Danger Man Fic Rec Masterlist

In which I attempt to compile every single story in the fandom… because of Danger Man’s relation to The Prisoner, a lot of these fics may reference the other series. I try to mention it, but I may forget, especially if it’s not a big part of the story.

*=personal favorite

DANGER MAN/SECRET AGENT

1. “In Spite of All the Danger” by JulietBurke007 (unfinished)

Summary: The adventures of John Drake before he became Danger Man or The Prisoner. This reluctant spy must deal with ruthless criminals, clandestine operations, and his own tumultuous life in order to prevent the Cold War from erupting into an inferno.

(Summary of the story as written) During WWII, young pilot/spy John Drake gets shot down on a mission and coordinates an escape with his fellow prisoners.

It’s got an interesting plot with some twists and is, happily, a little longer than the other stories for this fandom, at four chapters.

2. “That’s One of the Nice Things About Me” by Mneme.miny.moe

Summary: Glimpses of what life is like when one is the best agent in M9.

A short drabble series of scenes that might have taken place during the show.

3. “The Wayward” by Mneme.miny.moe (unfinished)

Summary: For three years, Violeta Gabor has managed a covert operators’ support outpost, only miles away from the Iron Curtain. But the station, disguised as a little travelers’ inn, has outlived its usefulness and must be closed down - or has it?

(Summary of the story as written) Violeta and Drake meet and have a short conversation in code as he checks into the inn. It’s a fun, intriguing scene, that works well on its own & doesn’t necessarily read as unfinished - except for the fact that the last word of the last sentence is almost certainly missing.

4. “The Parallel Lines Sometimes Meet Affair” * [Danger Man/Man from U.N.C.L.E crossover] by theladyrose

John Drake teams up with two spies on a mission to learn more about a new technology that could be helpful to the intelligence community. Modern AU, three chapters. Has a nice narrative style and fun dialogue; but focuses only on the set-up of the case.

5. “The Village Affair” * by Eliann_SleepingCat [The Prisoner/The Man From U.N.C.L.E. crossover]

The plan is: go in, free Drake. In the Village, nothing is ever that simple.

This is technically a Prisoner fic (with spoilers for the whole series), but 6/Drake’s backstory/Danger Man is an integral part of the plot as it goes forward. Multi-chapter! :) A great plot-focused story with an unexpectedly powerful ending. The worldbuilding backstory/characterization was unique and interesting.

6. “Secret Agent Man” part 1, 2, and 3 by Jude-Marian

John Drake on a case.

It’s written like an episode of the series, very plot-heavy.

7. “The Typical Conversation of John Drake” by Sonia34

Parody/drabble. :)

8. “A Man’s Best friend Is…” [Danger Man/The Prisoner crossover] by Jude-Marian

Drabble. John Drake thinks he sees something very strange…

9. “Danger Man: Carnival” by Jude-Marian

Drake and his friend Dr Seltzman spring a trap. Written like an episode.

10. “To John Drake” by Jude-Marian

Drake stops an assassination.

11. “Danger Man: ‘Georgio’” part 1, 2 by Jude-Marian

In which Drake is outwitted.

12. “Danger Man: ‘Finders Keepers, Losers Weepers’” by Jude-Marian

Drake is sent on a mission to recover a lost drone.

13. “Danger Man: ‘Vogelverschrikker of Romney Marsh’” [Danger Man/The Scarecrow of Romney Marsh …crossover?] by Jude Marian

Drake is sent to save the life of a Dutch politician.

14. “Golden Boys” * [Danger Man/James Bond crossover 1] by possiblie

“I think James and John were in charm school together. some people’d joke that the recruiting agents must have a fetish for golden boys, and then there were other, less wise classmates that said John was kept around for spares.”

This is actually a headcanon and not a fic, but it’s the kind of headcanon that feelslike a fic. It doesn’t actually have a title, the title here in quotes is what I gave it to differentiate it from the next one.

15. “James and John” * [Danger Man/James Bond crossover 2] by possiblie

Unlike the other two headcanons by possiblie, this one has less of a story feel, it’s more like a bunch of scene-snippits put together.

16. “The Old Guard” * [Danger Man/James Bond crossover 3; references to The Prisoner] by possiblie

“James is not sentimental about loss.”

Again, another headcanon that’s just titled here for reference.

17. “The Cold” * by eponymous_rose

“From time to time, even John Drake feels the chill.”

This story is wonderful. It perfectly gets the atmosphere of the series and it’s beautifully character-focused.

It’s also written to lead up to The Prisoner, (and is probably better read having seen the other series) with some references near the end of the story.

18. “Drake’s Women” * by Praxus Goforth

Summary: A look at the women in Drake’s life.

Humor. Not what it seems like from the summary :) Absolutely lovely narration and a wonderful little storyline. If you need a fic to cheer you up from all the depressing stuff, this is it.

Danger Man mixtape

 Danger Man on 8tracks

“My name is Drake. John Drake.” 
A mix for the spies of Danger Man, following the thematic arc of the series.

1. Danger Man half hour titles
2. Epic | Manic Drive
3. Harder Better Faster Stronger | Daft Punk
4. Spy Vs. Spy | Combustible Edison
5. Seven Nation Army | Green Beats
6. Secret Agent | The Backyardigans
7. Danger Man one hour titles
8. Between Two Points | The Glitch Mob (feat. Swan)
9. Pressure | Until the Ribbon Breaks
10. Everybody Wants to Rule the World | Moreland & Arbuckle
11. Mio Amore Sta Lontano | Edwin Astley
12. Undercover | Pierre Van Dormael
13. I Am Dust | Gary Numan
14. Secret Agent Man | Johnny Rivers 
15. I’ll Be Seeing You | Billie Holiday
16. The Prisoner opening titles

GRENADE - The Joker Version (Batjokes)

Easy come, easy go,

that’s just how we live, oh
take, take, take it all
everything I give
should’ve known we was trouble
from the first kiss
had our eyes wide open
why were they open

gave you all I had and you tossed it in the trash
We tossed it in the trash, we did
to give me all your hate is all I ever asked ‘cause
what you don’t understand is

I’d throw a grenade at you (yeah yeah)
stab your heart with a blade for you (yeah yeah)
tie you in front of a train it’s true (yeah yeah)
oh yeah I’d do anything to you (yeah yeah)

make you go through all of this pain
put a bullet straight through your brain
but I would kill for you baby
now won’t you do the same?

black, black, black and blue
beat me till I’m numb
to the devil I’ll say hey when I get back to where I’m from
madmen, bad and
that’s just what we are
if you get into my way I’ll run you over with my car

gave you all I had and you tossed it in the trash
We tossed it in the trash, we did
to give me all your hate is all I ever asked 'cause
what you don’t understand is

I’d throw a grenade at you (yeah yeah)
stab your heart with a blade for you (yeah yeah)
tie you in front of a train it’s true (yeah yeah)
oh yeah I’d do anything to you (yeah yeah)

make you go through all of this pain
put a bullet straight through your brain
but I would kill for you baby
now won’t you do the same?

If your body was on fire
I’d watch you burn down in flames
said you never loved me, you’re a liar
'cause you always, always, always did baby…

'cause darling I’d still throw a grenade at you (yeah yeah)
stab your heart with a blade for you (yeah yeah)
tie you in front of a train it’s true (yeah yeah)
you know I’d do anything to you (yeah yeah)

make you go through all of this pain
(but I would) put a bullet straight through my brain
yes I would die for you baby
and you would do the same

oh you would do the same
you’d always do the same
oh you’d always do the same
oh, oh, oh oh oh

FIN

SPN meta - Angel genders, business suits, and other thoughts

 I wrote this back when I'd only seen up to 12x11, & I'm still not caught up to where the show is now, so this might have been retconned at some point, but here we go: 

-Angels seem to be sexually nondifferentiated (that is, at least so far it seems that angels cannot procreate with other angels but that any angel, if in a male vessel, could procreate with a human female to create a Nephilim.)

-on the other hand, angels do not seem to be agendered. They refer to each other as brother or sister, he or she, and these references seem to be consistent across vessels (so probably not just a fact of them using English terms when on earth). They also seem to show a slight preference for having the sex of their vessel match their gender, although they don’t really care that much. Some examples I can think of: Hannah chose a female vessel before a male vessel, Raphael chose a male vessel before a female vessel, and on Lucifer’s vessel-hopping spree the vast majority of them were male and not female.

-there is no connection between biological sex of angels (which is all the same) and gender, but it must be fairly integral to the species to have genders. If it wasn’t an integral part of the species to have genders, Naomi and her people would probably have tried to wipe that out too as being part of dangerous individualism.

-and something I never thought of, although it seems pretty strange that I never thought of it - there are no societal ramifications of gender for the angels. It is a completely personal thing. The angel hierarchy is based on power and rank, and they are all soldiers, without any type of differentiation being based on gender.

-plus a thought about the choice of metaphorical business suits in the representation of heaven. they do a couple of things:

-represent bureaucracy
-give an aesthetically cold feel that fits in with the glowy white walls
-mirrors hell (where they also wear business suits)
-is a uniform, basically - which reminds you that they are all soldiers

and the choice of suits is also interesting because it is a very non-differentiated choice of clothing. The male and female suits differ by cut, but all look pretty much the same, which speaks to both the uniform/non-individualizing feel of the place but also is a very natural and unobtrusive way of getting rid of the connotations that come with gender differentiation in clothes, and so, along with the fact that there is no connection between gender and role differentiation, serve to add to the creation of a society without the baggage of sexism [this is also an interesting mirror to hell, which is entirely the opposite]

-Plus a random note about Chuck/God and Amara, because it’s something I noticed and thought was really interesting, in the finale of season 11. Technically, Chuck is male and Amara is female, but it gets somewhat more complex than that in a way that was revealed in that conversation where Chuck explains why he created the earth. Because really, if you think about creation, especially creation from (almost) nothing, it’s more tied to birth and motherhood than fatherhood, and something about that speech in particular seemed to somehow point to this gap, because Amara, unlike him, can’t understand the creation of children on an emotional level, though she can come to understand it eventually as a beautiful work.

Lois and Clark: Fixing the New Krypton arc

so, I wrote this after watching Lois & Clark first episode of season 4–and..... :/ it was pretty bad.

So I thought about how it could be fixed.

season 3

first of all, the “tests” Clark was put through to prove his worthiness don’t make any sense, especially knowing that the kryptonians wanted him back so he could fight(?) Lord Nor. So the first thing to do would be to re-structure the tests so they make more sense. Here is how I would re-write/structure the last few episodes of season 3:

(1) At the end of an earlier episode that would otherwise stay the same (it would have to be condensed somewhat to free enough time) would be the first test, which would now be the one where they are trying to see if Clark would save all of Metropolis or Perry and Jimmy. How Clark solved it would stay the same, but he and Lois wouldn’t know who made this test or why. It would give a bit of lingering suspense and worry.

(2) probably the next episode, although it wouldn’t have to be. This episode would have a whole new plot, taking an episode-slot from Lois’s really drawn out amnesia arc. They could have totally tied that up one episode quicker without a problem. This episode would have some sort of problem that Clark can’t solve unless he can get the people of Metropolis to follow his lead and help him with something. (Basically, in this, the kryptonians would be testing his leadership skills). Through the whole episode, you think it’s a totally unrelated plot. Clark is successful, and then, at the end of the episode, there is a scene where you see the kryptonians for the first time (a small council of them in a space-ship or wherever) saying something ambiguous like, “I think he may be the one. There is only one more test…” to get people really worried.

(3) This episode would take the place of “It’s A Small World After All” which would be totally cut. Instead, it would incorporate some plot-points from “Big Girls Don’t Fly.” Basically, in this episode, Lois & Clark, for some totally unrelated reason, have to go undercover pretending to buy a house. They end up dealing with Lois’s freak-out about not wanting roots and Clark really wanting a place to call home, but WITHOUT awkwardly bringing up his kryptonian parents for the first time in like two seasons. They end up finally deciding that they’ve spent so long not being able to get married, and decide to just get married the next day, and THEN, after that, have the wedding reception and invite everyone, so it can’t get messed up again. But… *dun dun dun* about halfway through the episode, just as they’ve made this decision, the kryptonians come down and introduce themselves to Clark and tell him about their problem with Lord Nor and why they need him to take his place with them on New Krypton. The people that are involved would be friends of the family/the household/etc. Clark would spend some time worrying about this and wondering if he should go. You’d have the scene where he goes to his parents and asks them what he should do and their answer. Then, at the very end of the episode, maybe after he’s decided to go, they reveal, oh by the way, you’re married.

(4) The finale of season 3 would have Lois and Clark freaking about about the fact that it turns out Clark is married to Zara, (who in this version WOULDN’T have been hanging around on earth beforehand); it would have the scene where she and Ching show Clark the hologram of his father, and if Clark hasn’t already decided, it would have him decide to leave for Krypton. If he has already decided, it would probably just draw out the pain of leaving for as long as possible, and deal with Lois’s worry that Clark wants to leave and her jealousy over Zara, and finally how she realizes she is going to let him go. It would probably end similarly to how it ended in canon, with Clark making a speech about why Superman has to leave earth and then zipping away.

season 4

I think the whole arc could be wrapped up in the first two episodes of season 4, like it seems they are trying to do badly.

(1) you’d have a time-skip of about a month. Clark is on New Krypton, trying to do politics to make sure lord Nor can’t gain more power/make peace with him/whatever. Most of the episode would deal with that, as well as the differences, big and small, of New Krypton as a place/culture. By this time, he gets along pretty well with his household, but is still really awkward about the “suddenly became nobility” thing, especially in public, but it’s played more as culture shock and less as… whatever the heck they thought they were doing in the actual episode. There’s a scene fairly early on where he and Zara are hanging out in public and acting fairly couple-y, so people are worried, but then they go into a private room and suddenly they are totally acting like just friends and Zara and Ching are obviously together. The three of them talk about the political situation and what they think of it. There’d also be a scene somewhat early on where Clark either gets or has a very minor injury, so that people remember he doesn’t have his powers on New Krypton. (It’s foreshadowing.)

There was a story I read once where Clark found a way to deal with the whole marriage thing by basically adopting Ching into the house of El, so that when he left, Zara could marry him and it would solve all the problems, and i think that seems like a splendid idea, so that’s what he’s done. So Ching is his adopted brother. (this could have happened either in or before this episode, or in the next one, but I kind of like the idea that it happened before this episode because it would add another dimension to their relationship.)

You’d also get some sad!Clark scenes, where he’s missing Lois desperately.

Now, you could also have a scene or two–very short! with Lois, on earth, missing Clark, but I think it would be a better idea not to have her in the episode at all, so it’s by her absence that her presence is really felt. 

Near the end of the episode, you realize that Lord Nor (who by the way they have re-cast) isn’t trying to actually work to make peace, but is being all sneaky and evil, and has sent an assassin to try to kill Clark. Clark manages to fight him off or escape or something, although he is injured, and then the secret is out what Lord Nor tried to do, and now it’s war.

(2) In this episode, instead of doing some kind of big battle-episode that Lois & Clark totally wouldn’t be able to pull off, you have a plot that revolves around Clark and a small group of people (perhaps including Ching and Zara, though I’m not sure) basically trying to sneak/fight their way into Lord Nor’s stronghold, to get him before total war can break out. It might start with their plan, and how no one wants Clark to be part of the team but he insists, and continue from there. (He is still injured from the last episode). Near the end of the episode, they manage it, and somehow Clark and Lord Nor end up in a room together or fighting or something. There are then three choices they could make–

one, they manage to capture Lord Nor and somehow bring him into the authorities or the equivalent

two, Lord Nor dies a Disney Villain Death

three, Clark has to kill him.

I would pick option two, because it’s dramatic, but depending on how much character-shaking-up they want to have to deal with in subsequent episodes they could also do option three. That would probably really mess with things though, so i think two is really the best option.

After this, there is celebration, the kryptonians ask him to stay, but Clark says he made a promise and he can’t. He really wants to get back to earth, still, he is at least somewhat regretful, and glad that he could have been able to help his people. He goes back on a spaceship to earth, with Ching and Zara, so he can say a personal goodbye to them, and then beams down. You see him disappear from the ship and them watching.

The last scene of the episode would be a fairly wide shot on the door of Lois’s apartment from the outside. It’s night; Clark is there, and he knocks on the door. “Lois?” he says. You see him from the back, all as part of this same shot. Then the door opens. It’s bright inside, so it puts him and Lois almost in silhouette. “Clark!” they hug, and Clark says, “I’ve come home.” Then they step inside and shut the door behind them.

~end~

QL meta: Why Sam Beckett could never Leap Home

One possible answer lies in the mechanics of Leaping itself. Imagine your life is a piece of string. Tie the ends together and you have a loop. Ball up the loop and the moments of your life touch each other… this is how the Leaping process is described again and again. Though very simplified, we must assume this is accurate.

So, how do you find the ends of your life anyway? One end is the moment of his conception, the farthest Sam has ever been able to Leap backwards in time [when he wasn’t leaping inside someone else lifetime (having traded places with his great grandfather because of similar genetics in the Civil War episode)]

But to get a loop, one has to have two ends to tie together. In Genesis, Sam is successful at making a time loop out of his life, and it’s very plausible that by the act of making that first leap he created the other end of his life. It doesn’t matter how long Sam would have lived, had he not leaped; by leaping, he tied off the ends and therefore his lifetime no longer exists after that point.

The only time Sam leaps farther forward than the moment of his initial leap is in The Leap Back, when he leaps inside Al’s timeline because of the Simo-leap.(In the same episode, Al leaps back to a time within his own life but before Sam’s).

Additionally, in Mirror Image, Sam may have died. After the bar, he leaps as himself to Beth, similar to the guardian angel in It’s a Wonderful Leap. It’s also notable that the bar “exists” on the day of Sam’s conception, which would make his death fall at the moment of his birth. Presumably, then, in his post-Mirror Image leaps, he could travel outside his own lifetime, because he would no longer be trapped in the time loop of his life.

I think it’s quite possible that this is what the series was going for; there’s a lot of build-up to the idea/evidence that ties the arc of the series together especially in season 5.

The only upside of this is that it means Sam would not have to leap forever. Though he may not be able to go home, he could presumably move on when he had helped enough people/was ready to do so.

“The Joker in the Deck”, or, the downfall of Cameron Kaiser

 The plot works perfectly, at first. Change the theme of your new casino to The Joker, wait for him to wreck it, get the insurance money. And yet somehow, in the end of the episode, as Kaiser tries to flee in his helicopter, his finds out his pilot is no one but… the Joker himself! And the Joker is quite mad at Kaiser for playing him.

J: It was a scheme worthy of me, Kaiser. The way you got me riled up and turned me loose on this place.
K: You! You were supposed to destroy the casino!
J: Yeah, but then I realized it’d be more fun to get rid of you and run the show myself.
K: But you can’t … !
J: Oh please, Mr. Kaiser. You of all people should have realized there’d be a Joker in the deck!

The funny thing is, the “joker” in this case – the unpredictable element that messed up Kaiser’s plans – wasn’t Joker at all!

It was Batman.

While his initial plan worked out splendidly, Kaiser’s problem was that he severely underestimated his enemies – he did not count on Batman being as smart or nosy as he was – nor did he count on the relationship between the two archenemies (and Batman’s amazing power to [occasionally] talk reason to the Joker).

Batman tells Joker how he’s been set up by Kaiser to stop him from blowing up the casino with a bunch of innocent people in it, knowing Joker will decide to go after Kaiser instead.

B: You won’t get Kaiser. He’s been playing you for a patsy.
J: Eh?
B: He’s counting on you to blow this place up so he can collect the insurance. By the time you get clear, Kaiser will be miles away, laughing at you.
J: … I hate it when you make sense.

… … … … 

quotes from this transcript