One of the reasons why I'm glad the Multiverse stories are posted anonymously at first is that I find it intriguing what feedback one does and doesn't get without the name attached. (So far, some nice feedback for my main Multiverse story and the recipient of the pinch-hitting second one liked that one, which is a relief.) Conversely, I read stories without automatically starting with the writers I already know and love. Of course I play the guessing game - that's part of the fun - but I don't know, so the feedback is just for the story.
Some more recommendations:
Dancing in Emptiness (Firefly/Star Wars): River and Yoda. Short and wonderful, this is. Sense of River, Yoda does make. Sense of Yoda, River makes as well, which more difficult is. My admiration the author has.
Home from the Sea (Star Wars/ Star Trek): Oh, Leia. You know, like many a Trekker, I was disappointed with Star Trek: Generations, but here the notion of the nexus is used terrifically, and the enormity of all that Leia lost is brought home in a story where she hasn't lost it at all.
My Crew and Other Animals (Firefly/ Battlestar Galactica): Post-Serenity the Movie: the newest addition to Serenity's crew is one Kara Thrace. Mal point of view (side note: it occurs to me that in those crossovers, River or Mal are by far the most often used pov characters, leaving everyone else in the dust), and everyone is handled very well. The Kara/Inara relationship, and Mal's reaction sound both utterly plausible.
****
In my review of Army of the Dead, I mentioned loving the Doctor/Jackie scenes, and I know I was far from the only one. Here's some excellent meta on
Jackie and the Doctor, and why Ten's behaviour towards Jackie (and Mickey) is different from Nine's.
In other news, I squeezed in a PotC: The Curse of the Black Pearl rewatching. It did strike me that, as has been argued in a post someone linked me to when I asked for ELizabeth stories and meta, that you can really make an argument for these movies being Elizabeth's story. Not that they aren't also Jack's and Will's and even James Norrington's, but considering both movies together, I wonder whether the boys are not Rhett and Ashley and Melanie to Elizabeth's Scarlett. We start out with Elizabeth as a girl, singing her pirate song, and "a pirate's life for me" with everything that costs (and that eerie first scene, bringing on the wreckage, does make it clear pirates won't be all fun and games) is what she more and more gets. It's one of the things that makes these movies such clever twists on the cliché, because the cliché would have been Elizabeth-as-love-interest, The Girl, inspiring Will to heroic action and not doing much of anything else. We're getting our first suggestion that this won't be the case when she makes her "parlez" play and negotiates with Barbossa. Who tells her the code won't help her because she's not a pirate. Ah, irony. I do wish they would have kept the "no truth, no truth at all" and the "peas in a pod" scenes with Jack and the short conversation with Norrington within the movie, though, because if you haven't watched those deleted scenes on the dvd, you're truly missing some of where Elizabeth in DMC comes from.
Regarding audience expectations and the confounding of same: Scarlett, of course, comes from a very different novelistic tradition. The novelistic ancestress of The Love Interest aka The Girl would be someone like Rowena in Ivanhoe. Scarlett descends from Becky Sharp in Vanity Fair (and one of the reasons why I had problems with the recent film version was that they softened Becky so much in order to make her a more traditional heroine); she's the heroine of her own story but not the nice girl in same. Instead, the narrative makes her flaws very clear. More Scarlett and ELizabeth similarities: they both start out around age 16 as spoiled children of privilege but at the same time already gifted with vitality and will power. Adverse circumstances bring out their capacity for ruthlessness, which is a good survival skill, but also comes at a price (for other people, not just themselves). And now I wonder/hope whether, Disney rules not withstanding, Elizabeth might not end up with neither boy but her equivalent of Tara, which would be (like it is for Jack) freedom.