#Mitch Sheppard

[jumpingpuddles]

Stargate Atlantis: Be All My Sins Remember’d

[sga-mcshep-4ever]

"You shot me!" "You're already dead." "Sir, give me—" "I'm beginning to have my doubts about you too, Lieutenant. I wouldn't put them to a test.

Now, somebody explain to me what the hell is going on here!"

[positivexcellence]

creationentertainment: Photo ops are so much fun at our conventions!

Here’s a peek at some fun ops during The Road So Far… The Road Ahead tour!

We hope to see you at one of the tour stops next year! Locations, details, and tickets are available at CreationEnt.com!

[spnscripthunt-inactive]

For every $10 you donate to RIP Medical Debt, you will 1) be erasing about $1,000 in medical debt and 2) be entered in a raffle to win one of the items listed below. The more total donations we receive, the more scripts will be made available as prizes.

DONATE HERE

ENTER RAFFLE HERE

When donations reach $1000 total, we'll add:

3.06 'Red Sky at Morning' - Production Draft signed by Rob Benedict at Creation Tour: Minneapolis 2023. Includes 3.05 'Bedtime Stories' - 2nd Unit Call Sheet & Sides.

Set: 4.11 'Family Remains' - Yellow Collated (REPRO); The X-Files 4.03 'Home' - Blue-Pages and Pink-Pages. Set inspired by an old  interview where Kripke said of 'Family Remains,' "You know, we want an episode like X-Files 'Home.' Like let's make an episode that the network will air once and people will complain so much they'll never air it again." 

11.07 'Plush' - 8 Days of Call Sheets and Script Sides (complete script). Day 4 call sheet signed by Nate Torrence at Salute to Supernatural: Washington, D.C. 2022; Day 2 call sheet signed by Jared Padalecki at Creation Tour: Washington, D.C. 2023.

12.03 'The Foundry' - Blue Draft signed by Mark Sheppard at Salute to Supernatural: Vancouver 2023; Misha Collins at Jus in Bello 11 (Rome).

15.05 'Proverbs 17:3' - Production Draft signed by director Richard Speight Jr. at Creation Tour: Dallas 2023.

Set: Walker - 'Pilot' - Network Draft (REPRO) signed by Jake Abel, Keegan Allen, Jared Padalecki, Jeff Pierre, and Mitch Pileggi at Creation Tour: Chicago 2023, Richard Speight Jr. at Creation Tour: Washington, D.C. 2023; Walker: Independence - 'Pilot' - Revised Network Draft (REPRO) signed by Philemon Chambers at Creation Tour: Washington, D.C. 2023.

Gotham Knights - 'Pilot' - Pre-Production Draft (REPRO) signed by Misha Collins at Creation Tour: Washington, D.C. 2023.

FULL LIST OF PRIZES AND FINE PRINT HERE

Raffle closes November 5, 2023 at 11:59pm (EST)

[laf-outloud]

📸Nancy on Twitter

Some more great photos from Nancy! This time, with the Walker panel, and Mark Sheppard on the side, lol!

[courtoftheclueless]

How many flyboys in space hiding a slightly nerdy side and also trying to hide a whole bunch of trauma can I make eyes at before I have to admit maybe it's a type?

[carsonsweebabyturtles]

Carson Beckett in Every Episode - Trinity (S02E06)

Not enough Carson in this episode.

[gameofthunder66]

-(finished) watchin' Season 6- 6/14/2024- 3 [1/4] stars- on Netflix (CW)

SUPERNATURAL 6.22 The Man Who Knew Too Much

[sga-mcshep-4ever]

"What are you saying?" "Their chopper took an RPG when it touched down for a medevac. There was barely enough left to bring back for a military funeral." "What?" "You guys have been dead for years. Don't get me wrong. It's really nice seeing you. And you too, Mrs. Watson."

[laf-outloud]

Loved the post from Odette about how they went over and above for her as a new mother needing leave. Loved the comments from Mitch and now Mark S, two industry pros who've seen a full range of sets. Love how none of this is PR and some has leaked out from everyday crew calling Walker a Golden Goose workplace. Love all of this love for Jared (and us.)

It's great to see confirmation of what we already know! Jared (and other producers) have developed a fantastic working environment and through that, and his generous nature, Jared has developed true relationships with people that will last long after their working relationship is over.

[awritessomething]

I have absolutely no ideas for writing whatsoever pleaseplease leave requests!!! Smut, angst, fluff, whatever y’all want I can probably do.

Ill write for these people and probably more that I forgot (all male character x fem!reader) :

Formula 1:

Max Verstappen

Lando Norris

Oscar Piastri

Charles Leclerc

Pierre Gasly

Lewis Hamilton

Carlos Sainz

Daniel Riccardo

Mick Schumacher

Criminal Minds

Spencer Reid

Aaron Hotchner

Derek Morgan

David Rossi (preferably young)

Marvel:

Bucky Barnes

Tony Stark

Thor

Sam Wilson

Deadpool

Steve Rogers

Spiderman (Tom Holland, Andrew Garfield, Miguel O'hara)

Call of Duty

Keegan Russ

Simon "Ghost" Riley

König

Phillip Graves

Kyle "Gaz" Garrick

Star Wars:

Anakin Skywalker

Obi-Wan Kenobi

Kylo Ren

Luke Skywalker

Han Solo

Outer Banks:

JJ Maybank

Rafe Cameron

Topper Thornton

John B. Routledge

Harry Potter:

Harry Potter

Cedric Diggory

Draco malfoy

Ron Weasley

Fred Weasley

Blaise Zabini

Regulus Black

Severus Snape

Tom Riddle

Sirius Black

Lorenzo Berkshire

Oliver Wood

The Walking Dead:

Glenn Rhee

Daryl Dixon

Rick Grimes

Carl Grimes

Sports:

Joao Felix

Jude Bellingham

Brock Purdy

Leon Draisaitl

Jack Hughes

Vince Dunn

Mitch Marner

Connor Bedard

Wayne Gretzky (young)

Miscallaneous:

Jack Champion (Ethan Landry)

Patrick Bateman

Batman (Christian Bale)

Johnathan Crane

Finnick Odair

Josh Hutcherson (Peeta Mellark, Mike Schmidt, Sean Anderson, Clapton Davis)

Rodrick Heffley

Colby Brock

Sam Golbach

Tristan Dugray

Dylan O'brien

Bellamy Blake

Patrick Dempsey (Derek Shepherd, Ronald Miller)

Joe Goldberg

Timothee Chalamet (Wonka, Paul Atreides)

Minho (The Maze Runner)

Keanu Reeves (John Wick, Neo, Alex Wyler, Dr. Beckham, Julian Mercer, Ted Logan)

Jim Halpert

Farkas

Ulfric Stormcloak

Miraak

Ben Schnetzer (Max Vandenburg, Brad Land, Russ Sheppard)

Ralph Macchio (Daniel Larusso, Johnny Cade)

Dallas Winston

Sodapop Curtis

Robby Keene

Zuko (atla dallas liu)

Jet (atla sebastian amoruso)

Cillian Murphy (Johnathan crane, jackson rippner, Neil Lewis)

Evan Peters (all ahs characters, Luke cooper)

What I wont do:

Pedophilia

Beastiality or anything animal-y

Waterworks

Male reader (sorry)

Character x character

Threesomes or anything not 1x1

Character x oc

Specific body types (i just don’t see the point)

Daddy/mommy kinks

Incest or stepcest

(I’ll prob have to add on but its midnight rn)

[thefirsthogokage]

I am realizing I have seen Michael Beach in at least one place before The Rookie. And a few places since.

[dr-futbol-blog]

Runner, Pt. 8

If McKay's interaction with Ford gave us insight into what's going on with him at the moment, Ronon has a discussion with Teyla that seems to contain some parallels with John Sheppard's life:

Teyla: How long have you been on the run? Dex: Seven years. Teyla: And you have been on your own all that time? Dex: Not much choice. Teyla: Afraid of bringing the wraith down on anyone you were with? Dex: Can't go home. Can't stay in one place for too long.

Let's put aside the question of what "year" even means in the context that one is hopping from planet to planet in different solar systems. Seven years is a pretty curious number given how young Ronon seems to be here. He has been aged by the hard life he has lead, but he still seems to be around Ford's age. But for Sheppard's life, seven years might mean something. It could be seven years since he fell out with his father. It could be seven years since his divorce. It could be seven years since he lost Dex and Mitch, or Captain Holland. The timeline of his life is not entirely clear, but seven years certainly means more in the context of his life. And it's entirely possible he had avoided getting close to anyone for seven years. That it had been for seven years he felt alone before he met McKay.

Where Ronan has been isolated by the wraith hunting him, being unable to stay anywhere too long lest he get the people killed, Sheppard has been self-isolating--but much for the same reason. Sheppard also believes that he gets people killed, that people get killed because he gets attached to him. Sheppard was also unable to return home (either to his father or to his ex-wife), or at least he felt that way. He had spent six months prior to this mission flying helicopters in the most remote part of his world, so he too seems to have been unable to stay anywhere for too long. In this, Sheppard and Ronon are much alike.

So, if they are alike in this, what else does Ronon's story tell us about Sheppard? Ronon shares an incident in his past with Teyla:

Dex: One time I accidentally came across a planet with a village near the ring. Teyla: What happened? Dex: I stayed, one night. Ate a real meal for a change. Left right away the next day. Didn't matter. I later heard: the whole village...

Ronon believes that he invites calamities upon people he happens across. That he has to stay away from people lest he get them killed. And Sheppard believes the same thing. The difference is that Ronon is a victim, where Sheppard believes that he is so toxic, he is so damaged, he is such a bad person, that he deserves this. He believes that people he falls in love with are destroyed as a punishment for his wrongdoing (caring about them in the first place). That he shouldn't be around people because he knows they will pay the price for it, but because he just can't stay away, he just doesn't know how not to love, he keeps getting them killed. And it just makes him feel worse about himself every time he sees this happen, in a vicious circle.

And while Sheppard has tried to keep to himself, to not let anyone close to him, his neediness always drives him to seek human connection sooner or later. I discussed previously how Sheppard probably hasn't had a lot of opportunities for staying the night with anyone, even when he was married. How he was used to doing everything quickly and in a clandestine fashion when it came to sex due to the various institutional settings that he had grown up and spent most of his adult life in. How it probably wasn't easy for McKay to get him to stay for that night, the first time. We don't know what ultimately made him make that choice to stay the night, but it changed everything for him.

This could have something to do with the Chaya episode. The reference to a real meal connects this to the picnic they had on the promontory in Sanctuary (S01E14). Sheppard didn't stay the night with her, this much was clear. And he ran into McKay while he was leaving her quarters, McKay asking him why he was up so late. He's always up late, he told McKay, as though that was something McKay was meant to know about him already. And he declined what he thought was an offer made by McKay to "do some research" with him, like that also was something they were in the habit of doing together. There are hints here that they had already been "hooking up" by this time. Late at night, they had been "playing the game". But Sheppard hadn't ever stayed the night with McKay, had no intention of doing that. He stayed up much later than McKay anyway, it made sense to slip out while the man was asleep, to make sure no one caught on to what they had been doing.

It's also interesting that there was a visual reference to this scene in particular in how Sheppard walked away from Caldwell earlier.

Here, they went their opposite ways. Sheppard went to the direction McKay had come from and McKay continued to where Sheppard had been going to before he had been stopped by him. We know that they did not sleep together on this particular night, as we were told by McKay in the morning that he had been up all night. But I don't know how to read Sheppard's "No, thanks" other than as a response to an offer from McKay. Also, the fact that Sheppard actually had been walking in the direction where McKay was also going before he decided to go the opposite way? Could be his feet were leading him somewhere when he wasn't thinking, and he then made a conscious decision to go the other way following their altercation.

But in the next episode, Before I Sleep (S01E15), they're already looking for new quarters together (and even in maintext, they sleep together in this episode). They're looking for a bigger bed. Something had changed between these two episodes. Sheppard had spent the night with McKay between these two episodes. It's even possible that what ever mind-meld he did with Chaya made him yearn to get closer to the person he was falling for, fast and hard. Had made him open to the idea of letting someone get close to him. He did tell Chaya he needed to be home by midnight, he needed to get back to someone he cared about in order to spend the night with them. But what ever the reason, what ever the circumstances, after he had spent that first night with McKay, he was lost. His whole life had been changed by that choice.

For Ronon, staying the night had lead to the destruction of the village. For Sheppard, staying the night had destroyed every wall he had built inside him. He had let McKay get closer to him than anyone ever before. He had let McKay open him up in every way that he knew how. He had let himself love and be loved. Stupid and dangerous though he knew it to be, he had allowed himself to believe that it just might be okay this time. McKay had stood by him through so much, after all. He had saved his life many times. McKay was an end-of-the-line kind of guy. McKay made him feel safe and protected, like someone was watching his back.

And then, it hadn't meant anything. He had managed to fuck that up too. And worse yet, he had thought he'd gotten McKay killed by not going with him to the satellite platform, and he had felt pain the kind of which he hadn't even known existed. Having felt that, having experienced that, it didn't just go away when it turned out it had been a misunderstanding. He knew what it felt, now. He knew he couldn't go through that again. It would destroy him. And so, in order to make sure that wouldn't happen, that he wouldn't have to feel that kind of pain again, he had made sure McKay would stay alive if it literally killed him.

It wasn't wrong to want someone you care about to live, but it was selfish for him to make the decision without telling him, it was wrong for him to remove McKay's agency in this, he realized it now. Although he probably would do it all over again, it's possible he overreacted. And now, McKay was avoiding him. McKay could barely look at him. McKay came in late for team meetings when he asked him to come. McKay was hiding somewhere beneath cocoa butter and sarcasm, and he couldn't reach him anymore. It had been a mistake to let himself believe that it would be alright. It had been a mistake to let himself stay the night.

Just to underline this parallel between Ronon and Sheppard, the latter contacts them via the radio in the middle of Ronon opening up about his past to Teyla, and actually says the words "This is Sheppard":

Sheppard: Teyla, this is Sheppard, come in? Teyla: Go ahead, Colonel. Sheppard: You OK? Teyla: Yes. We are fine.

Here, Teyla interprets Sheppard as asking whether they are fine when he very likely had meant to ask if she was fine. This just tells us that Sheppard understood the danger he put Teyla in by leaving her with him alone. But at the same time, Teyla is subtly giving him a sitrep. All is fine, for the moment.

Sheppard escorts Beckett to the cave carrying an assault rifle (not a designated marksman rifle, which they probably didn't have on hand), and he's doing his best to convince him that it's going to be okay and that it's safe while really having no way of knowing this is true. He is trying to hurry him along, though, trying to cut through Beckett's usual waffling (Beckett's response to danger is actually the kind that people often think McKay is like).

Sheppard: Alright, for what it's worth, I'd never send you in there if I thought the guy was gonna hurt you. Beckett: Is that opinion based on some sort of evidence, or is it just a gut feeling that this gentleman isn't dangerous? Sheppard: I didn't say he wasn't dangerous. He could probably kill you in the blink of an eye. I don't think he will Beckett: Well thank you, I feel much better now!

The tone in which Sheppard talks to Beckett here is strange. While he's trying to keep his voice down so as not to be overheard, his pitch is high in a way that indicates dishonesty. Like he's lying to Beckett. Sheppard had no intention of letting Beckett get hurt, this much is certain. But it seems like he's pulling his analysis of Ronon's character out of his ass. He's barely even had time to think about who this guy is, he has so many other things on his mind. Ronon could well try to hurt Beckett, he might be completely crazed for all he knows, and Sheppard's plan was to take him out with the riffle if he did turn out to be violent. But at the same time, he needed Beckett to get in there quickly, to get this over with as fast as possible, and he had no time to hold Beckett's hand through it. So, he tells a lie. John Sheppard lies a lot. And he also knows that the best lies have at least some part in them that is true. So he admits to Beckett that the guy is dangerous. But he needs Beckett to get in there regardless.

It's notable here that Beckett makes reference to Sheppard acting on instinct, making decisions based on a feeling, as Caldwell accuses him of the same thing at the end of the episode. And Sheppard tells Beckett he's making a rational call here -- and it is true. First of all, he is taking precautions so this is not based on Sheppard just feeling like Ronon can be trusted to act a certain way or not to pose a threat to Beckett or Teyla. He's taking Ronon literally in his crosshairs because he's not quite sure about him. But even more than that, the fact that Sheppard is here with Beckett and Teyla at all is him going against his feeling.

He has made a conscious decision to override his instinct, which is to find McKay now and make sure he's alright, and has instead delegated this task to his men. His every feeling is telling him he should have done the opposite. But he had to stop and think about how to proceed here. He has done what McKay would have wanted him to do, which is not to act on impulse but actually weigh the pros and the cons of the situation. He's doing what he thinks McKay would have wanted him to do. And so it is ironic that Beckett and Caldwell both accuse him of acting on a feeling.

Sheppard makes a reference to the fable of Androcles and the Lion here, which I'll return to later. It tells us that he has a classical education, which hints at a boarding school background. But what's real interesting is that Beckett poses the question of who Sheppard is in this retelling of the fable. Beckett suggests he stands in for the Romans, but Sheppard doesn't respond, he only smiles at him.

And this episode is a retelling of the fable only it's not Beckett that is Androcles despite Sheppard trying to use the fable to inspire some courage in the timid doctor.

Furthermore, because Beckett is much more the way people often think McKay is, this gives us an opportunity to contrast how Sheppard deals with Beckett as opposed to McKay.

Here, he's really managing Beckett the way one would manage a child, up to and including the use of educational fables. He's using a gentle tone, he sprinkles his words with smiles, he is really trying to make Beckett feel more confident and less scared. He knows Beckett is out of his depth here. Now, McKay trusts Sheppard so much that he does what ever Sheppard tells him to do (even taking the sunscreen with him, just like Sheppard told him to). Sheppard doesn't need to convince him, and he doesn't need to inspire courage in him. Quite the opposite, McKay inspires courage in him a lot of the time. And Sheppard never speaks to McKay like he's a child. There is a mutual respect between them.

Sheppard watches Beckett operating on Ronon through the scope of his rifle. Clearly he could have taken the shot when he sees the man lose his focus on Teyla but he decides not to do it. Ronan passes out naturally from the pain, and Sheppard joins the others down by the cave while the big man is out cold.

And, just as soon as he's satisfied that the situation here is under control, he feels the need to move on to other more urgent, more important things. He has to find McKay and Ford. And make no mistake, it's finding McKay that is the priority for him. They came to this planet to find Ford, but McKay is the one foremost on his mind:

Sheppard: We know at least one wraith tracked Ronon here. I'm gonna go look for McKay and Ford. Teyla: Yes, we will be fine. Beckett: Now that the lion's passed out cold.

He literally tells us. He's going to go look for McKay--and Ford. Not for Ford, and McKay. Not for Ford and McKay. McKay, and Ford besides. He's going to go look for McKay, and he's going to keep an eye out for Ford while he's doing that.

Meanwhile, the sun has apparently set on the planet and McKay is still trying to talk sense into Ford as they wade through the deep dark woods. Ford doesn't seem to be in a chatty mood anymore, having gotten a lot of what was eating him out, but McKay is trying to relieve his own anxiety by keeping the (one-sided) conversation up:

McKay: Look, if you'd just turn on your radio, we could hear what's happening. The others must have called for back-up by now. Maybe Sheppard and Teyla don't even need rescuing any more.

Ford shoves McKay out of the way as he hears a noise in the bushes, and while it's possible he does not know his own strength, it's still unnecessarily forceful. This is symbolic: he means to protect McKay by pushing him out of the way when he detects danger, but ends up hurting him in the process. This is precisely what Sheppard did to him.

And here, Ford really does seem to have McKay's safety in mind, as he even hands his gun back to him. McKay himself is quite baffled by this gesture because he's not used to being held at gunpoint by someone one moment and then having the gun handed back to him the next. Ford even cocks the gun before handing it to McKay, making sure it's ready to use in case he needs it.

And, contrasting him with Beckett again, McKay actually does seem ready for action. He's not frightened, he's preparing for action.

It turns out that it's their own guys and make no mistake, these marines were looking for McKay. These are men that Sheppard had put on finding McKay duty while he felt like he was forced to go watch Beckett play Operation with the cave man. Because Ford seems to think these men are a threat, and because they don't immediately lower their guns when McKay suddenly jumps out of the bushes and probably gives them a fright does not change the fact that the only possible reason these men would even have for traipsing through the woods was to look for McKay.

But alas, Ford takes them out as he feels threatened by them but uses the stunner instead of killing them.

Ford: What the hell are you doing, McKay? McKay: What the hell am I doing? What the hell are you doing?! Those are our guys! Ford: I can't trust them!

It's interesting the it seems to be the lack of trust that is Ford's main issue, and biggest obstacle keeping him from being able to come back home. The enzyme is making him paranoid, to be sure, but at the same time, he doesn't know what to expect from his former team members. He thinks that the enzyme is the best thing that has happened to him, and he is fairly sure they would try to take it away from him. But at the same time, Ford is being held up as a mirror for McKay in this episode and it's interesting that he takes out a pair of marines because he can't trust them because with Sheppard's promotion, McKay's mistrust of the military seems to have ramped up. He has had to hide a part of himself throughout his entire professional career because of their rules and regulations, and he cannot trust them to show any leniency if they ever were to find out who he loves. And worst of all, he's not the one who would end up paying for it, it would be the man that he loves. So, McKay can't trust them either.

But at the same time, these two marines are not responsible for all of that. They are Sheppard's men, and as such, McKay feels the need to protect them. Because Sheppard isn't here to save them, it's up to him to do what Sheppard would do.

McKay: Oh, that's it, I've had it. Just drop your weapons now! Ford: You're gonna shoot me?! McKay: I will if I have to. Ford, I'm taking you in. Look, you may not believe this, but it's for your own good.

For one, McKay once more has really good form here, a professional grip on the gun. He also has pretty good aim: he notices Ford lifting his arm holding the stunner, so he takes a shot at it. He hits the target he means to hit, intending to incapacitate his shooting hand. Now, McKay's voice shakes a little as he tries to talk Ford down, he's going for a commanding tone and not quite getting there, because this is a really intense situation. He's not not afraid. McKay knows better than most people that Ford is a dangerous man even without being hopped up on some alien enzyme that makes him stronger and seemingly a lot crazy.

But like always, he feels the fear and does it anyway. This is what makes him a hero. He tries to do the right thing even when the odds are stacked up against him. But this also tells us that Sheppard has been training him, and he's been learning well. And it's in situations like these that he calls on that internalized version of Sheppard, trying to do what Sheppard would do, trying to be the man he thinks Sheppard would want him to be. And what's more, he's right. Later on, Sheppard makes the exact same call. But here we see that both of them are still carrying the other man inside, using the idea of the other to tell them what to do when they are lost. They are both doing that.

Continued in Pt. 9

[eisforeidolon]

Question: What episode are you guys most proud of, that you just made and you really knew this is something special?

Jared: What episode are we most proud of that we made - of Supernatural?

Question: Of any show.

Jared: I'll go with Supernatural because we've got some Supernatural family members up here. What episode - I guess I'll start - sorry, I hear a little "Eeeeeeeeeeee" Was E.T. just up here? Why are we hearing "Eeeeeeeee" - just kidding, kidding. I think for me, this may seem obvious, the episode I'm most proud of and the most difficult episode to shoot was the series finale. It was rough. It was really rough. And it was a weird - I think when the COVID strike happened, we got - Jensen and I got sent home from Canada on Friday March 13th, Friday the 13th, appropriately, of 2020 because they thought they were going to shut the borders down. So they were like, get across the border, go see your family, we don't know what's going on, you know, there's a worldwide pandemic. And so we had the scripts by then, we had the last two scripts of the series and we got home and didn't go back to Vancouver until August 1st-ish? So I had four months - and a half - to sit there and read through the dialogue, I couldn't read through the scene, the barn scene especially, without crying. And so I'd like go - yeah, we have a little treadmill at our house - and so I had nothing else to do, I'd be like hey Genevieve can you take the kids for a second, I'm gonna go and just get a little run in and read through the episodes. And she's like, yeah, do it. So I'd go and I'd come back and my face would be all puffy and red, and she'd be like, oh shit, are you okay? Like, thinking I got bad news about a friend with COVID or something, and I'd be like yeah, just read the finale, it's cool, it's cool. Yeah, so that was very difficult. But I was very proud of that and it was very heartbreaking as well. Guys and gals?

[Julian Richings talks about being proud he was able to hit his mark in the big boat of a car Death drove in his intro, Sam Smith talks about all the little missing pieces character moments of Mary in Absence, and Alaina Huffman reminisces about getting "to kick the shit out of Crowley" and how great Mark Sheppard is.]

Mitch Pileggi: I'm gonna keep it with Supernatural, because I've been so fortunate to have such a long career and I can't remember most of it, so I couldn't remember moments from it. Probably the hugest, one of the hugest moments of my life was the day that I met Jared Padalecki. And, I mean, I've got the job, so I don't need to say that. Yeah, he ain't gonna fire me. So it was huge, I met an individual that has been so giving and so - to my family, to me and to my family and everybody around us on the show that we're doing now. I have to say that the show that we're doing now is my favorite show that I've ever done in the forty plus years of my career. Without a question, without a doubt, if you haven't seen it, start watching, please. But I think as far as Supernatural, I didn't understand most of what that character was doing and I'm still trying to figure it out. So, I mean even Bob Singer was like, what the hell is going on with those Campbells? So. But I have to say, the scene that I had with Jensen where he turns into the Yellow Eyed Demon was a blast. I had so much fun. I got to get up and sniff on Jensen real good and it was fun, I really enjoyed doing it. And just - like for both of them, when I met both of them, I think I took Jensen aside about four days working on the show and I said I just want to say that you two guys have got your heads screwed on right. Keep it that way, because this business can really twist you up and it hasn't done it to this day, so.

[nimuetheseawitch]

So, I saw that @sparrowsarus did the first lines tag thing, and I wanted to do it, so here we go:

Rules: Share the first line of your last ten published works or as many as you are able and see if there are any patterns!

Release Your Burdens (SGA kinda OT4, E, 560) John was practically buzzing as they walked through the gate.

The Young and the Reckless (SGA McLorne, T, 1126) “Can I bum a smoke?”

You've done a number on me (SGA McShep, G, 4240) Rodney sat down at the lunchroom table, nodded in silent acknowledgment of his coworkers, and took refuge in the newspaper.

Good Vibrations (SGA/SG-1 John/Vala, E, 2738) “Did you know that there are entire shops dedicated to orgasms?”

I've bit my tongue too long to hide the blood I'm covered in (SGA/POI, John Sheppard/John Reese, M, 615) He was a little rusty, but this language was one that he had learned long ago: a glance, a subtle touch before turning away.

There's no one I would rather be lying beside (SGA/SG-1 Sam/Janet, T, 476) "Atlantis really suits you, Sam. The longer hair, the expedition uniform, the sea and sunlight. It's doing you a lot of good."

The tensile strength of friendship (SGA Gen, G, 1213) They stepped through the Stargate and straight into the market.

Out of the Blue (SGA Gen, G, 201) The color faded out of his world with every drop of blood on the sand.

Dear Rodney (SGA McShep, G, 1337) Rodney generally avoids the mail - he hasn’t received any personal written mail in years now that everyone he knows uses email.

Dear John (SGA John/various, G, 1645) Mitch and Dex made fun of him when they realized all his letters were technically Dear John letters, especially when they found out Nancy actually began every letter that way.

Patterns-wise, I don't actually see much. I did notice that I have been avoiding working on my longer WIPs, but that I'm recently, doing a bit better about my goal of getting more comfortable writing smut.

No pressure tags for people I haven't seen tagged in this yet: @marley-manson, @colonelshepparrrrd

[sga-mcshep-4ever]

"Let's get out of here." "Why?" "You want to see Earth, right? It's out there." "I thought you would want to spend time in your home, visit with friends." "There is an idea." "Hey!" "Mitch. Dex." "You didn't really think you could pass through town without seeing us, did you, Shep?" "So you going to invite us in or what?" "Yeah, sure. What the hell?" "All right. Hi. I'm Dex."