#dr daniel jackson what can i do for extra credit

[peachesnqream]

hypothetically if i wrote a fanfic about him would yall read it? hypothetically of course

[peachesnqream]

you’ll never make me stop asking “dr jackson what can i do for extra credit?”

[aion-rsa]

How Thor Changed the Marvel Cinematic Universe

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Marvel’s Thor, the first theatrical live-action film to feature the comic book giant’s version of the Norse God of Thunder, opened in theaters a decade ago, on May 6, 2011.

Directed by Kenneth Branagh and starring a then little-known Chris Hemsworth in the title role, Thor was the fourth film in the still-nascent Marvel Cinematic Universe. It was also — as we look back at it now — a pivotal one in the development of the MCU.

“I’m very proud of my part of it,” Branagh told us a couple of years ago about his handling of Thor. “Which was providing a sort of backbone that they could comically riff off, but at least it originally contained some of the high stakes Nine Realms import that that larger mythology has to have as well.”

Thor took the franchise off the Earth for the first time and into the cosmic side of the Marvel mythology, introducing audiences to the Nine Realms, the kingdom of Asgard and other mind-bending concepts that comic fans had adored for years but which were a major risk to put in front of mainstream moviegoers.

Even the character of Thor — with his helmet and his hammer and his arch way of speaking — often seemed to skate perilously close to laughable in the pages of the comics themselves. But he was also a mainstay of the Marvel line and a charter member of the Avengers, the superhero team that Marvel based its entire initial run of films upon.

Marvel

Thor didn’t take the Rainbow Bridge to the screen

A Thor movie based on the Marvel Comics version of the character had, surprisingly, been bandied around for years even before there was a Marvel Cinematic Universe.

The God of Thunder debuted on the page in Journey into Mystery #83 (August 1962), created by Stan Lee, Larry Lieber, and Jack Kirby. A founding member of the Avengers, he joined Iron Man, the Hulk, Ant-Man, and the Wasp in the pages of The Avengers #1 (September 1963). In the ensuing decades, he has starred in multiple iterations of the Avengers comics, plus many ongoing and limited series of his own.

An animated version of the character debuted in 1966’s Marvel Super-Friends show, while the first live-action incarnation of Thor (played by Eric Kramer) showed up in the 1988 TV movie The Incredible Hulk Returns, a follow-up to the late 1970s series The Incredible Hulk.

While Thor continued to turn up in various animated Marvel properties, it was in 1991 that the first full-length, live-action Thor movie was proposed — by no less than Sam Raimi.

The director, who later went on to make the first three Spider-Man movies and who is now working in the MCU on Doctor Strange in the Multiverse of Madness, revealed to the The Hollywood Reporter in the wake of Stan Lee’s passing that he pitched a Thor movie to the Marvel Universe co-creator over lunch.

“We worked together writing treatments and took it to Fox and pitched it,” Raimi recalled. “And they said, ‘Absolutely no. Comic books don’t make good movies.’ This was in 1991.”

The rights to Thor bounced around Hollywood for a few more years (at one point it was set up at Sony with David S. Goyer writing and possibly directing) until landing back at Marvel Studios, which had reinvented itself as an independently financed production company in 2005 with distribution through Paramount Pictures. The studio, run at the time by David Maisel with Kevin Feige as president of production, hired Mark Protosevich (I Am Legend and the unfilmed Batman Unchained) to write a script for Thor, with Matthew Vaughn (X-Men: First Class) coming aboard to direct in August 2007.

Marvel

Enter Tom Hiddleston as Loki…

No sooner did Matthew Vaughn sign up to direct Thor than he seemingly left just as quickly, although it was officially announced in May 2008 that he was departing. Creative and budget issues seemed to have sealed his exit. “Marvel loves the script,” he wrote in The Guardian in late 2007. “The only problem is that it has been costed at $300m and they ask how I am going to reduce it by $150m.”

Even though Thor had already been scheduled for a June 4, 2010 release date, Marvel still had to find a director. Talks were held with Guillermo del Toro, but he decided to direct The Hobbit instead (which he ended up leaving as well). At the end of its search, Marvel finally chose Kenneth Branagh, the Irish actor and director best known for his epic adaptations of Shakespeare’s Hamlet and Henry V — which kind of provided an idea of the tone Marvel was looking for.

Branagh was finally signed in December 2008, telling MTV News, “It’s a chance to tell a big story on a big scale…It’s a human story right in the center of a big epic scenario.”

Once Branagh was signed, the movie’s release date was pushed back from June/July 2010 to May 6, 2011, providing plenty of time for the film’s extensive visual effects to be designed and created and for Branagh to find his cast — starting with the God of Thunder himself.

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The first person allegedly approached was Daniel Craig, who had just starred in his second James Bond film, Quantum of Solace. It was because of his commitments to the already massive 007 franchise that Craig turned down the hammer-wielding Asgardian, although it’s somehow hard to imagine the tough-as-nails Craig as the egotistical (at least at first), young Odinson.

A long list of young, relatively unknown actors tested for the part, including Chris Hemsworth (who was just making his brief but scene-stealing appearance as James Kirk’s father in J.J. Abrams’ Star Trek), his brother Liam, the equally obscure Tom Hiddleston, Kevin McKidd from Grey’s Anatomy, Alexander Skarsgard (Godzilla vs. Kong), Charlie Hunnam (Sons of Anarchy), Joel Kinnaman (The Suicide Squad), and others. But Chris Hemsworth ultimately won the day, with Hiddleston landing the consolation gift that would keep on giving, the role of Thor’s villainous adopted brother Loki.

“That was my starting point, was that you have a character with a predisposition toward mischief,” Hiddleston said about playing the trickster god, during a 2010 set visit attended by this reporter in Manhattan Beach, California. “An inclination toward chaos and a delight in imbalance, and you couple that with the fierce intelligence that he has, and a chess master’s ability to manipulate events three or four steps ahead of the game.”

Adding even more gravitas to the production was the signing of the legendary Anthony Hopkins to play Thor’s father, Odin, along with Natalie Portman as Jane Foster, Rene Russo as Thor’s mom Frigga, Colm Feore as Laufey, the king of the Frost Giants, Idris Elba as Heimdall, and others. Also signed: Samuel L. Jackson for his third appearance as Nick Fury (in an end credits bonus scene) and Jeremy Renner as Clint Barton/Hawkeye, marking the live-action debut of the bow-and-arrow-wielding Avenger.

Filming on Thor began in mid-January 2010 and wound down in early May, with shooting taking place at Raleigh Studios in Manhattan Beach, California (Marvel’s studio home in the MCU’s early years), Santa Fe, and other parts of New Mexico, and locations in northern California.

Colm Feore told The Deadbolt that the Shakespearean training which he, Branagh, and Hopkins all shared enabled them to quickly communicate with each other while shaping the characters and finding the right tone: “One of the things that was enormously helpful on Thor was that during the breaks, Tony, myself, and Ken would be talking in Shakespearean shorthand about what the characters were doing, what we thought they may be like, and how we could focus our attention more intelligently.”

During that same set visit to the Manhattan Beach set of Thor, Marvel president of production Kevin Feige told this reporter and others that the movie was going to feature more extensive post-production work than other Marvel films. “When you walk around Captain America or Iron Man, you can get it,” he explained. “With Thor, what you’re seeing is only 30% of what the movie will be. This is the big question mark and to me that makes it the most exciting. I like it when people don’t exactly know what we’re going to do.”

Reshoots were completed in late 2010, while The Avengers director Joss Whedon shot the end credits scene in which Nick Fury reveals the Infinity Stone known as the Tesseract to Dr. Erik Selvig (Stellan Skarsgard).

Marvel

Marvel takes a big swing with Thor’s hammer

Introducing Thor and the Asgardians — who were essentially aliens, with technology so far ahead of our own that they seemed like gods to the ancient, more primitive people of Norway more than a millennium ago — was a major gamble for the MCU and its then-president of production (and now Chief Creative Officer) Kevin Feige.

Out of Marvel’s first three films, Iron Man and Iron Man 2 were massive, out-of-the-box hits, while The Incredible Hulk was a middling success at best. Yet all three films were Earthbound and dealt with plausible (as far as it went) science and technology. The science of Thor was — to borrow a phrase from the late science fiction titan Arthur C. Clarke — indistinguishable from magic.

“Asgardians are kind of ‘been there, done that’ when it comes to that kind of stuff,” said co-producer Craig Kyle to this reporter and others on the set visit. “For them to send you across the universe, it’s as easy as turning a key … Their technology is only as sophisticated as it needs to be to do extraordinary things.”

Making Thor, Odin and the other inhabitants of Asgard, Jotunheim and the rest of the Nine Realms into extra-terrestrial beings mistaken for gods by ancient humans took Thor away from sword-and-sorcery and fantasy and more overtly into the science fiction genre. But it also provided the film with a back story and mythology that was perhaps easier for modern movie fans to swallow — more Star Wars than the Völuspá.

“We just kept trying to humanize it all, and keep it very real,” Chris Hemsworth told Superhero Hype at the time about his approach to the title character. “Look into all the research about the comic books that we could, but also bring it back to ‘Who is this guy as a person, and what’s his relationship with people in the individual scenes?’ And working with someone like Kenneth Branagh, who has all those bases covered and has so many ideas, it was a hell of a time!”

In addition to taking the big creative risk of bringing Asgard and Thor to the screen, the movie took several other chances as well. Starting a tradition that Marvel would return to with films like Captain Marvel and Guardians of the Galaxy, Thor did not function as a traditional origin story. We meet Thor, Loki, Odin, and enter Asgard with only a brief introduction detailing the history of ill will and war between the Asgardians and the Frost Giants.

Thor’s journey in the film is not that of an ordinary character being bestowed with great powers and learning how to use them, the typical arc of a superhero film. He is fully formed here, if flawed, and as the film progresses he learns to be a better version of the immensely powerful being that he already is — with the help of the human beings that he meets during his fall to Earth.

When Thor — the likely successor to his father’s throne — reignites hostilities with the Frost Giants partially due to his own immaturity, Odin decrees him unworthy of wielding Mjolnir and banishes him, powerless, to Earth. That leaves the door open for the crafty Loki — who has discovered that he is not Asgardian after all, but the child of Frost Giants — to manipulate and scheme his way into power himself.

Marvel’s other big gamble was making Loki a much more fully developed antagonist than had been previously seen in many comic book movies. Skillfully portrayed by Hiddleston in a performance that made him an instant star, Loki is an empathetic, nuanced character whose longing for the love and attention of his adopted father — who lavishes more of both on Thor — leads him down a dark path and into a character arc that would take several years and movies to play out.

“I think Loki intuitively feels that he doesn’t belong there, he doesn’t belong with the family in Asgard and doesn’t belong in the pantheon of gods,” said Hiddleston at the time. “He’s confused about his place in the universe … We all reach a point in our lives where we think, ‘What the hell are we supposed to do with our life?’ Thor reaches that point in this film and Loki does as well, so yes, maybe if Odin had made him feel valued and respected and essential to Asgard, then it would have been okay.”

Marvel

Thor smashes all preconceptions

Thor had its world premiere in Sydney, Australia on April 17, 2011 and opened in that country — Hemsworth’s native land — four days later. It premiered in 56 more markets before finally opening in North America on May 6, 2011.

The film earned a 77% fresh rating and mixed reviews on Rotten Tomatoes, with critics praising the performances by Hemsworth and Hiddleston, as well as the grandiose family drama on Asgard, but less impressed by Thor’s journey to Earth and the climactic battle there against the massive golem-like Destroyer sent by Loki to kill Thor.

More importantly for Marvel, the film connected with audiences despite the perception that Thor was largely unfamiliar or dated. Thor earned $181 million at the North American box office and a further $268 million abroad for a worldwide total of $449 million.

While that ranks it near the bottom of the 23 MCU movies released to date (along with Ant-Man and Captain America: The First Avenger), it was a far from shabby showing for the early MCU and proved Marvel’s calculation that it could expand Marvel’s footprint on film beyond already established characters like Spider-Man, the X-Men and the Hulk.

“I liked it when people said, ‘Iron Man’s the B-Team. You’re calling out the B-Team!’ We knew it wasn’t,” said Feige on set about using what were perceived as lower-tier Marvel heroes. “We knew it was going to be great. And that holds true for Thor … here’s another one that will redefine us and at least raise the bar of what a comic book movie is, for both people who’ve read comics and those who haven’t.”

Thor expanded the boundaries of the MCU into the realms of space, alternate dimensions and cosmic conflicts, while putting another key part in place for the impending arrival of the Avengers. And while 2013’s follow-up, Thor: The Dark World, was a misstep and considered one of Marvel’s few outright failures, the studio brilliantly reinvented the character in 2017 with Taika Waititi’s Thor: Ragnarok, moving him away from the initial Shakespearean grandiosity and into a more humorous space.

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That in turn allowed Thor and Hemsworth to have one of the most profound character arcs across the entire span of Avengers: Infinity War and Avengers: Endgame. His story in those films, the box office clout of Ragnarok, and Hemsworth’s enthusiasm for the role led Marvel to commission 2022’s Thor: Love and Thunder — marking the first time an MCU hero is venturing into a fourth solo movie.

Ten years later, while not a perfect film by any means, Thor is still an enjoyable, consciously weird Marvel epic that proved the God of Thunder could bring the lightning even to modern audiences. And while Thor has seemingly abandoned the throne of Asgard for now, his first film’s place in the MCU pantheon is secure.

The post How Thor Changed the Marvel Cinematic Universe appeared first on Den of Geek.

from Den of Geek https://ift.tt/2RWjeeA

[tanista]

...And that's that, save for final editing tweaks here and there.

Over 240,000 words, 36 chapters, 26 months start to finish.

I did it.

Wow.

I'm feeling kinda giddy. Or maybe I just need lunch.

(What follows is essentially the Author's Afterward in the next chapter from the posted story, but the sentiment still applies here.)

To the readers who have made it this far you have my most sincere thanks for indulging me in this OC-inclusive, canon-divergent, three-way crossover AU. This has truly been a labor of love, for the fantastic shows and their inspiring settings and characters that have been a part of my life for so long, as well as the entire sci-fi genre, both literary and on screen. The best thing about the Stargate fandom is the extensive scope of the series, and how it can allow for so many different approaches in an entertaining mashup of ancient mythology and science fiction, served with intelligence, humor, and heart. I hope that I've been able to convey some of that in my own fashion and allowed it to lighten your own lives.

Have you ever had inspiration come to you in a dream? The idea for the whole story's been in my mind as bits and pieces for the past twenty years (!!) and I'm glad I finally had the time, drive and wherewithal to start translating the images in my mind into words. And that I felt free enough to go as big and epic as it played out in my imagination. I'm also glad it's taken me this long to do so, since I'm not sure I would've been able to write the same story without the maturity and added experience that comes from just plain living.

To be honest I never expected my modest AU would turn out to be so big a project. The story's been my lifeline to sanity in these very trying times for our world, as I suspect writing and reading fanfic has been for you, dear readers. Long live fan fiction and all who enjoy it!

This is the end of this story, but not of the AU. There's plenty of room for more adventures, multichapters, one-shots and vignettes alike. And not only by myself.

I'm opening it up to anyone who wishes to play in my sandbox if inspired. Additions, remixes or creations of any kind are welcome, so long as due credit is given. Have fun, give a nod in my direction (or an "Inspired by" link on AO3), and please let me know in the comments there what you've done. Any point in the timeline listed is fair game so feel free to expand upon anything- John and Rodney's relationship in Alpha Base and Atlantis, Sam and Jack's or Mac and Janet's- even future fics are welcome featuring the next generation(s). In fact, any of my original characters listed in Ch. 2 of Timeline and Who's Who in Ad Astra and original concepts in A Linguist's Guide to New Earth can be used, with credit of course. Or add your own, the more the merrier as far as I'm concerned!

If there's interest I'll create a collection on AO3 called Stargate: The New Earth Chronicles and open it to any rating or pairing- or crossover, if you think it can fit. All I ask is to keep it in the same optimistic spirit of soft apocalypse with a glimmer of hope, because now more than ever we need those happy endings.

Okay, time for me to give credit where it's rightfully due.

None of this would've come to pass in the first place if not for a certain actor and the two leading roles he portrayed so brilliantly. So thanks first and foremost to Richard Dean Anderson for introducing me to the original Angus MacGyver and later on Jack (Two L's) O'Neill, sides of the same coin as far as I'm concerned. The inspiration for my OC Rebecca Grahme came out of a desire to give both of them more family, and a concrete reason for doing what they do.

Thanks also to Michael Shanks for his version of Daniel Jackson, the first character on TV I could truly relate to, and proof that even glasses-wearing geeks (like myself) can be heroes. Indeed (to quote Teal'c) my admiration for everyone in both series- cast and crew alike- knows no bounds, for bringing to life a truly epic universe and giving it heart and wit, adventure and excitement. They are the reason why I'm still a fan after all these years.

I carry a warm fondness in my heart for the original MacGyver and the invaluable lessons he taught me about applied nonviolence, seeking creative solutions to problems and the willingness to do the right thing and stand up for others in the face of overwhelming odds. Those are values I still admire and try to emulate even today.

Many thanks goes to Sourlander and her excellent Loyalties series, for letting me incorporate Dr. Alex Lorne and her children Nora, Grace and Caleb into my 'verse. More adventures with Evan and Alex and family are welcome from you anytime.

As stated earlier this epic story is a love letter to the sci-fi genre I've been reading all my life, which taught me to think big when it comes to worldbuilding. Story inspiration comes from far and wide, particularly tales of space colonies both failed and successful, accidental and planned: Marion Zimmer Bradley's Darkover Landfall, Anne McCaffrey's Dragonsdawn, Jack L. Chalker's The Birth of Flux & Anchor, and the anthology Star Colonies (Martin H. Greenburg and John Heffers, eds.). Ursula LeGuin's Ekumen in her Hainish Cycle series is the model for the Stargate Commonwealth. Other elements come from the Cyteen trilogy by C.J. Cherryh (council government) and the alternate history anthologies What Might Have Been Vol. I & II, edited by Gregory Benford and Martin H. Greenburg (Ascended Daniel and Oma Desala's discussion).

Inspiration for elements of Atlantis Colony in particular comes from some incredible SGA fanworks on AO3: Speranza's Written by the Victors, LtLJ's Retrograde and Retrograde Extras series, ArwenLune's Rock Happy 'verse and Atlantis Program for Essential Skills Training, Three Fates by auburn and eretria, Wild Card by GillianInOz, Domenika Marzione (domarzione)'s version of Atlantis with its extensive cast of OCs, and The Body Holographic by Leah (Taste_is_Sweet) and springwoof. All are absolutely fabulous and mind-blowing, I cannot recommend them enough.

Once again my profound thanks to you, dear readers, for taking a chance on this modest AU. I hope you enjoy reading this story as much as I did writing it. Feedback is greatly appreciated, and will always be. I'd love to hear your thoughts.

Peace to you all. May we treat each other kindly and with respect, and strive together to create a better future for everyone's sake.

Take care,

Tanista

April 2019-June 2021

[fathersonholygore]

Netflix’s Black Mirror Season 4, Episode 6: “Black Museum” Directed by Colm McCarthy Written by Charlie Brooker

* For a recap & review of the penultimate Season 4 episode, “Metalhead” – click here Open on “(There’s) Always Something There to Remind Me” by Dionne Warwick. A woman named Nish (Letitia Wright) drives through a lonely stretch of mountains and desert. She gets to a BRB Connect station, though it’s obviously rundown. Nish hauls out the solar charger, and it’s going to be three hours before she’s fully charged again. Thus, her eyes wander to the Black Museum in the lot next door. It’s owned by a man called Rolo Haynes (Douglas Hodge). She meets him outside. There are no other tour goers, it’s just Rolo and Nish. He advises the place isn’t for the faint of heart. Yet in they go. They start heading through the museum. It’s a high-tech place, containing technology gone awry. We even see the lollipop from “U.S.S. Callister” among other things. Rolo used to work for a medical technology company. He first met a Dr. Dawson (Daniel Lapaine) going around hawking the latest gadgets. He shows Dawson some of the research they’ve been doing with rats. One rat, without actual physical pain, was able to feel the other rat’s pain through sensation. They’ve made a “neural implant” to help with diagnosing patients and their symptoms. A doctor can feel “exactly what a patient feels minus the physical consequences, like reading their minds.” So, Dawson starts testing out an implant. The patient wears a sort of neural mapping cap, and it’s linked to the implant. He feels everything the patient does. It helps everything from the basics, to serious diseases the doctor catches using this system. Rolo tells Nish that the doc and his girlfriend threw on the device to bang, as well. But all wasn’t perfect. No. Dawson hooked up to an important patient, and it’s a brutal experience. Something he’s “never known.” The patient dies. So what exactly happens to the doc? He blacks out. He goes through death without actually dying. And this really fucked up the implant. Pain became pleasure. Dawson got off on the things he felt at work, then his love life got a bit more dangerous, very destructive. Dr. Dawson developed a habit. Hooked on the sensuality of pain. He couldn’t get enough, lurking around the hospital hoping for a something really “juicy.” He’s a junkie, going so far as to let a woman die on the table because he’s getting off on her heart attack. This means Rolo and the hospital have to take him off duty, away from patients. What would the doc do then to find his fix? Start harming himself. Until it gets to extreme lengths, he’s full of cuts, he’s missing teeth. “None of it was enough,” though. He needed fear to get him off. Only pain didn’t do it for him. “You can inflict pain on yourself, but not terror. For that, you need a volunteer.” This sent Dr. Dawson out into the streets at night, finding a homeless person to wear the neural map while he drills into him. The cops found him, of course. Put him in a mental hospital. He has a permanent smile long into his psychotic coma.

Nish looks more around the Black Museum. She finds a stuffed monkey. We hear a story about Carrie (Alexandra Roach). We see her partying, getting pregnant with Jack’s (Aldis Hodge) baby. Then one day she’s hit by a vehicle in the road. She’s checked into St. Juniper’s Hospital. Jack visits every day while Carrie lies in a coma. They start using technology which allows basic yes or no communication, nothing overly special. Rolo went to see Jack about another new technology; “digitally extracting” consciousness and transferring it to another host. That means putting her consciousness into Jack’s mind, in the extra spaces the mind doesn’t use already. The couple go through with the procedure. Then, Carrie can feel, taste, sense all kinds of things again, all through her husband Jack’s consciousness. But this means they’ve got to spend every moment together. Even if it means him taking a piss, every last little second. “No privacy for him, no agency for her.” What happens when he’s got to start moving on and living his life again? Could get ugly. Jack goes to see Rolo, who says he can upgrade his “privileges.” They do that, meaning he can start putting his wife on a pause when he feels is necessary. Not long before he tries it out. Later, he un-pauses her back home; later as in months later, when Halloween comes around. Oh, shit. Things went a little better after the treated things like a separation. During the week, Jack paused their shared consciousness. On the weekend, Carrie got to come out and see their child. Things were better, at least until a woman named Emily (Yasha Jackson) moved in next door. This progressed into more than a neighbourly relationship. New problems for Jack to handle. Hard to spend time with a new woman when Carrie’s in there, “judging, bitching.” Jack and Emily go to see Rolo, who suggests “permanent erasure.” However, the widower refuses. Rolo has one more suggestion: they can transfer Carrie’s consciousness over to a stuffed monkey. Cute, right? Now, Carrie’s trapped in a place that was just like her coma, only two responses. No different than being dead yet still awake in that hospital bed. Emily makes clear to Carrie she must be a “good toy” to stay and not be deleted forever. A sad, sad existence. Finally, Rolo brings Nish to see a hologram, a “fully conscious upload” of a killer named Clayton (Babs Olusanmokun). Basically it’s the concept of holograms playing concerts we know today amplified, to a more real status. Rolo was trying to get into the business of celebrity consciousnesses. He went to see Clayton in jail, to snatch up rights to his digital self. All profits, he claimed, would go to the man’s family. After Clayton was executed, his consciousness was transferred. Born again in a new cell. A horrific afterlife. Particularly after they simulate his execution, over and over, for the paying customers, y’know. Quite disturbing. We didn’t know everything about Nish in the beginning. She’s come to the Black Museum for a reason, purposefully. To exact revenge on Rolo, for his capitalist use of the pain of others, specifically Clayton; Nish’s father. The water Nish gave Rolo earlier was drugged. This gives her time to do her own extracting of his consciousness, right before he succumbs to the poison. Nish has put Rolo into her father’s virtual consciousness, where he can’t say shit, and he’s unprotected against however long a shock she decides on giving him. She says goodbye to her father, then throws the lever, long past the limit, and watches as Rolo dies with the hologram of Clayton. Nish takes the monkey with Carrie inside, she lights the Black Museum up in slow flames, and drives off in her charged car on the road again. The whole time, her mother’s watching, her consciousness in Nish’s head. A real family road trip. Okay, I loved this episode! But Charlie Brooker owes Karl Pilkington a little credit, because the premises of the first couple stories are straight out of rambling Karl did on The Ricky Gervais Show. Check it out, I was blown away by the huge similarities, and I dig that Brooker, intentionally or not, played them out in this episode. Season 4 has been wild. Really hope we get more. Black Mirror – Season 4, Episode 6: “Black Museum” Netflix's Black Mirror Season 4, Episode 6: "Black Museum" Directed by Colm McCarthy…

[peachesnqream]

it’s a christmas miracle someone wrote a professor/student trope fic about daniel jackson. YES GOD.

[peachesnqream]

your prayers have been answered. dm me for the link 🫡

hypothetically if i wrote a fanfic about him would yall read it? hypothetically of course