sga-owns-my-soul - Tumblr blog

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Everyone talks about beer on the pier. Not NEARLY enough gifsets of Rodney running to John’s room in the middle of the night screaming his name and John holding him and saying “Rodney, Rodney, I’m right here, what’s wrong?” and “you’re still here, alright? You’re still here. And I’m not going anywhere.” and “you wanna hang out, you can can just, hang out 🥺”. Beer on the pier is good, but the scene right before that is truly the pillar of the episode. They really did that.

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John Sheppard & Rodney McKay - ‘‘Let’s go have some beer on the pier’’ (5x06 The Shrine)

Because of johnsheppard-assshaker post :)

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You guys know about Metasci-fi, right? Martin Firrell interviewed a bunch of science fiction actors and actresses about certain topics. Things like paranoia, role models, secrecy, intimacy, etc. I waited years for it to come out, only for it to be released on ipads/iphones/apple products only (which I didn’t have).

I have an ipad now, thanks to a generous friend, and I immediately downloaded the Metasci-fi app. 

Firrell asks Joe Flanigan, “Is John Sheppard gay?”

Joe: “I wouldn’t dismiss that question at all. I think it’s an easy inference to make.”

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we are in dire need of some new media trend. we've done pirates, we've done cowboys; we've gone through two whole zombie revivals. aliens and space themes have basically been a constant since at least the 1950s, as have robots and evil AIs. we went pretty heavy on vampires for a while. we've also done dinosaurs, ninjas, musicals, wizards, sea creatures, ancient rome, ancient egypt, middle ages out the wazoo, entirely too much world war II, we're currently overdosing on our superhero phase, we've done monsters (misunderstood), monsters (radioactive), fake guy in the real world, real guy travels to fake world, caves & mining, vikings, what if you were really small, genre parody as a genre, sand, New York, time travel, something racist goes down in the jungle, neurodivergent detective, buddy cops, crooked cops, gangsters, bank heists in particular, kid has powers, revolt against the corporate world, portals, social insects, dragons, the British, global apocalypse, martial arts, roadtrip as self-discovery, Jesus, clones, clowns, babysitting goes wrong, demonic possession, ghosts of all kinds, talking animals, fucking with the stock market, restaurant ownership, dwarves, planes, and spies. where do we go from here. what's our next big thing

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Reblog for a larger sample size, if possible.

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just got to miller’s crossing in my first watch of sga and holy shit. i am going to break glass with my bare hands. do they even know what they did here with this episode?!?

ALSKJDHASF anon, u perfectly put into words how that episode makes me feel. absolutely the most INSANE 44 MINUTES OF TELEVISION I HAVE EVER WITNESSED. it's just So Much. they had to have known!!!

i love miller's crossing for what it says about john. here is a man who will do literally anything to keep a person he loves safe. even if it means convincing a man to kill himself. and i love how john's actual morality, as shown in this episode, stands in stark contrast to a "hero's" morality. especially because, alongside the viewer, i feel like some characters within the story can't help but perceive him as a heroic figure, or at least, someone who embodies a lot of the typical attributes. EXCEPT FOR THIS BLARING DIFFERENCE (which endears me to him greatly :))) he's willing to sacrifice himself for others, but not his friends)

and then, speaking strictly mcshep, that conversation they have when rodney asks john's permission to feed himself to the wraith???? like 1) what does it say about ur relationship that u feel like u need to ask john FIRST before u save ur sister's life???? 2) DO U REALLY THINK JOHN IS GONNA SAY YES RODNEY?? not to mention JOHNS WHOLE FACE THAT ENTIRE SCENE. opening his mouth, but being unable to say whats on his mind. using their respective ranks ("you wanna talk about chain of command right now??") to create some (any) semblance of distance between them so he doesn't have to acknowledge his feelings in the matter. or maybe because he just can't verbalize that he doesn't want rodney to die. or worse, he thinks his feelings won't be enough to change rodney's mind, and falls back on command structure as a last resort. either way u interpret it, its PAINFUL. so much pining repressed john.

and on rodney's side, that end scene!!! the way rodney wants to understand what john did and asks him about it. but doesn't push when he doesn't want to talk about it. and just accepts it as normal person behaviour, at least for john. the obliviousness!!! AND EVEN THANKS HIM?? RODNEY, THANKING JOHN FOR A RESCUE??? despite how objectively fucked up it was??? be still my heart!

the big moments are so Big but the small moments get to me too. like, john playing with madison for .5 seconds on screen KILLS ME DEAD every time.

its not only the penultimate mcshepisode in my eyes, but an amazing john sheppard character study, as well. so glad it made u as feral as it made me when i watched it for the first time 😂

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Atlantis free-climb, "Quarantine"

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idk but i feel like this could be a good fic song (thx spotify for making my mix something called "obscure mix" lmao)

It's Criminal Minds day but these two have me by the neck so.

-

She's humming Here Comes the Sun, stretching her naked torso up in the morning light. It reminds him of something, of sometime in his past when he was bouncing between The Beatles and The Rolling Stones, and a teenage crisis of identity surrounded by bad choices of women and college life.

Not that he was sure who he was now, here in his seventies (when did that happen?) - Dave knew he probably leaned more towards The Beatles now, a quieter life with a slight mix of psychedelia only his day job could bring.

But her - Prentiss, Emily, whatever name he chose in the moment - made him feel a little more Mick Jagger and less Paul McCartney. She was ageing too, he knew, but it was almost like he couldn't see anyone in front of him but that bright-eyed, bushy-tailed woman in her thirties trying her hardest in a field even he found too hard, sometimes.

She was a standard, a heartbeat in a dark room; her smile brighter than the song she was currently filling the room with, her brain a marvel. They always found a way to fall together, to take chances on each other without pushing the envelope too far - but suddenly he wants to try to pull rather than push for once and see where this took them.

It wasn't about settling down - he'd done that, restlessly, technically four times - it wasn't about forgetting Krystall or marriage or building a home. It was about taking chances - something he knew he was always taking in brief breaths and long thoughts, because he was trained to be soberly extroverted with words and actively introspective with thoughts.

She made him want to tell her his misunderstoods, to let her profile him; to open up and let her hold him without a single word said against winter nights and open fires.

It was a pipe dream, a red tape bureaucratic nightmare, and he runs a finger down the bare skin of her back, eliciting a "hey!" and a smile that could light a room. To light his life, and he reaches for her - fuck the red tape - kissing her with touches of the unknown and a gusto he knows surprises her from her reaction.

"Dave?"

"Move in with me," and it's out before he can consider it a mistake, hanging in the air in such a way he can't play it off as a joke. There's a silence, a waiting, the wild chance she could take that he just took himself almost visible in the room; her face is one of confusion and a dropped mouth, and he finds himself waving his hands and blustering a bunch of words to try and cover up what must have been a momentous fuck up on his end. Then -

"Okay."

"What?"

She shrugged. "The brass will hate it, but I'm pretty sure the BAU boss doesn't care, she told me -" he laughs at this - "and I like your bed better than mine." Emily leans forward, her hair caping around her shoulders, and kisses him meaningfully. "Don't bitch about Sergio."

"An old cat and an old man. You ready for that life?"

Here Comes the Sun plays in the back of his mind as she smiles at him, wholly.

"Sign me up."

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"Perna." "One hundred percent cellular penetration in all five test inoculations. Incredible." "There's still a lot of data to be analyzed, but the initial results are very promising, I agree." "Dr. Beckett's efforts have advanced the project by decades." "Perna's formula was right on track. It was just a matter of changing its molecular design so it could be better absorbed by the body." "This is an enormous victory for our people, Doctor. I don't know how to thank you." "No need. Of course, it's only a preliminary." "How soon, then, until you can set up the next stage of testing?" "You'll have a schedule later today, Chancellor." "I'm sorry, "next stage"?" "Your report makes it abundantly clear that the project is ready to proceed to its next phase." "We want to test the serum's effectiveness against your prisoner."

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Taemin's 'Guilty'. It's in my head, do what you like I double dare you

/proceeds to take the “loving you’s a crime” line literally

John doesn’t feel guilty about it.

It’s cognitive dissonance, maybe, but the only people he knows in the military who aren’t operating under some form of cognitive dissonance are the ones who are dumb enough to be scary, no matter where they fall in the chain of command.

So, no, John doesn’t feel particularly guilty about his personal violations of the Uniform Code, never has.

It’s just—things are different, with Rodney.

It’s more than John’s ever had, more than he knows what to do with, and the fact that he’s sure Rodney feels the same way is both comforting and frightening.

They fall into Rodney’s bed together, late nights after whatever latest life-threatening disaster, and John can feel it in the way Rodney holds onto him, hands big and hot on John’s hips, the desperate way he whimpers John’s name against his neck. It’s slow, except when it’s fast; rough, except when it’s gentle, but what it always is, from both of them, is grasping, taking hold of something they’re not supposed to have and clinging hard.

And then, every time, John has to leave before the sun comes up. Every time, he dresses in the darkness and watches Rodney’s back, the steady rise and fall of his breath.

He thinks about what it might be like to see Rodney when he wakes up, to see the sun stream in from the window and light the soft curve of his profile in gold. He thinks about sharing kisses, touches, coffee, about two toothbrushes and a drawer with some of his clothes in it.

He shoves his feet into his boots, checks the hallway with the life signs detector Rodney leaves out on his desk.

John doesn’t feel guilty, but he’s not sure what he does feel is any better.

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rodney literally OVERDOSED in desperation to keep john safe HE LITERALLY. YOU DONT UNDERSTAND

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men should look disheveled and be on the ground more often

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Rodney McKay + snapping his fingers for @cassiope25

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Stargate Atlantis 1x09 - “Home”

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kaleb is the only miller to refer to rodney by his middle name instead of his first name

jeannie calls him mer and madison calls him uncle mer and kaleb calls him rodney

idk why but i'm gonna cry over this!!!

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@thebroodinginsomniac your TAGS

from FLORIDA

who wrote michaels backstory. who's job was it to come up with a backstory for the wraith they were experimenting on

was it carson? was he sitting there writing notes like "progress is going well, patients name will be Michael Kenmore, maybe make him military, retrovirus seems to have run full course"

did he have to walk up to someone and say "we need a backstory for the wraith"

was it a focus group? did the senior staff get together and brainstorm?

i need answers