Shelley

• Friendship, found families, loyalty, love, deep emotional connections, devotion, displays of affection and respect
• Third person POV
• Flirting, pining, UST and getting together fic
• Possessiveness and a little jealousy
• Missing scenes and fix-its, as well as case-fic and plotty stories
• Protectiveness and characters sacrificing their own comforts to help others
• Mutual pining with a happy ending, unrequited love finally realized
• Hurt/comfort, especially after a nightmare, tending wounds, caring for them when they're ill or injured, hovering after something traumatic and trying to take their mind off things
• Tropes like only one bed and every other possible bedsharing scenario, fake couple/marriage leading to real romance, forced proximity and bonus if there’s peril
• First kiss, first times, first realization of feelings
• Humor, snark and banter, laughing and joking with each other
• Happy or at the very least ambiguously hopeful endings

Sex-Related Likes

• Porn with feelings and emotional or romantic sex
• Dubcon when requested
• Desperate kisses and one or both partners overwhelmed with passion and feelings
• Manhandling and displays of strength, up against the wall sex
• Kneeling (any reason but especially for oral sex or to kiss knees or thighs or anything like that, grand)
• Penetrative sex, oral sex, fingers, frottage, mutual masturbation or one watching the other
• Naked and half-naked or one clothed and the other naked, basically any combo of clothed/not clothed
• Necking, petting, face and neck and body stroking, kissing and/or sucking or licking pretty much anywhere
• I really like up against the wall, taken from behind, and one riding the other, but any positions are fine
• Thank god you're/we're alive sex
• One character being suddenly so overcome with feeling and desire for the other they kiss them and initiate things out of the blue, like they can't wait another second--love those big music swell moments
• When requested or present in canon, hair-pulling or ass-slapping in the heat of the moment
• With appropriate pairings, like vampires, blood drinking and/or licking blood off the other’s mouth, face, neck, etc. can’t go wrong. With vampires, blood doesn't fall under my bodily fluid DNW.
• I like stories with no sex, fade-to-black, or full-on smut, so write whatever level you prefer. I like at least as much if not more focus on the emotions as on what body part goes where.

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Art DNWs: Anything depicting something I DNW, chibis, and bare genitals/explicit sex. (Bare breasts, bottoms, and people sexily in bed or elsewhere together are fine. What they're doing can be obvious as long as genitals aren't depicted.)

I have exceptions and qualifications for DNWs in certain cases and will mention those specifically in my requests.

• Anything related to COVID19 or politics
• AUs except canon divergence
• Major character death, disabling or fatal illness or injury
• Self-harm and suicide
• Unhappy or bleak endings
• Script format/only dialogue
• 1st and 2nd person POV
• Original character or unrequested character POV
• Unrequested gender and sexuality headcanons
• Cruelty to animals or animal death
• Infidelity and friend/partner betrayal
• Holiday stories
• Unrequested crossovers
• Speculative elements (ghosts, aliens, sex pollen) in non-speculative canons
• Kidfic, pregnancy or birth

Sex-Related DNWs

• Non-con
• Underage
• BDSM, D/s and/or consent negotiations
• Generic dirty talk, calling someone slut, whore or other names
• Mommy/Daddy kink
• Sex toys
• Sexual pain and torture, hitting, suffocating, dehumanization, humiliation, even if consensual
• Anything related to or focusing on body fluids, secretions or wastes, including spitting and come play, though sweaty sex is fine and blood is fine, especially in vampire canons.

To clarify on the serious illness or injury, referencing canon trauma is fine but someone having an amputation, stroke or a life-threatening non-canon disease, or developing any mental disorders like schizophrenia, is a big no.

Injuries and illnesses that can heal are fine, like someone getting shot in a casefic or having the flu or broken bones, for instance.

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• Freder/Maria
• Freder/Josaphat
• Freder/Josaphat/Maria
• Worldbuilding

This is one of my favorite movies of all time. I love silent films, especially German Expressionist horror/science fiction, and since this is the mother of all science fiction films it has a special place in my heart. I've seen it too many times to count. I love its innocence, its earnestness, its very sweet message despite all the religious heavy-handedness. It's a masterpiece, and I highly recommend it. Right now the fullest version we have with its wonderful soundtrack (this is important) is available here. The version on some free streaming sites has piano music that doesn't really match the film in most places and is closer to what a moviegoer would have experienced in the 20s and 30s seeing it live, but the score in the version above was commissioned specifically for it, and it enhances and elevates it. Some free streamers have a version with orchestral music, but it's still nowhere near as good. If that disappeares from archive.org, the version available on Amazon with a Kino subscription is the same one, and the Kino service has a 7-day free trial.

The whole thing has such charm and such a sweetness to it while telling a good story and being risque in parts when false Maria is dancing--there's a mad scientist turned evil by jealousy! A robot made to look human! "The Tall Man" who's hella creepy and then turns out to have a conscience of sorts! A happy ending!--that I rewatch it regularly just because it makes me happy. I love things like the truly impressive shots of the modern city and its highway ramps and airships but with biplanes flying between buildings. The clock set to a 10-hour day. The worker's job that seems to consist of moving clock-like hands to point to whatever light bulbs are flickering (which makes no sense but is done with such earnestness). Wonderful.

I've read the novel written by the screenwriter, so feel free to incorporate anything unique to that if you want. If you haven't read it, a major difference is that Freder doesn't know Josaphat when his father fires the man. And yet! This guy puts so much trust in Freder so fast, then when Slim comes to pay him off he gives in for a lot of money and a woman and a plane ride away from there (didn't like that). But once on the plane, he comes to his senses (yay!), so what does he do? He struggles with the pilot, trying to get him to turn around, and then (I thought rather needlessly) kills him, then parachutes down . . . without a parachute! Just holding the white silk the narrative has explained is the standard elite clothing, with his hands and using that to glide down to safety. I mean. This is Indiana Jones level of WTFery and such devotion to get back to Freder, which I'm on board with, so I was tickled at that part.

I'd be happy with any combination, just please if you go with Freder/Josaphat, have that before he becomes a worker and finds Maria, or with the understanding that they're all together and she's just not there at the moment. No erasing her after the end or any sense that Freder's cheating on her.

Anything set before, during, or after the film is fine! I'd also be happy to receive any of the characters or worldbuilding that explains anything about Metropolis and its systems. Art would also be fantastic! I love the imagery in the film and German expressionism in general, so anything from characters to places to scenes would be great. I'd also be fine with depictions of characters that aren't nominated if that's what inspires you! I enjoy all types of art from simple sketches on up, and don't have any real style preferences.

• Yes, the embracing and close talking are an affectation of silent film, but I like leaning into that when it comes to Freder and Josaphat. They obviously have at least a very friendly relationship, and I'd love to see it become romantic. After he saves Josaphat, instead of going to look for Maria or the workers, he could go home with him and help get him settled. There are so many scenarios from confessing that he'd wanted to invite him there many times before to them ending up having comfort sex. The possibilities seem endless.
• I like the idea of Josaphat giving a shoulder rub to Freder who's in a chair talking about all that he's seen and how it upset him, and the massage changing to more intimate touches, then kissing. No need for sex, but if you want to go there I will follow you with bells on.
• Freder has nightmares about the machine and Josaphat comforts him and shares his bed to keep them from coming back.
• Or later when he's actually overcome and feverish in bed, let Josaphat be there and provide comfort for him.
• I'm a fan of the idea that after all the children are out and safe, one or two of them are on the landing and it gives way, plunging them into the water and the remaining one (or two) has to rescue the other(s) and then care for them at Freder's home afterward.
• After Freder rescues Maria from Rotwang and his father and the foreman shake hands, what happens? Do Maria and Freder leave to go to his home, and Josaphat starts to amble away before Freder catches him and insists he come, too? Is Freder's bed big enough for three so that at bedtime they all climb in together because none of them wants to be alone? Sex is grand, but I would also be happy with just cuddles, comfort and affection between two or all three of them.
• Josaphat is injured by the mob hunting for Maria, and after Freder has rescued her and all the rest, they find him and take him home to care for him.
• Robot!Maria gets Freder alone and menaces him a bit. He knows it's not Maria, but she's strong and has her debauched mannerisms, and maybe tries to seduce him. Maybe he's torn because he wants her so much? Real!Maria could pull him back to reality. Or he could be seduced into thinking he's gotten everything he ever wanted and slowly realize he's been tricked (as long as it ends happy)
• Or Josaphat and Maria who have been looking for him find him and rescue him, and get him away from her to safety.
• You could also go pre-film and have a smitten Freder invite Josaphat to the Club of the Sons on a date, or take him to a secret club where two men together is acceptable. Freder can be all in or still kind of afraid of his new feelings and exploring that.
• Maria has done so much of the heavy-lifting, so anything with Freder and/or Josaphat comforting and caring for her would be grand.
• Them presuming she's dead in the end and turning to each other for comfort and then discovering she's alive and finding out she's glad they have they each other, Maria now makes three, would be fun.
• The three of them going somewhere post-movie where they can have dinner and maybe dance together, with the man taking turns passing her between them, and dancing with each other as well, would be great, too. (No, movie Maria wouldn't dance but she wouldn't be part of a threesome either so we can loosen her up just a skosh.)

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• Jack Delroy
• Jack Delroy & Gus McConnell & Carmichael Haig
• Jack Delroy/June Ross-Mitchell
• Jack Delroy/Madeleine Piper

I loved this movie for a lot of reasons. I was a child in the 70s, and as a born night owl, by the late 70s I was sneaking up to watch Carson most nights. This movie nailed the aesthetic, attitudes and some of the cheese of 70s talk shows, so I'd have loved it for that, but then it included things like Bohemian Grove and James Randi with a wink and different names and did such a good job of never quite letting you decide whether you knew exactly what was going on. I can't wait to rewatch this and see what I might have missed the first time around.

I'm really fascinated by the idea that Delroy made a devil's bargain for fame, because he clearly didn't get it. He'd be infamous as a murderer, sure, but if people at the Grove knew that their deals were likely to be twisted that way, there'd be a lot fewer deals being made. And it's a lot more interesting to me that the deal wasn't cruelly twisted into making him famous in a way he clearly didn't want but that something went wrong at some point. I feel like Jack might have been smart enough to ask specifically to be the top-rated nighttime talk show host and not just some amorphous wish for fame that could be fulfilled by making him a mass murderer.

• Why did the deal go so wrong? Did he fall short on his end of the bargain and end up punished for it rather than finally beating Carson legitimately and becoming the biggest talk show star? I'd love to see an exploration of how the whole thing progressed and why it ended the way it did.
• I favor the idea that when Jack made the deal, he didn't knowingly and willingly understand that the price would be his wife's life. I got the sense that he truly adored her, even though he took up with June pretty quickly (or maybe had been with her before Madeleine died). When did he understand what had happened? Did he try to get out of it before she died to save her? Did he never put it together? How long was he in denial? How much of the deal did he understand?
• What happened during the six months he stayed off the air? Was that something calculated as part of his rise to fame, was it mostly mourning, or something else?
• I loved the nod to James Randi (of whom I've been a lifelong admirer) and his million-dollar challenge (made much less in the movie). I'd love anything exploring Haig's history on the show with Jack and Gus. Previous segments, behind-the-scenes stuff, or if you want to lean into Haig's hypocrisy at the end wanting to go to the Grove, Jack getting Haig invited and taking him there and being all kinds of conflicted about it would be great.
• I'd also enjoy an alternate ending where nobody dies and Jack finally hits #1 in late night. Because of this he's expected to keep going to the Grove and the cost of continuing his fame has to be dealt with. Bringing others in, like maybe Haig, could be part of that. Does he know he paid for this with Madeleine's life at this point? Is he planning to reveal everything to an audience in some kind of revenge? Is he supposed to use his show to help demons find victims in his audience? There are a lot of idea to explore here. Does Gus know something's wrong? Is Madeleine there where only he can see her, taunting him, encouraging him, making him miserable or making him want to bring everything down?
• Was Jack used as part of another deal to kill Lilly and set right what went wrong when she escaped? Or maybe she does die on the show, but it's more an accidental or self-defense act, she attacks Jack and it's not his fault, and that starts a path of demonic influence for his show that he tries to escape from.
• I'd love to see how he and June met and how the whole idea of her bringing Lilly onto the show was hatched. Who orchestrated it, or was it a completely chance encounter? Was part of his bargain (knowingly or not) bringing her and the demon to his show, and after they met they just hit it off? Was she supposed to replace Madeleine and give demons access to both Jack and his audience? Any of their history would be great. I'd also like to see more of him and Madeleine before and after the Grove. Did she suspect that her illness had anything to do with it?
• The mass hypnosis angle and the trance-like states, especially Jack's at the end, leave room for so many possibilities. How much of the entire movie was real, and could some of it, including the ending, have been only an illusion to show Jack the many ways his life could go if he didn't play ball with the Grove elite? Another idea would be what happens afterward? Do the Grove elites and dark forces swoop in to make things disappear and keep Jack from paying any consequences? How much of what he thinks happened does he discover was an illusion later, including deaths?
• An exorcism on the show where the demon's driven out of Lilly (maybe into someone else) would be a good angle too. Lilly isn't in any of the character groups, but she or Christou or any other characters are more than welcome.
• I do also like the idea of him turning down the deal when he understands the price and things going bad for him because of that, including his wife's death, and maybe bringing Lilly on the show is some sort of mixed-up plan to make a deal with that demon for revenge (and maybe he doesn't firmly believe but he's desperate).
• And while I do favor him not willingly trading his wife's life for fame, it'd also be interested if he did make the deal knowing the price but not really believing it and just playing along because of the desire to hobnob with powerful star-making people, and then having to deal with the fallout and regret. I can also see a great story coming out of him knowingly making the deal, even though I got the sense that he didn't. Was it marriage for appearances he wanted out of it to be with June or just to be free, so he readily agreed but maybe expected it would be sudden and quick rather than her having to suffer so much? Was he offered a can't-say-no deal where he had to choose the lesser of two or more evils, and Madeleine dying that way was the best option?
• Anything drawing on the lore of the cult and their rituals and why getting rid of Lilly in this particular way would be great too. I love the idea of dark forces manipulating everything and all the machinations behind that, especially with Jack thinking he's doing all the decision-making and that there's nothing to do with (or little to do with) his trip to the Grove.

You can write older show segments, a fix-it with post-canon shows or events, a backstory, expand the show that's shown in the film or surprise me with something else. I look forward to reading any direction you want to take this!

• Darryl Revok/Cameron Vale

I know the only scene with these two together is the short, penultimate scene, but the whole scanner/mind control premise of the movie and these two together for a few minutes was all it took. I rewatch just that scene every now and then for fun, even though I like the whole movie. Michael Ironside completely carries it, with an intensity like he's doing Shakespeare, which is good because the other guy couldn't out-act a wet dishrag.

Here's that scene.

All the things Darryl says to him and his easy intrusion into Cameron's personal space are so great. He's been counting on Cameron for years, and his sincerity in wanting him to understand really works for me, even though he's obviously got a hair-trigger and is a bit unhinged (I like that in a character, apparently). Pointing out how he's watched over him, protected him, tried to guide Cam to him, and protesting "never you" when Cam said he sent meant to kill him. Yep.

When Cameron resists his ideas, Darryl drops down in front of him (*yodels*) and asks him to tell him he's not going to betray him like all the rest. When Cameron refuses and crowns him with a paperweight, Darryl decides he's going to have Cameron with him forever by (telepathically) sucking his brain dry.

"Everything you are is going to become me. You're going to be with me, Cam, no matter what. After all, brothers should be close, don't you think?"

I mean *gestures at that dialogue* . . . *gestures again*. What's not to love? How am I supposed to resist that?

Aside from the dialogue, it doesn't hurt that at a couple of points, I can easily imagine the director saying, "Okay, now look at him like you want to fuck him or eat him, either's good. And break!"

Revok's a dark guy, it's not hard to see why, and I really like that aspect of him. He can do so much with his mind and isn't bothered by things like boundaries. Hello there, nice to meet you, Mr. Tortured Villain. Come in and sit a spell.

The ending gives the impression that even though Cameron's body has been destroyed, he has taken over Darryl's body, "beating him" in that final battle. Darryl's body speaks with his voice, has Cameron's much lighter eyes, and the scar on Darryl's forehead where he'd try to drill into his head to let the other people out, is gone. But the whole point of that fight was Darryl sucking Cameron into his body anyway. So that happened. And the "we've won" that he says twice in the end sounds ominous as hell. There's always the theory that Darryl succeeded and is gaslighting Kim, but there's another idea I like better.

What's the significance of him now having Cam's eyes and voice and the scar being gone? Couldn't it just reshape his whole face and body to look like Cameron if all that could happen from him taking over? And how could he win when Darryl's the older, stronger one anyway? I really like the idea that maybe they're not just brothers, but Darryl is actually Cam's creator in a way, and that Cam was created when Darryl drilled into his head like Athena springing from the forehead of Zeus. He said there were voices, but also bodies with arms and legs in there. Maybe the Ephemerol had another effect on him that caused this, and maybe drilling freed one that inhabited Cameron's body or something, and when they merged, the scar on his forehead was healed because that persona went back into him, making him whole again. I know it's probably the same thing that affects Cam, being able to hear people's thoughts and it becoming overwhelming, but I still like the idea. He's the first after all, and probably had the most doses as a child.

I've been tinkering on the edge of this idea for a while and find it fascinating for Darryl/Cam, particularly for dubcon situations where Cam can't understand why he's so drawn to Darryl. Them being brothers also works for this, but there's something extra appealing about Cam being even more a part of Darryl. It's a fun idea to play with, I think.

Prompts:

• Okay, that scene. Darryl is no dummy, and he has the ability to get into people's minds. You can't convince me he didn't notice Chekhov's paperweight while Cameron was fondling it with no idea that it was going to go off. Did he merely want to give his brother every opportunity to change his mind? Did he think he'd be able to convince him and it wouldn't happen? He could not have been surprised by that. Feel free to change it so that the blow doesn't happen and/or explore Darryl's thoughts about it.
• An idea I really like is a story diverging from the ending, with Darryl managing to subdue Cameron and not kill him despite his threats to do so. He was just angry, right? Maybe once he gets into Cameron's mind a little he calms down and just decides to control him instead of killing him. I want Darryl to genuinely want to win Cameron over to his cause (and other things) because he needs Cameron to care about him in the same way. He wants them to be brothers-in-arms.
• Once he has control of Cameron and they both know he's stronger and could kill him easily if he wanted, he can threaten to kill Kim to get Cam's compliance, or he can let her go to keep Cameron there. I'd rather he didn't kill or hurt her, but I'm not married to what actually happens beyond that.
• I really like the idea of Darryl making it clear that he could make Cameron do anything he wanted like a puppet on a string, but he wants Cameron to want to be there helping him. And at some point he wants Cameron to want him, and forcing sex wouldn't be the same. Maybe he'd go as far as angrily kissing him like he's going to go farther, a little groping, make Cameron think he’s going to, and stop because he really does want Cameron to want him at least a little. And I’m okay with a seriously dubcon scene as long as he knows Cam does actually want what’s happening, even if he doesn’t want it at the same time.
• I would enjoy sex between them, whether physical or mental or both, but it's not required for me to enjoy the story. The pining and fucked-upness of the mind control aspect, and Cameron maybe starting to give in a little and feel something, would be enough. But I do also really like the idea of Darryl at least being handsy with him (touching his hair when he's got a Scanner headache, the neck massage tag, etc. ).
• Darryl trying to show Cameron how great they'd be together by putting images of them having passionate sex into Cameron's mind sounds delicious. This would also be great in a different first meeting AU where he seduces Cameron telepathically, and later Cam finds out they're brothers, like in that last scene.
• I really like the idea of him using his Scanner power to make Cameron come untouched as if he's showing him what he can do and trying to seduce him and show his power and dominance (and Cameron not being happy about it at first and then liking it, even if he hates that he does).
• Darryl's scar in the middle of his forehead is a great place for a surprisingly tender kiss (even if it's Darryl imagining it and sending it to Cameron and accidentally revealing how much he just wants to be cared for). Or it can happen after Cam has come around to caring about him even if just a tiny bit.
• Cameron could be the one touching Darryl's hair at some point as he stops being resistant. I also like the idea that he pretends to be more controlled than he is because he wants to try to convince Darryl that they should forge a different path and be heroes rather than villains with their powers or something.
• Cameron realizing Darryl wants him as more than a brother and using that to seduce him to try to gain an advantage but ending up with feelings is a great scenario, too. Especially if he tells himself he's only getting down with his brother to protect himself or Kim or humanity but he also knows he wants it too.
• He had to feel quite a lot when he realized that was his brother in the old patient footage after Darryl tried to drill the hole in his head. I'd like to think Cameron might try to save him and bring him around from the dark side, and if not, stay there to try to sabotage the worst of his plans from the inside, but wanting to protect him, too.
• I'd also enjoy a canon divergence where Darryl found Cameron before Dr. Ruth and took him in, taught him what he was and how to control it, and slowly revealed all the relevant information whether he was using mind control for other things or not.
• I'd prefer an ending that's nothing like the movie death, but it doesn't have to be hearts and flowers, either. I don't want total bleakness or hopelessness, but dubious feelings and/or confusion all the way up to relative happiness are okay. If some ideas like those are too plotty, don't worry! Any encounter between them works for me as long as there’s at least some kind of sexual tension, and more than that is great, too.
• I like the idea of Darryl watching Cameron earlier in the movie and putting ideas in his head like making him imagine passionate sex and pleasure with Darryl as the person making love to him, or making him come from afar while Darryl imagines the day they'll be together as brothers and more. Damn near anything sexy between the two at any point is something I want to read.
• I like the idea that in the end (or at any point), Cameron suffers a mindbreak and Darryl cares for him and helps him recover. I just figure if he caused it, unintentionally while trying to absorb him at the end, even better. It gives him something to make up for.
• Amnesia in Cameron at any point during the film or after the end when Darryl wins could be great. If Darryl takes care of him after, he could lie about all kinds of things to get Cameron on his side, and in his bed. When Cameron remembers who they are, he can be horrified at first as long as he's starting to come around to it eventually.

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• Peter Kilmer/Mark Scout

I love Severance so much. Feel free to include any characters you might want to. And if you're trying to write one couple but nothing's coming, I'm perfectly okay with a plotty ensemble piece as long the pairing's in there and there's at least some clear romantic and/or sexual tension between them

I would love to see flashes of Mark and Petey's friendship at Lumon, how they got so close and how they got closer than the show had them get. I'd love to see anything from secret pining to stolen moments at work to Petey and/or Mark remembering bits and pieces of those things while Peter is staying in Mark's basement. 

• Maybe while he's staying there, longer than in canon, Mark gets an innate sense that he's trustworthy and not crazy, and things start to develop that they resisted before.
• One of them has to do the apology ritual or some other weird Lumon punishment and the other comforts them afterward.
• Pete is in Mark's basement and remembers their affair but Mark doesn't, so as things heat up between them, the closer they get, the more something pushes against Mark's memory. If he doesn't necessarily remember specifics, he can come to know that something is very wrong.
• Mark accidentally sees Peter masturbating at work and that starts something between them. Mark can be as conflicted at first as you want. Or vice versa and Pete catches him.
• While Pete's in Mark's basement, Mark starts to remember their relationship at Lumon in flashes.
• As things heat up between them while Pete's in Mark's basement, they realize how familiar it feels and the way they kiss and touch each other seems to be muscle memory, so they know something happened before.
• Hurt/comfort can never go wrong. In caring for Peter, Mark starts to have feelings that seem oddly familiar and Peter reveals that they were lovers, or really anything that leads them to get together in this kind of a scenari.
• Pete is in a much better state than in the show and starts running into Mark on purpose and trying to attract his attention without Mark knowing he's from Lumon, and it works. He wants Mark, and he also wants to gain his trust so he can convince him to get away from the place.
• Pete tells Mark they were lovers, and Mark thinks Pete's out to scam him or something, so Peter slowly convinces him by showing him that he knows exactly how Mark like to be kissed and touched reveals he knows other non-sexual secrets and quirks he has.
• Petey lives and finds Mark when his innie is at the book party and they have an emotional reunion.
• Innies have to be touch-starved, so anything that plays into that would be great, whether a scene of them at work or Peter trying to make Mark remember on the outside, even just having him close his eyes and feel the way Pete touches his face or something, maybe like the first time they did anything together in the hopes it will break something loose, and it does
• Heck, just a day in the life at Lumon when Peter was there would be great. Anything exploring things we didn't get to see!

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• Dan Cain/Herbert West
• Herbert West

I'll be happy with fic or art involving Herbert or both of them set at any point in the trilogy.

Also, in a crossover idea that doesn't include other characters, in "From Beyond," Pretorius' house didn't explode and Herbert and Dan end up going there after Peru or at some other point to set up a lab. Herbert's scientific curiosity leads him to make some repairs to the resonator to see what it does, and he turns it on. Them fighting the effects (and failing) or fighting it and then having to refight (and hopefully fail at some point) because Herbert realizes that the pineal gland is the key to reagent that brings someone back as themselves and he keeps turning it on. For research.

Something like that, or any situation where they turn it on and the creatures start to come through/some other weird thing happens so they have to fight their way to turn it off, more adventure than sex, all good with me. There are so many possibilities.

Herbert's addiction to the reagent presents a lot of hurt/comfort possibilities. Trauma-induced nightmares are always a favorite too, especially when it involves the other character(s) crawling into the bed with them for comfort afterward or trying to help them through it somehow.

What always struck me about these two was how Herbert was clearly unhinged and got more so as the movies went, but Dan kept hanging in there with him. And I love how they're so physical with each other from the beginning, whether it’s leaning or a hand on the arm (or Herbert wrapping Dan in a blanket and touching his hand--!). Grabbing Dan's hand first when Dan's presenting him with the Bride. Love that kind of thing.

I firmly believe that Herbert doesn’t really care about people as much as he cares about defeating death and reaching his goals. He doesn’t care about individual people at all, except Dan. Dan’s the one living person Herbert does give a damn about, and that’s one of the things that makes their relationship so great, IMO.

Some ideas I really like:

• Dan's face when Herbert starts insulting Hill after they've just met is amazing. Honestly, it could be read as Bruce Abbott on the verge of smiling or laughing and ruining the take but managing to hang on in the end, but I like to see what passes over Dan's face while he and Herbert are staring at each other as an "oh no he's hot" moment. You can explore that as such a moment, or if not, show what he was thinking. 
• It's a similar thing when they're in class and Herbert's snapping pencils. Watching Dan watch him is such a delight. And when Meg's complaining about Herbert and Dan admits he's a little cracked with a strange look on his face, and you can hear the implied "but I don't mind" or even "but I like it so it's okay." I'll enjoy anything dealing with Dan coming to terms with his sudden interest in an arrogant, slightly cracked Herbert 
• I'm always down for one of them discovering he died and was brought back with (an obviously more refined) reagent and all the emotions and fallout from that. 
• A fix-it for the third film. Preferably a short time span than 13 years, maybe just a year or so, and Herbert gets out of prison, either through a technicality or an escape. He goes to find Dan, not for revenge or anything, but maybe for help (if he escaped) or just to get some answers about why he betrayed him. But it turns out Dan only turned state’s evidence to prevent the government or some other villain from killing Herbert or worse and he hasn’t been able to contact him. Maybe Dan breaks him out and explains, even. As long as they get back together.
• Or maybe Carl Hill’s head got regenerated yet again and he bat-winged his way to Dan and hypnotized him to do it, and Dan’s been under his control for the whole time while Hill’s been trying to get him to reproduce the reagent or do his bidding while he’s working on it. I’m okay with it if he took other liberties with Dan too, giving Herbert even more reason to kill him again, but just controlling his mind and making him betray Herbert would be plenty. The aftermath of Dan getting free of that control and Herbert helping him through it would be amazing.
• If you can think of some other reason for an unwilling betrayal, I’m sure that’d be great, too. I’m after Herbert’s alarm when he discovers that Dan didn’t want to betray him and has been in a prison of his own the whole time, even if it’s just one of guilt.
• Any situation where Dan carries Herbert – to bed because he’s collapsing with exhaustion; to a room where he can help him inject reagent; because he’s rescued him from someone or somewhere and he’s injured; because he’s been attacked by one of his creations. Any reason at all. I just love the caretaking. That leads me to the hands tags.
• The focus on their hands and hand-touching/clasping in the films sends me. So that will obviously make me happy. I also really like the idea of Herbert’s hands being injured somehow (nothing that won’t heal). Maybe involuntary spasms for a while could lead Dan to help him eat or get dressed. I think he’d handle his basic hygiene on his own even if it hurt, he’s clever enough, but helping him bathe wouldn’t be out of the question, or helping him work.
• Herbert’s line about Dan thinking with his big head and not his little head stands out. He was so jealous of every woman who looked Dan’s way, but I’d like to see him and Dan both realize that as long as Dan’s thinking about him, Herbert’s fine with his little head doing some thinking. It can even be a revelation to Herbert, realizing how much he really does want Dan. Dan realizing that Herbert never touches anybody but him could be a result or the catalyst. Herbert doesn’t even like to shake people’s hands, wouldn’t even touch Dan the first time they met, then quickly couldn’t stop touching him every whipstitch. I love that.
• If Herbert creates a new reagent, while trying to keep people from coming back crazed and wrong, and tests it on himself, and it turns out to serve as some kind of sex pollen, that would be a-okay. Especially if he’s really suffering and determined not to push himself on Dan, so Dan has to take charge to make sure he’s okay. Alternately, Dan can be the one accidentally dosed somehow, maybe a spill or something that absorbs through his skin, and Herbert has to take care of him.
• Other tags deal with other things I love, like Herbert and/or Dan with their sleeves rolled up (and Herbert’s tie tucked in, which I’ve always loved). Dan pulling him in by the tie for a kiss would be great, if they reach that kind of point in the relationship. Rescuing each other. Bedsharing because of nightmares or to protect the other (from someone else or themselves), hand-touching/holding, Herbert being so proud of Dan for what he’s learned and how much he can do. Anything along any of those lines using one of the tags will be great.

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• Janette Ducharme/Nicholas Knight/Lucien LaCroix
• Nicholas Knight/Lucien LaCroix

This is such an old and beloved fandom for me. I don’t care if you choose Nick/LaCroix or Janette/Nick/LaCroix, or whether it’s set right after Nick became a vampire or post-finale.

I love LaCroix’s obsession with Nick and inability to let him go, and Nick’s love/hate feelings for LaCroix that change over the centuries. They were a family of three in the earliest years and for a very long time, and Janette was the one who brought Nick into the fold, so the three of them interacting and happy together is not only canon but something I love.

Nick and Janette were canonically a couple for years, and though the show never confirmed a threesome, the shots of LaCroix turning him are horny as hell. You can’t convince me those three weren’t sharing a single bed for a long time. If they missed out on that, it would be a travesty.

There’s canon ring-kissing, hand-clasping, neck-clasping, standing way too close, drinking blood from each other, LaCroix slamming Nick against things, LaCroix telling Nick he belongs to him and will never be free of him, and LaCroix angrily wiping blood off Nick’s mouth with his fingertip and sucking it. Love it all. If at some point in whatever story you write, LaCroix could dispense with the finger wipe and lick blood off Nick’s lips or face, well, I’ll be a happy gal.

Stuff like thank god we're alive sex, sex in the blood of our enemies, all the vampire blood-drinking and sharing, threesome, voyeurism, teacher/student, rescues, angst, all so good for this one.

• I’d love something set after Nick was turned, like how they spent that first night or two. Given that Nick was a Crusader and seemed pretty innocent overall, I doubt he’d been with a man or a woman at that point. Janette and LaCroix introducing him to drinking blood and all kinds of pleasures would be great.
• I like the idea of LaCroix or him and Janette having to rescue Nick after he started to break away from them and acted like he didn’t need them. And if the guy they have to rescue him from is some hot and horny guy that LaCroix has kill and make meal of for them, and said hot guy dosed Nick with some kind of sex pollen/super vampire aphrodisiac because he wanted to have sex with him and maybe be turned into a vampire, that would be okay, too. Nick could be in terrible shape and the only way out of it is through, so LaCroix or both of them have to help him out.
• A situation where Nick has to rescue LaCroix from someone set when he’s trying to break away, and he could walk away, let LaCroix die and be free, but he doesn’t, would be fabulous. There can be healing sex afterward or not, but I’d love for the feelings to be obvious in Nick saving him even though he knows it means LaCroix will keep following him.
• I like the idea of Nick, during The Fix, maybe finding an actual cure that lasts longer than it did, so he loves going out in the sun, and it turns out that his sun-warmed skin serves as a vampire aphrodisiac that LaCroix can’t resist. They haven’t been together in centuries, but he’s helpless against it, and Nick can’t help but be overwhelmed by LaCroix’s reaction, so, in the wise words of Robin the Caveman, they do it.
• I’d love a story set when Nick was a new vampire still reveling in his new nature where he, LaCroix and Janette had a successful hunt or successfully stopped people who would have killed them, and get so into feeding off their prey and the bloodlust it leads to joyful, primal sex right there in the blood of their enemies.
• In some scenes of Nick’s early vampire life, LaCroix taught him to sense their mental bond and come to him through underground catacombs with nothing else to lead him, and he did it. Maybe part of the learning process and/or the reward could be LaCroix just sending pure desire and passion through that telepathic link and them being able to come without touching each other because of it.
• When Nick’s being difficult, LaCroix openly flirting with a man in the inn of whatever village their in, then going with him to his room, makes Nick jealous enough to barge in and stop them. Maybe, if he’s young, he kills the man in jealousy, and that pleases LaCroix to no end (this would be a great scenario for him to lick the blood of that man off Nick’s lips, huh?).
• I also think it’d be interested to see Nick breaking up LaCroix and his sister, and it being obvious that it’s more about jealousy of LaCroix than anything. Alternatively, you could bring LaCroix’ family into the mix and have Nick under Divia’s control in a canon divergence, and let LaCroix stew and have to rescue him. Or the aftermath of that, since Divia’s not a nommed character anyway. Any situation along those lines would be fun.
• A vampire older than LaCroix shows up in Toronto and immediately desires Nick, not just in his bed but to be his bloodline. Maybe there’s a way for a vampire to steal the “offspring” of another and become their master by frequent blood draining and/or orgasms or something like that. And maybe LaCroix rescues him and has to do the same things to him to reverse the process before it’s too late.
• Witches are a thing. One curses LaCroix to be human for a day or a week or something, or one curses LaCroix and Nick, or all three of them, to be human for a while. It could be funny, awkward, poignant, sexy, many things, depending on which way you go. I can definitely see Nick enjoying having the upper hand over a human LaCroix, however briefly.
• Maybe in modern times near the end of the show’s run, Nick discovers that another cure for vampirism, according to some tribal legend, is having lots of sex with the vampire who turned you, so he starts initiating sex with LaCroix frequently. LaCroix knows what he’s doing, knows it’s a bogus cure that another vampire nearly as old as him put out there in an attempt to get his own rebellious vampire-son to want to lie with him again. But LaCroix’s not about to tell Nicholas about that when it benefits him so much and Nick’s mood has improved. (Maybe Nick realizes more and more that he’d been foolish to avoid LaCroix as they get closer, too.)

I know I have a lot of sex prompts, but I’d be equally happy with something shippy and more about their found family dynamics. Something lighthearted about their early and happy days together would be great, too. Nick and Janette pissing him off like disobedient children, or one of them trying some art or music discipline and being terrible at it. Maybe Janette tries to sing and is awful but they can’t bear to tell her because it makes her happy, or Nick doesn’t share her skills at painting and everything looks like a child painted it, but they keeping framing and hanging them until he puts a stop to it because he knows.

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I love everything about this show, and I chose every possible tag except Alison/Mike alone (though them with a ghost is in there), so fic or art of just about anything related to the show would be great.

Fandom-specific DNW: Sex, any references to Mary's ascension.

• Captain being a father figure and protector for Kitty. Dancing with her to give Pat a rest. Or they have a discussion, like the one about St. Nick, where he's trying to gently lead her to the truth about something she's confused over. Maybe she tells him and/or the others about her sister and father in more realistic terms, and the Captain cheers her by pointing out he'd be proud to have a daughter like her, etc. I love their relationship so much, so anything.
• Captain talking to his pillow about anything and everything. Memories of Havers, or before Pat and Julian showed up, or something he and Fanny got up to once upon a time, some backstory he talks about, or his opinion on everything that happened that day.
• Kitty and Mary together are so delightful. When they were trying to remember what was stolen in the van--more moments like that between them. Or Mary telling Kitty about her death, and Kitty helping ease her discomfort with her sunshiney personality.
• Thomas' really bad poetry. His good poetry. His constant challenges to the Captain for a Twister rematch because the Captain wiped the floor with him. Sweet and/or hilarious attempts at writing verse as a gift for each other person at Button House, about something they love.
• Any one of them telling a story about their life to the others. Maybe another roundtable support group session. The Captain admits he's gay, maybe accidentally or in a funny moment, and the others make sure he doesn't regret it. Julian admits he secretly liked some labor policies. Pat always hated wearing shorts with a burning passion. Kitty wants to kickbox. Anything, sentimental to silly.
• Fanny comes to the rescue with calculations for renovations or helps with her eye for design. Maybe she wants to give it another go with Humphrey, but is embarrassed that everyone knows. Maybe she's secretly been doing formulas in her head for years, and now has Alison play YouTube videos to learn because she's trying to find some advanced quantum mathematical way for the ghosts to make themselves known, affect their environment, or get Julian a pair of pants.
• Pat and the Captain camping. Alison leaves the tent up, or they just set it up more often. Any more badge scenarios would be great. Just their bonding and friendship, whether the two of them or the group.
• Julian and Robin playing chess or being afraid of the dark together or anything they do that's sentimental or sweet or them being grumpy.
• Someone finally makes the right amount of fuss over the Captain jumping onto the bomb to save them. Pat could give him a badge or award for that act of bravery or something. Sure he's already dad, but he unthinkingly moved to sacrifice his safety for them. Still out to mean something.
• Thomas gets Julian to help him practice twister, then regrets it because pants. Pat has run out of dances he knows, and starts making up moves when Alison's not around to look up new ones for them. The more ridiculous the names, and the more people they dance in front of, the better.
• Mary decides to try her hand at counseling and giving life advice.
• Another wedding at Button house they get to enjoy, or a birthday celebration for anyone there. Stargazing, looking at the full moon or having Robin's moonah ritual, the world's lowest stakes game of truth or dare, or any lighthearted, happy-ending interactions between any of them!
• Any moments between Cap and Havers we didn't get to see. Or fix it and let them reveal something or kiss.
• Captain/OMC is because I loved the way he hangs around handsome men at Button House, like with the director or the construction workers, dancing among men at the wedding, etc. I've love something like that.

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• Marcus Keane/Tomas Ortega
• Marcus Keane/Tomas Ortega & Devon Bennett

I don't care whether you choose S1 or S2 or go post-canon, with a new take on something that's already happened or a brand new situation altogether. And I'm always up for them saving Bennett post S-2 if you want to toss him in. Lord, somebody save Devon Bennett. If you want to throw other characters like Mouse, the Regos, the Rances or Andy and any of the kids from S2, that's perfectly fine, but don't feel you have to. As long as Marcus and Tomas are in there and it shows their devotion to one another (the more hand-clasping and nape-touching, the better), I will be happy.

Fandom-specific DNWs: Don't make god a hero in the story. No divine intervention that saves the day, please. References to canon Marcus/Peter and Tomas/Jessica are fine.

I'd also enjoy art of them together or (even though the individual characters aren't nommed) just Marcus, Tomas or Devon Bennett. It can be just the character(s) or them in an Exorcist setting or someplace creepy, I don't have a preference.

Prompts for ideas, but feel free to write something else!

• Marcus doesn't leave Tomas at the end but stays to help him through what will surely be some post-demon PTSD. Okay, I want there to be post-demon PTSD, not sorry. The hurt/comfort is strong with these two.
• I love nightmares and the hurt caused by them especially when there's someone close to by to offer comfort afterward. A dream or series of them where first-season dark Marcus is whispering things in Tomas' ear would be good, too. Or possessed-Marcus does it when awake, and it can lead to some sort of seduction or not, dubconny in the no-no-yes vein or not (but no non-con). How would they deal with it afterward? Even a situation where it almost happens but doesn't is ripe for some great introspection and character/relationship stuff.
• I really like the idea of one or the other having those intense dreams where the other menaces them in the sexiest of ways, and each night the dreams escalate, and they start to have trouble separating reality from their dreams when they wake up so they might do or say things that would not be forward with the dream other but are unexpected in real life, and the one not affected has to suss out what's going on.
• If Marcus were convinced that god was sending him a message that loving someone and expressing that through sex wouldn't make him less of an exorcist, that'd be really great. Tomas might point out that he'd know if that were evil with his newfound skills and all.
• Just about anything--post-exorcism conversation and comfort (I loved the bar scene at the end of season 1), navigating each other's spaces, a story about something they did together between S1 and S2, investigating the church.
• Any hurt/comfort scenario, expansion on any episode from either season, or any situation where one or the other is possessed and fighting it to keep from hurting the other and has to be exorcised. I truly love that stuff.
• A lighter story that involves Marcus teaching Tomas his ways, maybe with Tomas messing up quite a lot, and them not entirely exhausted all the time or in danger would be great, too. As long as there's obvious shippy affection between them, even if they're both fighting it, and lots of touching and standing far too close together, I'm down.
• Dubcon where the demons decide that helping/pushing Marcus and Tomas to get together will destroy them through guilt or whatever, but nope, it just makes them stronger (after some initial guilt and hand-wringing, probably).
• Either Tomas or Marcus hurt and in the hospital--I'm amazed most of the show wasn't one of them recuperating in a hospital bed, frankly--with the other by their side.

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• Ken Hutchinson/David Starsky

I still love these two so much *smears hand across mouth* years later because of the friendship and love between them. They're also incredibly physically present in each other's personal bubble, so lots and lots of that will make me happy. These two were each other's beginning and end, no matter how many blondes of the week the show tried to toss in there. And it still has one of the most perfect final episodes of any TV show, for my money. I. Adore. It.

Captain Dobey and Huggy Bear are welcome to appear, so if you feel moved to toss either in, feel free! I especially love Huggy.

A scene or story directly from one of the peril-of-the-week episodes for either guy would be great. One hurt, the other freaking out, rescuing, comforting and caring for him, that would be fantastic. Them dealing with trauma together and working things out. Lots of touching, teasing, joking around, anything canon-typical but with the tension cranked up to make it a definite / relationship would be super. This is such a good hurt/comfort fandom, too. I mean *gestures at it*.

Post-canon, a story showing Hutch taking care of Starsky after he's discharged from the hospital and helping him recuperate (or set after that), and that leading to a new aspect of their relationship, would also be great.

• I like S&H going undercover, and if they needed cops to play gay to get close to some kingpin or something, it'd be great if they realize feelings while pretending, but I also think it'd be great if only one goes undercover with the cop who's an expert on the person they're after, and it makes the other one jealous.
• That prompt would work without them playing gay, too. One goes undercover with a female cop, and the other is crazy jealous. If the one not part of the couple is also undercover and around to witness the couple stuff, even better.
• Any kind of expansion on what we saw on the show, like Starsky having to help Hutch through fighting his addiction after that episode is over, any kind of hurt/comfort and recuperation for either of them would be great.
• In the episode where the woman they were both hot for was going to come between them, and she basically offered not to choose and for the three of them to be together, first I loved that they turned her down and walked away with their arms around each other. Maybe that makes them realize things? Or maybe they don't turn her down and give it a try, and find that they end up neglecting her in favor of each other anyway. She could point that out, even.
• I'm a big fan of trauma causing nightmares that require help from a partner to get through, and these two have had their share of nightmare-inducing situations.
• Being poisoned, being shot, being tortured and an intended sacrifice for a cult, ffs--write a post-ep story where the injured party has trouble sleeping, eating, or moving on and lots of comfort from the other.
• In any kind of danger situation, the whole "not him, take me instead" thing is fantastic both for the self-sacrifice of it but what it does to the other person. I like a lot of angst, as long as there's a happy ending.
• Also a fan of one being tortured to hurt the other in a hostage/kidnapping situation where they're trying to get information about something or just revenge, as long as the hurt one is rescued before it gets too bad. No permanent maiming or anything, just enough hurt to cause massive pain to the other party who's helpless to stop it.
• On the lighter side, the staff at Huggy's bar thinks they're a couple, and S&H are surprised by them, and then it starts to make sense. Or they're somewhere meeting new people and someone mildly familiar with them introduces them as a couple, and they go with it to be polite but have to figure out why people think that and what it means.

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• Any / Relationship I've Requested Before

It's fine to just choose a requested tag and roll with it. Unrequested tags that don't violate a DNW and seem in line with what I'd like are fine! I chose the most universal ones for me, but whatever my request was for that particular pairing will probably allow for plenty of others.

All my requests in the app.

Fandom DNW:

• Teen Wolf
• The Magnus Archives
• Stellar Firma

Tags:

• Caretaking
• Carrying
• First Kiss
• First Time
• Scar Kissing
• Flirting
• neck kisses
• Romance
• Hugs
• Friends to Lovers
• Protectiveness
• Missing Scene
• 3+1 Things
• Anything For You
• Forehead Touching
• hand holding
• Hurt/Comfort
• Mutual Pining
• Sharing a Bed
• Porn with Feelings
• Possessiveness
• trapped together
• Polyamory

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