why does it feel like lou is the physical manifestation of your brain waiting to see what’s on the other side of a brennan monologue

What gets me the most though? Is the jobs where they make things better.

The jobs where they do still take down the bad guys, give them their due, stop the harm. But they also make things better.

Sometimes it's small things, like the Tap Out Job where the guy they help gets to run the boxing club going forward, keep his people safe. The checks they sometimes give at the end of an episode, with a suggestion of what to use it for, fall into this theme.

Slightly bigger, you get things like the Underground Job where the mine will have proper safety equipment now and an owner who will keep it that way. Or the Blue Line Job, which comes with a show of solidarity between the guys that fight each other on the ice - but not when it could kill one of them. Not once they know. And now they'll make sure no one faces that risk again.

On a personal level, there's the Carnival Job, where a father ends up connecting with his daughter again by the end.

And then there's the episode that got me thinking about this.

The Gimme A K Street Job.

For once, they're doing a (mostly) legal job. And the end goal is simple: get laws into place so teenage girls won't get hurt from the lack of safety regulations.

And they do it.

And going forward, no more teenage girls are going to break their bones because they landed on a mat that doesn't give anything except the illusion of protection.

Hector Barbossa & Elizabeth Swann (extended from this post: X)

#These two had such an impact on each other–in a weird way it’s Platonic!Hades and Persephone #where she learns to become a better king of the dark sea and dead men than he ever could and he comes to almost admire her for it. #Just… y'all have been sleeping on this relationship. #Elizabeth didn’t retain shit from Jack Sparrow–Will did. She learned from Barbossa. (via @theimpossiblescheme)

THIS.  Not only is Barbossa far more of a Proper (Cinematic) Pirate than Jack (with the outgrown Errol Flynn hair to prove it!), but he absolutely plays the role of Hades in Curse of the Black Pearl.

While Elizabeth first boards the Black Pearl (here functioning as both Hades’ chariot and Charon’s ferry) more or less voluntarily, Barbossa/Hades does indeed kidnap her and take her to the “land of the dead”—the Isla de Muerta.  The Black Pearl also serves as a kind of limbo, holding men halfway between death and life.  Much like Pluto of old, CotBP!Barbossa is strongly associated with both wealth and death, even more so than the other pirates.  When they get to the “Underworld”, we see that the cursed crew members require a blood sacrifice to regain (permanent) corporeality, paralleling the shades Odysseus encounters who require blood to regain the ability to speak (Odyssey 11.24-50).

By the time At World’s End rolls around, Elizabeth has begun to catch up to Barbossa in terms of piracy and command.  She visits another, more literal Underworld at Barbossa’s side; he knows the way, and she has more than learned from her previous experiences.  It was Elizabeth thinking more piratically—thinking like Barbossa—that made the trip to the Locker necessary, after all.

In the end, she eclipses Barbossa in power and is crowned King, with her own beloved ferrying souls between worlds as she sails the seven seas.  Like Persephone, Elizabeth straddles worlds and holds power in both, and it was Barbossa/Hades who first helped her get there.

“No.”

HEY

HEY