Abed/Troy. PG. The one where it turns out Abed's been accidentally reenacting Fight Club this whole time.

When I read the summary for this, I had to take a lap around my bedroom to deal with something that sounded so great even existing. Then I READ IT, and it's around canon so well, which is my FAVORITE THING. The end actually made me tear up for a second with how seamless it is and yet so genuine for Abed and Troy in that moment (and because I'm a wretch).

Does what it says on the tin. Eberle, made of sunshine and ice cream dates with MFEO boyfriend Taylor Hall.

Sid/Geno. R. I love that Geno sort of logics Sid into considering the sex, and then the middle when the feelings and gentleness crept it had me holding my hand to my heart.

Kane/Toews/Sharp. R. Post-season tensions, you know --

"Anyway," Kaner says finally, "you came over. So."

"So?"

Kaner feels like he should say something serious, so he wiggles a little and says, "You know you wanted some of this jelly."

Kane/Toews. The one where they get start a personal blowjob competition, because that is definitely the kind of thing they'd do. Tazer inviting a plus-minus system for rating each other's skills is my life now.

Bobby Ryan/Ryan Getzlaf. NC17. AU where Bobby's past is still insanity, but then he gets Getzlaf as a stepbrother. MY BOBBY RYAN FEELINGS ARE OUT OF CONTROL. His anxiety about his dad and his complicated feelings about (and relationship with) were kind of overwhelming. I spent this whole thing legit aching for Bobby's secret-free happiness, and I'm glad Getzy doesn't want to be someone who makes Bobby keep secrets, and that Bobby feels accepted and yeah. Yeah. All the happiness for Bobby Ryan!

Patrick Kane/Sam Gagner. NC17. Pat has a few words for Sam after their second embarrassing road loss to the Oilers.

Rudy/Curtis. He’s drunk enough to take this as it is, without questioning it; but he knows he’ll have a proper gay panic explosion when he sobers up a bit … Other-Rudy is going to be such a smug prick, Jesus.

(Bookmarking this, because I keep going back to look for it and losing the link like a douchebag.) The intro --

So hide your eyes, it's a Patrick Kane and Jonathan Toews primer.

Patrick Kane is a hideous hockey-playing weirdo who is bad at every aspect of life. "An unattractive, terrible dude?" you say. "He sounds like the worst! Tell me more! Does he happen to have a somewhat attractive, bossy captain/teammate/roommate/BFF/bromeo in his life? Do they perhaps have popsicle eating contests, weep over movies, fail miserably at fighting, buy matching furniture, read Twilight, and get called married by their mothers? As men do?"

Kane/Toews. NC17. Does what it says on the tin. Is good for it.

Toews/Kane. I love the pacing in this -- the way Patrick and Johnny work through their individual emotions while they struggle to figure each other out. It starts with something fun and lulzy in the auction and then gets surprisingly angsty. The scene between the two of them when Kaner gets back to the hotel room in LA and Toews just sounds SO UPSET AND CONCERNED? Ugh, the best.

The Walking Dead. Rick/Shane. Music by Gotye. FUCK, THE LOOK OVER LORI'S SHOULD AT LIKE 1:58 WHERE SHANE KIND OF SMILES AT HOW RICK IS ALIVE. FUCK EVERYTHIIIIIIIIIIIIING.

“Kaner, you are the only fucking asshole who will call me up at 1AM and make me listen to you puke over the phone,” Tazer says. He sounds a little more awake, and it’s not like Johnny is the kind of guy who sits with him and holds his hair back, but he does tend to hand Patrick a glass of water a few aspirin, and he does tend to leave his light on until he knows Patrick is done.

Toews/Kane. Patrick should have seen this coming.

Kane/Toews. R. The one where Kaner accidentally discovers calling Tazer "baby" makes him come on Kaner's face.

Havok/Darwin. PG13. An alternate reality where Darwin stays around longer --

Armando’s really touchy-feely; not in a weird way, just in that he uses his hands when he talks, touches Alex’s shoulder to make a statement, emphasise his point.

It’s a little weird getting used to it, after solitary. His skin isn’t used to sunlight, let alone someone else’s, but it’s—at first, he stares at Armando’s hands on his shoulder, wrist, hip; now he’s just used to it, now it’s just warmth that runs through his veins. (Now it’s comfortable, a reminder that he’s out here, that he’s a person.)

He feels like he should mention it, in case Armando’s—unaware. “You touch me a lot,” he observes, outside a diner with the taste of coffee in his teeth, Armando’s arm slung around his shoulders.

Armando blinks at him, leaning back a little, hint of worry in the brown of his irises. “Do you want me to stop?”

“No,” Alex says. The speed of it startles him. “No, I just—thought you should know.”

Kane/Toews. Listed as a soulbonding fic, but with more focus on a telepathy aspect of it.

Eric Staal/Jeff Skinner. Hard R. Spanking fic!

Tazer/Kaner. So, this is really the second story in a series linear stories that aren't totally dependent upon one another, but I'm bookmarking this one in particular because it's the one where Kaner totally watches "The Vampire Diaries" and comments on how Jeremy Gilbert is hot. I MEAN. Of course Kaner would.

Toews/Oshie. R. After a game, TJ helps Johnny get out of his head, except then Johnny doesn't quite blow up the way TJ expects.

Kane/Toews. AR. Imprinting fic.

Kane/Toews. NC17. (100,000 words.) Kaner, a traditionally useless Prince of America, and Tazer, the Heir Apparent of British Canada, don't know each other when their mothers arrange their engagement. Once that's done all they have to do is get to know each other, get married, consummate the marriage, refrain from killing each other, negotiate a treaty with California, and try not to piss off Mexico again. Falling in love isn't part of the plan. That's politics, boys.

Caroline/Tyler/Klaus. NC17.

"It's fine," Tyler says.

"It's not! It's not fine, Tyler. You were gone and you weren't talking to me, and you almost killed me, both of you did. And then yes, Klaus was -- is -- I don't know, okay, but I wanted you to be here, with me, and you weren't, so. And maybe there was something, but it was nothing, and it was stupid, and Klaus --"

"Likes you," Tyler says, cutting her off. "For whatever reason. He wants you safe, too."

"For whatever reason?" Caroline says, her voice going a little too loud. "Oh my god, you did not just say that."

"That was rather anti-climactic and very high school," Klaus says. "Like is such a strange, sad word. No depth of true emotion to it. Enchanted by, enthralled by, mesmer-- "

Sledge/Snafu. AU.

"I don't think that word means what you think it means. I mean... what do you think 'elope' means?"

He didn't look over while Snafu sussed this out. He looked at the long white ceiling and heard the fan tock-tock-tocking. His eyes swept from the light above the window and into each dark corner up above.

"Run away. To Mexico or something," came Snfau's lazy drawl.

Iron Man. Song: "Shake It Out" by Florence and the Machine. One of those vids where the song feels incredibly perfect for the character it represents. (Cut out his graceless heart!)

Harvey/Mike. NC17. Pretty sure I read the first chunk of this on the suitsmeme but forgot to go back the next day and read more. ANYWAY, the point is -- the phone sex is hot, and then Harvey and Mike have really dirty sex in Harvey's apartment, but also some really interesting insights into Harvey and Mike's relationship, soooo congratulations to me for reading this in its entirety finally.

Mike/Trevor/Jenny, Harvey/Mike. R. A sort of alternate reality story where Mike never goes to college, gets involved in the drug business sooner, gets arrested, meets Harvey much, much sooner. Harvey reads a little OOC to me, but then idk, maybe Harvey would react differently to Mike if they'd met when Mike was 18 and Harvey had just stopped being an A.D.A. Idk, idk. Mostly I'm bookmarking this because the whole first chapter of Mike/Trevor/Jenny up until Mike meets Harvey is perfect.

Seth Meyers/Stefon. PG.

Seth, who was leaning against him for balance at that point, asked what he meant by an ‘Incepsounds mix,’ so Stefon enlightened him. “It’s that thing, where like the score from Inception is mashed up with the Beach Boys’ ‘Pet Sounds’.” Stefon sipped his mojito, cleared his throat, and sang. “God only knows what I’d be without BRRRRRRRRRRM."

Song: "Remember the Strong" (a Kanye & Fort Minor mashup!) This is just incredibly fun.

Lydia/Stiles/Jackson. Post-s1. Lydia wakes up and Jackson gets weird about things.

Stiles says, “Also, I don’t know how to tell you this, but I sort of really want this. A lot. It’s not exactly a smart move, given the amount of unbalanced teenage hormones each of us has coursing through our nubile teenage bodies, but. You know. What can you do? "

Gen. Sherlock is six years old when he begins to travel the world collecting treasure. (A really clever character study.)

Derek/Stiles. PG13.

"This isn't simple," Derek says. "I've been where you are, where it looks like it's everything you want. But it's too much, too soon."

"We don't have to go shopping for condoms tomorrow or anything," Stiles says, and is rewarded with Derek Hale legitimately flushing in the yellow glare of the porch light.

"Stiles, this is a bad idea."

"I am great at bad ideas."

Derek/Stiles. PG13. Stiles is nothing like Kate.

Derek/Stiles. AR. What if Derek had let Scott kill the alpha?

Derek/Stiles. Song: "Little Red Riding Hood" - Amanda Seyfried.

Stiles/Jackson/Derek. Song: David Guetta - Getting Over You. (Youtube embed deleted but 4shared link allows preview.)

Stiles/Derek. PG13.

He texts Scott. 'Can't talk now,' he writes, even though Scott hasn't tried to contact him. 'Have accidentally gone on date with Derek Hale.'

Half an hour later he sends: 'He's just sitting there staring at me. SEND HELP.'

And then: 'Think he just growled at the waitress. Are you with Allison? What if he tries to eat me?'

'Firing you as my buddy, McCall,' he writes when Derek drops him back at his jeep. 'Lucky for you DH is perfect albeit weird gentleman. Totally going to make Danny be my new BFF since apparently we both date dudes.'

Suits. Gen. Song: "Seven Nation Army" (Glitch Mob remix). There's some reeeeeeeally great, really thorough color correction on this. That + the song gives the whole show a more sinister feel that I'm really into here.

Kirk/Spock. Jim finds out he's part-Vulcan, and you know what that means. This is a funny and pretty cute short.

Sherlock/John. Post-series 2. I'm not yet actually done reading this, but I need to bookmark now, halfway through, because it's been really awesomely crafted so far and then this --

It's strange, because before this, John was always strangely bored by the routine of burial and mourning. At sixteen, he'd felt no connection to the body or the box or the grave; that wasn't his mother. His mother had a poorly-controlled temper and a boundlessly generous heart and was rarely still. She had been the kind of mother who had slapped him when he misbehaved and crushed him in her embrace when he came home with good marks and had sobbed out loud, thick and uncomfortable, while she made him and Harry their breakfasts in the still and waiting silence of every morning after, and he found he missed her—loved her—neither more nor less in the presence of her corpse. His father—well. His father had been a stranger to him for years, before he'd died; and in Afghanistan, bodies had felt, more than anything, like exams that John had failed.

But tonight, on this night, John leans back against the marker on Sherlock's grave and thinks of Sherlock's body underneath his body underneath the ground, and he feels it tug him down, like an anchor, like Sherlock's shoulder just touching his while they caught their breath or Sherlock reaching over to steal John's second piece of toast even though it had jam or Sherlock's toes resting on top of his bare feet in the living room at Baker Street while they drank brandy by firelight and were happy. For the first time in weeks, John lets himself settle into the extent of his body, perfectly at home inside his own bones, folded up, over Sherlock's bones, laid flat, under the earth beneath him.

John exhales, slow.

Sherlock. The flow of this is fucking superb.

Kirk/Spock. This does a pretty nice job of visually illustrating something used in a lot of reboot fics -- exploring whether or not Original Series Kirk and Spock being MFEO means the alternate universe versions are too.

Sherlock/John. So the writing of this didn't totally do it for me -- Sherlock felt pretty OOC with how easily he falls into the romance of it all with John to me; I needed like 20,000 more words before I would've believed in that fully -- but the idea is great! "Sherlock" + "The Bourne Identity" and Moriarty's role in it all! That was all amazing, amazing, amazing.

Mike and Harvey. Five times people confuse them for a couple and one time they’re right. (I think I like this because the end could be literal or could be Harvey bullshitting, which strikes me as just right Harvey characterization.)

Mike/Harvey-ish. If Mike is so sure Harvey needs to take some time off, he's pretty much on his own. (One where Harvey is the person who gets sick, or more like refuses to acknowledge he's sick. Amusing and then sweet and more of a pre-cursor to what could become their relationship than anything.)

Sherlock/John. Apparently I read this once but forgot to actually bookmark it. Written post-S1, without knowledge of s2. Sherlock not dealing with PTSD after the pool disaster --

It feels like open-heart surgery. Like someone's sliced through his sternum and the relatively thin breastbone there, inserted a sternal retractor and slowly applied pressure. It feels like his chest has been forced open, like there's too much space in his ribcage, nothing around his lungs, his heart beating in a vacuum.

Molly, Sherlock/John. This pretty much gutted me in a way I wasn't expecting --

John is a man who will have his work cut out for him, loving a luminous but diminishing soul. Not many people could do it. But not many people could have loved Sherlock Holmes in the first place, and even fewer could have compelled Sherlock to walk up to an ancient power and sell himself out of love returned. He'll do it, Molly thinks, he'll be everything that Sherlock needs, conscience and chronicler and soul alike.

"Will you tell him?" she asks.

"Eventually," Sherlock says. The half of his mouth responsible for his smiles gives a dry twist. "I think my continued existence among the living is enough of a shock to be getting on with, don't you?"

Harvey/Mike.

"Three rules to follow for a serene sex life," Harvey said, starting to walk -- so Mike followed, because that was what he did. "Don't date married people, because it's never not a mess. Don't date people with kids, because that's mean to the kids -- "

"We're not really talking about dating here though, right?" Mike asked. "We're talking about sex. Dating someone with a kid is only mean to the kid if you know you have no intention of sticking around. Sleeping with someone with a kid just means you should chip in for the babysitter."

Harvey glanced sidelong at him. "Someone might almost think you were a lawyer with a terminology subclause like that."

"So what's rule number three?"

"Don't dip your pen in the company ink," Harvey said, whistling for a cab.

Song: "The Pure and the Tainted" by Blue Stahli. Scott Pilgrim vs the World. Really fun romp through the movie that emphasize how well it comes off as an action movie despite also mostly being a comedy of Scott's errors.

Song: "LIke A Man Possessed" by The Get Up Kids. Awesome rhythm to this. And any sort of fanwork for this movie just makes me glad.

Song: "The Cave" by Mumford & Sons. Toy Story. Totally not a song I would've paired with this source, and yet it's made to work so very well.

This feels like the kind of intense extended trailer for the series that would be released right before the new series. But then also there's just the awesome emotional punch at the end, with the dialogue recalled from "A Study in Pink." Great sound choices all around.

Molly, Sherlock/John. Post-Reichenbach.

He takes a shuddering breath and looks up, and he is... unrecognisable. He is not everything she thought he is; he’s something different, something more. Everything he is would never have crossed her mind.

In the intensity of that moment, Molly is profoundly aware that she is the only person in the world who knows how sad Sherlock Holmes really is.

Was.

He’s dead now.

Song: "Hallelujah" (cover) by Imogen Heap. Thing I said in an email to someone the other day: "I've always thought that, you know, you can't say a pairing has true and tragic love unless you can make a songvid to 'Hallelujah.'" DAMMIT.

Molly, Sherlock/John-ish. The last time she had a secret to keep, for somebody other than herself, she was fifteen years old. Her sister was sleeping with her maths teacher. [Awesome, awesome insight into Molly, her backstory, and what she might be doing/feeling post-Reichenbach as the only person with a thread between Sherlock and John.]

Post- Reichenbach.

John goes to therapy on a regular basis. He sits in a chair, and talks about what he can. Sometimes he talks about getting a cat. Something aloof and independent, he tells his therapist, making it a joke. Something with nine lives.

Mike/Harvey. (Uses references to minor and one major NY disaster as a loose framework for one way in which Mike learns Harvey = plus the disaster that is being attracted to your boss while you're in the middle of fraud, as it were. Warning: discussion of Harvey's experiences during Sept. 11, but not done tastelessly.)

Harvey came back to work, hard-charging and merciless as ever. Mike would almost have believed he'd imagined the whole "I was deathly ill and didn't know it" thing except for Donna, and the way she shook her head when Harvey wasn't looking. Donna hadn't gone to Harvey's apartment, though, and Mike hadn't told her about it. He hadn't told anyone about it, and probably Harvey didn't remember a thing. It might as well not have happened. No harm, no foul. Mostly.

Except that he looked at Harvey differently. It shouldn't matter, that maybe in between womanizing he was sometimes into... man-izing. Or maybe not: maybe he'd thought Mike was someone else, a woman, a giant pizza. He'd been pretty stoned. It shouldn't matter, but Mike kept glancing at him surreptitiously, alert to any little blinky light-displays that might spell out clues one way or the other. Being picky and precise and wearing nice clothes didn't make you queer, unless all the lawyers on Park Avenue were queer. Being an ex-athlete didn't make you not queer. Being totally convinced you could still smell bananas in the hallway two hours after the peels had been disposed of on a different floor made you a lunatic, but it didn't say anything about whether you were into guys or not.

Mike was obviously losing his mind.

This seems almost like an intense trailer for the show. I love the lines of dialogue used and how well it uses them to illustrate how important to each other Sherlock and John are, plus how unique it seems that they'd become that essential one another through the craziness they get into.

Song: "Seven Nation Army" remix -- the rhythm and sound syncing in this is utterly delightful.

Michael/Anton. R.

It doesn’t always work the way Michael wants it to, but he’s got to admit, Anton delivers. He sits by the bedside of a woman who is in more pain than Michael can even imagine, and he watches Anton lay his hands on her. He has stones and crystals and candles, but Michael kind of believes that’s all just bullshit to make people feel better about whatever it is Anton is doing with this hands, with his breathing, with his... with his heart. The woman cries, and Anton cries with her, and Michael gets up and stands by the doorway with his back to them because he shouldn’t be doing this, he shouldn’t be allowing this, but then the woman says “thank you, thank you,” over and over, and Michael feels something ease up in his chest.

They’re in the waiting room at Holt, and Anton is ashen, more shaken than Michael has seen him. “Sometimes it won’t go away on it’s own,” he says. “Sometimes you have to take it from them.”

Troy/Abed.

Troy's throat closes up and a feeling swells in his chest that's so huge and so powerful that he can't even begin to name it, and he wants to tell Abed about it but his throat isn't letting any words out, so he just takes a faltering step towards him and stutters out Abed's name a couple of times.

"I – Abed – "

But then he sees that Abed's got a little half smile on his face, like he can see the feeling of bigness that Troy is feeling, like maybe he feels the bigness too, and Troy smiles back, relieved.

Snafu/Sledge, kind of.

There are places he doesn't visit very often. Just sometimes. Not the places with mud and maggots but something after, after death and before the slow, aching rebirth. Places where he is rarely Shelton, never Merriell, often Snaf and Snafu or not even a name at all. He's just a thing regarded, when hazel eyes come back from where they all stare off to sometimes, every last goddamn one. A place where he enjoys being the thing they come back to, and Sledge smiles all polite like he ever has to be sorry staring off around them.

There's a world where maybe he never got off that train. A world he has to bite his hand to think about, physically hold inside him until he feels sick. A world where maybe they just rode forever...

Seth/Ryan but especially about Ryan and his own frustration with the circling he and Seth did that never truly went anywhere.

Alisha/Simon, Curtis/Rudy, Kelly/Seth. Series 3 fix0it fic with a side of Curtis/Rudy that comes out of it.

(10,600 words) Spoilers through all of Series 3. "Curtis has fun with his power, leading to complications with Rudy." A fantastic Curtis pov story with an amaaaaaaaazing Curtis/Rudy progression. I've wanted a good story that deals with their drunken shenanigans and then expands on them all series and this delivers PERFECTLY.

Cher and Josh: one year, five years, and ten years later.

Adam/Katherine, Adam/Kyle. Adam’s problem is that he keeps fucking people he really just wants to be friends with. [This feels like a great extension of the movie. The rhythm of the dialogue is pretty much spot on.]

Troy/Abed. OTP OF MY WORLD --

Britta tilts her head, smiling at Troy like he's one of her cats. "Fear of commitment is a pretty grown-up thing, actually. From one phobic to another, though, can you really see yourself without Abed?"

Troy tries to picture it as he dumps in the chocolate chips. There would be no one to get him hooked on awesome stuff like comic books and British sci-fi and cosplay. There would be no one for him to watch random YouTube clips with him and hold his hand when it looks like the karate squirrel isn't going to make it. There would be no one to make random YouTube clips with him, to play pretend with him in ways that are way more real than monthly rent and electricity bills. It's impossible to picture, because they're meant for each other like peanut butter and chocolate, starring Troy as the chocolate and Abed as the peanut butter.

Snafu/Sledge. PG13.

Snafu is crumbling to pieces and Sledge is walling himself in – anything to keep himself from falling apart. In a flash Snafu wishes desperately for the Sledge from before – the boy who didn’t smoke or swear or look at people with those empty cold eyes that feel like fingers in Snafu’s chest, ripping his insides to shreds.

He feels a moment of aching loss because that boy is gone and there never was anything that he could have done to stop it.

The Vampire Diaries. Super short edit using some VO of Lucas's "Darkness" poem from One Tree Hill over footage of the Salvatore Brothers to fit their origin story. Really cleverly done.

Sherlock/John. R. On John Watson’s sixth birthday, his mum gave him a flat wooden box to hold his wish stones. [Magical realism]

Bruce/Dick.

Dick leaned back on his hands a little. "You know," he began hesitantly. "If you want to see me, if you want to talk to me, you don't have to use taxes as an excuse. You know that, right?"

Short post-"War Games" thinger. Kirk/Spock.

"Erik and Charles share a series of lucid dreams." Such an awesome use of the various projects they've been in.

Kirk/Spock. Funny and sweet and, oh, oblivious Jim.

Kirk/Spock.

Here is where it changes: the day after Jim drives his father's car over the edge of a cliff, Frank gives him two options: join his aunt on Tarsus IV, or immediate enrollment in Starfleet Secondary School.

Jim clutches his fist so tightly around the medal for bravery he rescued out of the hall cabinet that the metal edge of the Starfleet icon cuts into his skin. He chooses San Fransisco.

(But then he still meets Spock!)

Stefan/Elena (and also Damon). They'd been dating for eight months before Stefan admitted that he really liked being held down.

PG. A wretched from Reid's childhood gives him a hard time; Morgan pretends to be his boyfriend. Actually endearing and not over the top with the fandom cliches.

Song: "Fix you" by Coldplay. Ensemble. Really great use of rhythm and the parallels in narrative and cinematography TVD loves so well. Perfectly illustrates how this is a show about loss and family and love and designed to give everyone ALL OF THE FEELINGS.

Damon and Stefan. Great illustration of the Salvatore brothers' forever struggle to learn how to be better for and to one another, plus nice choice of VO sprinkled throughout.