![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
simplecoffeeHi there! Thank you for creating for me. 💛 I am academicgangster on Tumblr, and simplecoffee on ao3.
So, the thing I love most in fanwork is taking canon character dynamics and just...making them More. Taking them further, exploring their natural progression, usually in a hurt/comfort-y way. I've mentioned the character dynamics and ships I love under each fandom, along with some rambly thoughts and prompts - speaking of which, please feel free to pick, choose, mix, match, play with any, all or even none of said prompts, if that's where the muse takes you. 💛
I love hurt/comfort with all my heart and soul, so most of the prompts here will probably contain it to some degree.
I am a-okay with any kind of exploration of character dynamics - h/c, casefic, fluff fic, angst, missing scenes, outsider POV, outsider POV contrasted with canon characters' POV, getting together fic, established relationship, you name it I love it. I'm also very much okay with or without smut - I enjoy it, but please don't feel pressured to include it or not to include it. If you do feel inclined toward the lovin', I have a preference for a Mature rating over an Explicit rating, but I will likely enjoy whatever rating speaks to you. :D
Navigation
> Likes & DNWs (art likes)
> Under Siege (1992)
(Requested media: fic, art)
William Strannix/Commander Krill
> Minority Report (2002)
(Requested media: fic)
John Anderton
John Anderton/Danny Witwer
> War of the Worlds (2005)
(Requested media: fic)
Ray Ferrier
> The Fugitive (Movies)
(Requested media: fic, art)
Samuel Gerard/Richard Kimble
> The Shadow (1994)
(Requested media: fic, art)
Lamont Cranston/Margo Lane
> Collateral (2004)
(Requested media: fic, art)
Vincent/Max
Vincent/Daniel
> The Hunt for Red October (1990)
(Requested media: fic, art)
Marko Ramius/Jack Ryan
Bart Mancuso/Marko Ramius
Bart Mancuso/Marko Ramius/Jack Ryan
> Top Gun (1986)
(Requested media: fic)
Maverick Mitchell
Maverick Mitchell/Iceman Kazansky
Maverick Mitchell & Goose Bradshaw
Maverick Mitchell & Carole Bradshaw
Maverick Mitchell/Iceman Kazansky/Slider Kerner
> Random Hearts (1999)
(Requested media: fic)
Dutch van den Broeck/Kay Chandler
> Days of Thunder (1990)
(Requested media: fic)
Cole Trickle/Claire Lewicki
Likes & DNWs
General likes:
• Character studies
• Hurt/comfort of all stripes
• Exploring the fallout of canon trauma
• Missing scenes, slice-of-life, etc - exploring canon character dynamics/canon traits of known characters
• Touch starvation
• Deep friendships
• Earned trust and casual intimacy (carrying, clothes sharing, characters only allowing touch from people they trust, etc)
• Bonding over shared trauma
• PTSD, illness messing with a character's grip on reality, combat/mission injuries, scars, and injuries acting up, touch starvation, sensory deprivation / sensory overload, characters not believing they deserve comfort or being surprised to receive comfort
• Eventually requited pining
• Worldbuilding
• Outsider POV, especially when contrasted with our characters' POV
• Mission aftermaths
• Smut with Feelings (I don't really need to know what body parts are going where, I just love to know how it feels, in the sensory way especially but also the emotional way)
• Pain, bittersweetness, sadness, exploring the darker side and implications of canon is great, but I really need some happiness/comfort and hope along with it!
Sexual likes:
D/s overtones. Femdom. Service subs. Subs With Issues. Praise kink. Hands, fingers, touch; touch starvation. Hands in hair. Sexual touches/kisses/closeness through fabric. Finger-sucking. Aftercare. Tenderness, especially if the person receiving it isn't expecting it, isn't used to it, and it breaks them just a little.
Marking, intentional or no - bruising with lips or teeth; hiding the bruises under clothing. Suit kink. Wrists bound or held down. Honour bondage. Shibari and intricate knotwork. Careful sex / making out when one partner is hurt or ill and feverish (fever sex is, uh, very much a Thing of mine). Or rough, desperate, life-affirming sex / making out.
There are some fandoms where I love the sex a lot rougher; see the sections under Collateral and Top Gun.
Art likes:
Realistic and sketchy styles, bold lines and rich colours/textures, bold accent colours, creative lighting choices, noir-style art especially for action canons, minimalist styles/silhouettes, characters captured in unaware moments as though they're being photographed without realizing it, art that captures the vibe of canon without necessarily capturing the style of canon; angsty hurt/comfort or warm, gentle, casually intimate moments.
I love kisses of all descriptions, especially at the forehead, temple, hands, throat, or collarbone. I love characters undressing each other, reverently for most pairings, roughly for some (see Collateral and Top Gun). I love seeing characters in partial states of undress rather than seeing them completely naked, especially if there's also a focus on their hands or collarbones or throat. I love seeing characters with love bites, hickeys or bruises; I love characters touching and tracing other characters' wounds or scars, especially if it looks like they got distracted while undressing them to do so. I love characters in shibari, especially under dress shirts, or characters' wrists being tied with something luxurious like velvet or ribbon.
I also love h/c focused art - characters undressing their injured/sick partners or taking off their glasses, if they wear them (eg. Hunley, Mancuso, Ethan in MI 1). Characters patching sick/hurt characters up, with stitches or bandages or ice packs, or cleaning scrapes on the hurt character's face or hands. Sick/hurt characters with their hair messed up, perhaps hiding their faces in other characters' chests or shoulders. Hurting characters sitting at other characters' feet to be taken care of with hair stroking or shoulder rubs, or just burying their face in the other character's lap. Smaller characters getting carried bridal style when they're not feeling well, maybe clinging to the character carrying them if they're not unconscious. Hands in general, especially if they're scratched or hurt and being taken care of. :D
(I'm vaguely not-okay with pink or green as a dominant/background colour, but I love...well, basically every other colour there is. Jewel tones are great! Limited palettes are great! Bold colours are great! Whatever you can think of is great! I love it all. :D Style-wise I would prefer no chibis or overly cartoonish styles; I'm very cool with anything and everything else, including experimental styles!)
General DNWs:
• Mundane/depowered/setting change AUs
• Bleak, hopeless endings (as long as there's hope, bittersweet endings are fine!) The exception: Vincent/Max for Collateral, which is a bitter and jagged canon and dark endings there are definitely cool.
• Unrequested crossovers and fusions
• Any mention of coronavirus or quarantine/lockdown situations
• Death of requested characters (even if they died in canon. The exception: Top Gun, where yes please, it is a-okay to deal with Goose's death and its fallout.)
• Non-canonical death of non-requested characters
• Terminal illness
• Permanent injury (the exceptions: Collateral, and Jack Ryan's canonical past injury in The Hunt for Red October)
• Gastrointestinal illness (nausea/vomiting is okay but not as a focus of the work, and not as a result of GI discomfort - so character getting nauseous or throwing up from a migraine or just severe pain in general, yes; character getting nauseous or throwing up as a result of a severe anxiety attack or PTSD episode, yes; character suffering anything related to food poisoning or GI bugs or overeating and similar, no)
• Pregnancy, menstruation
• Infidelity (for Red October, I would prefer that Jack and Cathy were never married, separated amiably and share custody of Sally)
• For Top Gun, anyone calling Mav 'Pete' in a positive way (people calling him that as an implied insult or straight-up insult is cool)
Sexual DNWs:
• Noncon or dubcon, except where noted (see Minority Report, Collateral and Top Gun sections)
• humiliation as a kink, except where noted (see Collateral and Top Gun sections)
• gags of any kind (hand over mouth is okay for canons with prompts for rougher sex like Top Gun, Minority Report, Collateral and Days of Thunder, but I would like it to trigger the character on the receiving end and for there to be some emotional fallout of it)
• anal, dirty talk, spanking, ageplay, scat, watersports, rimming, emeto, A/B/O, d/s-verse, mommy/daddy kink, maledom/femsub
[back to navigation]
Under Siege (1992)
Media: fic, art
William Strannix/Commander Krill
"What was that?" "A bomb, jackass!" - basically Strannix and Krill's entire dynamic, lol. These two are just utterly ridiculous garbage humans - they're the villains of their film, they are giant hams, they're completely fucked up, and it's hilarious and wonderful. Strannix is a former CIA agent who went mercenary after his own government tried to kill him, and Krill is a dissatisfied ship's XO who supports Strannix's crazy bid to hijack said ship for its nukes: the intriguing part is that while they get along like a house on fire, we're never told the why of Krill's support for Strannix at all. (...And so I'd like to believe it could be because he's in love with him. Occam's razor and all that. :'D)
I'm super here for either delicious backstory, or for a happy, kinky ever after with these two surviving the Missouri. Tell me about Strannix's younger days in the navy, serving with Krill in Vietnam, why he quit earlier than Krill did, why he joined the CIA. Were they idealists, when they were young? (Maybe Krill still kind of is.) Was Strannix starting to develop hippie acidhead pacifist free-love tie-dye tendencies even while serving? Were there hints of darkness about him even then? Or tell me about Strannix's days as a CIA agent in the 70s and 80s, doing badass suave spy stuff, saving the world, avoiding getting killed, kissing all the people regardless of gender, and then eventually...gravitating back to Krill. From the other direction, I'd love to see Krill being ridiculously devotedly in love with Strannix, while Strannix is oblivious for the longest time, and perhaps denies it even when he starts to realize it. I'm here for gloriously fucked up, twisted villain romance - as long as the affection between them is genuine.
So - what's their romantic dynamic like? When they served in the navy together, were they young and idealistic - or young and cynical, disillusioned with the government they work for, already thinking of ways to get their pound of flesh and walk away? Are they fuckbuddies who secretly, very secretly, yearn to be more? Do they pretend to hate each other, or sometimes acknowledge that they're friends? Does Strannix insist he's just using Krill for release, for leverage, for access to his ship? Does Krill insist he's not addicted to Strannix dominating him, pretend it wouldn't mess him up if he stopped? How long have they been in love and viciously denying it? Does the idea of feeling actual human affection horrify Strannix, or both of them? Hell, does Strannix know that Krill is in love with him, and use it against him as much as he can - until he realizes, with dawning horror, that he's fond of Krill too? Do they ever tell each other about their feelings, or do they just keep being stupid for the rest of their lives? Also, what if they don't go out in a blaze of glory on the Missouri, but instead survive and get to quit their jobs and retire somewhere / be gay and do crime together for the rest of their lives? I feel like they might turn into kind of a force for chaotic good when left to their own devices, only stealing and sabotaging stuff that belongs to rich and powerful evil folk.
Smut-wise, I am here for all the rough kink and banter in the bedroom, especially with Strannix being the slightly bored but increasingly interested Dom to Krill's extremely enthusiastic sub. Also, no amount of loving on Strannix's hands is too much loving on Strannix's hands, just saying.
Art prompts!
(Strannix is six foot, while Krill is a shade under that)
• Krill sucking on Strannix's thumb.
• Strannix lounging sprawled over Krill's lap, perhaps with Strannix in his rocker outfit and Krill in his khaki navy uniform.
• Strannix and Krill making out in their younger days, Strannix with shorter hair dressed in a pristine black suit or tux all CIA agent like, and Krill in very dishevelled navy dress whites or dress blues.
• Anything with a bright, psychedelic, acid-trippy style would be great for these two!
[back to navigation]
Minority Report (2002)
Media: fic
John Anderton
John Anderton/Danny Witwer
I'd love to see some worldbuilding about John healing up post-Precrime, dealing with being blind in that one eye because of the searchbot and fucked up by the halo and quitting neuroin, about him getting a real recovery that's agonizing but worth it instead of the handwavey 'everything's magically all right ft. replacement goldfish child on the way' ending of the film. I am cool with no ship, but I'm also very cool with getting John together with Danny Witwer, especially if Witwer has Colin Farrell's real Irish accent instead of the bland American one they made him do in the film.
My prompts in this fandom fall into two broad categories: exploring how fucked up John is during and before the film, and exploring how fucked up John is and how he can recover after the film.
Category one is, broadly: Hey, Why Is This Film Full Of People Acting Sexually Creepy Towards John Anderton. The shady doctor and nurse are obvious and kind of low-key skeevy, but on a way more obvious and blatant level there's Dr Hineman kissing him by force while he's literally on the verge of dying from her plant poison, and on a more subtle, insidious level there's Burgess calling him "my boy" and the film implying he's been John's sole emotional support for the past six years (and then revealing he's been manipulating him all along, been enabling his drug habit and possibly deliberately keeping him emotionally unstable so he can have his Precrime poster boy). I'm down for Hineman coercing and/or forcing John into sex while he's too desperate and emotionally fucked up to really understand what's going on - I'm also down for him enjoying it, for her really blowing his mind and making sure that he enjoys it, and him having really conflicted feelings about it after the film. I'm also down for some really fucked up, manipulative Lamar/John from six years before the film to during, either implicit with Lamar offering John emotional support and implying romance, offering intimate touch but it never reaching the level of kissing or sex, or full-blown Lamar taking advantage of John when he's vulnerable, making him dependent on him emotionally and for dope, thoroughly messing him up. I'd like any kissing or sex to happen after John and Lara separate, but for the Burgesses this particular scenario would stand as an exception to my infidelity DNW as well - Mrs Burgess can know and not mind, or not know, as you see fit. If she does, I'd like John to be conflicted; if she doesn't I'd like him to be absolutely destroyed by it but still helpless to stop or resist Lamar's advances.
Category two is, broadly: Afterward. How John deals and how he recovers. I'm here for John suffering through aftereffects of the halo (neurological symptoms, maybe migraines, auras, nightmares, flashbacks, days when he's trapped back in that world of torment and can't make it out, not knowing what's real) and dealing with suddenly being blind in one eye, as well as the loss of everything that's helped him survive the past six years. I'm also very here for his addiction getting worse until it reaches breaking point and he has to suffer through getting clean, withdrawal symptoms and all. I'm pretty annoyed about the ending of the film, so I'd very much read John and Lara making an attempt to get back together that doesn't go well - perhaps with her trying to pressure him into making it work while he's all kinds of fucked up both physically and mentally, and him just not being able to deal with anything about it, especially the constant memories of their past life together on top of all the health issues he's dealing with, and one day just calling it quits and leaving even though it tears him apart. They both seem heavy on denial as a coping mechanism, so I could see Lara just trying to ignore how sick and hurt John is, and him following her lead and trying to ignore it too until it gets bad enough that he can't any more. (I'd be down for a potential dub/noncon situation here too, with Lara pressuring John into sex when he's too sick or hurting too badly or too far gone on neuroin to want it, or even to actively participate.)
(Consent issues or no,) I could see John kind of running away from Lara - not leaving her in the lurch, but certainly having a deeply stressful conversation telling her he can't do this any more, and then getting as far away from her and the NYPD as he can. Does he hole up in his apartment hoping he'll eventually feel better? Does he go to Agatha and the twins if he realizes he's possibly too sick to be alone? Does he just go somewhere offbeat and cut off contact with everyone until somebody starts to worry (is that somebody Witwer)? Does he go through withdrawal alone and eventually come out okay, or does Witwer find him during and hold him through the shakes? Do things get bad enough that Witwer has to drag him to hospital despite his protests and newfound distrust of the system? Does he even get good treatment if they do, or are the medics in this universe just as cruel and uncaring as the police?
Speaking of which, I'm super here for John quitting the NYPD and finding something else to do. He's probably had a revelation about the system he used to trust, and he's probably disqualified anyway now because of the blindness in that eye and his other symptoms post-halo. I'd love to see him reconstruct his life when he gets better, adjust to a new normal with essentially a chronic illness if the effects of the halo get better but never fully leave. I'd definitely love to see him do it with Danny at his side, and both of them learning not just how to be with each other and look after each other but also how to be people, not just bland colourless law-enforcement officers in their bland colourless law-enforcement world.life in plastic it's fantastic
[back to navigation]
War of the Worlds (2005)
Media: fic
Ray Ferrier
ok so, Please 2 Give Ray Ferrier Some Actual Rest? Maybe a hug that's not half-assed? Maybe a glass of water, ffs??? Spielberg how on earth do you think that was a satisfying ending?????
I don't have a preference for who the comforter is, just please get Ray some comfort. Maybe Mary Ann's parents invite him in for a glass of water and let him crash at their place for the night, even if Mary Ann herself wants nothing to do with him? Maybe a kind stranger takes him in for a bit while the world picks itself up in the wake of the tripods? (I'm not opposed to a romance developing there, either.) Maybe he's more injured or sick and exhausted than even he realized, and passes out on Mary Ann's doorstep or on a train home, and wakes up in hospital. Maybe he passes out and Mary Ann's parents and new husband have to haul him indoors, and there's immensely awkward caretaking while he's very out of it, embarrassed that they're the ones who have to look after him but too messed up to try and leave. (Maybe he does try to leave and not bother them any more, and promptly passes out another time and has to be hauled back in again. Maybe he succeeds in leaving and gets caught in the rain or cold and gets even sicker. Maybe he finds himself crying in secret, or has to explain away the tears to Mary Ann's husband or a stranger.) Does he even have a home to go back to? Does the government put survivors and displaced folk up while deciding how to compensate them for the losses they've faced, so does Ray hole up with other people who've suffered and they look after him when he crashes? Does he try to help with the rebuilding efforts, possibly while in no shape to do so, and crash on the job? Is he surprised that people care enough about him to make sure he's okay?
I'm just here for Ray catching a break and getting to be looked after and start to recover, maybe start to process all the awful things he's just been through, while still being a disaster of a human being who has no idea how to look after himself, hardly cares about his own wellbeing, and is just glad his kids and everyone else are okay, even though Mary Ann might still believe he's a selfish trashbag who doesn't care about them.
(Passing mentions of Mary Ann's pregnancy are okay, since it's canon, but I'd rather it not be dwelt on or a focus of the work.)
[back to navigation]
The Fugitive (1993)
Media: fic, art
Sam Gerard
Sam Gerard/Richard Kimble
Very here for h/c, especially h/c focused on Sam so there's a role reversal from Sam being the comforter in the film. I'd love some low-key h/c in this fandom, nothing dramatic like near-death or long hospital stays - maybe just painful field injuries and gentle domesticity and maybe Sam and Richard making out in libraries.
I love literally everything about The Fugitive, from Sam's, well, everything - his deep compassion, his love for his team of marshals whom he calls his 'kids', his love for coffee and doughnuts, his taking exception to words he doesn't like, his constant Sheer Drama - to Cosmo's trust in him while not taking any of his shit - to Richard's desperate determination, how well he and Sam are matched as foils, and how well they're clearly going to get along. Both Sam and Richard show a marked tendency toward compassion and kindness as their default, helping people when they have no pressing reason to, caring for perfect strangers despite everything - and sometimes smiling like the sun has broken through the clouds.
To that end, I'd love Sam and Richard getting to know each other after the film, and slowly falling in love without realizing it's happening. I'd also love some hurt/comfort focused on Sam, possibly with him showing up injured at Cook County or Chicago Memorial and Richard happening to not be in surgery at the time, so he looks after Sam instead of whoever's on call at the ER. I'm more than game for anything post-movie with these two, from Richard meeting the 'kids' to Sam meeting Richard's friends at the hospital to just Sam and Richard wearing warm clothes in fall and making out in libraries.
I also enjoy established relationship fic in general, but with these two that begs a certain concept in particular: US Marshals fixit! Please show me how much better US Marshals would have been had Richard hopped in that van with the kids after Sam's plane crash, and been there to look after him during his inevitable illness after falling into freezing water, and therefore been there to save Noah's life after that gunshot to the chest.
If you're writing fic set post-Fugitive, though, I'd ask you to ignore US Marshals completely, please. :D
Art prompts!
(Sam is six foot and Richard 6'1" - also I love Sam's love of wearing red!)
• Sam snuggled up against Richard's shoulder at a bar, both dressed smart-casual
• Sam wearing a deep purple sweater, maybe with a matching scarf!
• Sam and Richard kissing in a library
• Richard patching up an injured Sam (and maybe Cosmo too)
• Richard wearing clothes that clearly belong to Sam - his red scarf, for instance, or a sweater that's a little too big for Richard and gives him sweater paws, or a double-breasted suit jacket
• Sam in his red puffy jacket, with a tiny and very smug kitten peeping out from the zipper. (I will love you forever anyway, but I will love you even more if the kitten is wearing a tiny cowboy hat)
[back to navigation]
Collateral (2004)
Media: fic, art
Vincent
Vincent/Max
Vincent/Daniel
Super into rough, kinky hatesex for Max/Vincent; super into something softer with more reluctant mutual understanding for Vincent/Daniel. (Also very into Vincent's motivations and his cynical worldview, especially considering a lot of it stems from an abusive childhood and being passed around foster homes, and probably a great deal of financial insecurity. It's possible the alienation of being queer compounded that, too.)
Vincent/Max
God these characters are so fucked up. Vincent is a terrible person, and yet you kind of feel for him; Max is a sad bean who never asked to be caught up in any of this, and yet somehow finds it in himself to be an absolute hero and kick ass. Please tell me more about these messed up people and the rough, kinky hatesex they get up to. I'm a-okay with fic set before the film, during the film, or after the film in a universe where Vincent doesn't die.
Until Max got the better of him, Vincent spent most of the film reading Max like a book, and constantly, mercilessly unmasking him to himself. What I'm after with these prompts is a just reversal of that, a re-balancing of the power dynamic between them by means of Vincent being hurt. I'm here for Max getting to see Vincent torn down and vulnerable, to see what an utter mess he is, how held together with trash and duct tape he is under all the posturing. (He's a dick, to put it mildly, but there's an angle or two from which he's...really fucking tragic? When you start to see him coming undone, you really see him coming undone. We know a few things about him that are established as sore spots - that he's been passed around between foster homes and an abusive dad, and that he was military or a military contractor before he became a hitman.)
Maybe this is the same night as the film, and Daniel at the jazz club convinces Vincent not to kill him, or something happens to convince him to let Annie go, or there's just a skirmish with police or a rival assassin group, and Vincent ends up badly wounded - and Max can neither let him die, nor resist the urge to torment him by providing comfort with no explanation, no reason for it that would conceivably make sense to Vincent (a perfect h/c ex tag for this pairing: "comfort as cruelty"). Maybe Vincent gets hurt and tries to fix himself up in the back of the cab, and Max catches sight of all his scars in the rearview mirror, and one thing leads to another and they end up making out roughly, Max noticing every old injury, every stiffness of a limb, everything that points to Vincent having had a hell of a past; noticing every gasp of pain he can't manage to hide. Maybe, for something completely different, Vincent survives the MTA with permanent injuries from the incident that end his career as a hitman, turns state's evidence or just disappears and possibly grows, like, half a conscience (which he hates but now it's there), and gets a card from the Island Limo Company while he's healing up.
I'm here for Vincent And Max Getting It On In All The Rough, Fucked Up Ways, during or after the film. Maybe one or both of them are drugged or drunk or high, maybe Vincent's sick or injured so badly he's hallucinating and isn't sure Max is real (and Max isn't sure Vincent's really consenting). Maybe they use banging each other as an excuse to talk out or fuck out their various issues, like Max's with his limo company and Vincent's with his father. Vincent is definitely a masochist; maybe he's surprisingly eager to please, and Max uses that to get revenge for everything Vincent put him through in the film. Maybe he does that by hurting him, or maybe he does it by getting him to confess to (or just talk about) all the times he's been vulnerable in the past. Maybe Vincent's time in the military comes up, in a kinky context or an angsty, bitter context, or both. Maybe they walk away weirdly healed...or maybe just bleeding and ripped apart.
I'd like whatever they do sexually to be more or less consensual, if not necessarily safe or sane - I could get behind mutual dubcon scenarios, where they could be drunk, both under the influence of a ~substance (really fond of acid for this, but also like, nebulous fictional drug that has whatever effects you want it to is also a pretty good choice), or (as mentioned above) Vincent may be hallucinating and not entirely conscious, but I don't want either of them to use physical force to get the other to sexually comply. I don't want either of them to hold disproportionate power over the other - as Max established in the second half of the film, the leash very much goes both ways. (Also Vincent is weirdly fucking principled for a hitman and I could see him as being laughably obsessed with consent, so make of that what you will.)
There are some dubcon-flavoured thoughts/prompts in my Chocobox/Consent Issues writeup on them, here.
Art prompts!
(Vincent is left-handed and 5'7" to Max's 5'9")
• Vincent stitching up his own wounds while Max looks on, possibly not doing a great job of it.
• Max undressing Vincent, finding him littered with scars.
• Max and Vincent generally Making Out Roughly, perhaps with Vincent handcuffed to something, or perhaps with Max holding a knife to Vincent's throat.
• Vincent waking up in hospital to a bunch of flowers and a card from the Island Limo Company.
[back to navigation]
Vincent/Daniel
This is the section that needs a little more behind-the-scenes explanation of where my head is at. Collateral is about the contrasts and parallels between Vincent and Max; that's where the story unfolds, that's where the impact lies when we see them picking up traits and actions and influences from each other. But I maintain that in this film, while Max's turning point came when he found out Annie was the final name on the list, Vincent's own personal reckoning came earlier - when he met Daniel, and shot him.
My general reading of Vincent here is influenced by what we know of his background, and by his behaviour in a non-professional context. We hear that he was passed around between foster homes and an abusive dad before the age of twelve, implying he was pretty much on his own afterwards trying to survive; we hear that he's only been 'private sector' for six years, implying he was military or a military contractor before; we hear him choose to say being a hitman has 'no paid sick days', implying that's something he's thought about, that financial security may be what's driven him to take every decision he's taken so far. We see him doing everything he possibly can to hide who he is, blend into the background and not be seen - almost as though he's scared of being seen. We see him actually care about the music at the jazz club, actually enjoy talking to Daniel - actually let Daniel see him, despite that fear. And we see, in that brief moment of eye contact with Max at the Korean nightclub some time later, that something in him might just be capable of having a conscience after all.
Vincent and Daniel had a connection. It looked like in another life, they could've talked jazz forever. And Vincent knew it; the way he shoots Daniel is markedly emotional for a supposedly clinical assassin (he fires off more shots than necessary at point-blank range, and the last one misses Daniel, even though he's already dead), and he cradles his hand almost tenderly afterward; there's respect there, dignity there that he doesn't afford his other marks. Vincent's reckoning came when he was forced to choose between letting a mark live - when that mark was his possible only chance at a real, unforced human connection - and putting his own livelihood, his own life at risk. He chose himself, but there's a compelling argument that for just a moment, he could have chosen otherwise - that when he asked Daniel for that difficult piece of jazz trivia, he wanted Daniel to get it right, to give him an excuse to let him live.
So my prompt here is, let Vincent have just one more moment of doubt, and decide to let Daniel live. Maybe the rest of the night goes just as it did in the film, he somehow survives the MTA, and shows up back at Daniel's hoping for some conversation, or even just some music. Maybe he's badly hurt and shows up back at Daniel's with the intention of dying there, the only place he's ever known something vaguely resembling happiness, and Daniel saves his life instead. Maybe they build a real acquaintanceship over music and Mysterious Criminal Pasts while Vincent is recovering, too hurt to pick up targets; maybe Vincent's even permanently injured to the point where he can't be an assassin any more, and has to figure out how to be a person living a normal civilian life instead, and Daniel has experience in that area and can help him out.
Art prompts!
(Vincent is left-handed and 5'7" to Daniel's 6'2")
• Vincent sitting at Daniel's bar with a cane, dressed more casually than we see him in the film though still in grey/dark colours, listening to Daniel play the saxophone.
• Vincent asleep on a couch with his feet in Daniel's lap as they listen to jazz records.
• Daniel undressing Vincent, finding him littered with scars, possibly with Daniel also visibly having scars of his own.
• Daniel touching Vincent gently and Vincent shrinking away / not being able to meet his eyes because of the gentleness.
[back to navigation]
The Shadow (1994)
Media: fic, art
Lamont/Margo
I'd love some h/c focused on Lamont, with Margo being able to read his thoughts and taking none of his self-loathing/self-sacrificial bullshit. This canon begs for a delightful mix of vigilante h/c tropes and psychic superpowers h/c tropes and I am weak.
I love that in canon, the Margo/Lamont relationship is both beautifully soft and founded in the very basic tenets of consent: Margo is among the only people Lamont's mind-influencing powers don't work on, and therefore by definition she is at his side solely because she wants to be. This messes with Lamont's head a great deal, since he's an enormous disaster sub with a ton of guilt and self-worth issues and doesn't remotely believe he deserves to be loved.
I'd love to see something that picks up after the film, with established Lamont/Margo dealing with the hazards of the vigilante business - perhaps Margo finding an injured Lamont collapsed on her doorstep and having to look after him, perhaps her hearing his mind call out from miles away when he's hurting or miserable, perhaps them having to find ways to keep up their Socialite Personas for the public, such as Margo sneaking Lamont out of a party with clear We're Going To Make Out signals while he's really staggering from a gunshot wound. All the Noir Detective and Noir Vigilante and Noir Caretaking tropes! I will eat all the tropes up with a spoon!
I'd also love some exploration of the Shadow superpowers and how they work (and how they can go wrong) - perhaps with Lamont losing control of them when he's unconscious while hurt or ill, resulting in things breaking, flying around the room, people accidentally getting mind-controlled into doing odd things, maybe someone getting mildly injured, and Lamont being overwhelmed with guilt and hiding himself away when he's losing control for years until Margo realizes she's the only one who can help. I'd also love to see the effects of Lamont sometimes overusing his powers and working himself to exhaustion - perhaps it gives him migraines or gets him sick, leaving him shaky for a few days afterward, or exhausts him to the point of burnout, and this too has been going on for years before Margo walks into his life and realizes he's a whole idiot who can't sustain this way of working forever. Perhaps his occasional bouts of overusing-powers-sickness have been mistaken as hangovers or other debauchery by his uncle/butler/etc, and he's done nothing to disabuse them of the notion because it suits him for them to assume he's an empty-headed layabout. (Perhaps someone finds him in a gutter one morning too deeply unconscious to make it home, and it makes the tabloids and his uncle gives him a Stern Talking-To that he has to pretend he's taking to heart, while Margo knows the real reason and worries and shows up to domme him into letting her look after him.)
Speaking of Margo domming Lamont into letting her look after him, that's the exact dynamic for them that I love. Margo is super assertive, knows exactly what she wants at all times, is very very sexual and horny on main, and she's also very generous with comfort when Lamont needs it. Lamont, meanwhile, is all haunted and racked with guilt for his past, and afraid he'll hurt her, and also kind of awkward and embarrassed by her boldness; embarrassed to be wanted as much as she wants him. I'd love to see her taking him in hand and showing him how to let go of his guilt and nervousness and place his trust in her - him all reverent and worshipful, her patiently finding out what he needs (even if it's a long-term project, and even if what he needs is pain or bondage - perhaps especially if it is!), and maybe her giving him lots of praise and aftercare as a reward for being good for her. I also think Lamont might, in his self-flagellating way, sometimes go too far in asking for pain, and Margo might have to figure out when those times are, take care of him and reassure him, and figure out how to help him stop doing that.
D/s or no, I love the idea of Margo putting Lamont in shibari while he's sick, perhaps because they've found it helps keep his powers or power-induced sickness/headaches/burnout in check, perhaps as a simple exercise in comforting touch. I love the idea of Lamont just...not being able to deal with tenderness and being loved, especially so when he's ill or hurt, and Margo having to kiss away tears of sensory overstimulation/general overwhelmedness. Lamont just being very used to curling up and riding out illness/injury alone, and Margo refusing to let him do that and giving him lots of gentle touch and kisses, is such a soft spot for me, as is the fact that she can read his mind and hear his distress from miles away, so he literally cannot hide any kind of suffering from her.
Art prompts!
• Margo tying Lamont in intricate shibari knots while he's sick or hurt.
• Margo undressing Lamont from bloodied clothes.
• Lamont kneeling at Margo's feet, somewhat or completely undressed, looking up devotedly at her while she cleans his injured face of blood and grime.
• Margo wrapping a sick, shivering Lamont in one of her jackets (that's clearly feminine and drapey) or one of her giant furs.
[back to navigation]
Top Gun (1986)
Media: fic
Maverick Mitchell
Mav/Ice
Mav & Goose
Mav & Carole
Mav/Ice/Slider
I am here for Mav and All His Issues, especially grief, general lack of self-worth, and unaddressed PTSD. I am very here for him trying to deal with said issues by being a masochistic sub who seeks out pain and doesn't know his own limits/triggers until someone accidentally trips one. Ice being a gentle dom would be great, especially if it's in contrast to earlier doms (such as Charlie or OCs) who haven't been too considerate, or may even have been consciously mean. (Here's a link to a lot more thoughts and prompts about Mav Being An Angsty Sub, in case you'd like specifics to play off of!) This very much applies to Mav/Ice/Slider as well, except I'm feeling them more as an occasional one-night threesome rather than a long-term thing - I think, also, that Ice and Slider have more of a friends-with-benefits dynamic and Mav would try his damnedest to never be vulnerable ever in front of Slider, so Mav/Ice/Slider would probably be a really fun and light-hearted time with a lot less emotional weight than Mav/Ice on their own carry...until, of course, Mav runs into an unexpected trigger, or can't convince himself to safeword when the pain gets too much for him, and tries his best to stay stoic (refusing aftercare, or maybe they don't even think about aftercare), but Ice and Slider can tell there's something wrong. Maybe it takes them a few times to figure it out, and realize that while Mav enjoys their nights together he often goes home to sob his heart out alone afterwards, and then they take it into their hands to solve it and maybe hurt him less or give him more love and affection after.
I'm also very here for Mav's friendship with Goose from their earliest days serving together, and for Mav's friendship with Carole - possibly with them helping each other through their grief after losing Goose. I'd love to see how Mav and Goose met - Goose seemed really protective of Mav from the moment we were introduced to them both, and was super patient with all his issues and dramatic nonsense (and clearly with his bi/pansexuality, too). Maybe Goose earned his callsign by protecting Mav, or tearing into someone who tried to tease/insult Mav about his dad. Maybe they bonded by drunkenly falling asleep on each other at an orientation night. How did they develop their inseparable partnership as pilot and RIO? How did Goose first introduce Mav to Carole? How did he become a part of their cute little family, and how did he help Carole cope after Goose died? I'd love to see Mav doing his best to hold it together for Carole and Bradley, being a model of support for them, and then falling apart in private (maybe with Ice picking up the pieces).
For the character tag that's Mav individually - I have a lot of feelings about Mav's general headspace, both at the time of TG1 and now, in the trailers for TG2. He's got some serious self-worth issues that are evident even outside of the bedroom, and definitely has some PTSD going on in the aftermath of Goose's death; when we last see him in TG1, he's still just barely getting over the grief and shock. I'd love to see something exploring the echoes of that in his life afterwards, because he canonically seems to have had no meaningful emotional support from either Charlie or his friends (let alone external support like professional help). So, PTSD, nightmares, Mav crying in his sleep, asking for Goose when he's too sick to remember Goose is dead, blaming himself for what he went through, being ashamed of needing help/comfort, going quiet when he's hurting, generally not caring about his own wellbeing and not believing he's worthy of comfort. Mav/Ice would be great for this, too, but Viper providing some real support to Mav would also be cool. Mav getting some unexpected support from a stranger would be lovely as well - it seems likely there've been times in Mav's life when he's been hurt or otherwise a mess far from base, and I do love a good outsider POV. (Maybe said outsider calls Ice to come and pick Mav up!)
I also now have 5 entire emotions about older Mav - present-day Mav, whom we see in the new trailers as deeply sad and quiet and, I quote, 'refusing to die'; there are just so many Depression Feelings there. I'd love to hear more about how Mav refuses to die, despite not really knowing why, or about him being ready and willing to sacrifice himself and not knowing how to cope when he lives instead of dying. Maybe tell me about how lonely he's been and how tired he is, and how he copes with it; maybe about how Ice walks back into his life, and how while he can't fix him, he can help him feel a little less alone. Maybe about him getting hurt protecting the new trainees, or working himself into the ground for them, and Ice having to pick up the pieces. Maybe tell me about Ice and the new trainees loving Mav so much they straight-up refuse to let him die for the greater good, and Mav not being able to wrap his head around being loved.
[back to navigation]
The Hunt for Red October (1990)
Media: fic, art
Jack Ryan
Bart Mancuso
Jack/Ramius
Jack/Mancuso
Jack/Ramius/Mancuso
I love h/c for all my fandoms, but I particularly love it for this one. Jack and/or Mancuso as the hurt character would be great. I love the warmth of this film, and would love that warm atmosphere to carry over into fic or art. 💛
I really love the warmth of everything about Red October - how deeply idealistic Jack and Ramius are, how Jack is an experienced analyst who knows a lot about strategy and history but absolutely nothing about operations (but still knows he has to try to get Ramius in alive), how Ramius makes sure to gain the trust of his officers about the terrible risk he's taking in defecting, how Mancuso's whole crew clearly loves and trusts him and admires him while he is so protective of them in return - indeed, how committed to duty Mancuso is, but how ready and willing to step up when Jack proves his orders wrong.
I'm very here for all kinds of softness and hurt/comfort, with Jack or Mancuso as the centre. (Here's my h/c ex writeup on Jack; here's the one for Mancuso.) I just want them to get a whole lot of love and gentleness, whichever ship or the whole triad you choose from the tagset - getting together, established relationship, G-rated caretaking to M- or E-rated loving, everything is wonderful. I'd love to see these characters look after one another, make room for one another in their lives, kiss and pet one another a lot, any time from right post-movie to years later, possibly with Jack getting into politics and eventually becoming the President with First Gentleman Ramius and/or Mancuso at his side.
I have a lot of feelings about the idea that Jack's back injury from the chopper crash might leave him in lasting pain that resurfaces on cold and wet days, and Ramius and/or Mancuso would learn how to help him through it. I also love the thought of Mancuso, as a career submariner, not having had many relationships and not being used to being comforted, and so that he'd be quietly overwhelmed when Jack and/or Ramius hug and pet him when he's exhausted, or when he's older and his hands start to hurt when it gets cold.
While I don't think these characters would get up to d/s shenanigans often - I see them mostly as sweet, intense vanilla - I am kind of destroyed by the soft-but-firm-d/s implications of the scene where Ramius presents Mancuso with the Red October. Ramius has enormous Dom Energy in general, especially with Jack, but that scene got me feeling things about Mancuso, who also has a lot of Dom Energy, being the only person in the world whom Ramius would submit to. This goes double because when we see Mancuso give orders on the Dallas, he gives them softly, gently, and everyone immediately leaps to obey; I'd love to see him have the same command style in the bedroom, especially if Jack is sick or hurt and feeling guilty about it and needs to be told to let himself be taken care of, or conversely, if Bart himself is mildly sick or hurt and needs to convince the others to stop worrying and kiss him already, damnit.
Art prompts!
(Bart is left-handed and a shade under six foot; Jack is six foot and Ramius 6'2", and I love that they're both buff and soft while Bart is slender)
• Forehead kisses! All the forehead kisses. Ramius and/or Mancuso kissing Jack on the forehead.
• Kisses in general! Ramius or Mancuso gently kissing Jack.
• Ramius and/or Mancuso holding Jack's hand(s) on a plane.
• Jack wrapped in a blanket with Ramius and/or Mancuso snuggling him.
• Jack and/or Ramius massaging Bart's hands or wrists.
• happy, older bear!Jack in a wheelchair with a happy, older Ramius and/or Mancuso beside him - perhaps holding his hand or kissing him.
[back to navigation]
Random Hearts (1999)
Media: fic
Dutch/Kay
Please let Kay and Dutch finally get together after the film, after Kay spends some time thinking about it. I'd love to see Dutch learn to deal with his grief and anger issues, quit the police force and eventually try his hand at something else, maybe opening a little café or just being a house-spouse. I'm particularly struck by how Dutch's coping mechanism in life is to Stock Up On Groceries, so I'd love to see him spoiling Kay and Jessica with food he made, and getting lots of love and appreciation for being a cute selfless idiot. I'd be very here for his limp lasting a few long months, or even getting a little better but then lingering permanently, and him learning to deal with the chronic pain.
I am also super here for Kay being a badass professional, whether she gets reelected or decides to do something else (even public appearances at interviews/charities/events/etc), and Dutch being her cute partner who is sometimes seen with her and gets tabloids excited about who he is. I'd be very into suit kink focused on Kay, or denim kink focused on either of the two.
[back to navigation]
Days of Thunder (1990)
Media: fic
Cole/Claire
Soft d/s porn with Cole unquestioningly obeying every word Claire says, with lots of engine noise as the backdrop? Maybe some shibari or sensory deprivation or finger-sucking? Please? :D
I love how much softer and more sensible Cole is in bed than he is on the track, and how honest and emotionally healthy he and Claire are with each other in general. The dynamic I love for them is both of them being very eager to spoil each other rotten, each of them being incredibly gentle and kind toward the other while also sometimes liking it a little bit rough - Claire because she's playful and wants a little extra fun sometimes, and Cole because sometimes gentleness is Too Much and he'd rather be roughed up a bit so he doesn't have to confront the fact that Claire thinks he's worthy of being loved. So like, ranging from rough, quick and dirty to soft, slow, gentle and dirty.
D/s or no, I'm also generally super here for cars, and sexy times involving cars. Cole and Claire making out or making love in the adrenaline high after a race, or during other drivers' practice laps with cars roaring past the room or shed they're in. Heavy petting in Cole's racecar, or on the hood of it. Claire fucking Cole while they're parked somewhere secluded and he's ziptied to the steering wheel. Maybe Claire fucking Cole in a fancy limo they're given all to themselves as a ride to some event, being all gentle and laying his head down on the plush seat and riding him to overstimulation, or until he begs her to get rough with him. (Very into Claire undoing Cole with gentleness, and withholding roughness and pain until he's been good enough to earn it.) Cole fingering Claire or eating her out while he's blindfolded or in shibari, or just tied down or loosely tied round the neck with whatever she could find (ribbon, dressing gown or bathrobe waistband, bow tie on bare skin rather than around a shirt collar...)
Also super into clothing kink with these two (and definitely super into how much taller Claire is than Cole) - I'd love to see Claire wearing a suit when she appears at a formal press event with Cole, and him delightedly undressing her afterwards, inch by inch, item by item of clothing (possibly with her telling him what to take off and exactly how). I'd also love any kind of foreplay through fabric, especially Cole getting Claire wet by rubbing her through her trousers or jeans, stroking her thighs through her clothes, even breathing on her, or a combination of any or all those things.
[back to navigation]
Once again, thank you for creating for me! I hope you have fun with it - that's what it's all about, after all. 💛
So, the thing I love most in fanwork is taking canon character dynamics and just...making them More. Taking them further, exploring their natural progression, usually in a hurt/comfort-y way. I've mentioned the character dynamics and ships I love under each fandom, along with some rambly thoughts and prompts - speaking of which, please feel free to pick, choose, mix, match, play with any, all or even none of said prompts, if that's where the muse takes you. 💛
I love hurt/comfort with all my heart and soul, so most of the prompts here will probably contain it to some degree.
I am a-okay with any kind of exploration of character dynamics - h/c, casefic, fluff fic, angst, missing scenes, outsider POV, outsider POV contrasted with canon characters' POV, getting together fic, established relationship, you name it I love it. I'm also very much okay with or without smut - I enjoy it, but please don't feel pressured to include it or not to include it. If you do feel inclined toward the lovin', I have a preference for a Mature rating over an Explicit rating, but I will likely enjoy whatever rating speaks to you. :D
Navigation
> Likes & DNWs (art likes)
> Under Siege (1992)
(Requested media: fic, art)
William Strannix/Commander Krill
> Minority Report (2002)
(Requested media: fic)
John Anderton
John Anderton/Danny Witwer
> War of the Worlds (2005)
(Requested media: fic)
Ray Ferrier
> The Fugitive (Movies)
(Requested media: fic, art)
Samuel Gerard/Richard Kimble
> The Shadow (1994)
(Requested media: fic, art)
Lamont Cranston/Margo Lane
> Collateral (2004)
(Requested media: fic, art)
Vincent/Max
Vincent/Daniel
> The Hunt for Red October (1990)
(Requested media: fic, art)
Marko Ramius/Jack Ryan
Bart Mancuso/Marko Ramius
Bart Mancuso/Marko Ramius/Jack Ryan
> Top Gun (1986)
(Requested media: fic)
Maverick Mitchell
Maverick Mitchell/Iceman Kazansky
Maverick Mitchell & Goose Bradshaw
Maverick Mitchell & Carole Bradshaw
Maverick Mitchell/Iceman Kazansky/Slider Kerner
> Random Hearts (1999)
(Requested media: fic)
Dutch van den Broeck/Kay Chandler
> Days of Thunder (1990)
(Requested media: fic)
Cole Trickle/Claire Lewicki
Likes & DNWs
General likes:
• Character studies
• Hurt/comfort of all stripes
• Exploring the fallout of canon trauma
• Missing scenes, slice-of-life, etc - exploring canon character dynamics/canon traits of known characters
• Touch starvation
• Deep friendships
• Earned trust and casual intimacy (carrying, clothes sharing, characters only allowing touch from people they trust, etc)
• Bonding over shared trauma
• PTSD, illness messing with a character's grip on reality, combat/mission injuries, scars, and injuries acting up, touch starvation, sensory deprivation / sensory overload, characters not believing they deserve comfort or being surprised to receive comfort
• Eventually requited pining
• Worldbuilding
• Outsider POV, especially when contrasted with our characters' POV
• Mission aftermaths
• Smut with Feelings (I don't really need to know what body parts are going where, I just love to know how it feels, in the sensory way especially but also the emotional way)
• Pain, bittersweetness, sadness, exploring the darker side and implications of canon is great, but I really need some happiness/comfort and hope along with it!
Sexual likes:
D/s overtones. Femdom. Service subs. Subs With Issues. Praise kink. Hands, fingers, touch; touch starvation. Hands in hair. Sexual touches/kisses/closeness through fabric. Finger-sucking. Aftercare. Tenderness, especially if the person receiving it isn't expecting it, isn't used to it, and it breaks them just a little.
Marking, intentional or no - bruising with lips or teeth; hiding the bruises under clothing. Suit kink. Wrists bound or held down. Honour bondage. Shibari and intricate knotwork. Careful sex / making out when one partner is hurt or ill and feverish (fever sex is, uh, very much a Thing of mine). Or rough, desperate, life-affirming sex / making out.
There are some fandoms where I love the sex a lot rougher; see the sections under Collateral and Top Gun.
Art likes:
Realistic and sketchy styles, bold lines and rich colours/textures, bold accent colours, creative lighting choices, noir-style art especially for action canons, minimalist styles/silhouettes, characters captured in unaware moments as though they're being photographed without realizing it, art that captures the vibe of canon without necessarily capturing the style of canon; angsty hurt/comfort or warm, gentle, casually intimate moments.
I love kisses of all descriptions, especially at the forehead, temple, hands, throat, or collarbone. I love characters undressing each other, reverently for most pairings, roughly for some (see Collateral and Top Gun). I love seeing characters in partial states of undress rather than seeing them completely naked, especially if there's also a focus on their hands or collarbones or throat. I love seeing characters with love bites, hickeys or bruises; I love characters touching and tracing other characters' wounds or scars, especially if it looks like they got distracted while undressing them to do so. I love characters in shibari, especially under dress shirts, or characters' wrists being tied with something luxurious like velvet or ribbon.
I also love h/c focused art - characters undressing their injured/sick partners or taking off their glasses, if they wear them (eg. Hunley, Mancuso, Ethan in MI 1). Characters patching sick/hurt characters up, with stitches or bandages or ice packs, or cleaning scrapes on the hurt character's face or hands. Sick/hurt characters with their hair messed up, perhaps hiding their faces in other characters' chests or shoulders. Hurting characters sitting at other characters' feet to be taken care of with hair stroking or shoulder rubs, or just burying their face in the other character's lap. Smaller characters getting carried bridal style when they're not feeling well, maybe clinging to the character carrying them if they're not unconscious. Hands in general, especially if they're scratched or hurt and being taken care of. :D
(I'm vaguely not-okay with pink or green as a dominant/background colour, but I love...well, basically every other colour there is. Jewel tones are great! Limited palettes are great! Bold colours are great! Whatever you can think of is great! I love it all. :D Style-wise I would prefer no chibis or overly cartoonish styles; I'm very cool with anything and everything else, including experimental styles!)
General DNWs:
• Mundane/depowered/setting change AUs
• Bleak, hopeless endings (as long as there's hope, bittersweet endings are fine!) The exception: Vincent/Max for Collateral, which is a bitter and jagged canon and dark endings there are definitely cool.
• Unrequested crossovers and fusions
• Any mention of coronavirus or quarantine/lockdown situations
• Death of requested characters (even if they died in canon. The exception: Top Gun, where yes please, it is a-okay to deal with Goose's death and its fallout.)
• Non-canonical death of non-requested characters
• Terminal illness
• Permanent injury (the exceptions: Collateral, and Jack Ryan's canonical past injury in The Hunt for Red October)
• Gastrointestinal illness (nausea/vomiting is okay but not as a focus of the work, and not as a result of GI discomfort - so character getting nauseous or throwing up from a migraine or just severe pain in general, yes; character getting nauseous or throwing up as a result of a severe anxiety attack or PTSD episode, yes; character suffering anything related to food poisoning or GI bugs or overeating and similar, no)
• Pregnancy, menstruation
• Infidelity (for Red October, I would prefer that Jack and Cathy were never married, separated amiably and share custody of Sally)
• For Top Gun, anyone calling Mav 'Pete' in a positive way (people calling him that as an implied insult or straight-up insult is cool)
Sexual DNWs:
• Noncon or dubcon, except where noted (see Minority Report, Collateral and Top Gun sections)
• humiliation as a kink, except where noted (see Collateral and Top Gun sections)
• gags of any kind (hand over mouth is okay for canons with prompts for rougher sex like Top Gun, Minority Report, Collateral and Days of Thunder, but I would like it to trigger the character on the receiving end and for there to be some emotional fallout of it)
• anal, dirty talk, spanking, ageplay, scat, watersports, rimming, emeto, A/B/O, d/s-verse, mommy/daddy kink, maledom/femsub
[back to navigation]
Under Siege (1992)
Media: fic, art
William Strannix/Commander Krill
"What was that?" "A bomb, jackass!" - basically Strannix and Krill's entire dynamic, lol. These two are just utterly ridiculous garbage humans - they're the villains of their film, they are giant hams, they're completely fucked up, and it's hilarious and wonderful. Strannix is a former CIA agent who went mercenary after his own government tried to kill him, and Krill is a dissatisfied ship's XO who supports Strannix's crazy bid to hijack said ship for its nukes: the intriguing part is that while they get along like a house on fire, we're never told the why of Krill's support for Strannix at all. (...And so I'd like to believe it could be because he's in love with him. Occam's razor and all that. :'D)
I'm super here for either delicious backstory, or for a happy, kinky ever after with these two surviving the Missouri. Tell me about Strannix's younger days in the navy, serving with Krill in Vietnam, why he quit earlier than Krill did, why he joined the CIA. Were they idealists, when they were young? (Maybe Krill still kind of is.) Was Strannix starting to develop hippie acidhead pacifist free-love tie-dye tendencies even while serving? Were there hints of darkness about him even then? Or tell me about Strannix's days as a CIA agent in the 70s and 80s, doing badass suave spy stuff, saving the world, avoiding getting killed, kissing all the people regardless of gender, and then eventually...gravitating back to Krill. From the other direction, I'd love to see Krill being ridiculously devotedly in love with Strannix, while Strannix is oblivious for the longest time, and perhaps denies it even when he starts to realize it. I'm here for gloriously fucked up, twisted villain romance - as long as the affection between them is genuine.
So - what's their romantic dynamic like? When they served in the navy together, were they young and idealistic - or young and cynical, disillusioned with the government they work for, already thinking of ways to get their pound of flesh and walk away? Are they fuckbuddies who secretly, very secretly, yearn to be more? Do they pretend to hate each other, or sometimes acknowledge that they're friends? Does Strannix insist he's just using Krill for release, for leverage, for access to his ship? Does Krill insist he's not addicted to Strannix dominating him, pretend it wouldn't mess him up if he stopped? How long have they been in love and viciously denying it? Does the idea of feeling actual human affection horrify Strannix, or both of them? Hell, does Strannix know that Krill is in love with him, and use it against him as much as he can - until he realizes, with dawning horror, that he's fond of Krill too? Do they ever tell each other about their feelings, or do they just keep being stupid for the rest of their lives? Also, what if they don't go out in a blaze of glory on the Missouri, but instead survive and get to quit their jobs and retire somewhere / be gay and do crime together for the rest of their lives? I feel like they might turn into kind of a force for chaotic good when left to their own devices, only stealing and sabotaging stuff that belongs to rich and powerful evil folk.
Smut-wise, I am here for all the rough kink and banter in the bedroom, especially with Strannix being the slightly bored but increasingly interested Dom to Krill's extremely enthusiastic sub. Also, no amount of loving on Strannix's hands is too much loving on Strannix's hands, just saying.
Art prompts!
(Strannix is six foot, while Krill is a shade under that)
• Krill sucking on Strannix's thumb.
• Strannix lounging sprawled over Krill's lap, perhaps with Strannix in his rocker outfit and Krill in his khaki navy uniform.
• Strannix and Krill making out in their younger days, Strannix with shorter hair dressed in a pristine black suit or tux all CIA agent like, and Krill in very dishevelled navy dress whites or dress blues.
• Anything with a bright, psychedelic, acid-trippy style would be great for these two!
[back to navigation]
Minority Report (2002)
Media: fic
John Anderton
John Anderton/Danny Witwer
I'd love to see some worldbuilding about John healing up post-Precrime, dealing with being blind in that one eye because of the searchbot and fucked up by the halo and quitting neuroin, about him getting a real recovery that's agonizing but worth it instead of the handwavey 'everything's magically all right ft. replacement goldfish child on the way' ending of the film. I am cool with no ship, but I'm also very cool with getting John together with Danny Witwer, especially if Witwer has Colin Farrell's real Irish accent instead of the bland American one they made him do in the film.
My prompts in this fandom fall into two broad categories: exploring how fucked up John is during and before the film, and exploring how fucked up John is and how he can recover after the film.
Category one is, broadly: Hey, Why Is This Film Full Of People Acting Sexually Creepy Towards John Anderton. The shady doctor and nurse are obvious and kind of low-key skeevy, but on a way more obvious and blatant level there's Dr Hineman kissing him by force while he's literally on the verge of dying from her plant poison, and on a more subtle, insidious level there's Burgess calling him "my boy" and the film implying he's been John's sole emotional support for the past six years (and then revealing he's been manipulating him all along, been enabling his drug habit and possibly deliberately keeping him emotionally unstable so he can have his Precrime poster boy). I'm down for Hineman coercing and/or forcing John into sex while he's too desperate and emotionally fucked up to really understand what's going on - I'm also down for him enjoying it, for her really blowing his mind and making sure that he enjoys it, and him having really conflicted feelings about it after the film. I'm also down for some really fucked up, manipulative Lamar/John from six years before the film to during, either implicit with Lamar offering John emotional support and implying romance, offering intimate touch but it never reaching the level of kissing or sex, or full-blown Lamar taking advantage of John when he's vulnerable, making him dependent on him emotionally and for dope, thoroughly messing him up. I'd like any kissing or sex to happen after John and Lara separate, but for the Burgesses this particular scenario would stand as an exception to my infidelity DNW as well - Mrs Burgess can know and not mind, or not know, as you see fit. If she does, I'd like John to be conflicted; if she doesn't I'd like him to be absolutely destroyed by it but still helpless to stop or resist Lamar's advances.
Category two is, broadly: Afterward. How John deals and how he recovers. I'm here for John suffering through aftereffects of the halo (neurological symptoms, maybe migraines, auras, nightmares, flashbacks, days when he's trapped back in that world of torment and can't make it out, not knowing what's real) and dealing with suddenly being blind in one eye, as well as the loss of everything that's helped him survive the past six years. I'm also very here for his addiction getting worse until it reaches breaking point and he has to suffer through getting clean, withdrawal symptoms and all. I'm pretty annoyed about the ending of the film, so I'd very much read John and Lara making an attempt to get back together that doesn't go well - perhaps with her trying to pressure him into making it work while he's all kinds of fucked up both physically and mentally, and him just not being able to deal with anything about it, especially the constant memories of their past life together on top of all the health issues he's dealing with, and one day just calling it quits and leaving even though it tears him apart. They both seem heavy on denial as a coping mechanism, so I could see Lara just trying to ignore how sick and hurt John is, and him following her lead and trying to ignore it too until it gets bad enough that he can't any more. (I'd be down for a potential dub/noncon situation here too, with Lara pressuring John into sex when he's too sick or hurting too badly or too far gone on neuroin to want it, or even to actively participate.)
(Consent issues or no,) I could see John kind of running away from Lara - not leaving her in the lurch, but certainly having a deeply stressful conversation telling her he can't do this any more, and then getting as far away from her and the NYPD as he can. Does he hole up in his apartment hoping he'll eventually feel better? Does he go to Agatha and the twins if he realizes he's possibly too sick to be alone? Does he just go somewhere offbeat and cut off contact with everyone until somebody starts to worry (is that somebody Witwer)? Does he go through withdrawal alone and eventually come out okay, or does Witwer find him during and hold him through the shakes? Do things get bad enough that Witwer has to drag him to hospital despite his protests and newfound distrust of the system? Does he even get good treatment if they do, or are the medics in this universe just as cruel and uncaring as the police?
Speaking of which, I'm super here for John quitting the NYPD and finding something else to do. He's probably had a revelation about the system he used to trust, and he's probably disqualified anyway now because of the blindness in that eye and his other symptoms post-halo. I'd love to see him reconstruct his life when he gets better, adjust to a new normal with essentially a chronic illness if the effects of the halo get better but never fully leave. I'd definitely love to see him do it with Danny at his side, and both of them learning not just how to be with each other and look after each other but also how to be people, not just bland colourless law-enforcement officers in their bland colourless law-enforcement world.
[back to navigation]
War of the Worlds (2005)
Media: fic
Ray Ferrier
ok so, Please 2 Give Ray Ferrier Some Actual Rest? Maybe a hug that's not half-assed? Maybe a glass of water, ffs??? Spielberg how on earth do you think that was a satisfying ending?????
I don't have a preference for who the comforter is, just please get Ray some comfort. Maybe Mary Ann's parents invite him in for a glass of water and let him crash at their place for the night, even if Mary Ann herself wants nothing to do with him? Maybe a kind stranger takes him in for a bit while the world picks itself up in the wake of the tripods? (I'm not opposed to a romance developing there, either.) Maybe he's more injured or sick and exhausted than even he realized, and passes out on Mary Ann's doorstep or on a train home, and wakes up in hospital. Maybe he passes out and Mary Ann's parents and new husband have to haul him indoors, and there's immensely awkward caretaking while he's very out of it, embarrassed that they're the ones who have to look after him but too messed up to try and leave. (Maybe he does try to leave and not bother them any more, and promptly passes out another time and has to be hauled back in again. Maybe he succeeds in leaving and gets caught in the rain or cold and gets even sicker. Maybe he finds himself crying in secret, or has to explain away the tears to Mary Ann's husband or a stranger.) Does he even have a home to go back to? Does the government put survivors and displaced folk up while deciding how to compensate them for the losses they've faced, so does Ray hole up with other people who've suffered and they look after him when he crashes? Does he try to help with the rebuilding efforts, possibly while in no shape to do so, and crash on the job? Is he surprised that people care enough about him to make sure he's okay?
I'm just here for Ray catching a break and getting to be looked after and start to recover, maybe start to process all the awful things he's just been through, while still being a disaster of a human being who has no idea how to look after himself, hardly cares about his own wellbeing, and is just glad his kids and everyone else are okay, even though Mary Ann might still believe he's a selfish trashbag who doesn't care about them.
(Passing mentions of Mary Ann's pregnancy are okay, since it's canon, but I'd rather it not be dwelt on or a focus of the work.)
[back to navigation]
The Fugitive (1993)
Media: fic, art
Sam Gerard
Sam Gerard/Richard Kimble
Very here for h/c, especially h/c focused on Sam so there's a role reversal from Sam being the comforter in the film. I'd love some low-key h/c in this fandom, nothing dramatic like near-death or long hospital stays - maybe just painful field injuries and gentle domesticity and maybe Sam and Richard making out in libraries.
I love literally everything about The Fugitive, from Sam's, well, everything - his deep compassion, his love for his team of marshals whom he calls his 'kids', his love for coffee and doughnuts, his taking exception to words he doesn't like, his constant Sheer Drama - to Cosmo's trust in him while not taking any of his shit - to Richard's desperate determination, how well he and Sam are matched as foils, and how well they're clearly going to get along. Both Sam and Richard show a marked tendency toward compassion and kindness as their default, helping people when they have no pressing reason to, caring for perfect strangers despite everything - and sometimes smiling like the sun has broken through the clouds.
To that end, I'd love Sam and Richard getting to know each other after the film, and slowly falling in love without realizing it's happening. I'd also love some hurt/comfort focused on Sam, possibly with him showing up injured at Cook County or Chicago Memorial and Richard happening to not be in surgery at the time, so he looks after Sam instead of whoever's on call at the ER. I'm more than game for anything post-movie with these two, from Richard meeting the 'kids' to Sam meeting Richard's friends at the hospital to just Sam and Richard wearing warm clothes in fall and making out in libraries.
I also enjoy established relationship fic in general, but with these two that begs a certain concept in particular: US Marshals fixit! Please show me how much better US Marshals would have been had Richard hopped in that van with the kids after Sam's plane crash, and been there to look after him during his inevitable illness after falling into freezing water, and therefore been there to save Noah's life after that gunshot to the chest.
If you're writing fic set post-Fugitive, though, I'd ask you to ignore US Marshals completely, please. :D
Art prompts!
(Sam is six foot and Richard 6'1" - also I love Sam's love of wearing red!)
• Sam snuggled up against Richard's shoulder at a bar, both dressed smart-casual
• Sam wearing a deep purple sweater, maybe with a matching scarf!
• Sam and Richard kissing in a library
• Richard patching up an injured Sam (and maybe Cosmo too)
• Richard wearing clothes that clearly belong to Sam - his red scarf, for instance, or a sweater that's a little too big for Richard and gives him sweater paws, or a double-breasted suit jacket
• Sam in his red puffy jacket, with a tiny and very smug kitten peeping out from the zipper. (I will love you forever anyway, but I will love you even more if the kitten is wearing a tiny cowboy hat)
[back to navigation]
Collateral (2004)
Media: fic, art
Vincent
Vincent/Max
Vincent/Daniel
Super into rough, kinky hatesex for Max/Vincent; super into something softer with more reluctant mutual understanding for Vincent/Daniel. (Also very into Vincent's motivations and his cynical worldview, especially considering a lot of it stems from an abusive childhood and being passed around foster homes, and probably a great deal of financial insecurity. It's possible the alienation of being queer compounded that, too.)
Vincent/Max
God these characters are so fucked up. Vincent is a terrible person, and yet you kind of feel for him; Max is a sad bean who never asked to be caught up in any of this, and yet somehow finds it in himself to be an absolute hero and kick ass. Please tell me more about these messed up people and the rough, kinky hatesex they get up to. I'm a-okay with fic set before the film, during the film, or after the film in a universe where Vincent doesn't die.
Until Max got the better of him, Vincent spent most of the film reading Max like a book, and constantly, mercilessly unmasking him to himself. What I'm after with these prompts is a just reversal of that, a re-balancing of the power dynamic between them by means of Vincent being hurt. I'm here for Max getting to see Vincent torn down and vulnerable, to see what an utter mess he is, how held together with trash and duct tape he is under all the posturing. (He's a dick, to put it mildly, but there's an angle or two from which he's...really fucking tragic? When you start to see him coming undone, you really see him coming undone. We know a few things about him that are established as sore spots - that he's been passed around between foster homes and an abusive dad, and that he was military or a military contractor before he became a hitman.)
Maybe this is the same night as the film, and Daniel at the jazz club convinces Vincent not to kill him, or something happens to convince him to let Annie go, or there's just a skirmish with police or a rival assassin group, and Vincent ends up badly wounded - and Max can neither let him die, nor resist the urge to torment him by providing comfort with no explanation, no reason for it that would conceivably make sense to Vincent (a perfect h/c ex tag for this pairing: "comfort as cruelty"). Maybe Vincent gets hurt and tries to fix himself up in the back of the cab, and Max catches sight of all his scars in the rearview mirror, and one thing leads to another and they end up making out roughly, Max noticing every old injury, every stiffness of a limb, everything that points to Vincent having had a hell of a past; noticing every gasp of pain he can't manage to hide. Maybe, for something completely different, Vincent survives the MTA with permanent injuries from the incident that end his career as a hitman, turns state's evidence or just disappears and possibly grows, like, half a conscience (which he hates but now it's there), and gets a card from the Island Limo Company while he's healing up.
I'm here for Vincent And Max Getting It On In All The Rough, Fucked Up Ways, during or after the film. Maybe one or both of them are drugged or drunk or high, maybe Vincent's sick or injured so badly he's hallucinating and isn't sure Max is real (and Max isn't sure Vincent's really consenting). Maybe they use banging each other as an excuse to talk out or fuck out their various issues, like Max's with his limo company and Vincent's with his father. Vincent is definitely a masochist; maybe he's surprisingly eager to please, and Max uses that to get revenge for everything Vincent put him through in the film. Maybe he does that by hurting him, or maybe he does it by getting him to confess to (or just talk about) all the times he's been vulnerable in the past. Maybe Vincent's time in the military comes up, in a kinky context or an angsty, bitter context, or both. Maybe they walk away weirdly healed...or maybe just bleeding and ripped apart.
I'd like whatever they do sexually to be more or less consensual, if not necessarily safe or sane - I could get behind mutual dubcon scenarios, where they could be drunk, both under the influence of a ~substance (really fond of acid for this, but also like, nebulous fictional drug that has whatever effects you want it to is also a pretty good choice), or (as mentioned above) Vincent may be hallucinating and not entirely conscious, but I don't want either of them to use physical force to get the other to sexually comply. I don't want either of them to hold disproportionate power over the other - as Max established in the second half of the film, the leash very much goes both ways. (Also Vincent is weirdly fucking principled for a hitman and I could see him as being laughably obsessed with consent, so make of that what you will.)
There are some dubcon-flavoured thoughts/prompts in my Chocobox/Consent Issues writeup on them, here.
Art prompts!
(Vincent is left-handed and 5'7" to Max's 5'9")
• Vincent stitching up his own wounds while Max looks on, possibly not doing a great job of it.
• Max undressing Vincent, finding him littered with scars.
• Max and Vincent generally Making Out Roughly, perhaps with Vincent handcuffed to something, or perhaps with Max holding a knife to Vincent's throat.
• Vincent waking up in hospital to a bunch of flowers and a card from the Island Limo Company.
[back to navigation]
Vincent/Daniel
This is the section that needs a little more behind-the-scenes explanation of where my head is at. Collateral is about the contrasts and parallels between Vincent and Max; that's where the story unfolds, that's where the impact lies when we see them picking up traits and actions and influences from each other. But I maintain that in this film, while Max's turning point came when he found out Annie was the final name on the list, Vincent's own personal reckoning came earlier - when he met Daniel, and shot him.
My general reading of Vincent here is influenced by what we know of his background, and by his behaviour in a non-professional context. We hear that he was passed around between foster homes and an abusive dad before the age of twelve, implying he was pretty much on his own afterwards trying to survive; we hear that he's only been 'private sector' for six years, implying he was military or a military contractor before; we hear him choose to say being a hitman has 'no paid sick days', implying that's something he's thought about, that financial security may be what's driven him to take every decision he's taken so far. We see him doing everything he possibly can to hide who he is, blend into the background and not be seen - almost as though he's scared of being seen. We see him actually care about the music at the jazz club, actually enjoy talking to Daniel - actually let Daniel see him, despite that fear. And we see, in that brief moment of eye contact with Max at the Korean nightclub some time later, that something in him might just be capable of having a conscience after all.
Vincent and Daniel had a connection. It looked like in another life, they could've talked jazz forever. And Vincent knew it; the way he shoots Daniel is markedly emotional for a supposedly clinical assassin (he fires off more shots than necessary at point-blank range, and the last one misses Daniel, even though he's already dead), and he cradles his hand almost tenderly afterward; there's respect there, dignity there that he doesn't afford his other marks. Vincent's reckoning came when he was forced to choose between letting a mark live - when that mark was his possible only chance at a real, unforced human connection - and putting his own livelihood, his own life at risk. He chose himself, but there's a compelling argument that for just a moment, he could have chosen otherwise - that when he asked Daniel for that difficult piece of jazz trivia, he wanted Daniel to get it right, to give him an excuse to let him live.
So my prompt here is, let Vincent have just one more moment of doubt, and decide to let Daniel live. Maybe the rest of the night goes just as it did in the film, he somehow survives the MTA, and shows up back at Daniel's hoping for some conversation, or even just some music. Maybe he's badly hurt and shows up back at Daniel's with the intention of dying there, the only place he's ever known something vaguely resembling happiness, and Daniel saves his life instead. Maybe they build a real acquaintanceship over music and Mysterious Criminal Pasts while Vincent is recovering, too hurt to pick up targets; maybe Vincent's even permanently injured to the point where he can't be an assassin any more, and has to figure out how to be a person living a normal civilian life instead, and Daniel has experience in that area and can help him out.
Art prompts!
(Vincent is left-handed and 5'7" to Daniel's 6'2")
• Vincent sitting at Daniel's bar with a cane, dressed more casually than we see him in the film though still in grey/dark colours, listening to Daniel play the saxophone.
• Vincent asleep on a couch with his feet in Daniel's lap as they listen to jazz records.
• Daniel undressing Vincent, finding him littered with scars, possibly with Daniel also visibly having scars of his own.
• Daniel touching Vincent gently and Vincent shrinking away / not being able to meet his eyes because of the gentleness.
[back to navigation]
The Shadow (1994)
Media: fic, art
Lamont/Margo
I'd love some h/c focused on Lamont, with Margo being able to read his thoughts and taking none of his self-loathing/self-sacrificial bullshit. This canon begs for a delightful mix of vigilante h/c tropes and psychic superpowers h/c tropes and I am weak.
I love that in canon, the Margo/Lamont relationship is both beautifully soft and founded in the very basic tenets of consent: Margo is among the only people Lamont's mind-influencing powers don't work on, and therefore by definition she is at his side solely because she wants to be. This messes with Lamont's head a great deal, since he's an enormous disaster sub with a ton of guilt and self-worth issues and doesn't remotely believe he deserves to be loved.
I'd love to see something that picks up after the film, with established Lamont/Margo dealing with the hazards of the vigilante business - perhaps Margo finding an injured Lamont collapsed on her doorstep and having to look after him, perhaps her hearing his mind call out from miles away when he's hurting or miserable, perhaps them having to find ways to keep up their Socialite Personas for the public, such as Margo sneaking Lamont out of a party with clear We're Going To Make Out signals while he's really staggering from a gunshot wound. All the Noir Detective and Noir Vigilante and Noir Caretaking tropes! I will eat all the tropes up with a spoon!
I'd also love some exploration of the Shadow superpowers and how they work (and how they can go wrong) - perhaps with Lamont losing control of them when he's unconscious while hurt or ill, resulting in things breaking, flying around the room, people accidentally getting mind-controlled into doing odd things, maybe someone getting mildly injured, and Lamont being overwhelmed with guilt and hiding himself away when he's losing control for years until Margo realizes she's the only one who can help. I'd also love to see the effects of Lamont sometimes overusing his powers and working himself to exhaustion - perhaps it gives him migraines or gets him sick, leaving him shaky for a few days afterward, or exhausts him to the point of burnout, and this too has been going on for years before Margo walks into his life and realizes he's a whole idiot who can't sustain this way of working forever. Perhaps his occasional bouts of overusing-powers-sickness have been mistaken as hangovers or other debauchery by his uncle/butler/etc, and he's done nothing to disabuse them of the notion because it suits him for them to assume he's an empty-headed layabout. (Perhaps someone finds him in a gutter one morning too deeply unconscious to make it home, and it makes the tabloids and his uncle gives him a Stern Talking-To that he has to pretend he's taking to heart, while Margo knows the real reason and worries and shows up to domme him into letting her look after him.)
Speaking of Margo domming Lamont into letting her look after him, that's the exact dynamic for them that I love. Margo is super assertive, knows exactly what she wants at all times, is very very sexual and horny on main, and she's also very generous with comfort when Lamont needs it. Lamont, meanwhile, is all haunted and racked with guilt for his past, and afraid he'll hurt her, and also kind of awkward and embarrassed by her boldness; embarrassed to be wanted as much as she wants him. I'd love to see her taking him in hand and showing him how to let go of his guilt and nervousness and place his trust in her - him all reverent and worshipful, her patiently finding out what he needs (even if it's a long-term project, and even if what he needs is pain or bondage - perhaps especially if it is!), and maybe her giving him lots of praise and aftercare as a reward for being good for her. I also think Lamont might, in his self-flagellating way, sometimes go too far in asking for pain, and Margo might have to figure out when those times are, take care of him and reassure him, and figure out how to help him stop doing that.
D/s or no, I love the idea of Margo putting Lamont in shibari while he's sick, perhaps because they've found it helps keep his powers or power-induced sickness/headaches/burnout in check, perhaps as a simple exercise in comforting touch. I love the idea of Lamont just...not being able to deal with tenderness and being loved, especially so when he's ill or hurt, and Margo having to kiss away tears of sensory overstimulation/general overwhelmedness. Lamont just being very used to curling up and riding out illness/injury alone, and Margo refusing to let him do that and giving him lots of gentle touch and kisses, is such a soft spot for me, as is the fact that she can read his mind and hear his distress from miles away, so he literally cannot hide any kind of suffering from her.
Art prompts!
• Margo tying Lamont in intricate shibari knots while he's sick or hurt.
• Margo undressing Lamont from bloodied clothes.
• Lamont kneeling at Margo's feet, somewhat or completely undressed, looking up devotedly at her while she cleans his injured face of blood and grime.
• Margo wrapping a sick, shivering Lamont in one of her jackets (that's clearly feminine and drapey) or one of her giant furs.
[back to navigation]
Top Gun (1986)
Media: fic
Maverick Mitchell
Mav/Ice
Mav & Goose
Mav & Carole
Mav/Ice/Slider
I am here for Mav and All His Issues, especially grief, general lack of self-worth, and unaddressed PTSD. I am very here for him trying to deal with said issues by being a masochistic sub who seeks out pain and doesn't know his own limits/triggers until someone accidentally trips one. Ice being a gentle dom would be great, especially if it's in contrast to earlier doms (such as Charlie or OCs) who haven't been too considerate, or may even have been consciously mean. (Here's a link to a lot more thoughts and prompts about Mav Being An Angsty Sub, in case you'd like specifics to play off of!) This very much applies to Mav/Ice/Slider as well, except I'm feeling them more as an occasional one-night threesome rather than a long-term thing - I think, also, that Ice and Slider have more of a friends-with-benefits dynamic and Mav would try his damnedest to never be vulnerable ever in front of Slider, so Mav/Ice/Slider would probably be a really fun and light-hearted time with a lot less emotional weight than Mav/Ice on their own carry...until, of course, Mav runs into an unexpected trigger, or can't convince himself to safeword when the pain gets too much for him, and tries his best to stay stoic (refusing aftercare, or maybe they don't even think about aftercare), but Ice and Slider can tell there's something wrong. Maybe it takes them a few times to figure it out, and realize that while Mav enjoys their nights together he often goes home to sob his heart out alone afterwards, and then they take it into their hands to solve it and maybe hurt him less or give him more love and affection after.
I'm also very here for Mav's friendship with Goose from their earliest days serving together, and for Mav's friendship with Carole - possibly with them helping each other through their grief after losing Goose. I'd love to see how Mav and Goose met - Goose seemed really protective of Mav from the moment we were introduced to them both, and was super patient with all his issues and dramatic nonsense (and clearly with his bi/pansexuality, too). Maybe Goose earned his callsign by protecting Mav, or tearing into someone who tried to tease/insult Mav about his dad. Maybe they bonded by drunkenly falling asleep on each other at an orientation night. How did they develop their inseparable partnership as pilot and RIO? How did Goose first introduce Mav to Carole? How did he become a part of their cute little family, and how did he help Carole cope after Goose died? I'd love to see Mav doing his best to hold it together for Carole and Bradley, being a model of support for them, and then falling apart in private (maybe with Ice picking up the pieces).
For the character tag that's Mav individually - I have a lot of feelings about Mav's general headspace, both at the time of TG1 and now, in the trailers for TG2. He's got some serious self-worth issues that are evident even outside of the bedroom, and definitely has some PTSD going on in the aftermath of Goose's death; when we last see him in TG1, he's still just barely getting over the grief and shock. I'd love to see something exploring the echoes of that in his life afterwards, because he canonically seems to have had no meaningful emotional support from either Charlie or his friends (let alone external support like professional help). So, PTSD, nightmares, Mav crying in his sleep, asking for Goose when he's too sick to remember Goose is dead, blaming himself for what he went through, being ashamed of needing help/comfort, going quiet when he's hurting, generally not caring about his own wellbeing and not believing he's worthy of comfort. Mav/Ice would be great for this, too, but Viper providing some real support to Mav would also be cool. Mav getting some unexpected support from a stranger would be lovely as well - it seems likely there've been times in Mav's life when he's been hurt or otherwise a mess far from base, and I do love a good outsider POV. (Maybe said outsider calls Ice to come and pick Mav up!)
I also now have 5 entire emotions about older Mav - present-day Mav, whom we see in the new trailers as deeply sad and quiet and, I quote, 'refusing to die'; there are just so many Depression Feelings there. I'd love to hear more about how Mav refuses to die, despite not really knowing why, or about him being ready and willing to sacrifice himself and not knowing how to cope when he lives instead of dying. Maybe tell me about how lonely he's been and how tired he is, and how he copes with it; maybe about how Ice walks back into his life, and how while he can't fix him, he can help him feel a little less alone. Maybe about him getting hurt protecting the new trainees, or working himself into the ground for them, and Ice having to pick up the pieces. Maybe tell me about Ice and the new trainees loving Mav so much they straight-up refuse to let him die for the greater good, and Mav not being able to wrap his head around being loved.
[back to navigation]
The Hunt for Red October (1990)
Media: fic, art
Jack Ryan
Bart Mancuso
Jack/Ramius
Jack/Mancuso
Jack/Ramius/Mancuso
I love h/c for all my fandoms, but I particularly love it for this one. Jack and/or Mancuso as the hurt character would be great. I love the warmth of this film, and would love that warm atmosphere to carry over into fic or art. 💛
I really love the warmth of everything about Red October - how deeply idealistic Jack and Ramius are, how Jack is an experienced analyst who knows a lot about strategy and history but absolutely nothing about operations (but still knows he has to try to get Ramius in alive), how Ramius makes sure to gain the trust of his officers about the terrible risk he's taking in defecting, how Mancuso's whole crew clearly loves and trusts him and admires him while he is so protective of them in return - indeed, how committed to duty Mancuso is, but how ready and willing to step up when Jack proves his orders wrong.
I'm very here for all kinds of softness and hurt/comfort, with Jack or Mancuso as the centre. (Here's my h/c ex writeup on Jack; here's the one for Mancuso.) I just want them to get a whole lot of love and gentleness, whichever ship or the whole triad you choose from the tagset - getting together, established relationship, G-rated caretaking to M- or E-rated loving, everything is wonderful. I'd love to see these characters look after one another, make room for one another in their lives, kiss and pet one another a lot, any time from right post-movie to years later, possibly with Jack getting into politics and eventually becoming the President with First Gentleman Ramius and/or Mancuso at his side.
I have a lot of feelings about the idea that Jack's back injury from the chopper crash might leave him in lasting pain that resurfaces on cold and wet days, and Ramius and/or Mancuso would learn how to help him through it. I also love the thought of Mancuso, as a career submariner, not having had many relationships and not being used to being comforted, and so that he'd be quietly overwhelmed when Jack and/or Ramius hug and pet him when he's exhausted, or when he's older and his hands start to hurt when it gets cold.
While I don't think these characters would get up to d/s shenanigans often - I see them mostly as sweet, intense vanilla - I am kind of destroyed by the soft-but-firm-d/s implications of the scene where Ramius presents Mancuso with the Red October. Ramius has enormous Dom Energy in general, especially with Jack, but that scene got me feeling things about Mancuso, who also has a lot of Dom Energy, being the only person in the world whom Ramius would submit to. This goes double because when we see Mancuso give orders on the Dallas, he gives them softly, gently, and everyone immediately leaps to obey; I'd love to see him have the same command style in the bedroom, especially if Jack is sick or hurt and feeling guilty about it and needs to be told to let himself be taken care of, or conversely, if Bart himself is mildly sick or hurt and needs to convince the others to stop worrying and kiss him already, damnit.
Art prompts!
(Bart is left-handed and a shade under six foot; Jack is six foot and Ramius 6'2", and I love that they're both buff and soft while Bart is slender)
• Forehead kisses! All the forehead kisses. Ramius and/or Mancuso kissing Jack on the forehead.
• Kisses in general! Ramius or Mancuso gently kissing Jack.
• Ramius and/or Mancuso holding Jack's hand(s) on a plane.
• Jack wrapped in a blanket with Ramius and/or Mancuso snuggling him.
• Jack and/or Ramius massaging Bart's hands or wrists.
• happy, older bear!Jack in a wheelchair with a happy, older Ramius and/or Mancuso beside him - perhaps holding his hand or kissing him.
[back to navigation]
Random Hearts (1999)
Media: fic
Dutch/Kay
Please let Kay and Dutch finally get together after the film, after Kay spends some time thinking about it. I'd love to see Dutch learn to deal with his grief and anger issues, quit the police force and eventually try his hand at something else, maybe opening a little café or just being a house-spouse. I'm particularly struck by how Dutch's coping mechanism in life is to Stock Up On Groceries, so I'd love to see him spoiling Kay and Jessica with food he made, and getting lots of love and appreciation for being a cute selfless idiot. I'd be very here for his limp lasting a few long months, or even getting a little better but then lingering permanently, and him learning to deal with the chronic pain.
I am also super here for Kay being a badass professional, whether she gets reelected or decides to do something else (even public appearances at interviews/charities/events/etc), and Dutch being her cute partner who is sometimes seen with her and gets tabloids excited about who he is. I'd be very into suit kink focused on Kay, or denim kink focused on either of the two.
[back to navigation]
Days of Thunder (1990)
Media: fic
Cole/Claire
Soft d/s porn with Cole unquestioningly obeying every word Claire says, with lots of engine noise as the backdrop? Maybe some shibari or sensory deprivation or finger-sucking? Please? :D
I love how much softer and more sensible Cole is in bed than he is on the track, and how honest and emotionally healthy he and Claire are with each other in general. The dynamic I love for them is both of them being very eager to spoil each other rotten, each of them being incredibly gentle and kind toward the other while also sometimes liking it a little bit rough - Claire because she's playful and wants a little extra fun sometimes, and Cole because sometimes gentleness is Too Much and he'd rather be roughed up a bit so he doesn't have to confront the fact that Claire thinks he's worthy of being loved. So like, ranging from rough, quick and dirty to soft, slow, gentle and dirty.
D/s or no, I'm also generally super here for cars, and sexy times involving cars. Cole and Claire making out or making love in the adrenaline high after a race, or during other drivers' practice laps with cars roaring past the room or shed they're in. Heavy petting in Cole's racecar, or on the hood of it. Claire fucking Cole while they're parked somewhere secluded and he's ziptied to the steering wheel. Maybe Claire fucking Cole in a fancy limo they're given all to themselves as a ride to some event, being all gentle and laying his head down on the plush seat and riding him to overstimulation, or until he begs her to get rough with him. (Very into Claire undoing Cole with gentleness, and withholding roughness and pain until he's been good enough to earn it.) Cole fingering Claire or eating her out while he's blindfolded or in shibari, or just tied down or loosely tied round the neck with whatever she could find (ribbon, dressing gown or bathrobe waistband, bow tie on bare skin rather than around a shirt collar...)
Also super into clothing kink with these two (and definitely super into how much taller Claire is than Cole) - I'd love to see Claire wearing a suit when she appears at a formal press event with Cole, and him delightedly undressing her afterwards, inch by inch, item by item of clothing (possibly with her telling him what to take off and exactly how). I'd also love any kind of foreplay through fabric, especially Cole getting Claire wet by rubbing her through her trousers or jeans, stroking her thighs through her clothes, even breathing on her, or a combination of any or all those things.
[back to navigation]
Once again, thank you for creating for me! I hope you have fun with it - that's what it's all about, after all. 💛
