Neal's head of the Caffrey family business now but he always feels more like a Burke than anything else.

Movie Ending AU. Erik is merciless after Shaw is dead, taking out Moira and sending the missiles back at the ships that fired them. Charles refuses to join him and they go their separate ways, but he keeps getting in the way and Erik can't allow him to interfere with his plans. More importantly, he can't allow Charles to be hurt.

In deserts, wheat fields, and rose gardens, Eames finds Arthur and shakes off the remnants of war. AU, very vaguely based on The Little Prince.

Ten months after a savage split, Arthur climbs down to pull Eames out of limbo.

It starts, as it so often does, as a harmless prank, but it rapidly takes on a life of its own.

A blur of green in amongst the ruin and the arrow is in his hand, the string drawn to his cheek.

They're paired by their music teacher for their final assessment, a Battle of the Bands-style playoff. Unfortunately, she doesn't know that a bit of high school drama went down at term-break. She doesn't know what this one song she's making them play might mean to both of them.

"You take me to the nicest places, McKay."

When Brad's ex-wife dies and Brad and Nate find themselves in charge of Brad's three sons, things get complicated.

"Ah," Yusuf says, lifting a reproving hand, "are we calling less than 24 hours of memory loss amnesia now?"

The first time Arthur shoots Eames in the head at point blank range is when Eames falls in love. That’s the beginning. That’s the end. (Or: Tattoo!Arthur gone sideways.)

Pre-canon AU. What if Spike stumbled across Angelus just before he fled China? A peek at how their lives would have been different.

Merlin was looking for something uncomplicated. Arthur was just looking to get paid. Neither of them expected to find the other.

“You don’t appreciate my natural-born talent,” Arthur said mournfully. “I suppose I will just have to remind you of how spectacular I really am.”

Phil Coulson wakes up in a hospital bed. Well, damn.

It's a mutually beneficial business arrangement and mutually beneficial sex. Arthur can end it any old time he wants. Any time of day.

Possession is a two-way street. There is ownership in letting yourself be taken over. After all, a leash is a rope that works both ways, and both ways are about control.

In which there either is or isn't a cellist.

Eighteen-year-old Tony Stark is the boy genius who woke Captain America, and now he's stuck with him. That's not a bad thing, but between Steve's wide-eyed wonder at the new world and Tony's little fanboy crush, the awkwardness just keeps happening.

Steve Rogers, Clint Barton, and a lot of memories in the aftermath. Post-movie.

Everybody lies, everybody fronts.

Clint's definition of an acceptable loss is a little different than the team's.

Nash is this, Nash is that, but it's far more likely that Nash is just something in between.

She remembers the secrets that have kept her alive all these years.

“This,” call-me-Gaius thunders, “is Mr. Morgan. He’ll be preparing you for Oxbridge applications, and I trust that you will treat him with the respect he deserves.” He is pointedly looking straight at Arthur as he says it.

When Thor fell, everything trembled.

Arthur only ever works with Dominic Cobb.

It's around when Ray wants to hold Walt's hand like a goddamn teenage girl with stars in her eyes and wet panties that he starts to worry.

"We're not going to talk about this."

Ray doesn't tell his mother, because his mother has had enough disappointment in her life, he's been enough disappointment in her life, and he doesn't want her turning this into another thing he's fucked up. He doesn't think he has, this time.

They start something in Iraq. It isn't anything prolonged, stolen moments and jacks that leave their dicks stripped and sore from the sand and not enough spit, not enough anything, not enough time or privacy or skin.

Eames can't get the taste of Arthur out of his mouth.

Eames doesn’t know what he thought worst-case scenario was, but it was never this.

"Does that mean you dream about me at your doorstep often?"

Some days, Arthur knew he deserved what he got. Other days, he still knew it, but he wrapped himself in self-pity, let it encase him like a security blanket, and didn’t know how to settle without it.

Arthur isn't used to making mistakes.

Harvey broke so many rules bringing Mike in as his associate and even more starting a personal relationship with him and after months of living and loving in secret Mike couldn’t take the secrecy anymore, felt like his whole life was a lie, and something had to give and in the end it was them that they let go of. It is their blessing and their curse. This job brought them together but it's also what tore them apart.

Natasha met Clint a little more than five years ago, under less than ideal circumstances. She met Phil five years ago, when things had got worse. It hasn’t been all downhill from there, but at least she’s had company. [No movie spoilers]

In 1969, Erik is having trouble dealing with Charles' rapidly increasing powers as a telepath. His daughter seems to be acquiring those powers too. When Raven returns with shocking news of her own, the delicate balance Erik's maintaining seems likely to crumble.

But it's something else entirely that turns his world upside down ...

Clint rejects this reality and replaces it with his own.

No one has better timing than a mother.

Or worse timing, depending on what said mother wants.

"Mum, no," Eames says into the phone, kicking the refrigerator door closed with his bare foot since his hands are currently full of ale bottles and sable paint brushes.

Harry Potter is an Unspeakable. Draco Malfoy is the wizard who shagged him. Adventure! Intrigue! Secret identities, celebrities, spies! It's all right here, folks.

Making friends from enemies, and bridges for the in-betweens.

It's such a little thing, a bullet, to be giving Erik so many problems.

Brad Colbert and Nate Fick had met on the set of a now cancelled sci-fi show, years ago. Now, Hollywood turns out to be a small town after all, and it’s hard to avoid someone you broke up with. Especially when you both sign up for the same movie.

Nine months after the end of events in Half Past the Point of Oblivion, Brad gets word he's being deployed. Arrangements must be made and goodbyes said, when a warrior goes off to war.

It's one week before the wedding and Arthur isn't nervous at all. But that's just the beginning.

Brad's sister is the one to call and tell him. Of all the people.

Replay is the story of how after Magneto of an X2-ish future succeeds in the unthinkable, Charles sends his consciousness back to 1962 to guide Erik away from the path that will lead to the genocide of the human race forty years hence. Charles knows Erik has always loved him, and intends to accomplish his goal through a totally bulletproof plan involving lots of sex. But there's something Charles doesn't know, and he's in over his head from the start....

Erik's side of the story is a little different.

"You can’t have it both ways, Colonel. If you haven’t had any relationships, either you’re having the occasional one-night stand or you’re not having sex at all.”

Also known as the (mostly) believable Virgin!John story.

They caught up to him on the outskirts of a small and rainy town in the northwest of what Jane called America.

Erik befriends the ghost in his house. And then decides to expose his murderer.

Five things Albus Dumbledore could not bring himself to say to Gellert Grindelwald. (One of them is a lie.)

Groundhog Day AU. Brad Colbert wakes up and it's the same day over and over again.

"I'm having a hard time believing you flew all the way from England for a holiday you don't celebrate."

There's no such thing as an origin, only an origin-story.

Steve is adapting well to the new millennium, and he has the dictionary to prove it.

As Major Lorne tells it, John had stayed behind to buy them time and defuse the bomb—it had been Ancient, and thus of *course* he’d assumed that it would do whatever he told it to.

Very quietly, Charles says, “Can you show me?”

“No.” Erik looks at him again, then, his expression as steely as Charles has ever seen it. His resolve is even stronger than his pain. “To show you this would be to make you share it, and I would never do that to you. Never.”

Nate’s in a circle of women, and Brad scans their faces, surprised to recognize them all. He saves Nate for last, so busy savoring each second of taking him in that it takes embarrassingly long to see the little girl he’s holding. “That’s a baby.”

Brad and his emotions have an understanding: he doesn't talk about, or think about, anything that might affect his combat effectiveness, and his emotions do whatever the fuck he tells them to.

Eames wakes up alone.

Arthur and Eames have broken up and moved on. Only they haven't. Sometimes their not-moving-on happens at the workplace and sometimes it happens in hotel rooms. On this particular occasion, it happens in a pool.

Arthur sketches the impossible. Eames does some manscaping. It's just another job, until it isn't.

Mensa-verse crossover. It warmed Rod's heart to know that the whole leave no man behind thing extended all the way to include alternate realities.

Nelan goes to see the Matchmaker.

Sil shrugged and tapped on the readout screen. "This is a tagged government ship. The broadcast is clear, the designation is on the list. It's the Aurora."

Brad's maybe not the best at handling his feelings, but he's got good biceps.

“You know we can’t be friends. None of us are friends, sir. Brothers, yes. But we’re not friends. Friends get you killed.”

Bucky is found by SHIELD. Tony wants a project. They meet somewhere in the middle.

In which Erik is the son of servants, Charles is the son of aristocrats, and hedgehogs make repeated appearances. -- Modern AU that is clearly inspired by Atonement (minus most of the angst, that is).

Brad's known Nate was going to leave them –- him -- since the first time Brad climbed out of the BRC practice pool at Oceanside, unzipped his wetsuit and saw his fresh-faced lieutenant standing off to the side, watching them all and smiling as though he had a secret that Brad would spend a war and a lifetime trying to find.

But the war is over, at least for Nate, and a lifetime is shorter than you'd think.

Eames is very good at pretending.

The slide from “the LT and the Iceman” towards “Nate and Brad” is slow. Their identities are blurred by a hundred different small interactions that mean very little on their own, outside of a larger context. One thing is clear; some of it was Ray’s fault. We are assured of this.

In which boys are stupid, strawberries are eaten, and the 21st century is exactly what it was cracked up to be.

Eames secretly hates working jobs with Ariadne, because they always end up working out of Paris, so that she can still attend classes, and Eames hates Paris. Hates it with a passion so bigoted and without foundation that he suspects he inherited it.

Many of the pressures in Charles Xavier's life -- the sacrifices Erik and Charles make to be together -- the constant tension of being closeted -- Charles' relationship to the Church he once served as a priest -- his distance from his sister -- come to the forefront in 1967. Because in that year, for Charles, peace is no longer an option.

Brad unexpectedly meets a charming street hustler who insinuates himself into Brad's heart and life. Can Brad get him off the street? Does he want off the street?

When Nate disappears, Brad doesn't stop until he gets him back.

"I'm leaving, Brad."