bemusedlybespectacled:

metanoianmayhem:

thetavernknight:

we-are-rogue:

Image found on the internetz. I don’t think Sophie would have anything resembling a combat class, but if you HAD to pick one Roguish archetype for each of the Leverage team, that’s certainly as close as it gets. 😀

Not sure I’d put her as a Swashbuckler, but she might be a Thief/Bard multi-class. 

Dude. Elliot is so not an assassin. he’s a freakin tank

Technically I think they’re what happens when you have an all-rogue party, but consider instead:

Nate: Inquisitor. Though a religious class akin to a cleric or paladin, Nate approaches the cons with a religious-like zeal for justice and righteousness. Class skills include Bluff, Diplomacy, Disguise, Intimidate, all the Knowledges, and Sense Motive – all things that Nate has in abundance.

Sophie: Bard, Brazen Deceiver archetype. A Brazen Deceiver isn’t a rogue with bard skills, they’re a bard with rogue skills. Brazen Deceiver’s bardic skill is lying (read: grifting), and it replaces most bard skills with rogue skills, which is important for Sophie since she’s terrible at actually acting.

Eliot: Monk. Unlike fighters, who usually do your classic hit-with-sword/shoot-with-arrow, monks are masters of martial arts and focus on unarmed combat. And unlike barbarians, who are all about unbridled rage, monks are self-contained and self-controlled. And monks have to be some kind of lawful alignment, and I think out of all of them, Eliot is the most lawful of the crew, given his strict adherence to principles like “don’t con your own team” that the others don’t follow.

Hardison: Alchemist, Tinkerer archetype (Lucille is his clockwork familiar). It was hard for me to think of a suitable class for Hardison, since there isn’t really a fantasy analogue to “hacking,” but I think that his abilities in creating things (the crying statue, the 1700s diary, the energy drink that tastes like dust because it’s made out of dust and food coloring) translate well to alchemy. Also he’s got some mad scientist in him and that’s absolutely alchemy.

Parker: Rogue, Acrobat archetype. I don’t even need to explain this one.

Source: we-are-rogue

jover2013:

owlmylove:

beeishappy:

beeishappy:

beeishappy:

beeishappy:

beeishappy:

beeishappy:

Colbert’s Running Gags | TCR & LSSC | 2006 – 2016 | Kiss The Host

Nick Kroll | 2016.11.02

Andrew Garfield | 2017.01.10

Brad Shultz of Cage The Elephant | 2017.01.10

Sally Field | 2017.02.16

Finn Wittrock | 2017.03.13

this is just the most successful bisexual ploy i’ve ever seen

Stephen Colbert :

Bisexual Legend

Source: beeishappy

penfairy:

What’s really incredible about Mad Max: Fury Road is that our titular, brooding White Male Lead in an Action Movie™ is given no opportunities to appear badass or heroic unless he’s working as a team or directly helping the women.

We see Max alone in the desert, all brooding and action-hero-y, clearly haunted by a tragic past… and he’s immediately captured, chained, humiliated and spends the next half hour tied up and useless while Furiosa is off getting shit done.

Then he gets free and he comes in waving a gun around and embarrassing himself. It’s not until Furiosa calms him down, wins him over, and he starts following her orders that he’s allowed to appear properly badass – in an action sequence that begins with him handing her a gun, and which progresses with the two of them working as the ultimate team while the girls help him as much as he defends them.

Then they’re in the Night Bog. Max fails to hit the Bullet Farmer and instead becomes a prop to steady Furiosa’s shot. Then he runs off on a solo mission and it doesn’t even merit screen time. Some dude lone wolfing it to kill a scary bad guy? Who cares. Let’s watch Nux running in front of the rig and the girls cooling down the engines instead.

Then comes the final chase. Max is undeniably awesome, but he is only allowed to be awesome because all of his efforts are dedicated to helping and protecting his weird new family. And the instant he hears Furiosa is hurt, all of his badass moments are pivoted around reaching her. He fights a hundred war boys, jumps over trucks, swings off poles, sets of explosions, beats someone with a flamethrower guitar, just so he can be there to catch Furiosa once she has killed the big bad Immortan Joe.

And, of course, his biggest heroic moment in the film isn’t even a cool action sequence or taking out a villain – it’s saving someone’s life. It’s being selfless and compassionate. It’s expressing love and humanity. It’s acting as a nurse and donating his blood. Max’s triumph is fixing something that’s broken.

Then, at the end, instead of being rewarded with a sexy girl and something else cool like most action heroes, Max gets nothing. He gives everything to Furiosa – his love, his loyalty, his fighting skills, his blood, his name – and he takes nothing in return, nor does he feel he is owed anything. He is content simply to help her, and thanks to this love and selflessness he was able to achieve some kind of redemption. 

In Fury Road, a man’s heroism is not determined by how strong or tough he is – it is defined by how willing he is to love, help, support and protect others, particularly women, while demanding nothing in return.