afraschatz:

‘The Rashomon Job’ is clearly one of the cleverest episodes ever, is pretty much sheer storytelling porn all over. And I’m not even trying to go for a full analysis why it is so awesome and instead just stick to a random list of stuff I love aboutit. I love (that)…

… how the ep starts with the bar being ready for closing but the team minus Nate are mid-argument and completely oblivious to the fact that everyone else has left. This is so their living room, and as much as I like the notion that they all have other friends (one of my favourite thing about The Girls Night Out / The Boys Night Out actually), there is nothing more lovely than proof of them hanging out, even when they are not on a job

… Parker having fetched Dad err Nate to resolve the argument

… Sophie’s “shush, you did fine in prison the first time”. Like, Moreau who? We’re having a SERIOUS argument here

…”I STOLE IT” and ALL their expressions, but particularly Parker’s facepalm (haha, you know you’re in trouble when Parker is the sane one in a fight) and Hardison’s MASSIVE eyeroll. And Nate’s utter GLEE. He is so evil. And I think one of my favourite things about this ep is that his smirk does not go away for the ENTIRE episode. He is just so amused for the entire thing ❤

… Eliot and Hardison backing each other up re: Sophie is lying

… Sophie being the first one to tell her story. Which makes so much sense because everything we see – the museum itself, the guests in the background, the music, the food, everything, is what Sophie TELLS us. Even though we don’t hear her say all that of course, the fact that we as viewers see all that is due to Sophie setting the scene with so much attention to detail. It’s a setting that the others’ stories will continue using / warping to their convenience, but the ground work is all Sophie’s

… Sophie’s choice of dress for this. I love you, Sophie, but what an actual catastrophe is that pink thing? Whyyyyy? I mean, okay aside from the fact that everyone else is NOT wearing pink and clearly she is the center of attention (I mean, she takes the time to tell us that she got fricking APPLAUSE on arrival)

… Nate appearing out of nowhere behind her, completely not dressed for the occasion and the only one not smitten with her. His questions of course clue you in that this is Nate-in-the-pub asking these questions, but I am so in love with his sudden appearance, his casual clothes, his lack of admiration being the visible info that he is NOT part of the story. And don’t get me started on the mirror / Nate behind glass thing, and Coswell standing in exactly the same spot that Nate just vacated

… and there is the second thing about Sophie’s way of telling the story. She is so proud of her accomplishment and the scene she set and is setting again for Nate’s sake that she includes details such as other people’s jewellery etc, but she completely fails to focus even just once on other people. She dismisses the waitress/Parker without looking at her, same as she didn’t even glance at Coswell. Such a great bit of Sophie characterisation right there

… Bioko slapping the offended guest’s butt. Because of course Bioko is Hardison and while we can’t trust his account of events later on either (=being adored by every female in the room), THIS kind of behaviour doesn’t fit him either. So again, it’s down to Sophie’s kind of faulty storytelling here; she needs an oaf for a fall guy/distraction and Bioko kinda fits the bill and she leaves it at that

… Sophie hurrying up the storytelling when Bioko is coking. That contrasted to the amount of time she spent relaying to us how utterly enchanting Abernathy found her? Again, so neat, because Sophie isn’t really interested in any kind of drama she isn’t the centre of, and thus the entire man-dying-situation is merely a footnote to her – hastily told, strangely paced and comically overacted by Abernathy

…Sophie’s completely different body language when she plays the doctor. Her accents of course are legend, but man, the way she changes her walk and posture and gestures as well? So flawless

… Sophie perceiving Coswell’s attention to her as a threat and thus completely missing that he is flirting with her. That in combination of her thinking that Abernathy is flirting while Eliot definitely has other motives (as well)? Wow, Sophie, something really is going wrong with your pulling game that night 🙂

… Sophie even adding sound effects to the completely over-the-top (and imaginary) shotgun that Coswell in her story carries down the stairs

…”The dagger wasn’t in the shipment” – and Eliot’s GLEE. Seriously, he and Nate in this ep? Such dicks. Such brothers. ❤

…the setting for Eliot’s part of the story. Where Sophie gave us an establishing shot of the museum, then the museum in all its glory and filled with guests, what does Eliot give us? Some concrete walls, cardbord boxes and neon light. What is far more important is a detailled account on the fight with two guys we don’t even know and that don’t even matter. Because fighting is important, damnit

… “If I’m not honest with you, you can’t improve”

…after Eliot re-used Sophie’s establishing shot of the museum, once again, he goes for the dark-corners-close up. In that car, with that poor guy. And all Eliot has to do to be seriously scary is to just not smile. He doesn’t even need to raise his voice

… Eliot taking the piss out of Sophie’s accent. We know he can do Sophie’s normal accent properly – he just DID it when he took over the story and told the team that he was Abernathy – so the sole reason why he uses that accent is because he wants to mess with Sophie ❤

…the size of the knife. Thank you, Eliot, for clearing that up. That makes so much more sense than Sophie’s (or Hardison’s or Parker’s OR Nate’s version)

…Bioko and Eliot in the basement. Eliot being annoyed by Hardison without even knowing it IS Hardison, hahaha ❤

… locked-up comedy frame. Always hilarious

…again, a very detailled and close up account of the fight

… Coswell carrying the box for the roses, not a gun, in Eliot’s story. Because different from the grifter, the hitter of course can tell a box from a shotgun

… “Ipcress. Weird eyes. Funny hair.” – Hahaha, so charming, Eliot

…Eliot throwing away that vase so it shatters. Given that the entire box of stuff belongs to Sophie? Just another way to mess with her

…Eliot’s story ending before he opens the box. Different to Sophie whose first version of the tale showed us her holding the dagger (“That was the plan”), Eliot is honest, he just leaves out the important bit. Too bad that Hardison knows what happened next

… “What, is stealing mail a crime?” Parker ❤

…”Well, whatever it takes to get the job done, babe.” – WHY, Leverage? WHY is Eliot not calling Sophie “babe” all the time. I want that now. Give it to me.

…I also want Hardison to call Eliot “babe”. Why didn’t I get that either? Unfair

…such a neat way to wrap up Eliot’s side story of Gutman blackmailing him. So perfectly framed – because while watching it for the first time, you’re so hooked on the dagger theft that you don’t notice Nate’s expression and the suspiciously convenient way that got resolved

… Hardison’s villainous cackle and his grin ❤

…Parker and the shell-game. Again SO NEAT. Because this is what’s being done to us as viewers here and we SHOULD know how the shell-game works, that Hardison doesn’t end up with the dagger either, that Parker as the one operating the shell game actually has the prize (well, is closest to it)

… Hardison’s accent. Accent porn

… Hardison’s repeated slip-ups (“My nana’s house, err my house”) and his competely over-the-top recollection of his flirting success in that ultra-short montage

… his version of the Eliot/Sophie dance and his grin of approval. Why exactly do you take a photo of that, Hardison??

…Hardison making Sophie sound like one of the dwarves from LotR. Because clearly he COULD do a better job at a British accent. But why should he? Especially since the boyfriend err I mean the partner in crime err Eliot so obviously approves

…Eliot, the maniac, tackling him to the ground, trying to open his throat with a figgin machete (what is a knife that size doing at that party?)

… “Let’s get you somewhere quiet now, where there is no witnesses” continued by Eliot being CREPPY in the basement and Hardison’s ultra-fake smile hahaha

…”I still beat you” – because for Hardison this is what this is about. Beating Eliot. Who are these other people even :)?

… the shell game reveal and Nate is SO PROUD of Parker <333

…Parker’s story is SO not about any of that mood-setting shit or any of the details like… other people in the room. She even interrupts Nate when he asks her for her way in. Because this is about where to stash her gear, and how to get to the prize. Nothing else matters.

…Hardison stealing food and being SO adorably Hardison, Sophie being weird in her Britishness, Coswell being annyoingly “there” in Parker’s story

… SOUND EFFECTS FOR THE HUGE KNIFE. Because Parker’s life clearly is anime.

…the hasty and jagged storytelling. Yes, that is also because we’re hearing the story for the forth time, but it definitely shows how Parker tells a story

… Parker skipping ❤

…Parker being honest about losing the dagger

…Nate’s portrayal of the others in his version. Sophie being just that little bit arrogant, Parker being cold, Eliot and his swagger, and all that in contrast to the utter adorableness of Coswell (and Nate being a DICK to him) : All that is very realistic. And then he adds a dash of humour to it: the size of the knife that Parker hands Eliot and Eliot’s WTF reaction to it for instance

… the actor playing Coswell is just awesome. So awesome. I feel for him here, poor guy.

… Nate not being IN his version of the story except for the beginning and the end. Instead his job is to put the pieces together and get the most imporant (and realistic) bits from the others in a straight line

… “Pretty eyes, little ponytail in her hair” – Aw, Nate ❤ (And Eliot’s AMUSEMENT in that version of the story. Really, Nate, in your world Eliot is a romantic softie? I am not judging. Actually, I approve. Of that and of “You need a tissue” compassionate Hardison as well)

… Nate being a cold-hearted insurance guy asshole. I mean I don’t love him like that because he is horrible, but I love the contrast of that Nate to Team-Leverage-Nate and what that says about the influence of these four people on him ❤

… while Sophie, Parker, and Hardison run out, Eliot hangs back. That moment of silent communication between him and Nate? I LOVE their relationship

SUCH a perfect episode ❤

rembrandtswife:

Or, things you can learn while watching Leverage with commentary.

• John Rogers and Nate Ford have a lot in common, especially when it comes to alcohol. Not only does Rogers usually tell the listener what he’s drinking, you can often hear the ice clinking in the glass when other people are talking.
• Take away Eliot’s disastrous military career and stint as assassin for hire and you basically have Christian Kane: musician, chef, brawler, actor. The man does all of his own fights, I swear.
• Sterling never loses, but he sometimes admits Nate is right.
• At the beginning of each episode, the commentators introduce themselves. At the beginning of “The Frame-up Job”, in which Sterling thinks Sophie has stolen a famous painting, every commentator impersonates Mark Sheppard as Sterling during his introduction.
• Portland is full of good actors.
• Every instance of fraud on the show has real-life counterparts, most of which are far worse than what the show portrayed.
• The heartbreaking detail of Hardison, Parker, and Eliot holding hands in death was *not* in the script, but came from the actors.
• Pretty much everybody cried on set during the filming of the final episode.
• Gina Bellman decided on Sophie’s real name.
• John Rogers subscribes to the Smithers Hypothesis, which is that shows are more interesting if you assume the bad guy’s sidekick is secretly in love with him. (This applies regardless of the genders of the bad guy and the sidekick.)
• Rogers also subscribes to the theory that the characters’ sex lives are “whatever makes you want to watch the show”.
• Rogers really is the Anti-Moffat. I came to this conclusion after noticing how often he compliments Gina Bellman, Beth Riesgraf, and Jeri Ryan on their appearance, then listening to how he does it and what he says about the men on the show. The right pair of boots on an actress will make him fervently exclaim, “Jesus Murphy!” He seems to think Beth Riesgraf has the best smile in the world. But he’s full of praise for the skill of Nadine Haders, their chief costumer, and he lavishes much  more praise on the actresses’ work than on their legs. He also repeatedly calls  Christian Kane “charming” and acknowledges that women go for him. He openly admires how Aldis Hodge looks in a suit. And he’s lavish in praise for the men’s acting as for the women’s.

I have actually not once heard John Rogers say anything skeevy about women, in four seasons’ worth of commentaries. (I don’t have season one yet.) All of his female characters have depth and agency. None of them is ever merely a damsel in distress, not even a 12-year-old girl. Nobody, male or female, ever gets shamed for having sex. Set the number of times he admires an actress in boots or remarks on her charisma next to the number of times he praises her ability and craft as an actress, and his praise for ability and craft weighs far more.

John Rogers is the Anti-Moffat, and this is another reason why you should watch Leverage.

otterboss:

doubleprongmonkeycon:

otterboss:

One of the things I love about Leverage is how all of the main male characters are giant middle fingers to toxic masculinity.

Like, Nate is shown to suffer through his grief, coping through alcohol, and he’s not portrayed as weak for his emotions.

You think Eliot would be the most obnoxiously masculine person in the show, being a former military black ops dude who busts heads for a living. But he isn’t! He’s passionate about cooking, he loves kids, even when he sleeps around he treats all of those women with an equal amount of respect; when Hardison is affectionate with him he often denies his small moments of reciprocity but instead of getting violent (”gay panic”) he simply goes “Dammit Hardison!” and is embarrassed because Hardison usually does it to embarrass him in front of a girl he’s flirting with, but he’s never ashamed or humiliated. 

Speaking of Hardison.

Oh, Hardison.

My dearest, beloved marshmallow.

The most loving and affectionate member of the team is a black man. This guy hacked the bank of Iceland to pay his foster mom’s hospital bills. He plays the violin, he paints, and he just feels so much empathy for the people they help. He’s the first one to go in for a hug, the first one to admit his feelings, this funny and delightful man who is so fiercely protective and loving. He owns up to his weaknesses, admits when he needs someone, is so supportive of his team. The first one on the team to call them a family! 

Sometimes I just randomly think about Leverage and want to cry because I have never seen another show that does characters the way Leverage does.

I just want to say that Eliot wore guy-liner in one episode.

I feel like a sham because I completely forgot about that episode! And what’s also great about that episode is that at the same time he displayed a knowledge of fashion while talking to Parker, who was hopelessly confused.

And he tried to play it off as him having slept with a lot of models, but that means that he listens to the women he sleeps with and at least gets to know them on some level. He takes everyone woman he sleeps with seriously and that is so important.