Tag: perfect

featherquillpen:

pagerunner:

peroxidepirate:

See, this kills me because it’s a pretty fucking fundamental driving force in Eliot Spencer’s character – “you can’t make that promise to more than one person.” And yet he ends the series doing exactly that.

The evil writerly part of my brain wants to know what happens when he can’t be there for Parker and Hardison both at the same moment. Whether it’s a heist gone wrong and he has to choose who to protect, or they’re in conflict with each other and he can’t avoid taking sides – what happens? 

Hardison. (At least for the job gone wrong, and assuming nothing in the job fundamentally supercedes it by putting other’s lives in danger.) Parker would tell him to get Hardison out and he’d do it, because that’s what makes them…them.

And when Hardison demands why, Eliot tells him, “she said to say, there’s never a plan M.”

i feel personally attacked by this headcanon

achromaticly:

bydaybreak:

liiiiiiiiiiiiiiiike. let’s talk about their reactions here? because i 100% believe in my filthy trash bin of a heart that this episode was the point of no return for parker and eliot both, the point at which they both realised holy shit i am in way over my head. 

look at those reactions. like, it’s not simple relief, it’s relief and *total fucking whelm*. and neither eliot nor parker has–allowed themselves, maybe, the relative luxury of just thinking about what someone means to them. because it’s always been a liability. for eliot, caring too much about people would just be something that someone could use against him; for parker, it’s what archie’s cautioned her against a million times: we don’t get involved. 

and worse for both of them, really, is that they’re not–not too caught up in a job, not too wrapped up in their own reputations or…or things that could be forgivable, really. things that they could realise and chide themselves for and then pull back from, do better. no, instead they’re both of them way overinvested in another person, in a person who could be hurt, who could be taken from them because they weren’t good enough or fast enough or–or just because sometimes you lose. 

parker and eliot have always been aware of when they should cut their losses and get out. but this–this isn’t an acceptable loss. maybe neither of them can say the word love just yet, even to themselves, but this is where they realise it.

hardison doesn’t die, but he comes back to life anyhow, and when he does, the whole world changes.

#alec hardison#leverage#parker#eliot spencer#the grave danger job#leverage 4×07#my gifs#ugh i just have so many feelings about this episode#how it’s the tipping point for eliot and parker#but not for alec#because he’s known for ages#he’s known for ages that he was in this for better or for worse#and that maybe not everyone else was#and he’s ok with that#because he’s never going to ask people for more than they can give#because he figures that every day of this is a gift#even if they’re only ever teammates#even if they’re only ever friends#because he still gets to be there#and that’s what matters#alec marshmallow heart hardison#loving people they way they need to be loved#UGH FEELINGS

against-stars:

we’re watching the new season of queer eye and my dad is actually crying over the ep with the trans dude, like he’s talking about his top surgery and my dad is in tears going “when you sculpt marble the sculpture is already inside, you’re just getting rid of what isn’t part of it! he’s just getting rid of what isn’t part of him!”

so from my oldass 70 year old dad to all my trans followers, y’all are marble sculptures and you’re perfect

girlscanlikerobots:

Charlotte Brontë: Here’s my novel about a young governess who falls in love with a charming asshole edgelord who keeps his wife in the attic

Emily Brontë: Here’s my novel about a tragic orphan and a young lady who torture each other and call it love

Anne Brontë: Here’s my novel about a woman who leaves an abusive marriage and nabs herself a hot young Yorkshire sheepfarmer who Treats Her Right

Me: Oh thank God, at least one of you is sensible.

This is EXACTLY why The Tenant of Wildfell Hall is my absolute favourite. I mean, yes, Jane Eyre is great, but Tenant is fantastic and scandalously feminist, too, because it tells us that the most Christian thing the heroine can do is leave her abusive husband and take her son with her, and this was SHOCKING. Lovers of Jane Eyre’s ‘independent will’ need to give Tenant a chance.

flovvright:

nobody ever talk shit about my chemical romance. yeah they were overdramatic but gerard way GRABBED and COMMITTED to his aesthetic for each album in a way that the rest of us can only DREAM of.

gerard way decides he and his friends need to be red and black goths and they do it. gerard way decides he and his friends need to be black and white marching band goths and they do it. gerard way decides he and his friends need to dye their hair and larp in the desert and they damn well do it.

he LIVED each aesthetic throughout each album’s era. if you could live that life why the fuck would you not. god bless

thehumon:

In Scandinavian mythology there’s only one person who can beat the god Thor in a wrestling match: the elderly woman Elle.

When Thor was asked to wrestle her he laughed, thinking it would be the easiest win of his life, but he had to admit defeat within minutes because Elle is no ordinary old lady. She is the personification of aging itself, and no one can beat age.

She is the symbol of aging and badass grandmas.

neverwhere:

allieinarden:

Bertie Wooster’s YouTube channel consists entirely of keyboard covers of Top 40 hits.

His videos are noted both for startling competence and for frequent pauses in the proceedings to yell at someone off-camera, “Jeeves, all this ‘Gaga ooh-la-la’ stuff seems pretty straightforward, but what on earth do you suppose she means by ‘Rama ra-ma-ma’?”

[slams fist on table]

THIS IS THE MODERN AU OUR FANDOM DESERVES