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themculibrary · 2 years

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Spider-Man: No Way Home Masterlist

Are You Hiding Something, Peter Parker? (ao3) - Silver_of_Dragons mj/peter G, 3k

Summary: MJ’s perspective of meeting Peter Parker up until she realises it’s him.

Brothers (ao3) - Nock_and_Bolt T, 1k

Summary: “I’ve always wanted brothers,” he says, and there’s a lightness to it, an electric spark glimmering across the chasm beneath the words.

falling for you (ao3) - watsonmj (divineauthor) mj/peter T, 3k

Summary: The first time MJ falls for Peter, it’s a gradual thing.

—•—

3 times MJ fell for Peter.

Find Our Way Home (ao3) - blondsak mj/peter G, 2k

Summary: He's not lonely, Peter tells himself. He’s looking after his home, and you can’t be lonely if you're home.

If only that was enough to convince himself to stay away.

from a place where the post is slow (ao3) - dixiehellcat pepper/tony T, 13k

Summary: Does a spell work on someone the caster thinks is already dead?

“Oof. The kid probably didn’t take that well. He’s got a good heart; probably apologizing to Happy every time he sees him.” Pepper looked puzzled. “Hap is still liaising with him, though, right? I mean, no way you just left the kid out to dry, just because I was, well, in whatever state I was in.” “Who?” Tony gaped at her. “The spiderling. Peter Parker, AKA Spider-Man.” Pepper’s frown deepened. “I never knew you knew who Spider-Man was. Nobody else does.”

He’s Tired Of Being Alone (ao3) - echothewriter T, 4k

Summary: when peter gets especially overwhelmed with sadness, some people come to help

Home for the Holidays (ao3) - bookinit T, 2k

Summary: Peter feels his head going fuzzy, and he’s lost track of time, but he can’t stop. He has to keep going, because right now, home is an empty apartment and a lego Palpatine. Because if he’s not here, working overtime, who’s going to protect the city? The other heroes had better things to do, certainly. Families, and friends, and actual lives.

This is all Peter has.

I'm Tired of Waiting (For the Walls to Cave) (ao3) - aletheahiraeth mj/peter, pepper/tony G, 26k

Summary: or; there are a lot of dimensions to consider when trying to repair a multiversal tear in the fabric of space and time. Strange didn’t exactly prevent everyone who knows Peter Parker from coming through them.

i think (i know you) (ao3) - iamindecisive mj/peter T, 5k

Summary: And so MJ does what she does best.

She observes.

or: Peter Parker isn’t subtle, and MJ wants to get to the bottom of things

(Meet Me In) The Afterglow (ao3) - pro_fangirl mj/peter, pepper/tony M, 28k

Summary: Peter has been struggling since the end of No Way Home. The unexpected arrival of a familiar face brings hope.

peter, alone (ao3) - lightyaers mj/peter T, 3k

Summary: MASSIVE SPOILERS FOR SPIDER-MAN: NO WAY HOME.

MJ remembers everything. She remembers him.

Tergeminus (ao3) - jade_rabbit N/R, 13k

Summary: They made an incredible team and even Strange had to admit that he was proud to see how well they moved together once they figured out how to dodge each other’s webs. He saw out of the corner of his eye when the teenaged girl had fallen off the platform -when one Peter couldn’t reach her, another took his place without a second thought, driven by the deep need to do the right thing.

Of all the people in all the universes, of course it’d be Peter Parker who’d make the best teammates with himself, Strange thought with exasperation and fondness.

The Aftermath (ao3) - bookinit T, 2k

Summary: Peter looks at the screen.

He can’t think. He can’t breathe. All he can think is that he needs to get the hell out of there.

What would Tony do?

The aftermath of THAT scene. (you know the one.)

The Man With the Messed Up Brain Remembers (ao3) - DawnCAngst G, 19k

Summary: Peter Parker runs into a frenemy in the grocery store. Spoilers for Spider-Man: No Way Home. Chapter 1 can be read as a stand-alone, one-shot. If you want a medium-length, longer story about the meaning of friendship and soulmates, with angsty twists, continue on through the rest of the story. This is a bit of an experimental story, combining elements of the multi-verse, shared trauma, and canon-credible mysticism.

there was something about peter parker (ao3) - nellsp mj/peter N/R, 1k

Summary: And then he smiled, a real smile, and Michelle felt herself stop breathing because it was like staring straight into the sun, beautiful and burning and bright and so familiar that it hurt.

(Michelle can’t help but be drawn to Peter Parker.)

True Hero (ao3) - Coolestjoy30 T, 2k

Summary: When Peter Parker asks Dr. Strange to cast that fateful spell to save the world, Dr. Strange realizes how special this kid really is, and what casting the spell would really mean.

Two Of Them (ao3) - Kalincka T, 11k

Summary: “You’re not Peter Parker”, Octavius says, and his whole world comes crashing down.

zero missed calls (ao3) - zippe mj/peter G, 6k

Summary: SPIDER-MAN: NO WAY HOME SPOILERS

Multi-universal communication through phone calls isn’t the easiest way to reach someone. Peter doesn’t care, because his phone is ringing when it never does.

#themculibrary #mcu #marvel #spiderman: no way home #spiderman: no way home masterlist #masterlists #peter parker #michelle jones #ned leeds #stephen stranger #peter 2 #peter 3

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denimbex1986 · 12 days

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We are lucky to be alive in the age of Andrew Scott, an actor of extraordinary breadth, skill and sensitivity, who can terrify as Jim Moriarty in Sherlock, make us fall in love (inappropriately) as the hot priest in Fleabag and cry in All of Us Strangers. He can also astonish, last year playing eight parts in a stage adaptation of Chekhov’s Uncle Vanya. He recently became the first actor to win the UK Critics’ Circle awards for best actor on stage and screen in the same year. And his latest project, Ripley, is a beautiful and chilling adaptation of the Patricia Highsmith novel The Talented Mr Ripley, with Scott playing the lead, dominating all eight one-hour episodes. It’s been a wild, crowning year for the 47-year-old Irish actor. But in March his mother, Nora, died of a sudden illness; she is who Scott has credited as being his foremost creative inspiration. His grief is fresh and intense and for the first half of the interview it seems to swim just beneath the surface of our conversation.

“We go through so many different types of emotional weather all the time,” he says. “And even on the saddest day of your life you might be hungry or have a laugh. Life just continues.” We are in a meeting room in his management company’s offices, talking about his ability, in his work, to modulate between emotions, to go from happy to sad, confused to scared, all within a matter of seconds. How does he do it? Scott laughs. “I would say that I have quite a scrutable face — is scrutable a word? — which is good or bad depending on what you are trying to achieve. But my job is to be as truthful as possible in the way that we are, and I don’t think that human beings are just one thing at any particular time. It is rare that we have one pure emotion.”

It’s an approach that is particularly appropriate for the playing of Tom Ripley, an acquisitive chameleon who inveigles his way into the lives of others (in this case Johnny Flynn, as the careless and wealthy Dickie Greenleaf, and his on-off girlfriend Marge, played by Dakota Fanning). “Ripley is witty, he is very talented. That’s gripping, to watch talent. I can’t call him evil — it is very easy to call people who do terrible things evil monsters, but they are not monsters, they are humans who do terrible things. Part of what she [Highsmith] is talking about is that if you dismiss a certain faction of society it has repercussions, and Ripley is someone who is completely unseen, he lives literally among the rats, and then there are these people who are gorgeous and not particularly talented and have the world at their feet but are not able to see the beauty that he can see.”

The show was written and directed by Steven Zaillian, the screenwriter of Schindler’s List. It’s set in Sixties New York and Italy, and filmed entirely in black-and-white, its chiaroscuro aesthetic evoking films of the Sixties — particularly those of Federico Fellini — while also offering an alternative to Anthony Minghella’s saturated late-Nineties iteration that starred Matt Damon and Jude Law. This has a darker flavour. “I found it challenging,” Scott says, “in the sense that he’s a solitary figure and ideologically we are very different. So you have to remove your judgment and try to find something that is vulnerable.”

It was a tough shoot, taking a year and filmed during lockdown. Scott was exhausted at the end of it and had intended to take a three-month break, but delays meant that he went straight from Ripley into All of Us Strangers. “Even though I was genuinely exhausted, it was energising because I was back in London, I was getting the Tube to work, there was sunshine,” he says. “I found it incredibly heartful, that film, there were so many different versions of love … I feel that all stories are love stories.”

All of Us Strangers, directed by Andrew Haigh, is about a screenwriter examining memories of his parents who died when he was 12. In it Scott’s character, Adam, returns to his family home, where his parents are still alive and as they were back in the Eighties. Adam is able to walk into the memory and to come out to his parents, finding the words that were unavailable to him as a boy. Some of it was filmed in Haigh’s childhood home, and there was a strong biographical element for him and his lead. Homosexuality was illegal in the Republic of Ireland until 1993, when Scott was 16. He did not come out to his parents until he was in his early twenties. I ask if he was working with his own childhood experiences in the film. “Of course, so in a sense it was painful, to a degree, but it was cathartic because you are doing it with people that you absolutely love and trust. I felt that it was going to be of use to people and I was right, it has been. The reaction to the movie has been genuinely extraordinary — it makes people feel and see things, and that isn’t an easy thing to achieve.”

The film is also a tender and erotic love story between Scott’s character and Harry, played by the Irish actor Paul Mescal. The two found a real-life kinship that made them a delight to watch on screen and off it, as a double act on the awards circuit. “I adore Paul, he’s so, so … continues to be …” Scott pauses. “Obviously it’s been a tough time recently and he just continues to be a wonderful friend. It’s everything. The more I work in the industry, I realise, you make some stuff that people love and you make some stuff that people don’t like, and all really that you are left with is the relationships that you make. I love him dearly.”

Scott and Mescal were also both notable on the red carpet for being extraordinarily well dressed. Scott loves fashion and has a big, well-organised wardrobe that he admits is in need of a cull. “I don’t like having too much stuff. I really believe that everything we have is borrowed — our stuff, our houses, we are borrowing it for a time. So I am trying to think of people who are the same size as me so I can give some of it away, and that’s a great thing to be able to do.” One of his favourite labels is Simone Rocha. “I love a bit of Simone Rocha. What a kind, glorious person she is. I just went to her show.” Fashion, he says, is in his DNA. “My mother was an art teacher, she was obsessed with all sorts of design. She loved jewellery and jewellery design. Anything that is visual, tactile, painting, drawing, is a big passion of mine, so I have tremendous respect for the creativity of designers.”

Today Scott is wearing Louis Vuitton trousers and a cropped Prada jacket, dressed up because he is collecting his Critics’ Circle award for best stage actor for Vanya. I ask how it feels to have won the double, a historic achievement. “Ah …” he says, looking at the table, going silent, having just been so voluble. “I’m sorry …” His voice cracks a little. “It’s bittersweet.”

At the ceremony Scott dedicated the award to his mother, saying of her “she was the source of practically every joyful thing in my life”. Is it difficult for him to carry on working in the circumstances, I wonder. “Well, you know, you have to — life goes on, you manage it day by day. It’s very recent, but I certainly can say that so much of it is surprising and unique, and there is so much that I will be able to speak about at some point.”

He is looking forward, he says, once promotion for Ripley is over, to taking some time off, going on holiday, going back to Ireland for a bit. He has homes in London and Dublin. To relax he walks his dog, a Boston terrier, dressed down in jeans and a hoodie “like a 12-year-old, skulking around the city” or goes to art galleries on the South Bank — he was considering a career as an artist until he was 17 and got a part in the Irish film Korea. He goes to the gym every day, “not, you know, to get …” he says, flexing his biceps. “More that it’s good for the head.” He is social, likes friends, likes a party. When I ask if he gave up drinking while doing Vanya, which required him to be on stage, alone, every night for almost two hours, he looks horrified. “Oh God, no! Easy tiger! Jesus … Although I didn’t drink much, I did have to look after myself. But we had a room downstairs in the theatre, a little buzzy bar, because otherwise I wouldn’t see anybody, so I was delighted to have people come down.”

Scott was formerly in a relationship with the screenwriter and playwright Stephen Beresford and is currently single, although this is not the sort of thing he likes to talk about. He is protective of his privacy, not wanting to reveal where he lives in London, or indeed the name of his dog — but he swerves such questions with a gentle good humour.

He is famous on set for being friendly and welcoming, for looking after other people. “The product is very important, but most of my time is spent in the process, so I want that to be as pleasant and kind as possible. I feel like it is possible to do that, that it is an honourable goal.” He is comfortable around people, with an easy charm — no one I have interviewed before has said my name so many times. And although when we talk he sometimes seems reflective or so very sad, there are also moments when he is exuberant, silly, putting on accents. “I feel like, as a person, I am quite near my emotions. I cry easily and I laugh easily, and there is nothing more pleasurable to me than laughing.”

Scott was raised a Catholic and is no longer practising, but says his view about religion is “ever changing — I definitely have a faith in things that cannot be proved”. When he was younger and felt overwhelmed, just before or after an audition, he would go to the Quaker Meeting House in central London and sit in silence, something that made its way into the second series of Fleabag, in which Scott’s priest takes Waller-Bridge’s character to that same meeting house. “It’s just around here,” he says, standing up, looking out of the window at Charing Cross Road. “When Phoebe and I first talked, we met at the Soho Theatre. We talked about love and religion, we walked all around here. And I said, ‘This is a place I go,’ so we called in and there was no one there, so we sat in there and we talked. It was a really magical day.”

Scott says he sees all the different characters that he has played as versions of himself. “It’s like, ‘What would this version of me look like?’ rather than, ‘Oh, I’m going to be somebody else.’ You filter it through you, and you discover more about yourself. I think that is a very lucky thing to be able to do, to find out more about yourself in the short time that we are here.”

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