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pynkhues · 2 years

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If this is a bigger, thinkier question than you feel like dealing with right now, then please know I will not be offended if you don’t answer it. But anyway, I was just thinking about Nick and Rio. How would you headcanon that they got to where they got? Rio joined a gang, seemingly in prison, and worked his way up. Meanwhile Nick went the blue collar crime route. What do you think their partnership would’ve looked like before Rio was king and Nick was city councilman? Tbh I want a prequel!

Hi! Sorry it took me a minute to answer this one! It's a really interesting quetsion.

I think it was likely that Nick was the connect in those early days. The flashbacks in 4.08 showed that Nick was really building his relationships with the wealthy guests of the golf club and acting as a sort of gopher for them. He's always been depicted as pretty parasitic, but I think in those early days he was focused on making himself indispensable to a particular sort of guy, and as he built up their trust, he was able to utilise that.

It's likely that at least some of those guys were probably interested in drugs, and we know that's where Rio started because of his conversation with Beth way back in 1.06, and I can see that being a way for Nick to prove his worth (and gain a degree of control) by connecting that crowd to Rio and the gang's business. While it wouldn't afford Rio the same degree of protection Nick's capable of later, it probably does already give them a bit of security given Nick would at that point have enough dirty laundry over the golf club guys to give him leverage.

I feel like in that sense, Nick became a sort of plug for those guys fairly quickly, and likely could work as an intermediary between the gang's affairs and the guys through Rio, and once Rio was moving up and into money laundering, I think Nick was probably able to help broach a lot of those relationships. It makes sense for instance that Nick would have those sorts of dynamics with the owners of the Fine & Frugal chain from operating in that sort of crowd for as long as he had, and as a result be able to sort of lubricate the business dealings to get them washing Rio's gang's cash.

What that means for Rio and Nick's relationship I think is really what we saw on the show. They were fairly symbiotic in many ways, and I think the main reason their relationship was tense was less about the business and more the fact that it had been built on the trauma of Nick having him arrested in the first place. Nick deliberately forced Rio into this particular life, and then he used him in it, and while Rio turned that into something that worked for him, I imagine there's a lot of fury and pain attached to that still too.

What do you guys think?

#nick martin #rio #nick + rio #nbc good girls #gg headcanons #kinda #character backgrounds #speculation #welcome to my ama #gg asks

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spoilertv · 26 days

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#SpoilerTV

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brightbraintech · 6 months

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According to Statista, India’s Video ad spending is forecasted to reach $1.06 billion in 2023. Video marketing is not a new strategy, but it’s the most powerful strategy with which you can communicate your brand story and build relationships with your customers. Video marketing benefits are unparalleled as compared to other marketing strategies because it incorporates new trends, nostalgia, sentiments, and strategies that consumers like. Want to know how to leverage it? Head to our blog right now! Link in bio✨

#brightbrain#videomarketing#newstrategy#newtrends#newstrategies#benefits#checktheblog#digitalmarketing#videomarketing#Videoshorts#benefitsofvideomarketing#guideonvideomarketing#trendingvideos

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viewernahas · 2 years

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Pinnacle studio 20 ultimate edition review

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mi6-rogue · 2 years

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Are female-specific cancers long-term sequelae of COVID-19? Evidence from a large-scale genome-wide cross-trait analysis

Preliminary report; Background: Little is known regarding the long-term adverse effects of COVID-19 on female-specific cancers due to the restricted length of observational time, nor the shared genetic influences underlying these conditions. Methods: Leveraging summary statistics from the hitherto largest genome-wide association studies conducted in each trait, we performed a comprehensive genome-wide cross-trait analysis to investigate the shared genetic architecture and the putative genetic associations between COVID-19 with three main female-specific cancers: breast cancer (BC), epithelial ovarian cancer (EOC), and endometrial cancer (EC). Three phenotypes were selected to represent COVID-19 susceptibility (SARS-CoV-2 infection) and severity (COVID-19 hospitalization, COVID-19 critical illness). Results: For COVID-19 susceptibility, we found no evidence of a genetic correlation with any of the female-specific cancers. For COVID-19 severity, we identified a significant genome-wide genetic correlation with EC for both hospitalization (r_g=0.19, P=0.01) and critical illness (r_g=0.29, P=3.00*10-4). Mendelian randomization demonstrated no valid association of COVID-19 with any cancer of interest, except for suggestive associations of genetically predicted hospitalization (ORIVW=1.09, 95%CI=1.01-1.18, P=0.04) and critical illness (ORIVW=1.06, 95%CI=1.00-1.11, P=0.04) with EC risk, none withstanding multiple correction. No reverse association was found. Cross-trait meta-analysis identified multiple pleiotropic SNPs between COVID-19 and female-specific cancers, including 20 for BC, 15 for EOC, and 5 for EC. Transcriptome-wide association studies revealed shared genes, mostly enriched in the hematologic, cardiovascular, and nervous systems. Conclusions: Our genetic analysis highlights an intrinsic link underlying female-specific cancers and COVID-19 - while COVID-19 is not likely to elevate the immediate risk of the examined female-specific cancers, it appears to share mechanistic pathways with these conditions. These findings may provide implications for future therapeutic strategies and public health actions. https://www.medrxiv.org/content/10.1101/2022.08.25.22279195v1?rss=1%22&utm_source=dlvr.it&utm_medium=tumblr Read more ↓

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indexuniverse-eu · 2 years

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leverageclips · 4 years

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The THEATRICS. The GLOATING. The need to be the most EXTRA crew in a thousand-mile radius.

request by @quietstorm-thundathighs

#my post #leverage clip #leverage #eliot spencer #leverage parker #alec hardison #nathan ford #sophie devereaux #the stork job #leverage 1.06 #1x06 #request

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leverage-ot3 · 4 years

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notable moments from The Stork Job

leverage 1.06

Joe: Where is he? What have you done with him?

Dana: Why haven't you returned our calls?

Joe: Did you think we'd just go away?

Dana: We’ve given you the money. What else do you want? (approaches Irena) What have you done with Luca?!

(thug grabs Dana and pushes her aside)

Joe: Dana!

(Joe goes to help Dana and is stopped by the thug. Joe punches the thug, who then beats him into the ground as Irena and Nicolas walk away. Thug leaves, and Dana crawls to his side)

yo can we take a moment to respect and love these parents??? like technically luca was just a kid they were going to adopt but these two were ready to THROW DOWN for him because even though they didn’t really know each other, he was going to be their kid if that’s the last thing they did

- - - - -

Dana: $120,000. We had to take a second mortgage out on the house.

Nate: Well, we can get the money back.

Dana: We don't want the money. All we want is Luca.

Nate: Right. (looks at picture of Luca)

we love to see the clients being noble as hell

- - - - -

Eliot: Are we seriously considering this, huh? Swiping a kid?

Nate: Yeah, well -- What happened to you?

Eliot (scrapes on his face): Well, how was I supposed to know it was a lesbian bar?

...I bet it was from something fucking stupid

eliot “distinctive” spencer would have known it was a lesbian bar

(edit: I heard that on the commentary for that episode CK got the injury from trying to play football while wearing cowboy boots and honestly what a chaotic fav)

- - - - -

Eliot: How do we even know this kid is an orphan?

Parker: See him pocketing those cookies? He’s hoarding food. That bag on the table -- he keeps his essentials light and portable. He knows he's gonna be taken away at any moment. And there, when she goes to touch him, he flinches. He’s expecting… for her to... Trust me. He’s an orphan.

parker’s Tragic Backstory™ is about to be told in 40 minutes, let’s go

- - - - -

Sophie: Hey, can we -- can we stop off in Paris on the way?

Nate: Uh... maybe on the way back.

Sophie: Cool

sophie loves paris and was so happy and excited im-

- - - - -

Parker: Yes. And she's with someone.

Eliot: That’s never stopped me before

parker, rolling her eyes: bruh

- - - - -

sophie being “princess magda of slovenia” rb if u agree

- - - - -

Nate: You know, just hurry up.

Hardison: It’s not so fun working in the crappy command center, is it? No, see, you're usually off doing your European spy thing. Well, welcome to my world.

(Computer shows facial recognition program working on picture Eliot sent. Hardison offers Sophie a bottle of pop)

Hardison: Orangescu?

even in a foreign country hardison manages to get something akin to orange soda

- - - - -

Sophie: Who was it? -- Dagmar from the car-rental place was a lovely girl, but listen, Irina’s a professional grifter. She's gonna see straight through your moves. She does this for a living. You know, gets people to like her and trust her, even to fall in love with her. She doesn't do this for sport.

Nate: Mm. Sounds like someone I know.

s a v a g e

- - - - -

Nicolas: Beautiful name for a beautiful lady. Tell me, Hardison, what brings you to Serbia?

Hardison: Oh, do my fangs and cape frighten you

hardison being Done™ with a skeevy guy hitting on parker and making jokes to ease the tension 🥰

- - - - -

parker says that sleeping is one of her hobbies and honestly bitch me too

- - - - -

Parker: It’s amazing how far Serbia’s come, but the scars must still be there. I mean, all the families who suffered during the war.

Nicolas: Yes, but history always has its casualties.

Parker: Yes, but those families and those children.

Nicolas: It’s tragic, yes. But the strong, the smart, the... the beautiful, they survive.

[Flashback]

(Joe, Dana and Luca on home move.)

Joe: Smile!

Dana: Smile.

(A young Parker swinging, cuts to Luca sitting in the car that will take him away, cuts to young Parker on a merry-go-round, cuts to Luca being driven away)

Woman: What’s wrong?

(a young Parker in a car holding her bunny, cuts to Nicolas driving the car that takes Luca away)

Nicolas: It’s time to go.

[American Embassy]

Nicolas: Not everyone is worth saving.

(Parker gropes behind her and grabs a fork from the table, stabbing Nicolas with it. Everyone in the room looks in their direction)

parker’s past is developed a lot in this episode and we love to see it + bby you can stab anyone you want

- - - - -

parker fucking yeeting out the window is me after I do anything remotely embarrassing

- - - - -

Eliot: I’m lucky to have you on such a short notice. (takes paper from man) Zhavaliti. Is that right? Zhavaliti? Thank you? See? Yeah? No? Welcome to the set.

Hardison: Fire in the hole!

(Hardison sets off explosion of flame behind them)

Eliot: Yeah, it's exciting, isn’t it?

Irena: yes.

Eliot: That guy's our special-effects guy. He ain't all there.

friendship means gently bullying each other

- - - - -

Parker (sits down near prop truck): This is ridiculous.

Hardison (sits down next to her with fake gun): Tell me about it. We’re supposed to believe these are real?

Parker: This is what he expects me to do, fetch scripts and water?

Hardison: No, it's a trust thing. He just needs to know that you’re gonna go along with the game plan.

Parker: Yeah, yeah. I get it; we're a team.

Hardison: A little more than a team. I’m just saying

this was such a big episode for parker and her opening up to the team (hardison in specific)

- - - - -

Hardison (picks up papers): Sophie, are you -- seriously, Sophie. It was supposed to be a two-page scene between Irina and a boy.

(Eliot grabs pages)

Sophie: That’s still the heart of it.

Eliot: "The heart of it"? There’s like 10 pages here! You have a stunt. You have special effects.

Parker: "Sister Magda crosses and gets a loaf of bread." Wait, who's sister Magda?

(Sophie rolls out dramatically wearing a nun’s costume while ethereal music is playing)

Hardison: Tell me you didn't see that coming.

(Eliot grabs the pages and walks away)

sophie: is dramatic

eliot: surprised pikachu face

hardison: ??? were you expecting something else

- - - - -

Sophie: Listen. All right, look, look -- look at all this. This is my world, okay? You need -- you need someone to, I don't know, crawl through an air duct, you call Parker. Bash her head in - Eliot. Internet porn -- Hardison. If you need someone to take over a movie, then...

Nate: yes, an -- an actor. Right

sOpHiE bRuH

poor hardison, he never gets enough credit

- - - - -

Nate: And... cut!

(everyone claps, Sophie sits up, smiling)

Eliot: She can't act.

Nate: She can act when it's an act.

Eliot (going to Sophie): Unbelievable.

Sophie Really?! Really?!

Eliot: Yeah, really. It was great.

eliot is such a supportive friend because literally his jaw dropped at her acting and literally the first thing he did when they said cut was rush over to her and compliment her

eliot is secretly a hype man disguised in many layers of gruff

- - - - -

Hardison: Just take it slow until she leads you to Luca.

Parker: I can't believe they sent you to babysit me.

Hardison: I’m here on my own

hardison cares about her so quickly I’m soft

- - - - -

parker’s haunted look and glassy eyes when she stumbles into the room with all the children? her heavy breathing? how she has to brace herself on a bed frame so that she doesn’t fall over? heartbreaking

- - - - -

[Harbor]

(van pulls to a stop and Parker and Hardison get out, Parker pacing nervously)

Parker: This isn't just an adoption scam.

Hardison: I know. I already called Nate.

Parker: These are arms dealers, and they're using the orphanage for cover.

Hardison: I already called Nate. Now, look, we can go over this with the others back at the hotel.

Parker: We have to bail.

Hardison: No. no, no, no. What about Luca and the others? We can't leave them like that.

Parker: Why not?

Hardison: You don't mean that.

Parker: You think this is the only crappy orphanage in this place? This is a country full of orphans, okay? We can't save them all.

Hardison: No, but we can save this one. Parker, we can -- we can save this one. Look, I know growing up was tough. I-I know that you -- you grew up in the system. It was -- it was bad. I know. It was, it was worse than bad, but that doesn't mean that all foster parents are monsters. Mine wasn't.

Parker: You grew up with your grandmother.

Hardison: We called her "nana," but she was our foster mom. She, uh... she -- she would cuss like a sailor. The old girl would tan your ass just as soon as look at you. But -- but she fed us, she bathed us, she put a roof over our head. And, oh, she would raise hell if you so much as looked at us crooked.

Parker: Yeah?

Hardison: Yeah.

Parker: Well, you were lucky. No. We’ll put these kids in the system, and odds are, they're gonna -- they're gonna... (trying not to cry) they're gonna turn out like me.

Hardison: I like how you turned out.

(Parker breathes hard, getting control of herself)

Hardison: Let’s go

this whole conversation was a lot meta wise but also this was one of the real defining moments in their relationship in s1. it’s also one of the first times parker starts to open up to the team for real, even if it’s only hardison

also, I personally will never get over the “I like how you turned out”

- - - - -

Hardison: I ran humpty and dumpty through the usual databases. Chechen separatists. Seriously bad dudes.

(Eliot chuckles)

Hardison: After reading their bios, I don't think I’m ever gonna sleep again.

Eliot: Never tell a Chechen his sister has a nice smile. Trust me

eliot is an idiot

- - - - -

Nate: Okay, let's go. (leads Luca forward)

Sophie (in Serbian): Everything’s going to be okay. Do you understand?

Eliot: Maybe this will help.

(Eliot leads Luca over to the Mortons)

Dana: Hi, Luca. Do you remember us?

(Luca smiles, Dana hugs him)

Dana: Thank you.

Joe: Thank you so much. Come on.

(The Mortons and Luca get in their car)

Eliot: I got to tell you, I had my doubts at first, this feels pretty good

and the eliot-being-soft-around-kids saga B E G I N S

- - - - -

parker trying her best to translate but just making the kids giggle

“men will sadden you” same

and what gets the kids up and going? Haagen-Dazs

- - - - -

fierce, determined parker beating up scumbags is my sexuality

parker isn’t violent a lot in terms of being anywhere close to the team’s fighter/hitter, but she fights so hard for the kids in this episode and it’s one of the only times we see her fight fight and that shows just how much she cares

- - - - -

Parker: Shh, shh, be quiet, they have armed guards at that door.

(door bursts open and a man falls through. Eliot stands in the doorway, looking angry)

Sophie: No, they don't

her team always has her back, even if they’re angry at her trying to go at it alone

- - - - -

parker spreading herself out to cover as much space as possible, bracing herself to get shot over and over with the hopes that at least none of the kids will im-

she’s so selfless sksjdnnsns

- - - - -

eliot being all gruff that things happened the way they did but smiling at the exploding building because they did it and the kids were safe

- - - - -

THE FUCKING PROP TRUCK PLAYING SPOOKY AND WEREWOLF NOISES AS THEY DRIVE AWAY JUST TO MOCK THEM

bonus: nate’s “anD CUT”

- - - - -

Parker: Hey, how did you know I’d be at the orphanage?

Nate: Thank Hardison for that. (follows Eliot)

Hardison: You know you could have gotten killed. Did -- did you even have an exit strategy?

Parker: I didn't really think that far ahead.

Hardison: You don't work alone anymore. You know that, right?