Dear Yuletide Writer...

[dye_ann]

(At last.. my letter is Complete! *lightnings in the background, as the Monster slowly stands up*)

 

Dear Yuletide Writer,

First of all, welcome! This is my first Yuletide, and I'm really excited about it. 
Let me apologize for not posting this letter sooner : I had to do it after sign-ups closed, because I was traveling abroad without a computer, and a letter is too important to be written on a phone. I know you got matched with me without being able to have a look first at what I wanted exactly, so I hope this won’t be a disappointment to you.
I'm extremely grateful to anyone willing to write for these characters and these fandoms. It’s especially true if we match on the smaller ones, where there was only one request and one offer: in that case, you’re the bravest of the braves.

If you want to get to know me better, I'm Beatrice_Sank on AO3. 

 

I want to immediately point out that, while I’m often requesting “Any” or several characters per fandom, I would be happy with any subset that you might prefer. I try to provide prompts that have both all the characters I asked for and specific subsets. I hope it will be helpful rather than unhinging for you. Apology to the mods for not including this in my sign up earlier: I realize now it’s a nuisance, I didn’t know better but I will not commit that error next year.

 

I’ll try to give you a sense of what I like about the fandoms I asked for, and about the characters I requested. The prompts I give are only suggestions (but you already know that, optional details being optional), and if they’re too detailed or too elusive for you, you can always pick something that inspires you more in my General likes section. Or just go with something you had in mind when you offered the fandom. I really want for you to have fun and not suffer over your assignment: the best works are love works, so don’t sweat too much over it.

 

General likes (depends on the fandom’s global atmosphere, but most of them are compatible)

 

Themes, atmosphere and tropes

Bittersweet atmospheres, symbolism, slices of life, alternative story-telling forms (letters, diary, found manuscripts, found records, annotated texts and the likes), experimental writing, 5 times +1, fluff and fluff with A Deeper Meaning, future fic, fix-it, very specific canon references, literary references, magical realism.

Recovering process, intimacy of any sort, found families, nocturnal settings, anything involving plants and trees, seasonal moods, witty banter (you can never go wrong with that one), elaboration on what characters like to read/listen to/watch, sensory notations, memories, integration of historical elements in the background (i.e. acknowledging canon is set at a certain point in time and that has an influence on who the characters are and what they can and can’t do), exploration of social and political themes, gender issues, minorities-related themes and feminist takes on canons and characters, extremely competent female characters (because it always warms my heart) but also female characters being allowed to be complex and interesting without being “strong”, characters being allowed to be Wrong even if I love them, conflicting worldviews and people having their reasons, deeper takes on apparently stereotypical or “shallow” characters, characters playing Junior Detectives.

Crossovers between my requested fandoms are fine, although I never gave it much thought and I’ve never written crossovers before, so I'm not sure it this can work well here. That being said, if crossovers are your thing, you can always have a look at my bookmarks for other suggestions of fandoms I enjoy and am familiar with: https://archiveofourown.org/users/Beatrice_Sank/bookmarks.

AU are great and lovely as long as they’re not mundane AU (deviations from canons and What If: excellent; fairy tales, Victorian, Noir novel AU, for example, also excellent; coffee-shop AU: I would rather not).

 

Ships-wise: tension (resolved or unresolved), pinning, slow burn, things changing so gradually it’s hard to put it into words or name it, but also relationships discussions, people struggling but still trying, people falling in love while Trying Not To, first kiss and first times in general, femslash, fake/pretend relationship (one of my favourite tropes), accidental proximity, moderate angst, sensual things going on at a slow pace, people being bad at feelings, realistic (and loving) depiction of bodies, sex positivity. In short, I like people being so much into each other it’s hard to bear ^^.

 

If you enjoy writing sex scenes: it’s totally fine as long as it’s for a ship I mention. Although no PWP, please? And I would appreciate if you could keep it rather vanilla. I realize it’s a bit vague and I hope it won’t be frustrating for you, but the thing is I’m still not sure if I want to read kinky things, and if so, what kind. Maybe next year!

 

General DNW:

Non-con, non-canonical rape, underage, abuse painted in a good light, non requested ships, unmotivated conflicts for the sake of drama, character bashing (exploring a character’s faults and problematic aspects or unchecked privileges is often very interesting; using the narrative to debase a character, less so), sickfic in a shippy context (specific, I know), non-canonical established relationships (if it’s canon, it’s more than fine), non-canonical children, PWP.

 

 

Mame

This musical has only two fics in the archive, and they’re both crossovers, so I requested this in the delusional and desperate hope that we could see the very first exclusive Mame fic on AO3! So if you’re here for that specific ride, *chef kiss* to you!

Happy with any subset of characters, individual character studies, anything, please just give me some Mame content and I’ll be over the moon (swidt?).

While I had to nominate the musical because All media wasn't allowed, I have no issues whatsoever with you treating this as an All media request if you want to. I’ve seen and loved the Rosaline Russel movie, seen clips of the Lucille Ball one, and while I haven't read the book yet, it sounds like it's very close to the movie, too, and I'm all for it. We need more Mame, so anything goes.

 

What I love about this fandom:

I know the show is relatively well-known, but it’s also quite old, and I wish more people knew it exists. It has the raddest heroine you could ever wish for: eccentric, confident, witty and elegant as hell Mame Dennis, and look, someone even wrote catchy songs about it. This show is such a bundle of joy and energy, everyone so witty it feels like a PG Wodehouse novel, and prejudiced people are ridiculed in a marvelous way (well, except for that Southern episode, which is problematic as hell). I love how Mame manages to make everything looks bright around her, even when there should be genuine sadness (she’s not a merry widow in any way, but the tragedy of it all is always kept at bay, life always goes on and it makes her such a force of nature in a very 60s way). I’m also very fond of the found family dynamic here, and how it basically deconstructs what a traditional family is supposed to be. Mame and Patrick relationship is everything, and I love that he gets so many uncles and aunts (especially drunk aunty Vera) out of his new, exciting life. I really likes how this show is rooted in its time period (despite some problematic bits, granted, those are best avoided or explored in a critical light). So, I’m still fine with AU if you have a great idea, but please try to keep this specific spirit going. Also, this show has such a queer vibe you can probably see it from the moon. I’m sure Mame is somewhat disappointed Patrick ends up dating a girl. Feel free to explore that field if you want, Jerry Herman and Bea Arthur will be proud of you.
 

Requested characters:

(Any: the prompts are given by character, then for ensemble and subsets)

Mame:

What an icon. The class, the raw energy! I love her being so careless about any obstacle that dares come her way. I also enjoy how much of a snob she is, and her links with artistic circles. Am also delighted by how freely she lives her life for a woman of that time, and how terrible she is at any job she tries her hand at. One of her best trait is how interesting in everything she is. I love myself a curious and open-minded character. She’s some sort of pioneer in that way, and really ahead of her time. If you manage to emulate that whirlwind, I will love you forever. Very curious about both her love life and how it is to raise a child when you never expected to do something as mundane as that in your life. Especially not on your own. Except she’s not alone, is she? She likes to keep people around, and that’s an interesting topic too: where does that come from, how does she feel about it, does she see herself as having some sort of mission, helping people enjoying life? Any expand on Mame’s philosophy is welcome.

Also, I’m sort of in love with Angela Lansbury, especially in that role, so if you could keep the physical descriptions close what she looked like at the time (over, for example, Rosalind Russel’s incarnation, or Lucille Ball), I would be delighted.

Vera:

I love how messed up and loyal Vera is, and her whole dynamic with Mame. The barbs! The throwing shade! I love the “old diva” vibe she has, and the counterpoint she is to Mame, being much more directly sarcastic and dry, when Mame tends to be a bit more sly about it, or at least pretend (well, not always, cf “somewhere in between forty...and death”). I’m interesting in why she sticks with Mame, and what she finds in that particular family. If you want to address the alcohol issue more seriously, it’s cool with me (and if it’s a topic you’d rather avoid, also feel free to ignore it completely).

Also: Bea Arthur, my heart.

Patrick:

We’re all Patrick, in some way, aren’t we? I think I’m more interested in his point of view as a child, but as an adult it could also be great to explore the contradictions he has to deal with. Being raised in a boarding school after touring the world with Mame might have been difficult. What influence the various characters have had on him? Why is he tempted by “normality”? I think a story about how his gender identity is shaped by his time with Mame and her friends, and the things he discover during that period, would be very cool too. I mean, for a kid in that time period, he sure learns a lot of interesting words, and witnesses a lot of interesting situations…

Dwight Babcock:

Every show needs a good opponent. But in that particular case, I think it’s nice how they manage to suggest that Mame’s appeal could be powerful enough to turn even stern Dwight Babcock on his opinions. Of course that doesn’t happen, but I can’t help but feel he’s not totally hermetic to that strange life. I wish he would be forced to spend more time at Mame’s home for one reason or the other, so that we learn more about him and why he’s so attached to conventions. Maybe he develops a secret crush on one of the resident (Mame? Vera? Gooch if you’re willing to go beyond nominated characters, or God forbids, a man? That sure would be nice).

 

Pairings I’m cool with:

Mame/Vera, Mame/Vera/Babcock (or any side of that triangle, really)

 

Prompts

- for an ensemble piece: Mame and Vera takes Patrick on a ridiculous trip somewhere (is it a special holiday to go and see rare sights/events, or a tour for one of their shows?). Mr. Babcock has to follow along to make sure they’re not “corrupting the child” or making him do bonker activities (they sure are). Could be the occasion for an outsider’s point of view on this unusual family. Do they manage to “convert” Babcock to their world view? Does he have so reluctant fun? Does Mame (or Vera!) keeps distracting him by shameless flirting so that the others are free to go to experimental art shows, or go body painting or skydiving or what have you?

- Mame/Vera or Mame&Vera: the best duo that ever was! I’m so interested in their relationship, their way of throwing merciless barbs at each other while sticking together through thick and thin like an old married couple. I’m up for both comedy and intimacy here, a bland of the two, or even light angst if it comes to that. I ship them hard, and have several ideas for them: for example, building on sexual tensions while in rehearsal for Vera’s play would be great. “The Man in the Moon” is a very interesting song to exploit in that sense: that lady in the moon sure sounds lovely, according to Vera… Alternatively, Mame defending Vera, or the other way around, and being caught at it: feelings ensue. I’m very much for the slap-slap-kiss trope here, and all the love-hate relationships tropes, really. Feel free to explore gender and identity issues here, if you find the idea interesting.

- If you’re more interesting in Gen: how did they meet? Were they really bosom buddies? I could picture them competing about love interests and ending up being more interested in each other (platonically) than they are in their male target, because of the intellectual challenge and the sense of kinship they develop. Mame taking care of a hangover Vera, or/and Vera taking care of a depressed and mourning Mame would be very sweet too.

- Mame&Patrick: the Best Boy and the Best Girl! I’d love to see them wrecking havoc together, for example pulling pranks on Babcock or Vera or Gooch. Or is it mainly Mame’s doing, and Patrick trying to be the reasonable person in the family and doing damage control? Alternatively, something a bit more serious about family loss: they’ve both experience it, and I’d love to read a scene when they try to discuss it while keeping a light facade. It doesn’t even have to be a facade, mind you, Mame could expose her life’s philosophy in more details there, and Patrick could bring his two cents too. I’ve got a feeling he would be more ready to acknowledge the sadness than she is, even if he loves his new family. How does Mame react to that?

- Patrick&Vera: what does his favourite, ill-advised aunt has to teach him? Does she tries to prove him that there’s no business like show business?

- Mame, Vera and Mr. Babcock: Babcock being somehow stuck for the evening with the infernal duo, maybe at a party, maybe in a ridiculous situation (stuck in an elevator, pushed on stage by accident and having to improvise, having to pause as a couple with either of them because Reasons, going to see Patrick’s school play together, what have you). Comedy or conflict ensues. Feel free to explore any ship you want in that triangle, it’s all good to me.

 

Anyone Can Whistle:

The reason I asked for "Any" of the nominated characters is because I really hoped to see this tag created, as for now there is no fic for it on AO3. So, if you're there for this one, thank you and welcome, fellow semi-obscure musicals enthusiast (still a Sondheim but, you know, it ran for all of nine performances).

 

What I love about this fandom:

“The curtains rises to a burst of circus-like music on the main square of a town. The colors are gay, exaggerated; the look is rather Pop Art cockeyed”: the set description says it all.

I’m so much into the mix between absurdist tones and political themes in this musical. I just love how weird and unconventional it is. It's often said that the book is sort of a mess, but on the other hand, there are great opportunities for structural fix-its (for example by deciding what kind of persons the Cookies are supposed to be, as it remains rather open in the musical, or giving the characters more background). Good occasion to update the canon on certain issues because it sometimes feels...ahem...dated (but the absurdist take makes it hard to say how much, granted).

The contrast between the characters is fantastic, and I love how this is reflected in the music: Cora's exuberance and bad faith (expresses through fabulous torch songs pastiches), Hapgood's irony and philosophical stance, Fay's earnestness and genuine despair. They're all so different, and the tension between comedy and tragedy allows for subtle nuances. I think globally I would like to see the very cartoonish characters (Cora, Schub) humanized a bit more (their relationship is worth exploring, Cora hints at a difficult past, and the general issue of political power and wanting to be loved is a fascinating one), and the more serious characters being given a chance to expand on their issues (Fay's precarious position between open-mindedness and conformity, Hapgood mysterious persona).

The political message of the show is really of interest to me: at one point Hapgood addresses the audience with "You're all mad here", and that Alice-in-Wonderland question about what society calls madness is a fascinating one: is it anticonformism? being a minority? mental illnesses that spread from social realities?

In short, you can go for light comedy (lots of banter in the show), political comedy, philosophical questioning, social issues and so much more! Yeay, major Sondheim flops! So much to explore here. Whatever your take, it will make me happy.

 

Requested characters

(Any: the prompts are given by character, but include larger sets)
 

Cora: 

Fair warning, I'm a huge Angela Lansbury fan, and this was her debut role on Broadway, so of course Cora has a very special place in my heart. And I mean. We’re talking about a character who mostly navigate the stage on a litter carried by her own page boys. So.

I like that she's both hilariously "evil" (the scheming, shady stereotypical politician) and strangely vulnerable and willing to help the town in a twisted way (once again, wanting to be loved by an entire town is a good theme to explore). I'm also very fond of how flirty she is with everyone (and consequently I ship her with virtually every character, even if she canonically has something going on with Schub and would like to get something going with Hapgood).

 

Some prompt ideas:

- So, what *is* going on with Schub exactly? A bit of twisted romance would be sweet. Since they're both so full of intrigue, I wonder how that plays out in their relationship. Is a date like a chess game? Do they ever learn to trust each other, or does the tension that comes from distrust becomes their fuel? Is it a political partnership that turns into an honest romance unbeknownst to them?

- I could imagine Cora trying to romance *everyone* to push her political agenda and/or pamper her ego. Pick any number of characters you want. Could be hilarious or sexy, or both!

- for a deeper take on the character, I'm curious about her relationship with power and the fact that her position was basically handed to her by her late husband. Is she empowered or trapped into something gendered that reduces her to this cartoon dimension? Gender is something that the show marginally questions, so that's a line of inquiry. Her opposition to Fay could also be a point of interest.

 

Hapgood:

A very intriguing character. There's a lot to build here. Is he an absurdist philosopher with 3 PhD from the Sorbonne and a book by Beckett in his pocket? Is he suffering from some mental health issue (depression or something else)? Why does he take pleasure in spreading chaos in town? I like how confident and charming he can be in his provocative attitude.

Some prompts ideas:

- Hapgood and the Cookies: what does he really think about the people he "sorts out" in different groups? What is madness to him? Is there a reason (personal, political) why he takes pleasure in spreading confusion?

- Hapgood having a sort of double date with Fay and Cora, and having to manage them both and their diverging interests. Does he end up influencing their opinion (about the Cookie situation, about the future of town, and does the end justifies the means)?

- Hapgood and Fay: I'm interested in the tension between those two, since he's sort of harsh with her at first, in his attempt to make Fay realize her own contradictions. Does she call him on his bullshit? I think he sort of deserves it. 

- Darker AU where Hapgood actually becomes mayor, destituting Cora and setting absurd rules. What does the town looks like now? Are we all mad here, or does that question loses its sense when anticonformism rules? Maybe it's not dark at all, maybe it's the only town in the world where everybody gets to be as 'weird' as they need to be. How does this affect the other characters' life?
 

Fay:

Very touching character, and very reliable in her struggles. I'm interested both in her relation to the Cookies and to Hapgood, but also in her crazy French persona (honestly that bit comes out of nowhere).

Prompt ideas:

- Fay and her two selves: we know from the script (easily found on the net) that there is more to this than a ruse. There is some allusion at trauma here. What does she suppress in herself, and why? I would like to see how it plays out in new situations (using it in a confrontation with Cora, for example). Does she sees herself as a Cookie, secretly? How does her work relates to that part of herself?

- Fae and the Cookies: how does she see them, why is she the only one to truly care for them? I think you'll have to decide how you want to paint Cookies for this one, even if keeping it ambiguous could be interesting too. Some sweet scenes between her and various "unusual" patients would be nice.

- A more frontal and detailed confrontation with Cora than what we get in the show. Could evolve into something shippy if that's your thing (the song "There's Always a Woman", that was cut from the show, can be a great source of inspiration: https://www.youtube.com/watch?v=IJhrq0semTc). It would be interesting to use the occasion to explore their mutual contradictions but also their hidden depths: Fay may be the "good one" but she's part of a questionable institution. On the other hand, Cora keeps lying to everyone but in the end her schemes might save the town's economy even if the miracle is a fake one.

 

Schub:

I feel the script often paints him as the true villain and the one in control, taking advantage of Cora's flaws to rule the town, but I mean, he's not *that* good at it, is he? I mean his plans are canonically terrible (“Peer Gynt festival”, anyone?). I rather enjoy the way he’s struggling with everyone.

Prompt ideas:

- In addition to the ones with Cora, I’d like to know more about his goal. Why is he doing it? Is he manipulating Cora or trying to get into her good graces for more personal reasons? Why is he taking such care of his appearance, despite his job having nothing to do with it? Is he secretly as insecure as Cora?

- Some comedic scenes with his stupid accomplices. Maybe surrounding Cora’s original election, or relection after Hapgood’s departure?

 

Pairings I’m cool with:

Cora/Anyone and everyone (because it’s Cora), but especially Cora/Schub, Fay/Hapgood

 

 

Twin Peaks

What I love about this fandom:

I want to say everything. I love how earnest and strangely nostalgic it feels, the weirdness and most experimental aspects (I think The Return might be my favourite thing on screen, ever). I love how the characters all feel like complex and complete human beings even when they're probable tulpas with 5 minutes of screen time. I love the small details and memorable dialogues and attitudes, the mystery of it all, and the fact it’s never really resolved and makes you question your own expectations. The way traumas and loss are expressed through symbols, images, and sounds experiments deeply moves me: the complex tangle of emotions and surrealist elements is just so compelling. The show also happens to have the best absurd jokes ^^.

Please note that every character you may want to add to this mix is very welcome. There was a lot of noms for this fandom, the cast is huge and I absolutely adore ensemble pieces, so if that’s your thing, go for it.

 

Requested characters
 

Constance:

I'm so glad The Return gave us a character like Constance, so grounded in reality and so bright. Sometimes it feels like she's from a different show entirely, an actual murder mystery show where people actually solve crimes, but of course we all know how *that* goes. So of course it’s a character I worry about, future-wise. Especially since she’s one of those people who added light to an overall heartbreaking third season (on the other hand, which season isn’t). Her encounter with Albert is such a joy, and I like that she had a good working relationship with Dave Macklay, we don't see that so often in the show. And her jokes… I live for this. This and Constance’s seemingly very normal life, it’s almost exotic in that setting.

Albert:

It’s hard not to relate to Albert, both in his attempts at rationality, which put him closer to acknowledging the reality of the situation than most of the characters ever are ("the evil that men do"), and in the way he struggles to express his emotions (Albert's path is a difficult one). And he's just brilliant. I mean he's got the best dialogues lines in the series, probably, so I’d really love to hear his voice done right. I just want to hug him and tell him it's going to be fine, even though that is, at best, unclear… His evolution between the old seasons and the Return breaks my heart: his relationship with Gordon, the whole gun business, shooting Diane, seeing Cooper come back and disappear without even acknowledging him…

Diane:

I feel very protective of her, and I love how she became a full-fledged character in such a short amount of time (Tulpa or not, to me she's very much her own person). I love how angry she is, because she's right to be, and how thin-skinned in a way that still allows her to retain a tinge of the mysterious presence she had in the first seasons. I'm also fascinated by the concept of someone who's just supposed to be a professional listener. I mean those tapes... Especially if you're familiar with My Life My Tapes (the book that was written by Scott Frost as Cooper’s autobiography), but even the ones Cooper records on screen are often very worrying, heartbreaking or just hilarious. I love to think about her listening to them in her Philly office. But canonically she never gets to see Twin Peaks for herself. Wonder how that feels. And of course, trauma-wise, she's another example of shattered personality, but I feel she might be able to reclaim her sense of self in the indefinite future. I really hope so at least. Explorations of that trauma are very welcome, and needed I think. Much more shallow, but I’m in love with her style, both verbally and fashion-wise.

 

Pairings I’m cool with:

Diane/Constance, Albert/Constance, Albert/Harry (not requested, but he’s in the noms, so if you want to allude at it or include it, it’s totally fine).

 

Prompts

Group prompt ideas

- After the final's disaster, Albert doesn't want to have anything to do with anything or anyone Blue Rose related (except Tammy, but now he might be afraid of ruining her like his experience in the FBI ruined him?). What would happen if he got back to Buckhorn under a pretext to help close the case? Things there used to feel more real than in Twin Peaks, but with the recent surreal events, is it still the case? How are the locals reacting? Does Constance grounds him and helps him recover, or is she developing her own issues? How does that relate to Diane coming back and disappearing with Cooper again?

- 2 a.m. prompt idea that I really like: Constance doing stand up at a local bar (Buckhorn's version of the Roadhouse?). Is she joking about her work and latest extremely weird and worrying case? Albert is in the audience, because what can you do of your evenings when you’re stuck in Buckhorn working on a case anyway? One version or the other of Diane could be observing in the back, too. Does that number becomes a bit surreal (we know what usually happens to on-stage performers in this show)? If you want to have Candie, Sandie and Mandie selling popcorn in the back, be my guest.

Subsets prompt ideas:

Constance&Albert

- Constance interacting with the whole Sheriff station, while Albert is around too. What would the station want with a coroner who’s not Albert? What does everyone think of her? Maybe it occurs early on, when he’s there in the first season to do that autopsy. Maybe it’s later, and they visit together [insert Blue Rose related reason or the like]. Ship wise, I’m happy with a bit of Albert/Harry, so if you want to fit that in, you can.

- Any form of continuation of that dinner scene. What does Constance think of Albert? How does their experience in police work compare? Does the conversation turns into a wit competition, or is it a partnership in crime? If you ship them, it's also cool with me (a bit of romance sure won’t hurt Albert).

 

Albert&Diane

- After he shot Diane, Albert begins to receive tapes. It sounds like it's her voice, and he’s almost sure they are meant for his ears, but can we be sure? What is she telling him about? Which Diane is it, talking to which Albert? Where does it go? You decide.

- For something lighter (we singularly lack light Diane content right now), I like the idea of Diane pulling some sort of prank on Albert when they worked together in the early days (so before the show, basically, when nobody had disappeared yet). What is she like when she's, well, not traumatized? I would think mostly the same but much more serene, and so that anger could well be turned into wits or some mischief. I mostly feel that her and Albert would be the most rational parts of that team, and we know they’re canonically good friends, or used to be, so what was it like when it wasn’t so dramatic? I wonder if Albert takes kindly to being the butt of a joke. Who am I kidding: he sure doesn’t. Who are Diane’s allies in this? From the nominated characters, Lil would be an interesting choice.

 

Diane&Constance

- I suddenly have an impulse to request some Diane/Constance. Because I feel they could get along so well. It can of course be gen if you're uncomfortable with writing romance. They could get more time to talk during Diane's time in Buckhorn (she's a witness in that horrible Hastings death, after all), or meet in a different way: in a bar? Maybe there's an open mic night somewhere in town, Constance always has jokes ready and Diane is after all described by Cooper as "a cross between a saint and a *cabaret singer*", so… Does this happen after canon, after Diane returned from wherever she was, and on her way to recovery? Is Albert there too? It would be great if they met through him, or if he just happened to be around, because I’m sure he would be adorably uncomfortable with the whole thing. Or maybe putting in some barbs while discretely playing match-maker. Oh my God, matchmaker Albert.

I don’t have a definite opinion over the dynamic of that ship, but I get the feeling that they’re both tired in very different ways, and that could be something to bond over. Does Constance remind Diane of how her life used to be, before it all went south? What does Constance understand of Diane’s traumas? I like the idea that they would impress each other, for different reasons. Sharp women, different edges. And of course, the banter.

 

 

Fleabag

What I love about this fandom:

The writing is one of the best thing I've ever seen on TV. Brilliant dialogues, even more brilliant situations, I think the "female rage" Phoebe Waller-Bridge talked about bringing to the screen is one of the most relatable and realistic theme around. The mix of cruelty and tenderness of it all rings true, and the multiple flaws of the characters make me love them even more. Most of their issues are never addressed directly, so much is left unsaid but Fleabag and Clare both manage to deal with things in their own way and tangentially, which is way closer to what usually happens in real life than any direct confrontation where everyone suddenly says the right thing and people end up hugging each other. I’m also very attached to the specificites of the performances: the cast is spectacular, Sometimes the humor gets a liittle bit too sexual and based on embarrassing moments for me, so maybe try not to lean to heavily on it? But most of the time I find the show hilarious (especially in season 2). Finally, I really love how she keep breaking the fourth wall, and how it’s canonically established that some people are able to notice it (the Priest, because he’s able to see her dissociate, but that could be exploited with other characters too).
 

Requested characters

I know I may be requesting too many characters for the fandom to match, but I honestly couldn't choose. I'm happy with any combination and subset, and character study for only one of them is very good too. I think the possibility here as so great for various combinations. 
 

Fleabag:

I love that she's genuinely flawed like a real person, and despite the fact that I wish I could (I, the almighty Viewer) fix her life for her, it's just makes me love her even more in the end. I'm genuinely horrified at the amount of awful things she has to deal with (it often feels like nothing is right, nothing has been right for a long time now and she's unable to pinpoint it). The level of cruelty is so high in this show (I mean, "I love you but I don't like you"? Gosh. I can't). It's sometimes hidden by the comedy of it all but damn, is it heavy. So I sort of wish she had a good time and continues on her journey to deal with her issues, because she's just at the beginning of that at the end of S2 (at least I hope). I love that she stays unnamed (although that's probably a pain to write, come to think of it. Sorry writer!). Her ability to crack bloody hilarious practical jokes without anybody noticing is also one of her greatest trait. The fact that she can be so cruel and distant (essentially with her lovers, with the exception of the Priest, even if that still could be discussed) but also so vulnerable and protective of Claire is interesting. I'm curious about how she perceives her bisexuality (I don't think she uses a label in the show, I'm going for the general one, feel free to change it if that doesn’t fit the way you feel about it, but please don’t make her purely heterosexual). Globally I’m very interested in her relationships to other women. Finally, from guinea pigs to Piglet, animals seem to be a Thing, and that's very cool!

 

Godmother:

Gosh, that woman. I'm so in love with Olivia Coleman it's impossible for me not to love-hate this character passionately. The performance is just outstanding. It strikes me that, despite what Fleabag says at first, she seems to absolutely fit the "evil stepmother" stereotype (hitting her, erasing her from the painting, etc). Sometimes it almost feels too much to be true, but of course that sort of thing very much exists in real life. I'm very curious about that dark side, how it could be explored, and why it seems that it has so little to do with her husband. Her art and the fact that she's actually talented also fascinates me. I'm also ready to accept concurrent readings that challenge Fleabag's point of view (is that a distorted perception of reality? Is there another way to tell this story?). Not that I want to diminish how real the abuse is. But some sort of AU take would interest me. The thing is, Fleabag and Godmother actually have a few things in common: falling for the unattainable man, presumably, stealing their best friend's boyfriend, in a way, working with said friend – more or less, Fleabag's mother being a model for Godmother's work, and more generally trying to pretend to be something they're not, whether it's nice and open-minded on one side, or confident and independent on the other. So the parallels interest me too.

 

Therapist:

Another declaration of love to Fiona Shaw (so, I have that thing for middle-aged British actresses, yes). I adore her in Killing Eve, and she's nailing that small part like nobody's business. I wish we'd seen more of her, because people in this show sure need a psychoanalysis. I love the small details (the hand lotion!), her general attitude and how she's adamant on not taking any bullshit. Sounds very intelligent, very direct, very set on making her patients uncomfortable, too. Oh how we need her. An ideal character to point out unseen connections between characters and even, and a great outsider point of view on the show. Aren't we all the Therapist in this show?

 

Belinda:

So, remember that thing I mentioned about middle-aged to old British actresses? Yes. That. Anyway, I relate to Fleabag's reaction to Belinda big times. The age gap bothers me a bit, but at the same time it makes me wonder, since that sort of relationships are so rarely depicted, how it could be. In short I'm very curious about Fleabag/Belinda, but I also get why Belinda wouldn't date her. That speech of hers in the bar paints a very sympathetic character and it echoes with so many feminist themes that are important to me (the weight of being seen, of having to perform feminity for others more than for yourself, among other things). On the other hand, she's also a business woman, and you get a feeling that she's not to be messed with, even if she sees through the bullshit of her corporation. I think the fact she's successful makes her an interesting comparison to Godmother. I would like for her to get to know Fleabag more, whether it's in a romantic or mentoring way. Her experience could be needed, but also, maybe not. I just want her to be able to relate to Fleabag in a more equal way, because maybe experience or age isn't that relevant for what's going on here. Other thought: has she ever dated the Therapist? Hmmm. That’s a thought. (Sorry it seems that my brain is dead set on creating as many fem ships as it can in this fandom).

 

Pairings I’m cool with:

Fleabag/Belinda, Godmother/Belinda, Belinda/Therapist. Background unrequited or secret Godmother/Fleabag’s mother is also good, if you want to go that way.

 

Prompts

General prompt ideas:

- Fleabag goes back to see the Therapist, after the whole priest affair. Unbeknownst to her, her analyst is also seeing Godmother and Belinda. They all have their own problems, and talk about each other. It's sure is a hard day for Doctor Shaw.

- Fleabag brings Belinda as her date to one of Godmother's parties. Is it an actual date or just an exchange of services destined to make Godmother mad? How does she actually react to it, being who she is? No matter the original intention, what does this end up being for Fleabag and Belinda? A romantic thing, something sexy or a conversation about family, its composition and decomposition, expectations and the emotions that go with it? Maybe all of the above, depends if you want to ship them or not, I'm cool with both. What does the Therapist thinks of all this, and which character is she seeing that tells her about it (any pick would be interesting).
 

Subsets prompt ideas:

Godmother&Fleabag:

-I'd like to see a more affectionate or at least honest moment between Godmother and Fleabag. I think the fact that Godmother hit Fleabag needs to comes out at one point or another. Same thing with the relations Godmother had with Fleabag's mother (is she really like a leech who basically recreated her friend's life and stayed forever jealous, like Fleabag's point of view seems to suggest, or is it more complex than that? What's Godmother's point of view on the question?). I'm also curious about the relationship Godmother and Fleabag had before her mother's death. Was it happier, or strained already? What did little Fleabag noticed, that nobody else saw?

Therapist&Godmother&Fleabag:

- The Therapist attends one of Godmother's art show. What does she see in the exposed art? Any naked bosomy statue around? Is Fleabag serving cocktails, or is she absent but the subject of the art? What does Godmother have to say about it? I’m not sure she would react well to an unexpected psychoanalysis of her work (she’s here to be admired, after all).

Godmother&Belinda:

- Belinda and Godmother meet at a "Women of Influence 2019". What do they think of each other? Does Belinda try to hit on Godmother (or, more surprisingly, the reverse?). How does this go, awkward and terrible, confrontational, more personal and emotional? Can get shippy if you want, but I tend to think this would have to be a bit messy to work. Maybe they have diverging opinions on what being a "woman of influence" means, or on the validity of the phrase altogether.

 

 

The Remains of the Day

 

What I love about this fandom:

 

I think the honest reason it remains with me as much is the way the tragic and failed romance blends with social themes like service in England from the 30s to 60s, and the whole idea of sacrificing one’s autonomy in one way or another, be it to your job or your family (Miss Kenton’s marriage doesn’t seem to be a very happy one, and yet she cannot really brings herself to leave). I love how restrained the characters and the whole narrative is, even if it drives me completely mad with frustration. It’s the thing with this canon: I get why the characters can’t be together, why it can’t work, and it’s not just because they are both idiots. And yet… well I still badly want for them to be together, and I adore their banter. So, while with lighter fandoms I tend to want a bit more seriousness and nuances, for this I aspire to a happier treatment. That being said, I’m very attached to Steven’s emotional repression and to Miss Kenton’s stubbornness, but I think it could still work in a setting that allows for the tension to break at some point. So yes, the Pining. Any resolution of that unresolved tension is fine by me. Alternatively, if you want to get more reflexive, or if you want to write something Gen, I’m also very interested in the historical setting and the moral dilemma the characters have to face. How do they deal with the guilt of sending back the Jewish girls, as it builds over the years? Do they try to do something about it? Alternatively, do they feel anachronistic in some way, living in a world where service in this form is disappearing? I include Miss Kenton in this because I wonder if she ever fully adapted to her new life. Feeling out of one’s time even in that position would be an interesting topic to explore.

Please note that I don’t tend to separate book canon and movie canon strictly. I nominated the book, but both tend to blend in most fics in the archive, so feel free to do the same, and use the movie’s imagery in any way you like. You can of course stick to the book, since that’s what is nominated: it’s really the same to me, I know and enjoy both equally.
 

Requested characters

 

Mr. Stevens

*Sigh* Stevens. The most frustrating character that ever walked this version of England. And he *is* annoying that way. I rather like how clear it is he's being such a jerk to Miss Kenton because he doesn't know what to do with his attraction to her. And I love how deceptive his narrative voice is, because when he alludes at little shards of emotion, man, you feel like it's a hurricane. What I'd like for Stevens is for him to be shaken to his core, to let go of his certitudes a bit. This doesn't have to lead to a full break-down, I also like the idea of this happening gradually, and we get glimpses of it by the end of the story. I wish Old Stevens had the courage to free himself. Maybe he could take a step in the right direction, with Miss Kenton at his side? If you go the shippy way, inner acknowledgement of feelings would be lovely to read, even if there's good chance he may panic about it (or maybe not? Old Stevens could also be more serene and resigned about them). !Seductive Stevens would also be delightful to read. Would he be confident or clumsy? In control or losing it? Feel free to explore the sadness, too. I wished he would at least get to come to terms with that. 

Miss Kenton

Competence and loneliness, intelligence and fear. I really feel for Miss Kenton, because the canon gives you an idea of what it means to be a woman in that time period, to work and be good at what you do and still have so little autonomy. It gives you the impression that she never really finds her rightful place in the world. She needs to be needed, with is such a gendered trait, and so understandable too: the way she clings to her role in her family is quite heartbreaking. She's always trying so, so hard, at any point in the canon, and I think she needs a rest. I like to think of Old Miss Kenton as someone who's much more aware of the ways of the world and of the complexities of relationships than Stevens, because of what she experienced in her marriage. I imagine her older self wouldn't accept Stevens' rebuttals like her younger self was forced to do. On the other hand, the fact that she's so conflicted during her time at Darlington Hall also makes for interesting explorations. I wish she'd get a bit of a break of doing all the work in her relationship with Stevens, even if I love how enterprising and teasing she can be. I suppose I'd like it to be a bit more equal, if that makes sense. I'm also very curious about what she really think about having had a child, motherhood, and the way she sees her daughter. 

Pairings I’m cool with:

Mr. Stevens/Miss Kenton

 

Prompts:

- One scenario I’m especially fond of: what if she did come back after he offered her the job at the end of the book/movie? How does one go back to being a servant in the 60s, when so much has changed socially speaking, when the house is emptier than what you’ve been used to, and when you’re older, when you feel in your body your professional reflexes have dulled? Not to mention how do you rekindle an old romance, especially when both parts are aware that your return has something to do with it but no one dares mention it at first? What do you do with the remains?

- Alternatively, for something lighter and set at an earlier time: Miss Kenton has given up on Mr Stevens, and that’s when he suddenly decides to court her. She’s oblivious because it seems so unlikely, tension and/or comedy ensues. I like the idea of turning the table on their usual dynamic: he trying so hard, her refusing to see.

- I’m all for the “fake/pretend relationship trope” for this ship, so if you like it too, I’m sure there’s a way to make it happen. Maybe Miss Kenton stays, and their new employer thinks it’s more proper for his principal staff to be married, because he has Ideas about family and morality, and Miss Kenton (or Stevens? Unlikely, but it would be fun) save their skin by saying they are married. Since they’re so used to each other at that point, it’s believable. Forced proximity ensues, they’re probably both losing their mind about it.

- For something Gen, I’d like to see Steven or Miss Kenton share a memory, maybe something from childhood, that has something to do with why they came to work in service, and what they put into it, emotionally. I suppose their views on the subject will differ in some way, since what they’re willing to sacrifice is in the end not quite the same.
 

 

Moonrise Kingdom

What I love about this fandom:

The atmosphere. How quaint and nostalgic it all feels. The landscapes, the colours, the weather forecast, the absurdly lavish school play in the middle of a storm, the made-up children books, the quiet mystery of the island and the way children get to explore it. The music in this is also fantastic, and could be a good source of inspiration, I believe (those tracks that decompose and recompose Britten’s symphony are simply to good to be true, they are small narratives in their own right). There is so much going on, in terms of emotions and relationships, that is left unsaid or only mentioned, which allows the movie to retain its peculiar charm, but what I find really striking is the suggestion that, underneath it all, the innocence and hope that Suzy and Sam manage to conquer in Moonrise Kingdom is very fragile, and maybe just a storm away from being destroyed. These kids have a lot to deal with, and we get why they would feel the need to escape. But this decision shakes everyone on this island, including the adults who all seem to lead quite a depressing life. In the end, it forces a silver lining in that routine, even if their “secret kingdom” is destroyed by the tempest. It really feels like Sam and Suzy, despite being chased by everyone, are a miracle of some sort. They fall in that strange gap between childhood and adulthood where everything remains possible, but you begin to feel deep down that at some point, you’ll have to make definite choices. Watching this, I tend to forget it’s set in 1965, Wes Anderson movies often exist in their own parallel time. So you can either choose to acknowledge the time period or treat it like it’s entirely a fantasy world, close to ours but with its own secret rules.

 

Requested characters:
 

Suzy

There’s a sense of surprising maturity about Suzy, and I wonder where that comes from. Is it the supposedly strained relationship of her parents? Or simply the fact that she’s the older sibling in a family of very enterprising children? She sometimes acts in a lady-like fashion, while at the same time not letting herself be disturbed by earthly things: she’s an adventurer, but an organized adventurer. No comb? She’ll use her fingers. But she’ll do it stylishly. We know her life is less than ideal, and that she gets in all sorts of trouble (“I lost my temper at myself”), and I’m very interested in all that anger her character seems to chew. Again, that household seems happy but, as the movie shows you in a very direct way, it is sort of a facade. That being said, I enjoy the way the movie manage to keep things melancholic and poetic by not laying too heavily on such issues. If you want to explore them, maybe try to do something a bit similar? Or at least not go full dark: what I love about this fandom is the ray of light in everything.

Sam

While Suzy and Sam both tries to emulate adults in some way, Sam, to me, is a bit less good at it than Suzy is. The way he flirts like a mini Carry Grant is adorable though, because you can feel how hard he tries. I love his boy scout frame of mind, the need to always be prepared, which talks about a child who’s been used to rely only on himself. Mixed with his sadness and his gentleness, it makes for a very delicate portrayal: Sam respects the institutions, probably more than Suzy does, but he knows he doesn’t fit in, and that he cannot exist properly as himself in their boundaries. While Suzy is angry, Sam is more of a loner and a rationalist, and the fact that these two find each other despite being very different kinds of what the adults probably call “troubled kids” is both heartwarming and heartbreaking to me.

 

Pairings I’m cool with:

Sam/Suzy

 

For this fandom, since the two characters are underage and in love, you can of course explore their relationship in a romantic way, and even hints at the way they may discover desire (after all, Sam is painting Suzy in her swimsuit) but please keep it innocent, I really don’t want to read about underage sex or something that sexualizes them for an adult eye. I just want them to be who they are, teens who are discovering those things in their own way, and if that makes sense I’d like it to stay respectful of the characters?

 

Prompts ideas:

- Future fic: Sam and Suzy, a year later. I can see them being in a play together, and stealing moments together by hiding in various places when they should be rehearsing. Exploring the secret rooms of the church instead of learning their lines? Or rehearsing in absurd places, switching roles or really getting into their characters until shenanigans or accident happen? Bonus points if that play is as absurdly professional-looking and weird than the one in the movie. (The choice of play is yours, I feel something Shakespearean could resonate well, but a completely made-up play would be very cool too, or anything you may find appropriate).

- Suzy reading some her favourite (fictitious) books to Sam, and sharing her thoughts and criticisms about them. From what we see in the movie, most of them are fantasy or sci-fi (Francine’s Odyssey, The Girl from Jupiter…), but I’d love to hear how she links them to her own life and her view of the world. Sam has a different life experience, and they might disagree on some topics (family comes to mind). I just generally like the idea of them sharing what they enjoy about fantasy worlds and projecting in on their reality, their adventure and the way they see their relationship. Maybe at some point they realize that it doesn’t completely fits? Or on the contrary, that’s it’s a better lens that what “real life” (school, scout camp, parents, etc) has taught them to consider good, bad or desirable?

- A bit bolder, but I like the idea that Sam and Suzy fugue could fuel a children’s rebellion on the island (it sort of does in the movie, since they end up helping them get reunited). What if groups of children (scouts, Suzy’s brothers, kids from school, etc) found them instead of the adults, and decided to stay with them in Moonrise Kingdom, founding an actual “realm” for a couple of days? What would that little fragile society would look like, with Sam and Suzy as its head? How would they handle the sudden end of their voluntary isolation? How would they reinvent the rules? And how would that other magical parenthesis end?

- if that doesn’t inspire you, maybe tell me more about their time on the run, the way they survive and what they learn from each other and find in each other? I’m very up for anything comforting, fire camps and ridiculous surviving tips, Suzy being surprisingly good at some things, Sam having his own hidden talents, doing art together, exploring unknown parts of the island, discovering strange things in the wilderness, and so on.