Yuletide 2020 letter

[minebyrights]

Happy Yuletide! Whoever you are and whatever canon(s) brought you here, I hope you find this pleasing, rewarding, and low on stress.

The following skirts the lines of TL;DR, but I want to emphasize up front that I am genuinely in love with all of these fandoms, as well as desperate for content for them, so anything you produce that doesn't hit my squicks will be A++. Prompts are mostly me throwing wild ideas at the walls and seeing what sticks; if you have something roiling around in your brain you really want to do that doesn’t hit squicks/DNWs, go for it! In general, all ratings from gen to depraved NC-17 porn are good, and all gender combos are fine for background ships or whatnot.

Any differences in length of section below are mostly due to writing this piecemeal over a couple days and not because I'm more excited for some canons over others.

If you want to find me in the wild, I'm:
theoldgods
theoldgods
minebyrights
minebyrights

And with that, on to the letter itself!

Likes and Dislikes | England Series - K. J. Charles | Phantom Thread (2017)| Portrait de la jeune fille en feu | Portrait of a Lady on Fire (2019) | Rocketman (2019)

LIKES AND DISLIKES

Likes: worldbuilding and historical settings, creative arts/industries and the sausage of how art is made, Holmes/Watson dynamics, undercover work and casefic and spies, bedsharing, huddling for warmth, fake relationships/fake married, bickering and bantering like old marrieds, clothing descriptions (especially period clothing, suits, kilts, tall boots, gloves), jewelry (especially rings and necklaces, especially on men/masc-presenting people), hands and feet, bathing and cleaning one another, adrenaline junkies and partners in crime, found families, snow/winter/autumn settings and holidays (Christmas, Hanukkah, whatever celebrations of whatever religion), beaches and oceans, 5+1s/vignettes with some thematic growth/resonance, daemons, clothed sex, frottage/intercrural/nonpenetrative sex, dubcon (drunk/high sex, sex pollen, etc.), light/casual BDSM (especially with subby men), men being called sluts/whores, loving descriptions of male asses, topping from the bottom/power bottoms, oral sex, dirty talk, threesomes, masturbation, outdoor sex, voyeurism/exhibitionism

Please no: first or second person POV, pregnancy/childfic (with exceptions noted below), deathfic, angst without some light at the end of the tunnel, horror/gore, character bashing, AUs (except canon divergence, future fic, and daemon AUs), tentacles, body horror/extreme body modification, omegaverse, rape/noncon (though dubcon shading into noncon is probably okay--see examples for certain fandoms where relevant), bodily fluids/watersports, sexual degradation of women by men for kink (though women degrading other women sexually is fine)

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ENGLAND SERIES - K. J. CHARLES
Archie Curtis, Daniel da Silva

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The first KJC book I ever read was Think of England, and I was blown away by how much I absolutely adored getting exquisitely written historical queer romance, the perfect blend of genuine emotion and glorious romance tropes, house party shenanigans, Archie’s awkward spy machinations and dawning sense of his own queerness and the cruelty of the world toward those who are not gentry, fake relationships becoming real, Daniel’s defensive feyness and billiards skill, bonds formed in gloriously lurid and pulpy blood, two outsiders struggling to know more of themselves, and so much more. I love, love, love Archie and Daniel and would love anything about their relationship--more of Daniel’s thoughts and feelings during canon? Their spying together postcanon and their many glories (or, hilariously, lack thereof)? Them visiting Fen and Pat at some point? More house party infiltrations? Them bunked up in Daniel’s bedsit?

What I Love: I love Daniel’s carefully crafted licentiousness (using his pansy reputation as armor/distraction) and how enraged it makes Archie at first. I love Archie’s slow realization of what it would mean to identify as queer and why he never has clicked with women, attempting to learn how to please Daniel over time. I LOVE their sex (especially the first scene, with gloves and mirror and all the voyeurism/exhibitionism vibes) and its slow transformation from confused rage to something deeply meaningful. I love seeing Daniel unravel in the cave and how his deep fears don’t unman him in the eyes of Archie; I love Archie forcefully grabbing hold of his relationship with Daniel and actively deciding to take it in the end, logic and social class be damned. (I love how KJC handles social class in all her novels, specifically the dips here into the effects of anti-Semitism and the English class system and how corrosive everything is and Archie slowly learning more.) I’m so fascinated by all historical queer romance, the deep worldbuilding around how these men define themselves and their relationship and how out or not they can be in certain cases and what outness/the closet/male homosexuality/etc. even means in different historical periods. (I know some about Victorian and Edwardian queerness but not enough to be certain about it--if you want to research or just happen to know a shitton yourself and want to weave in knowledge, feel free to go absolutely hogwild, but if you don’t and are worried about ~doing it wrong~: don’t be. I love to roll around like a pig in filth in even the most tenuous historical fiction and historical queerness and am super easy about it.) And of course I also love Fen and Pat and am familiar with Proper English too, although they’re not the focus of my request; references to them very welcome if you want to include them!

More Prompts/Ideas:

• I’d love to see more of their separate pasts weaved in, how Daniel works through his disastrous Oxford time and its effects on him, how Archie deals with the PTSD/fallout from his army time. (Them comforting one another over this would be very welcome.) What other relationships have they had in the past? How does Daniel’s relative worldliness in the milieu of 1900 gay sex bear on Archie over time? Do they take to clubs/meeting rooms/etc. together after a while? Explicit teaching (how to give blowjobs, how to fuck, how to take a dick, etc.) very welcome as part of this. (I love the idea/image of both of them being subby, but especially military man Archie learning to bottom and/or submit sexually occasionally.)
  
• Any and all casefic (sophisticated or not) involving the crack spy team of Da Silva and Curtis is extremely welcome if you’re in the mood for that. I’m bad at coming up with plots, but if you want some very fragmented starter ideas: Another house party, where the ghosts of their previous experience keep rearing their heads. Infiltrating a gentlemen’s club and having to play up their relationship (maybe with Archie having to play super fey?). Solving some crime teamed up with Fen and Pat. Something involving Archie (and Pat?) having to teach more guncraft. Daniel having to teach Archie codes, or lockpicking, or foreign languages. Daniel saving Archie’s ass this time around. Or just go absolutely wild with your own ideas, whatever they might be.
  
• Complete domestic slice of life type stuff is excellent too if you’re so moved. Learning one another’s food/tea preferences. Daniel attempting to teach Archie more about poetry or the classics. Daniel teaching Archie his best billiards tips. (Them fucking on a billiards table.) Them having a pleasant evening out on the town at some sympathetic clubs, with one another or dragging other men of similar taste into their orbit. Bathing one another. Celebrating some holiday (Christmas? Hanukkah or Purim or Rosh Hashanah?) and how that works out with their family circuits. (Do they ever lowkey come out, for lack of a better word, to Archie’s uncle? What does Daniel’s extended family make of all this?) Them sneaking little pleasures and gestures of love while running around doing insane spy shit. Archie being surprisingly domestic or realizing he’s good at cooking/cleaning something/[insert whatever you like here].
  
• It’s mentioned above, but to be explicit (heh) about it: I fully welcome them being involved in a circa 1904 orgy with other dudes, if that’s your pleasure, or them paying to watch other dudes go at it and then going back home to get their hands all over one another, or just them exploring The Queer Scene/talking about Oscar Wilde and other infamous men/anything like that. Also, as becomes apparent in my general likes and some prompts for other fandoms: I am very onboard with intoxicated sex, be it from booze or smoking cigars or...doing opium or absinthe or something. (Them traveling to a Parisian absinthe bar [?] just came into my head while typing this and...yes.)
  
• Also mentioned above but: I know relatively little of Judaism, especially British Judaism, especially especially British Judaism circa 1904. (I myself am an American agnostic/atheist who was raised liberal Catholic but is fascinated with pretty much all religion.) If you do and want to explore that aspect of Daniel to some extent, be it in his relation to the English class structure, his time at Oxford, his childhood in the East End, his relationship with Archie, his own religious beliefs (I sort of got the sense he was more secular than observant, but I haven’t reread in a few months?), whatever, consider this pretty much carte blanche for doing so. If, alternately, you don’t want to/are afraid you’d mess it up somehow/whatever and want to leave it be, I’m fine with that too.
  
• I’ve read almost every KJC book out there, so if you want to somehow weave in references to other books of hers, I’m very cool with that too. (I think Any Old Diamonds may come closest timewise (?), though it’s not an exact match afaik, and certainly Alec and Jerry are a super interesting mirror to Archie and Daniel, also hit the same criminal adrenaline house party insanity vibe, etc.)
  

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PHANTOM THREAD (2017)
Cyril Woodcock

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I’ve seen Phantom Thread at least five times, and what always draws me in, almost paradoxically considering Reynolds’s character and prominence, is how rich the women of this world are and how fascinating their relationships with Reynolds and one another are. I love the rich texture of everything, the lush fabrics and settings, the grandiose House of Woodcock itself and the country house (and that brief shot of dogs!), the detail of the fashion and the ASMR-y intimacy of measuring and modeling, the soundtrack (I am a huge mournful-piano-and-strings fiend), the insanely awkward meals and passive-aggressive eating and tea drinking, the black and dry humor that interlaces everything...and, yes, all the fuckery that unravels later on, the struggles for psychological control and female agency while still retaining membership in Reynolds’s sphere. Cyril ended up being my favorite—I am completely enthralled with her entire stoic elegant hard femme power broker aesthetic and with Lesley Manville’s face, and the ease with which she can be read as queer is a huge bonus—so she’s the focus here, but I do like all three of the triad with all their various issues.

What I Love: I love Cyril Woodcock. I love her Big Dick Energy, her sharp heels-clacking walk, the sheer competence porn she constantly creates, her sharp edges, her monochrome color palette, the age spots across one side of her forehead, her viciously red nails, her pearls. I love the way she pushes her hair back from her ears while preparing to listening to some piece of insane heterosexual bullshit from Alma and/or Reynolds, her silent smoking while she’s holed up working, pretty much every single facial expression Lesley Manville gives her (Cyril is queen of the reaction gif). I love how she comes to love Alma herself, love her codependent fuckery with Reynolds, love her ability to do the best she can to get some measure of agency in a profoundly cruel world. She’s just a competent bitch who’s both an inspiration and a complete “please beat me for my sins” sort of character for me.

More Prompts/Ideas:

• Any and all Cyril backstory, tbh. What was she like as a child? What did she do during the various world wars she’s lived through? What did she think of their parents and nannies? How far did her formal schooling go? When did she start dressing like a slick, iron-clad, monochrome boss? When did she know she wouldn’t marry, and did she give a damn about it at all? What does she think about fashion and the creative side of the business—does she ever offer ideas to Reynolds in some subtle way? (Reynolds implies that “Cyril is always right” about matters of taste…) What did she think of the various muses before Alma? What does she think about the models and seamstresses in the house? (Does she ever have any, uh, sexual relationships with these women?)
  
• Cyril the happy, powerful spinster, willingly helping Reynolds with that first wedding dress despite the superstition of being forever a spinster. (Did she know even then she wouldn’t care to marry a man?) Cyril with a traditionally male name. She’s so easy to see as some flavor of queer, and I love to think she has a woman or multiple women on the outside. (Where does she go and what does she do offscreen, when she sends Reynolds on ahead to the country, when Alma asks her to leave for evening for the disastrous dinner, or during the Christmas-New Year’s stretch?) Maybe it’s just some casual flings she fucks for the release, maybe it’s the cost of doing business for the models and seamstresses who work for the House of Woodcock, maybe it’s visiting a queer club/bar/teahouse/however things worked in 1950s London, maybe it’s someone long-term. I want it all, anything with Cyril and other women, her domming them or even her being dommed by one, her just enjoying non-Woodcockian company, however it works out.
  
• Cyril and Reynolds hit my codependent siblings kink hard, especially with the older sister-younger brother dynamic, and the bits of their childhood we get—Cyril helping Reynolds with the first dress, in particular, so understatedly sweet as well as practical—really adds to it for me. They need each other and use each other bitterly for their positions and stability in society, and yet they do love each other in some twisted way and can sit in perfect contented silence for hours. I’d love to see them together more, their childhood, what the hell they do at night after work before Alma arrives, anything. This includes sexually, if you want to go there—I do not imagine it would be in any way romantic, just Cyril disciplining Reynolds after some particularly awful thing he does, or getting a sexual need slaked, or Reynolds begging her to allow him release when he has no muse nearby or his current muse won’t oblige, at any point in their lives. Just please make sure both are at least 16 or so first, please!
  
• So, I love putatively rival women who end up working together, which is essentially what happens with Alma and Cyril. Alma is truly a match in intelligence and fortitude for both Reynolds and Cyril—just the way she asks “what now?” before Reynolds even asks her to dinner that first time, this woman knows what she wants and will take it where society allows!—and Cyril’s slow, calm appreciation of that fact, the steady way with which she takes it onboard as a means to steady her brother and keep their shared livelihood running, is wonderful. Also, Cyril pulls so many hilarious basically sexual power moves on Alma—smelling her, trying to order Alma around while Reynolds is ill (“let me be unambiguous”), and more—and Alma takes them all with such strength and grace and an ability to give back as good as she gets, and I just love the idea of them together, either powering the House of Woodcock while Reynolds is off doing his designing or an AU where they kill off Reynolds and run away together or even just quietly fucking for stress relief off on the side while their lives run on as normal.
  
• And yeah, I love the weirdest threesome in London, and yet I’m so curiously invested in them as a stable and functional, if quietly fucked-up, triad, with the two women managing Reynolds and using him as their means of gaining their own hold in society while also trying to keep him from melting down/blowing up on them. I’m fine with Alma/Reynolds in all its absurd folie-a-deux abusive glory, but I’d love to see Cyril directly involved in this triad. How does Cyril interact with their child postcanon? Do Cyril and Alma eventually just take over the business and designing entirely from Reynolds, as there’s maybe a hint of in the ending montage with Alma taking a more active role in the process? And if there’s any sex that occurs to you for them, please go for it, be it Cyril watching and directing them, using Reynolds for her pleasure while Alma watches, forcing Reynolds to watch as she fucks his wife (Reynolds, of course, getting off on it), or even something slightly calmer and less immediately kinky and fraught with power struggle.
  

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PORTRAIT DE LA JEUNE FILLE EN FEU | PORTRAIT OF A LADY ON FIRE (2019)
Héloïse, Marianne

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Such an absolutely gorgeously shot and designed film, and queer period dramas are so far up my alley it’s insane. A seaside romance involving art, doomed gay women, sisterhood of a sort, and two women reenacting the Orpheus/Eurydice myth? Sign me up. I’d love almost literally ANYTHING involving Héloïse and Marianne, their relationship, in the present time of the film or even them somehow meeting again years down the road, anything getting even a fraction of that lush tension that permeates the entire movie and makes it both luxurious and yet bleak.

What I Love: God, I just loved so much about the aesthetic of this entire movie--the sweeping ocean, the claustrophobic house, the Greek mythology shout-outs and allusions and outright appearances, the lush textures of fabric and atmosphere, the strange and yet comfortable sisterhood that springs up for a bit, the bread and wine and cheese consumed, the entire conceit of attempting to paint someone without her knowing (and how relatively soon it’s dispensed with and yet how that only pushes the film further forward, into higher and higher emotional stakes). It’s happy and bleak all at once, and so bittersweet, and I just. Yes. What a gorgeous, gay period drama. I love the contrasts, visual and otherwise, between Marianne and Héloïse, the looking-at-you-but-not games they play, their burgeoning connection, every moment spent painting Héloïse, them getting stoned together, them attempting to hide away from the world for stolen moments of freedom in bed before it all comes crashing down, and the beautiful heartache of page 28 and finding Héloïse (Eurydice) again and again in art and yet not being able to connect with her again.

More Prompts/Ideas:

• What were their childhoods like? Did either of them have any sort of gay encounter with other women before they were thrown together at the beach house? Do they discuss this at all with one another during those idyllic few days together?
  
• More of them drunk and/or stoned together would be very amusing to me, either sitting around just talking or having sex again or Marianne attempting to paint something or someone while high.
  
• The two of them dancing, playing around with who is the “man” and who isn’t, getting handsy while doing so or not.
  
• I was delighted their first kiss, of sorts, happened on the beach, but consider: heavy petting and/or sex on the beach. Picnicking on the beach. Both of them swimming (possibly in shifts, possibly naked, possibly both). Painting Héloïse on the beach. Héloïse watching while Marianne attempts to paint a landscape scene of the ocean or the beach in general or something. Just: Beach. Ocean. Them.
  
• Can Héloïse paint at all? I’d love to see Marianne attempting to teach her, or just watching Héloïse do something crafty and/or creative (embroidery? Sketching? Writing a poem?) in some sort of bit of role reversal from how the film generally has them.
  
• Héloïse attempting to learn the harpsichord to play the song that Marianne plays for her, long before the opera not-encounter, and maybe getting a chance to show it to Marianne way in the future (tying in with some sort of fix-it option, I guess, as below).
  
• The abortion scene intrigued me--not only was it gorgeously shot, but it being reenacted later For Art was bizarre but interesting, and throughout it there was a certain tenderness in Héloïse that intrigued me. Could she end up being a healer of some sort later on? (Maybe as a casual thing a Good Noble Wife/Widow does for charity or something, and it somehow brings her into contact with Marianne in some sort of down-the-line fix-it?)
  
• The fix-it option, where somewhere down the line Marianne ends up in Milan or something and they meet again. Life being what it is, it probably isn’t entirely possible to have them together again romantically, especially as Héloïse appears to have a child, but even them meeting up again in a salon somewhere or something would be excellent, and if you want to work it out so that they can Go There again (Héloïse’s husband dies?), I’m 1000% there.
  

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ROCKETMAN (2019)
Elton John, John Reid

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I love this film, and I love its camp absurdity, its glorious costumes (both for stage and for everyday), its gayness, its music, the coke-and-booze-and-orgy debauchery, everything about the 70s rock/pop music scene, the poor decisions made, the potential for change (and the rough road to finally be ready to make it), just the whole sparkly drugged-out almost-soapy aesthetic. And one of the things I always need more of is Elton and John’s utterly toxic relationship, which was compressed in the movie itself but has a ton of potential for drama, absurdity, and more. Feel free to throw in other characters, especially Bernie, of course, to populate the background, but most anything focusing on the Elton/John shitshow is welcome. (I’m fine with all levels of drugs, sex, intoxicated sex, weird manipulation, extravagant infidelity, and implied partner abuse/violence as shown in the film, though I’d prefer Reid not become a full cartoon villain--he’s plenty awful as is without either completely excusing his implied manipulation/abuse or making him into a cackling maniac who beats Elton bloody 24/7.) Obviously the fiction/reality line is incredibly thin here, and I’d prefer you mostly stick to movieworld, but if you want to bring some RL stuff in for background information or whatnot I’m completely fine with that.

What I Love: I’ve loved Elton’s music since I was a kid hearing my parents listen to it (I grew up on classic rock despite being a'90s kid), and while I went into the film very tentatively, since music biopics are hit or miss and I’m usually not a big fan of straight-up musicals, I absolutely loved it, and somehow a year and a half later it’s still often on my mind. I love the costumes (both the extreme stage absurdities and the everyday wear, from Elton of course but from everyone else too, especially all the bits Reid wears in “Honky Cat”), I love the high-flying partying bullshit and drug/alcohol use and exploration of mental health and various self-medicating attempts, I love how remarkably gay it is for a big-studio production. And while I love Elton’s characterization in the film and absolutely adore his ride-or-die almost-but-not romantic friendship with Bernie, I love the bitchier, nastier aspects of his character as well (that are sometimes hinted at more than shown) and I’m still somehow fascinated above all by the complete intoxicating disaster that is the Elton John/John Reid abusive power couple dynamic. (I love pulling apart unhealthy relationships to explore how they function and what kind of logic, or lack thereof, is at work, in all their subleties as well as in the moments when they explode spectacularly, and it being same-sex and composed of two very competent/talented people who seem to love one another in some way but are simultaneously fucking terrible for one another adds to the fascination for me.) Reid’s characterization is backgrounded compared to Elton’s and Bernie’s, which makes sense, since ultimately he’s basically the villain to the story Elton and the film want to tell--but it leaves a lot of doors open to explore a bit of his story, his thoughts on Elton, how much and in what ways he cares or fails to care about Elton and how that evolves over time, what he’s thinking and feeling as he watches Elton skyrocket beyond anyone’s control. And I’m always fascinated by queer relationships in less open times, the logistics of how they worked, life in the glass closet of the ‘70s music scene, the pressure that does or doesn’t put on relationships and the impact forced closeting may or may not have on the health of the Elton/John relationship.

More Prompts/Ideas:

• The actual healthiest part of their relationship is mostly passed over in the film for time--I love the “Honky Cat” sequence dearly, but that’s about it for not-completely-trash Elton/John. I’d love anything at all exploring this: what their first night after the studio closet scene is like, the early days of them deciding to become a power couple, extravagant parties they throw, holidays together, drugged times that are happier as opposed to sad, even simple domestic scenes of what the fuck they do when not on the road. (Ominous indications of where things are going in future are extremely welcome also if that's more your bag.)
  
• What does John think of the Troubadour performance, of the virgin Elton in his bed after? (I think the scene itself somewhat confirms the idea that Elton topped, which is hilarious to me--did John really let an inexperienced man top him? Does he teach Elton how to top him over time?) What is John doing between LA and the studio closet? Why does he come back to Elton? What (besides the potential for money, of course) keeps him keyed into Elton? What does he think of Elton’s music before the infamous 20% scene, while Elton is still producing actually good music instead of “MOR shite”? Does he enjoy being backstage at a zillion concerts listening to Elton perform? (Does he get more jaded/bored with it over time?) Does he have any skills himself in the music world beyond managerial stuff, even if it’s just shittily strumming guitars sometimes or something? Why did John get into the music business in the first place as opposed to managing actors or something else?
  
• I am weirdly fascinated by John’s continual infidelity (conducting it like it’s an open relationship when it isn’t?) and Elton’s relation to that. When does Elton first realize John is also fucking other people? Do Elton’s feelings about it change over time? Does Elton ever watch John fucking some random other dude (and get off on it, or not)? Does Elton fuck other people on the side as well, or try to (to get back at John?) but find himself unable to get true joy out of extracurricular sex because he’s too stuck on John? (Or does he fucking love it himself? Does the difference depend on how coked out he is?) How often does Elton confront John about it before the pool scene when things finally explode?
  
• Their first times exploring drugs (together? apart?) always fascinate me. On screen we don’t really see John drugged out or drunk much (though in reality he was also a pretty huge addict, AFAIK)--does he get involved himself? Is he just better at masking/controlling addictions compared to Elton, who is incapable of hiding it? Is he able to partake pretty extensively without being as affected? Is he more of a sex addict than a coke/alcohol addict, and hence the constant cheating? Is he affected by Elton’s spiraling addictions and forces himself to feel coldly toward Elton later to avoid getting sucked in to the massive black hole that is Elton's height of addiction, or is it more calculated than that?
  
• The one time we see John physically slap Elton onscreen is, fascinatingly, tied to his coming-out call with Sheila. What is John thinking while watching Elton frantically pour his heart out over the phone despite an extreme time crunch? (Is John out to his own family? Is he estranged from them? John seems to get on well with Sheila later--how does that relationship develop? When does John first meet Elton’s family, anyway? What is John’s relationship with Fred like?) Is that the first time he’s ever struck Elton physically? Does he try to make amends later or pretend it never happened? Does he strike Elton again? Does Elton ever strike him, or is he more of just an object-thrower? How do their different styles of temper smash up against one another?
  
• Full-on orgies/threesomes/whatever with other people welcome if you want to go down that road (including with Bernie, if you want to go there). Do they partake in sex parties together? How are they relating to one another (or, crucially, failing to relate to one another?) while watching each other fuck other people? Is John using orgies/threesomes/etc. to try to control Elton or Elton’s appetites somehow? Do they go to clubs or bathhouses and pick up men together? Do they separately hit up a club or bathhouse or something and accidentally encounter one another while they’re there? (Bonus points for something like that happening after they’ve broken up--is it awkward? Embarrassing? Weirdly not either of those things?)
  
• How do they work (or not, lmfao) once they’ve finally broken up but are still around each other constantly for years on end? Does John subtly try to sabotage Elton’s relationships with other people afterwards? Does Elton try to fuck up John’s personal life? Is John supplying men for Elton to keep him occupied on the road? Do they ever get so bored/drunk/fucked up/whatever that they occasionally have one-off sex (that they then regret, for whatever reason)? Elton’s career keeps going on quite well even while he’s producing garbage music and strung out constantly; does John have a hand in keeping things afloat? What is John thinking while watching Elton attempt heterosexual marriage (and ending up his best man)?
  
• IRL John stayed Elton’s manager for years after rehab until they parted badly due to suspected embezzlement--how does this shake out in movieworld? Does Elton boot John immediately after getting out of rehab? Considering how rehab/contrition/making amends is quite a large theme in the movie itself, is there ever a potential for John to...not redeem himself, exactly, but for Elton to make peace with him? (If you want to have a fuller redemption, for lack of a better word, of John somehow, I’m completely fine with it, but if your attitude is more along the lines of “nah, fuck him, Elton doesn’t need to accept any apologies from him” I completely understand that and am cool with it as well.)
  

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