#sga season 1

[autistic-danieljackson]

Another Atlantis thing that I love that they seem to have kind of stopped doing after season 1 is getting to see the characters in their everyday clothes. Like that's they're home, they're obviously not going to be in uniform 24/7 and I love getting to see some personality come through in the choice of clothes that they brought along.

[dr-futbol-blog]

Stargate Atlantis meta (Season 1 - episodes 1-13)

Here you can find all the entries for Season 1 (episodes 1-13) gathered together for an easier reading.

Intro

1 Rising

3 Hide and Seek

4 38 Minutes

Bonus

5 Suspicion

6 Childhood's End

7 Poisoning the Well

8 Underground

Part 1

Part 2

9 Home

Part 1

Part 2

Part 3

Part 4

10 The Eye/The Storm

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Part 8

12 The Defiant One

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Part 8

Part 9

Part 10

13 Hot Zone

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Season 2 (Episodes 14-20)

[scifidancer]

STARGATE ATLANTIS / "The Storm"

[mckay-sheppard]

+ Bonus

John Sheppard & Rodney McKay - Pré-gate smiling (1x01 Rising)

[halestrom]

[sga-owns-my-soul]

me looking at a picture of grown ass adults that are more than a decade older than me: look at these babies! tiny baby children!

[thesmilingfish]

My first poll!

The poll space is limited so I'm trying to explain a bit more below what the options mean.

+

Movie Reboot - Set the in the movie universe with only those versions of those characters remaining.

TV Reboot - All characters remain but with completely different actors and show runners are involved

TV Show Continuation - Set in the future. All original characters are referenced/known, but the show focuses on new characters/situations. Possible cameos from original cast members reprising their roles.

[1989nihil]

neither

Alright I'm curious. I've watched all three now and have feelings™️

[stargatefests]

Stargate Microfic Challenge

Since we're celebrating the Stargate Anniverary fest for both SGA (20 years) and Stargate: The Movie (30 year), thought we'd throw another opportunity to join in the fun.

What is a 'microfic' -- as used on Tumblr, a microfic is 50 words. Half a drabble. Now, we're not going to be the microfic police. If you want to write more or less than 50 words for any of these prompts, you're more than welcome to do so. But a goal of 50-ish words is a challenge. Or, heck, do art... icons, drawbles... whatever you think fits is good enough for us.

The list below are 35 prompts originally from the McSheplets list on Live Journal. Use them in any order, or go back to the original McSheplets list (here) and find some prompts you do want to write.

MCSHEP NOT REQUIRED, we're just stealing the prompts. Write any pairing, no pairing. Write SG-1, SGU... any forms of Stargate works are welcome!

No promises, but if you @stargatefests on Tumblr, we'll try to reblog your work. And/or we'd love to have your work on the AO3 collection: https://archiveofourown.org/collections/Stargate_Anniversary_Fest_2024

The overall fest deadline is October 31, 2024. So that also applies here. Do what you can, when you can! We all win when you share something with us.

List of prompts below:

challenge: 040 - season 1

challenge: 041 - secret

challenge: 042 - pretending

challenge: 043 - crossover

challenge: 044 - at first sight

challenge: 045 - sacrifice

challenge: 046 - anticipation

challenge: 047 - home improvement

challenge: 048 - hope springs eternal

challenge: 049 - wet

challenge: 050 - return

challenge: 051 - handy

challenge: 052 - destiny

challenge: 053 - attention

challenge: 054 - mixed signals

challenge: 055 - movie

challenge: 056 - post-series

challenge: 057 - just in time

challenge: 058 - hindsight

challenge: 059 - tease

challenge: 060 - accident

challenge: 061 - the other side 3 (amnesty or wild card)

challenge: 062 - borrowed

challenge: 063 - fall

challenge: 064 - epiphany

challenge: 065 - dadt

challenge: 066 - honor and obey

challenge: 067 - matchmaking

challenge: 068 - play

challenge: 069 - awkward

challenge: 070 - high

challenge: 071 - history

challenge: 072 - animalistic

challenge: 073 - coming out

challenge: 074 - forgotten

challenge: 075 - pride

[spiders-hth-is-an-outlier]

Recently I've been going back and reading some of my old SGA fic (some of my best, most interesting writing is there, most of it deeply overlooked because it was about violence and grief, with tangential romantic content or none at all, and of course that's never really been Hot Ticket stuff in fandom; I get it), and after I ran out of that, I decided to reread Pretty Good Year.

And, you know, when you read something you've written years later, obviously there's always little stuff that bumps you – that seems overly repetitive or too wordy or whatever your personal sins are as a writer, and you wish you hadn't done this or done it that way or whatever. Mostly it really is just “whatever,” but there's one really spectacular fuck-up in that story that I knew was there, but it continues to bug me more and more over time. And it really is just an error, and not a sign of my growth or whatever, because I meant it to be there and I just. Forgot. I was in a hurry trying to get it done and I forgot to put it in there, but there was supposed to be a line somewhere in the final chapter about the tight scheduling around their East Coast trip because of having to work around Eliot's rehearsal schedule, and I hate that I didn't work it in, because without it there's actually no resolution to his final conversation with Idri. You might guess that after considering it Eliot agreed to take the role, but nothing in the story ever tells you that.

And that honestly really bothers me, because it actually matters to the Themes and Motifs and shit of the story, which is a story that (sneakily) actually begins before chapter 1 – it begins in Los Angeles, even though you only get the Los Angeles story doled out in pieces throughout the text. It's important to the story that you know there was originally another version of Eliot, who is actually this universe's version of “Brakebills Eliot” – someone who was bolder and braver and more proactive, who struck out on his own at 18 to chase his dream and find his forever home and all that – Eliot the hustler, Eliot the actor, Eliot the Spectacular. And you learn, over the course of the fic, what happened to that Eliot: that he didn't have a Hollywood story, that his personal and professional lives in LA were both mostly too much effort for no real reward. That he burned out, and then he was betrayed, and that he never really recovered from that; on page 1 he's living this bleak, uninspiring life, paralyzed by ennui, with no idea where he's headed except to keep doing what he's doing forever. The version of Eliot that opens PGY is actually inspired specifically by the defeated, traumatized Eliot in the final few episodes of season 1 – the version that begins when he breaks down after killing Mike, and ends when Quentin crowns him High King. That's actually the whole story, right? It's a PTSD-ridden Eliot, afraid to get back out in the world, who's kind of plucked out of obscurity and chosen to be The One, and the story question is whether or not he can live up to this metaphorical coronation.

Fundamentally the answer is obviously that he can, because while it was impossible for him to get back on his feet after LA for his own sake, he's stronger when he does it all for this family who desperately needs him to be their linchpin if they're going to stay together. But I really didn't want the story to be entirely about the glories of Eliot discovering that he's an excellent tradwife – although it's not not about that, and he definitely is – because I don't honestly think Living For the Ones Who Need You is a great life plan, you know? I didn't want that to be the one and only key to Eliot's kingship/adulthood, so there was always this second story woven in about the other loss that Eliot suffered when Los Angeles collapsed in on him. The first real thing Quentin says to him, the thing that digs into Eliot enough to shift him from this sort of lazy, semi-interested seduction into genuine interest in Quentin, is that Quentin asks him what he does creatively. In whatever intuitive way, Quentin sees that Eliot is fundamentally A Creative, and connects to that and he values it, which starts to give Eliot permission to connect to it and value it again. These exchanges about Eliot the Artist are critical to the story all the way through: when he sings to Quentin, when Quentin gives him the piano and the theater tickets, when he gets the Wellspring job because of the costume he made, the gift of the sewing room, the conversation about The Greatest Showman. It's the B-story to the whole thing, that Eliot had written himself off as a failed actor, but is starting to wake up to the image of himself that he sees reflected back from Quentin, this talented, creative person who makes beautiful things and makes things beautiful. One of my favorite little punctuation marks in the story is when a drunk Quentin introduces Eliot to the wedding guests, and his go-to in vino veritas summary of who Eliot is is basically, “MY BOYFRIEND IS AN ARTIST.”

Chapter 13 is obviously the story's climax, and its job was to essentially Show Not Tell that Eliot has achieved the goals that I forced onto him, which had more or less four aspects: he had to be the one who saves Quentin from drowning, he had to be not just a generic Good Parent but a good father because of he himself authentically being one, he had to kind of put a final seal on the pact with Margo so that we know for sure his partnership with her is real and not going to be transcended or left behind so he can be Q's romantic hero, and he had to actually acknowledge that he is a Theater Kid forever, that he was wrong to leave behind a part of him that he loved and that sustained him internally just because it won't ever make him famous. I needed all those things to be in place for me to feel like Eliot was closing out the story successfully, and most of that happens in chapter 13: the Teddy story is punctuated in that conversation they have at the beginning of the chapter, the Quentin story is punctuated partially with the paired doctor and hospital trips, but emotionally I think is punctuated when they have the fight in between and Eliot manages to end with “I love you” anyway, the Margo story is punctuated by the intense privacy of their comfort sex and with Eliot being the one for the first time who holds the door open on them having kids – but that fourth storyline really doesn't come up in 13. It's punctuated by the conversation with Idri in chapter 12, when Idri sees right through Eliot's attempts to hide how exhausted he is by being so extensively, endlessly Needed, and says that when he was in the same position, he had theater as a lifeline. He pays it forward by passing that lifeline to Eliot, and even though I didn't think Eliot was ready in that exact moment to wrap his head around it, I always thought it was completely essential to the story for Eliot to say yes to that lifeline, just like he said yes to Ted and Quentin and Margo.

But he actually didn't say yes. And I meant to show that it had happened! I really, really intended to put something in chapter 14 that showed Eliot going back to acting in spite of the way it had let him down before, exactly in parallel to the way he went back to love and family in spite of the way he'd only ever been let down by those. It feels really essential that all those things end up closed up, rounded off, settled, and it drives me a little insane that one of them didn't. But now you know, I guess, that Eliot was in a community theater production of Fiddler on the Roof that summer, and also everyone thought he was terrific, and he loved every minute of it.

[sga-owns-my-soul]

wait ok adding on bc i was thinking about this this morning

specifically this quote and how i feel it represents rodney so well. (i haven’t seen rodney in sg1 yet so this is all based off sga)

we know from tao of rodney that he was blamed for a lot of things in his childhood, and we also know that he doesn’t trust or like his peers/co-workers. rodney doesn’t have any close personal relationships.

then he comes to atlantis. his relationship with carson grows. his relationship with elizabeth grows. his relationship with john and teyla and even ford grows. by the third episode, rodney is walking into an energy creature to save the city. in the storm/the eye, rodney regularly puts himself in front of elizabeth to protect her from danger.

rodney found love and acceptance in atlantis and it gave him the opportunity to grow and learn and better himself. he still sucks, and is definitely an asshole, but he’s trying. he actually makes an effort to be a good person, and he regularly puts himself at risk to keep others safe.

it’s real character development. he doesn’t magically change and become perfect. he works at it. we see him working at it and yeah sometimes he fails, sometimes he’s really shitty still, but he still tries. when he really does mess up, he owns up to it and apologizes (usually still with sass and/or sarcasm) and he tries to fix it. i love rodney bc he’s such a realistic character with such good character growth

the thing about rodney mckay is he’s SUCH an asshole like oh my god this guy is such a dick. other characters hate him and they’re so right for it. but he’s the best character in the show. he’s so good. i could watch him for hours.

he was one of the very first fandom poor meow meows. he’s a smarmy lil coward whiny baby man. he accidentally destroyed ¾ths of a solar system. when he flirts its awful. but he’s also the best man alive, the most courageous, selfless king. owner of my heart. never did anything wrong. and i would take a bullet for him.

rodney mckay has a lot of layers is what i’m saying and that’s why i still think about him even tho stargate atlantis ended like 13 years ago.

[dr-futbol-blog]

Stargate Atlantis meta (Season 1 - episodes 14-20)

Here you can find all the entries for Season 1 (episodes 14-20) + general meta gathered together for an easier reading.

14 Sanctuary

Part 1

Part 2

Part 3

Part 4 (Excursus on Ancients and their sexuality)

Part 5

Part 6

Part 7

Part 8

Part 9

Part 10

Part 11

Part 12

Part 13

Part 14

Part 15

Part 16

Part 17

Part 18

15 Before I Sleep

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

16 The Brotherhood

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Part 8

Part 9

Part 10

Part 11

17 Letters from Pegasus

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

18 The Gift

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Part 8

19 The Siege I

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Part 8

Part 9

20 The Siege II

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Part 8

General meta

McKay's sexuality

Sheppard is fast, McKay is slow

Sleeping arrangements

[scifidancer]

𝐒𝐓𝐀𝐑𝐆𝐀𝐓𝐄 𝐀𝐓𝐋𝐀𝐍𝐓𝐈𝐒 / "𝐔𝐧𝐝𝐞𝐫𝐠𝐫𝐨𝐮𝐧𝐝"

[mckay-sheppard]

John Sheppard & Rodney McKay - First Meet (1x01 Rising)

[mysg1spacemonkey]

Photo from the post below by @supplyship. I tried creating a poll on the reblog, but it wouldn’t work.

[spockvarietyhour]

Stargate Universe season 1 locations

SGA season 1 [1][2] season 2 [1][2] season 3 [1][2] season 4 [1][2] season 5 [1] [2]

SG-1 season 1 [1][2] season 2 [1][2] season 3 [1][2] season 4 [1][2] season 5 [1][2] season 6 [1][2] season 7 [1][2] season 8 [1][2] season 9 [1][2] season 10 [1][2] movies [1]