I just... I think I've reached new levels of escapism. Because sure, the military corset and the hip cant = hot. But it's also weirdly dorky and charming. The fact that it's this candid set photo but in costume enough to feel like SGA rather than RPF... makes me feel like Rodney in a very warm and fuzzy McKay/Sheppard story -- the moment when Sheppard doesn't have any lines and he's standing over by the taven door, obviously thinking about meatloaf for supper and doing nothing of any consequence, and I'm sort of gleeful and happy that I'm totally standing in front of an alien tavern with Sheppard while he thinks about meatloaf and how his foot itches.
See, I had a long explanation at the ready, but you got there yourself ;)
I still think it's the posture more than anything else, the hip-drop combined with the slightly slanted shoulders, the body ready for a sweeping movement yet at rest, caught between tense and relaxed (and the golden spotlight from above helps). J is the stillness in the center of moving people, not overpowering but as usual in complete control of himself, and someone absorbed in something (slightly bent/lowered head) is always drawing our eyes).
No, seriously, I did the same thing. I think it's his neck. Or maybe his hips. Or the thigh holster. Or his pants stretching just right over his... *ahem*
All of those things. And that the nature of the photo it really easy to feel that I've actually stepped behind the scenes in the SGA universe and am checking off my Pegasus Galaxy Bingo card as we speak.
I noticed that photo too, and I think that's it. There's nothing from the set, it's just them in one of those stretches of time between episodes where it was just business as usual. And yes, he's standing just right.
Because he is illuminated like unto a Renaissance angel, and you keep thinking about AUs where DaVinci!Rodney is painting this masterpiece, see, with John as the model, and then in the future some art history student is researching Rodney and finds some secret something in the painting or Rodney's sketches and it's the McKay Code that leads them to the lost city of Atlantis?
*grabby hands* Yes. Please. Good. Go. Except, actually, I want more of the later styles with the stark dark and light and the candidly posed portraits set in taverns or streets. McKay was meant for the salon, he's so technically perfect, but he's been seduced by this... this... blatant eroticism.
John: But I'm just standing there! Rodney: God, I know.
Um. This unexpectedly became commentfic. I'm . . . sorry? Man, I wish I knew more about art history.
The McKay Code
Rodney finds Jesus in a bar in Colorado.
"Wow," the man says to him, raising his eyebrows. "And here I thought art history pickup lines only worked on undergrads. Thanks but no thanks," he says, and turns back to his beer.
Rodney splutters. "I wasn't--okay, look, I'm here with someone." He waves. "Wave, Sam," he mutters, and the blonde across the room waves back wryly. "It wasn't a line, you really do look just like someone in a Cavada painting, I look at the things for a living."
He launches into the rest of the explanation: he's a professor of art history, the nation's top Cavada scholar, and sometimes he recognizes faces from sixteenth-century sketches in real life. He's got photographs of the other three: a waitress smiling down like a cartoon of the Madonna, a man he literally ran into in a J.C. Penney's hastily dragged outside and photographed smiling up into the parking lot light like The Angel Appearing
( ... )
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And is hot. GO ME.
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I still think it's the posture more than anything else, the hip-drop combined with the slightly slanted shoulders, the body ready for a sweeping movement yet at rest, caught between tense and relaxed (and the golden spotlight from above helps). J is the stillness in the center of moving people, not overpowering but as usual in complete control of himself, and someone absorbed in something (slightly bent/lowered head) is always drawing our eyes).
I think I should stop now ...
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No, seriously, I did the same thing. I think it's his neck. Or maybe his hips. Or the thigh holster. Or his pants stretching just right over his... *ahem*
*studies picture some more, happily*
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. . . or maybe that's just me.
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John: But I'm just standing there!
Rodney: God, I know.
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The McKay Code
Rodney finds Jesus in a bar in Colorado.
"Wow," the man says to him, raising his eyebrows. "And here I thought art history pickup lines only worked on undergrads. Thanks but no thanks," he says, and turns back to his beer.
Rodney splutters. "I wasn't--okay, look, I'm here with someone." He waves. "Wave, Sam," he mutters, and the blonde across the room waves back wryly. "It wasn't a line, you really do look just like someone in a Cavada painting, I look at the things for a living."
He launches into the rest of the explanation: he's a professor of art history, the nation's top Cavada scholar, and sometimes he recognizes faces from sixteenth-century sketches in real life. He's got photographs of the other three: a waitress smiling down like a cartoon of the Madonna, a man he literally ran into in a J.C. Penney's hastily dragged outside and photographed smiling up into the parking lot light like The Angel Appearing ( ... )
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