and Mr Quinn, the conversation about Sophie conning them on the roof, and then of course the final confrontations on that same roof as well as the HQ. This whole thing of "and then I asked myself, what would Parker do?" / "but then I thought, what would Hardison do?" is just brilliant and lovely. It shows how far they have all come throughout this first season and how much they have learned from each other already. I am very fond of it.

I am sad about the offices being blown up, though. As much as I love both McRory's pub and Nate's apartment in Boston, as well as the Brewpub in Portland, I've always really liked the LA offices as well. It was their first home and it was lovely. I am however very happy that Old Nate made it out unscathed.

113: THE SECOND DAVID JOB

D: DEAN DEVLIN. W: JOHN ROGERS & CHRIS DOWNEY. Original Air Date: 24 February 2009.

And the last episode! As I've said above, I adore how this opening sequence mirrors that of The First David Job. Similarly, I also love how until Sophie notices Parker's laser pointer and Eliot sees Hardison, as a viewer you assume they are on the job together, which is again the reversal of the first half of the finale. Just lovely storytelling, I adore it. Speaking of mirrors, the scene in the MC Hammer mansion where Nate inconspicuously manages to get them all thinking about the con together and putting their differences aside once more, also mirrors one of my favourite scenes from the first episode of season two, where the team does the same to Nate.

This episode on the whole I also just marvellous. Eliot's awkward date with Maggie, Nate finally telling Maggie about Blackpoole's involvement (or lack thereof) in Sam's death, the team involving Maggie in the planning of the con and her, precious as she is, questioning Nate's ability to just get people to do what he wants -- it is all just so good. I love Maggie on the con, too. Sophie coaching her, how good Maggie is at it immediately. Just lovely.

Then, of course, the entirety of the con from the moment Nate shows up at the museum. Sterling hurrying all over the place trying to figure out what Nate's plan is, finding out about the mummy, the release of the gas, the evacuation, the David statue replicas, them finally getting in and finding Nate alone in the exhibit room. I adore that shot of him leaning against the display case with the two Davids still inside, only highlighted from the open hatch in the roof. It is such a beautiful shot. I really enjoy Nate and Sterling's dynamic here, too. And I am very happy that Maggie gets to punch Blackpoole just like Nate got to in the episode before. They both deserve to give this man hell.

The ending of this episode and therefore this season always has me in all of my emotions. If I didn't know there would be more after this, I would just go lie down and weep for a while after watching it. The trademark overhead walkaway shot is of course a must, but the fact that they stop, that all of them hesitate, thinking about turning around, thinking about changing their minds. And then it cuts to black, and if this had been it, we would've never known! Ah, what a show, what a first season. I am completely in love with this show, as pretty much everyone knows, but I just -- this show is so damn good. It gets me every single time. Every time.

[image taken from the electricnow website]

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