#wunderkind

[miamaimania]

Wunderkind Fall 2010 ⊹ Metallic tribal faces peer from leather heels, laced with craftsman's rope.

[myfloatingrock]

Wunderkind Berlin

[alternativerunway]

Wunderkind Spring 2011

[seb-boo]

[haveyoureadthisfanfic]

An Archive of Our Own, a project of the Organization for Transformative Works

Have you read Wunderkind (MacGyver)?

Yes, I am/was in the fandom

Yes, but I’m not in the fandom

No, but I’m in the fandom

No, I’m not in the fandom

Voting ended onNov 28, 2025

Summary: AU role reversal where Mac and not Riley is the one the team retrieves from the supermax. Jack Dalton's DXS team is in serious trouble. Their last mission to Lake Como left his computer-genius partner Riley Davis with a near-fatal bullet wound, their analyst Nick Carpenter dead, his body never recovered, and a canister of a deadly virus in the hands of the Organization. Their only chance of fixing this might be a young former vigilante currently serving time for domestic terrorism. Someone known to the criminal underground as "the Phoenix", and to law enforcement as "Angus MacGyver".

Author: @thethistlegirl

Submitter: @zephyrstillwrites

Note from submitter: A must-read for this fandom! Probably my favourite AU with a fantastic dose of angst and everyone slowly learning to care for and trust each other. Careful though because there is talk of rape.

[openingadoor]

Wunderkind Spring 2007

[bitter69uk]

Released fifty years ago (6 June 1975) today in West German cinemas: Fox and His Friends, one of the most lacerating statements by bad boy of New German cinema Rainer Werner Fassbinder (1945 - 1982). I would have first seen this one studying Film Theory at university over thirty years ago. All these decades later, the movie still delivers the sting of a slap to the face. For anyone wanting downbeat, feel-bad and perverse Pride month viewing, Fox and His Friends is a must! (Apparently, it’s easily found on streaming platforms including Tubi). “The point of the movie’s title is, of course, that Fox has no friends,” Roger Ebert concluded in his review. “Years before Hollywood made its first faltering steps in the direction of a new frankness about homosexuality, Fassbinder was miles out in front. He was so comfortable with gay characters that he felt no hesitation in portraying some of them as selfish, brutal and grasping — as evil, indeed, as heterosexuals in other movies. Here is a movie about characters who define themselves by their sexuality, but the movie doesn’t. It takes the sexuality as a given and defines them by their values and morals. And in the sad, slow descent of Fox, Fassbinder indicts their materialism and narcissism. It was a neat trick, how often he was about to begin with the materials of soap opera and expand them into an indictment of society.” Even by Fassbinder’s standards, Fox’s ending is relentlessly bleak. (It’s a bad sign when one of Fassbinder’s characters listens to Leonard Cohen records. Here, it’s “Bird on a Wire”. In Fear of Fear – also from ’75 – the tormented anti-heroine selects “Lover, Lover, Lover” and “Why Don’t You Try?”). All the performances are wrenching (especially Fassbinder himself - still young and cute here before the drugs and alcoholism prematurely ravaged him - who steps in front of the camera to portray the doomed titular character). But I especially love Christiane Maybach (1932-2006) (pictured) as Fox’s hot mess alcoholic sister Hedwig who always seems to be wearing an Anna Magnani-style black slip.

[whisperingwind]

Wunderkind (2010)