Resurrection (Stargate SG-1)

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"Resurrection"
Stargate SG-1 episode
Episode no.Season 7
Episode 19
Directed byAmanda Tapping
Written byMichael Shanks
Featured musicJoel Goldsmith
Cinematography byJim Menard
Editing byBrad Rines
Production codeP259
Original air date
  • February 17, 2004 (2004-02-17)
Running time44 minutes
Guest appearances
Episode chronology
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"Heroes" 		Next →
"
Inauguration
"
Stargate SG-1 (season 7)
List of episodes

"Resurrection" is the 19th episode from the

seventh season of military science fiction adventure television show Stargate SG-1 and is the 151st overall. It was first broadcast on February 17, 2004, on Sky One in the United Kingdom. The episode was written by Michael Shanks and was directed by Amanda Tapping
.

In the episode, Major

NID facility. They meet with Malcolm Barrett (Peter Flemming) who tells them that one woman, Anna (Kristen Dalton
) was responsible for the slaughter of 32 people.

"Resurrection" is the only episode of Stargate SG-1 to be both written and directed by members of the main cast, with Michael Shanks who portrays Dr. Daniel Jackson writing and Amanda Tapping, who portrays Major Samantha Carter directing. It is also the first and only episode of the show to be directed by a woman.

Plot

Major

Nazi War Criminal. Carter and Barrett begin their interrogation of Dr. Keffler (Brad Greenquist
), who is reluctant to tell them who Anna is or what the facility was being used for. Unsuccessful, they head back to Daniel and Teal'c who have been studying the artifacts, one of which is a locked Goa'uld ark, that they are unable to open.

Daniel visits Anna (

Goa'uld symbiote. According to the research logs at the facility, Keffler created Anna by combining Goa'uld and human DNA to create a hybrid
.

Through analysing Anna's drawings, Daniel discovers how to open the Goa'uld ark. However, on opening it, they discover it is a naqahdah bomb. Keffler tells Barrett and Carter that he created Anna as a conduit to access the genetic memories of the Goa'uld and that she has two personalities, Anna and the Goa'uld Sekhmet. Teal'c and Dr.

Lee (Bill Dow
) set about trying to defuse the bomb, whilst Daniel tries to get Anna to remember how to defuse it through meditation. This leads to Sekhmet emerging, who then sets fire to all the drawings in the cell. Anna manages to escape her cell, as does Keffler when he hears about her escape. They encounter each other in a corridor, and gunshots are heard, after which Daniel discovers them both lying dead.

Production

Development and writing

Michael Shanks who portrays Dr. Daniel Jackson wrote the episode.

The episode was written by

Crystal Skull", with elements of the pitch informing the episode "Evolution".[2] Additionally, Shanks also considered writing a story that would have explored Daniel's time as an ascended being.[3] According to Shanks his pitch for what became "Resurrection" "started as a vampire story" and became "a conspiracy story".[2]

In trying to find a place to start writing, Shanks looked to what he considered the "original concept" of Stargate, which was tying real world mythologies and mysteries into an SG-1 story. He imagined that during

NID, a rogue government organisation from the Stargate universe.[4]

Prior to meeting with the Stargate SG-1 writers, Shanks was asked to get as much of his story "on the page" as possible.[5] Upon meeting with the writers and show-runner Robert C. Cooper in early June 2003, Shanks described his idea "ended up getting bandied around the room", and the "details had to be rehashed, redone or fussed with a little bit and adjusted", with certain elements being cut and new ones added.[6][7] According to Shanks, after breaking the story the NID had become a much larger part of the episode.[8][9]

After completing his script, Shanks believed the "heart of the story was still there" but felt as though he had not been "quite able to fully realize" the relationship between his character, Daniel Jackson, and Anna. Shanks felt that this meant there was not "enough of an emotional connection" made to the character of Anna and therefore felt the ending was not as "poignant as it could have been".[9] Shanks described his finished story as "an Earth-based story" in which the NID "attempts to create a hybrid Goa'uld-human".[10]

Cast, characters and design

Due to it being the final episode filmed of season seven, Richard Dean Anderson had already wrapped for the year, therefore his character Jack O'Neill was not included in the episode. Don S. Davis character George Hammond was also absent.[11]

ad-libs.[11] Andrew Wilson, the show's second unit director of photography and Bruce Woloshyn, the show's visual effects supervisor both cameo as dead scientists.[11]

Art director James Robbins produced all of Anna's charcoal drawings.[13] Tapping asked that he "go really over-the-top scary" with his illustrations which would line her prison cell walls.[11] The script described the pictures as "alien drawings" that could be "anything from memories to nasty images". To tie the imagery into the story Art department assistant Teresa Uy researched materials relating to Sekhmet, which Robbins then referred to for many of his drawings, whilst he also produced illustrations of aliens, ships, the Stargate and "strange lands". Robbins ultimately produced around 75 pictures for the episode in three days.[14] Robbins also designed the Naquadah ark, which turns out to be a bomb. The prop had a number of mechanical and electrical functions, including a countdown timer. During filming, production had some difficulty getting the countdown timer to operate at the desired speed.[15][11] A glass cage that would imprison Anna was also designed and constructed for the episode. When first conceived, it was assumed that the cage would be built out of plexiglass, which was cheaper, lighter and created less reflections when filming compared to glass, however due to a scene involving a fire, a steel and glass version had to be created.[11]

Filming

Amanda Tapping who portrays Major Samantha Carter made her directorial debut with the episode. Tapping was the first woman to direct an episode of Stargate SG-1.

The episode was directed by

third season.[19] According to Tapping, "Resurrection" had been expected to enter production earlier in the season, however Shank's script had not been completed, which coupled with Anna-Louise Plowman's availability for "Chimera" meant the episode "got pushed back and pushed back until it was the very last episode that we shot" of season seven.[17]

As preparation for directing, Tapping shadowed Stargate SG-1 colleague Martin Wood directing the series Jeremiah.[20][17] Additionally, Tapping spent her time between her scenes observing directors Peter DeLuise & Andy Mikita, as well as talking to the show's camera department.[18] For prepping to shoot her episode Tapping was given 3 days, some of which was during the filming of "Lost City".[17][21][22] Tapping worked with art director James Robbins to produce storyboards for select scenes and then put together a comprehensive shot list.[13][11][23]

The episode was filmed entirely on location at Terminal City Iron Works in Vancouver, which stood in for Los Angeles.

Filming commenced on August 28, 2003, which was incidentally Tapping's birthday.[24][11] The episode was shot entirely on location at Terminal City Iron Works in Vancouver, Canada.[23][25][11] Production utilized both the exterior and interior of the complex, building a laboratory, artefact room and a large glass cage in the centre of a large warehouse.[11]

Due to the volume of dialog in the episode, Tapping "felt the show needed movement because there was just so much happening, and so much talky-talky".[17][21] In order to achieve this, Tapping heavily relied upon steadicam and crane shots. The director also wanted a lot of "texture" in her shots, and to give a "creepy" nature to them.[11] Along with employing a lot of movement in her shots, Tapping was keen to use a lot of long takes, often without cutting away for additional camera coverage. This was used by Tapping as both a stylistic choice and in order to save time.[11] Due to being the last episode of the season to be filmed, there would be no additional time after principal photography wrapped for the show's second unit to get any additional material. Tapping was therefore in regular contact with the episodes editor, Brad Rines, who began editing the episode whilst filming was underway allowing them to capture any additional, inserts or coverage that Rines felt was missing.[11]

Tapping had hoped to direct again, however ultimately was not given the opportunity on SG-1 or either of the spin-off series.[26][27] Ultimately "Resurrection" remained the only episode of Stargate SG-1 to be directed by a woman.[28] In 2021 SG-1, Stargate Atlantis and Stargate Universe co-creator Brad Wright revealed that should a fourth spin-off go-ahead, Tapping would be asked to direct.[29]

Release

Broadcast and ratings

"Resurrection" was first broadcast on February 17, 2004 on Sky One in the United Kingdom and was the second most watched program on the channel that week, with approximately 773,000 viewers.[30][31] The episode was first shown in the United States on February 27, 2004 on Sci Fi, earning a 1.7 household rating. This was down 0.2 from the previous week's episode "Heroes" part 2, though Stargate SG-1 remained the most watched program on Sci Fi.[32] In Canada the episode was first shown on January 13, 2005 on SPACE.[33][34] The episode was first syndicated in the United States in the last week of April 2005, earning a household rating of 1.6.[35]

Reception

A promotional photograph of Amanda Tapping as Samantha Carter kissing Michael Shanks as Daniel Jackson taken during filming the episode was released to the press and online prior to the episode airing, leading to a lot of fan speculation about the context of the kiss. The kiss was not part of the final scene or episode leading to some confusion amongst fans.[36]

Reaction to the episode was mixed. Jan Vincent-Rudzki of TV Zone wrote "Although there's nothing exactly wrong with it, there's nothing notable either", giving the episode 6 out of 10. He went on to describe the dialog surrounding the threat as "all a bit too glib to give much sense of danger" and believed that Anna did "little that gains our sympathy" and described Keffler as a "villain with no redeeming features".[37] Jayne Dearsley for SFX felt that despite a strong start, the "talking nature of the script" dragged things down but did however pick back up at the end of the episode, awarding it 3 out of 5. Dearsley believed the story was a prime example of the show's "charm" and ability to build upon past stories and in order to make "them much more meaningful". She did however criticise Keffler, calling him "so over-the-top" and also felt that Anna being "fully-grown, functional, attractive" was "a little too much to swallow".[38] Paul Spragg of Starburst called "Resurrection" "a very simple story very ponderously told", awarding it 2 out of 5. Spragg noted Tapping's directorial debut and felt that she hadn't been given "anything especially interesting to shoot, stuck as she is with a glass box and a few corridors" calling it a "workmanlike effort with few technical flourishes". Spragg believed it was "painfully obvious" that Sekhmet was controlling Anna, but did enjoy Brad Greenquist's performance as Keffler, favourably comparing him to Cigarette Smoking Man from The X-Files.[39]

Reviewers were particularly critical of the what was shown onscreen verses the offscreen. Dearsley commented that the episode "starts off promisingly, throwing the audience right into the action in the aftermath of the massacre" before becoming "a little monotonous", whilst Vincent-Rudzki felt that the episodes back story was more "interesting than what we actually get", which Spragg also echoed, asserting that "everything interesting happens before the audience arrives".

Tor.com included the episode as a runner-up for what he believed to be the best episode of season seven praising it for tying "into the show’s mythos very nicely" and calling it "a rare Earth-based episode that feels significant rather than budget-saving filler".[41]

Home media

"Resurrection" along with the episodes "

Amazon Unbox.[45] The episode, along with every other episode of the series, were made available to stream for the first time through Netflix in the USA on August 15, 2010.[46] The episode, along with the rest of the series has been upscaled for releases on various streaming platforms and the 2020 Blu-ray release.[47]

References

  1. ISSN 1743-8020
    . Though Shanks was behind the season six episode Resurrection, he reports that this year he decided to pass on the opportunity to write for Stargate SG-1 again. "It was just a matter of timing,' he explains. "It was in our contracts last year - this year it was more of an open-ended thing, 'If you want to pitch something, we'll see if we accept it.' I just couldn't come up with any storylines that I was attached to in an emotional way.
  2. ^ a b c d Shanks, Michael (2003). "Exclusive Chats - Michael Shanks of Stargate SG-1". SciFi.com. Archived from the original on 12 April 2004.
  3. ^ Shanks, Michael (1 June 2003). "Interview". Stargate SG-1 Solutions (Interview). The Warp Zone.
  4. ^ Michael Shanks (12 January 2004). Michael Shanks Interview. Sci Fi Overdrive (Radio broadcast). Stargate SG-1 Solutions.
  5. ISSN 1749-6969
    . I'm banging my head up against the wall, writing as we speak! That's part of my part of my catch-up process, getting to grips with the new mythology. They asked me beforehand to get as much on the page as I could before I started, and I was like 'Ah, I got lots of time.' Then of course the season starts and we've been in the mill, and I am so far behind in terms of writing! It's difficult to catch up because we're sometimes shooting two episodes at the same time and the season has been really compressed this year.
  6. ISSN 0960-8230
    . I'm great with the broad strokes, I can pitch an-idea and get people interested. However, when it comes to sitting down and writing an actual script with all the fine-tuning and the details I'm not patient enough for that. This is the who's patient [pointing to Christopher Judge]. So my ideas are mostly what's intact in the Resurrection script. Many of the details had to be rehashed, redone or fussed with a little bit and adjusted by the other writers in the rewrite process. In the end a few things were cut out that I liked and felt were kind of neat. Conversely, the writers added elements that I hadn't thought of. It's so great to step into someone else's job and see how their mind works and exactly what odds are stacked up against them as well as the kinds of parameters they have to write within. You certainly learn to appreciate what they have to go through to get the job done.
  7. ^ Mallozzi, Joseph (7 June 2004). "Countdown to Launch, Shanks Spins, Tarantulas on Location". Gateworld. Archived from the original on 5 February 2004. Retrieved 18 June 2023.
  8. ^ Shanks, Michael (9 June 2003). "Michael Shanks Q&A Fan Odyssey Convention". Stargate SG-1 Solutions.
  9. ^ a b c Shanks, Michael (29 April 2004). "A Dynamic Journey". rdanderson.com. Interviewed by Kate Ritter.
  10. ^ Shanks, Michael (November 2003). "Star Man". Stargate SG-1 Solutions (Interview). No. 111. Interviewed by David Bassom. Dreamwatch.
  11. ^ a b c d e f g h i j k l m n o Tapping, Amanda; Waring, Will (31 May 2004). "Resurrection" (DVD commentary). Stargate SG-1. MGM Home Entertainment.
  12. ^ a b Greenquist, Brad (15 April 2004). "Scientist Resurrected". Gateworld (Interview). Interviewed by David Read.
  13. ^
    ISBN 1840239344
    . The director on that was fantastic and I would work with her again. She was so well prepared. But then I had so much help you would not believe. For instance James Robbins our art director is such an amazing artist that he really helped me visualise at lot of my shots by sitting down and storyboarding them with me. He also did all of Anna's drawings and sketches. The thing with 'Resurrection' is that I didn't have a lot of time to prepare. We're talking three days (and weekends), so it was all about getting a good shot list together. I was proud of how innovative it turned out (I hope). What I was even more proud about was how supportive my crew were. My camera department and director of photography took shots that I thought were pretty great, and made them 100 percent better. Innovative reflections - you name it. It was all, 'What do you need, what do you need, what do you need?' I loved every minute of it. It was a bit of a circus. Bear in mind that it was the very last show to be filmed that season. Everyone was exhausted. I was in it as well as directing it, and had my stand-in alternating for me during rehearsals so that I could see what I was doing. We had journalists and competition winners on there. So it was crazy, but I loved it. I wanted it to look different from any other Stargate but I wanted it to feel like Stargate. One of the biggest kicks was I had the power to choose where things were going to be shot. To make the decision as in - 'This is where I want the cell to be, and this is the interrogation room and I'm going to shoot this here,' and everyone went, 'OK! You got it.' I mapped out all of my shots so that I could turn to Michael Greenburg (our on set producer) and say, 'Here's a picture of how it will look. Here's the table and here are the chairs and the desks and the cameras are going to be here, here and here and there are seven shots to the scene.' That amount of preparation made things so much more smooth.
  14. ISSN 0960-8230
    . In order to find the combination that deactivates the bomb, our heroes have to access a part of a Human/Goa'uld hybrid's subconscious memories that just happen to belong to a Goa'uld, Sekmet, the Egyptian sun goddess. They do this through her drawings and guess who drew them - me. I did 75 sketches in three or so days. On one level it's probably one of the hardest things I've had to do. Drawing is easy but every time I turned the page I had to come up with something new. The only real direction I was given was the part of the script that said they were alien drawings and could be anything from memories to nasty images. Teresa Uy [art department assistant] did some research on Sekmet so I referred to that when I did a lot of my sketches. The rest of the drawings are of attack ships, aliens, the Stargate, strange lands we've never seen before - you name it. They'll be plastered on the walls of this woman's cell as well as used as hand props and set dressing.
  15. ISSN 0960-8230
    . The model shop has done a bang-up job with paints and gold leaf and giving the box a very true Egyptian look. The masks decorating the piece were all cut by machine and Boyd Godfrey [graphic co-ordinator] has gone in and given each one a unique look. The amount of hours he's put into it already is staggering but the results are spectacular. This box has so many things it has to do. It has a countdown timer with pneumatic rams that pop the top when the scarabs are turned to the correct combination. The side with all these different crystals comes apart and the crystals glow and do different things as well. It's a really cool prop.
  16. ^ "Tapping Directs SG-1 Ep". SciFi.com. 17 February 2004. Archived from the original on 6 April 2004.
  17. ^ a b c d e Tapping, Amanda (23 July 2003). "Major Changes". rdanderson.com (Interview). Interviewed by Kate Ritter.
  18. ^
    ISSN 1749-6969
    . I've spent so much time this year sitting behind the monitor with Peter DeLuise and Andy Mikita, and hanging out with the camera people and learning about all the different lenses. I'll be the first woman ever to direct on Stargate.
  19. ISSN 1749-6969
    . I asked if I could direct back in season three. It's something I've wanted to do for a really long time. after seven years, I need a new creative outlet, and it's a new, huge challenge.
  20. ISSN 0960-8230
    . Before we began shooting Stargate this year [2003], I observed Martin Wood when he was directing Jeremiah. Once I got the script for Resurrection I met with the various departments and we made some decisions based on the story. You have to decide on the best way to tell the story and keep it interesting. At the same time, you have to remember that you're doing a TV series and you only have seven days to get the job done. The biggest part of my prep has been getting my shot list in, which I have. Now everyone is telling me that I'm very much ready, so I'm listening to what they're saying. The beautiful irony of all this is that the very last shot on the very last day I'm directing is of Carter. So'll be directing myself for the last shot of the season. I can just hear myself now, 'That was fantastic, darling! Cut and Print!
  21. ^ a b Tapping, Amanda (2 February 2004). "Amanda Speaks Out (Part 2)". Gateworld (Interview). Interviewed by David Read.
  22. ^ Lost City (Stargate SG-1) (Commentary Track). Amanda Tapping, Martin Wood, Robert C. Cooper. MGM Home Video. 2004 [2004]. MGM Home Video.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  23. ^
    ISSN 0960-8230
    . I feel pretty good about the directing gig. I've been doing plenty of homework, especially on the weekends. The only downfall, which probably won't be much of a downfall, is that I'm in Resurrection quite a bit and I'll have to direct myself. Unfortunately, Rick isn't in it. Michael Shanks wrote the script, which is neat, and we're shooting it all on-location, so it should be an interesting story. It's a big episode, too, with quite a bit going on. There are three different storylines running simultaneously. I spent all day yesterday coming up with my entire shot list for the scenes. Of course, I looked at it today and said, 'Boy, that's a dumb way of doing that. What was I thinking of?' So I'm second-guessing myself now. Basically what I did was take the art department's drawing of the set, make Xerox copies, and then for each scene draw in where the actors should be, how I'd like the cameras placed, etc. I've been given an amazing opportunity and I'm loving every minute of it. The crew has been great and all my meetings have gone well. Everyone seems to think I'm really prepared, so we'll see.
  24. ^ Tapping, Amanda (February 2004). "Get Carter". SciFi.com (Interview). Interviewed by Therese Littleton. Archived from the original on 6 April 2004.
  25. ^ Lowe, Derek (director) (2003). Stargate SG-1 Directors Series - Amanda Tapping - "Resurrection" (DVD Special Feature). MGM Home Entertainment.
  26. ^ Tapping, Amanda (30 December 2005). "Action Mom (Part 2)". Gateworld (Interview). Interviewed by David Read.
  27. ^ Tapping, Amanda (17 February 2008). "Journey of a Lifetime". Gateworld (Interview). Interviewed by David Read.
  28. ^ Hassinger, Kathy (24 August 2009). "Stargate Behind the Lens: (Almost) No Girls Allowed". kathyhassinger.com. Archived from the original on 28 August 2009. Retrieved 18 June 2023.
  29. ^ "Amanda Tapping Has Been Approached About A Possible Stargate Return". Gateworld. 12 May 2021.
  30. ^ "TV Focus". TV Zone. No. 173. February 2004. p. 77.
  31. Broadcasters' Audience Research Board
    . 16 February 2004.
  32. ^ "RATINGS: 'Resurrection'". Gateworld. 16 March 2004. Archived from the original on 10 June 2004.
  33. ^ "Canada's SPACE will air new SG-1". Gateworld. 17 August 2004. Archived from the original on 13 October 2004. Retrieved 10 February 2021.
  34. ^ "Listings for Thursday, January 13, 2005". Spacecast. 13 January 2005. Archived from the original on 4 February 2005.
  35. ^ "Ratings: 'Inauguration' in syndication". Gateworld. 25 May 2005. Archived from the original on 27 November 2005.
  36. ^ Shanks, Michael; Tapping, Amanda (March 2004). "Creation Entertainment Grand Slam Event, Stargate Sunday, 28 Mar 04". Stargate SG-1 Solutions.
  37. ^
    ISSN 0957-3844
    . Written by Michael Shanks and directed by Amanda Tapping, this is a curious piece. The back story seems more interesting than what we actually get. As the episode progresses we learn that a scientist combined DNA from the Goa'uld with that of a Human and used nano-technology to accelerate the growth of the resulting clone in leaps and bounds. After unsuccessful attempts (a la Alien Resurrection), a female clone was grown and matured and then the scientist had to devise ways to get the Goa'uld presence, with its desired race memory, to communicate. All this happens before the episode. Bizarrely, no one seems to be in charge here, from the FBI or SG-1. Everyone just gets on with what he or she needs to do without any instructions or direction. Who needs to lead missions any more? There are few mysteries here and any around are soon cleared up, so the episode becomes rather matter of fact. Although there's nothing exactly wrong with it, there's nothing notable either. To try to add some tension to the proceedings there's a bomb, but it's really 'just there', while the dialogue is all a bit too glib to give much sense of danger. The man behind the cloning project is an out and out villain with no redeeming features, and the mysterious girl who we soon discover is the result of the experimentation, does little that gains our sympathy, so the not very surprising outcome raises few emotions, despite Tapping's directorial attempts to give it some gravitas. 6.
  38. ^
    ISSN 1749-6969
    . "Resurrection" starts off promisingly, throwing the audience right into the action in the aftermath of the massacre. However, before long the claustrophobic confines of the warehouse become a little monotonous, and the talking nature of the script drags things down. Luckily the action picks up at the end, with the final scenes giving a pay-off which is handled with flair. The story does repeat earlier episodes of Stargate - Anna's genetic manipulation is reminiscent of the little boy in "Show and Tell", whilst the plot device of the bomb has been done to death (although good to see someone other than Carter trying to defuse it for a change). However, part of Stargate's charm is that it never forgets past incidents, often building on them and making them much more meaningful; this is a prime example. There are some problems, though. The scientist-son-of-a-Nazi, Keffler, is so over-the-top that you keep waiting for him to say, "Ve haff vays of making you talk!", and you can tell he's even because he's never seen without a cigarette in his hand (why not give him a pointy goatee too, and be done with it?). The fact that Anna is a fully-grown, functional, attractive and able to interact with people at only one year-old is a little too much to swallow, as is the fact that her Goa'uld DNA brings Sekhmet to the fore so easily. Alright, so the Goa'uld have do have a "genetic memory", but how the heck can Sekhmet be so perfectly formed in this alien/human hybrid? This, would surely have taken decides to achieve, rather than the few measly years the NID had to work with. There are some nice scenes between Anna and Daniel as they discuss her plight - Daniel's always best when he's thrown into a moral situation that seems hopefully - but this episode doesn't really live up to its promise. 3/5.
  39. ^
    ISSN 0955-114X
    . Michael Shanks has taken the simple approach with this episode, writing a small-scale tale with minimal cast - plus Richard Dean Anderson is clearly absent once again. It's also a low-key directorial debut from Amanda Tapping, who doesn't really have anything especially interesting to shoot, stuck as she is with a glass box and a few corridors. There are a few unusual angles, but in general this is a workmanlike effort with few technical flourishes. The biggest problem, though, is that everything interesting happens before the audience arrives. We see Anna's murderous rampage on video footage, and the inquiry into who she is and why she killed so many takes 38 minutes of the episodes 43 minute runtime. Even the discovery of a Goa'uld bomb is treated with apathy and lack of concern. It's also painfully obvious from the moment we learn of the discovery of a canopic jar containing Sekhmet's essence that the ancient Goa'uld is exhibiting some form of control over Anna, and a few hours sat chatting with Daniel won't solve the problem. Resurrection is a very simple story very ponderously told. The Only saving grace: Brad Greenquist as creepy doctor Keffler who has a touch of The X-Files' Cancer Man about him. 2/5.
  40. ^ Lex (27 February 2004). ""Resurrection" Review". Gateworld.
  41. ^ DeCandido, Keith R.A. (15 May 2015). "The Stargate Rewatch: SG-1 Season Seven". Tor.com. Retrieved 27 November 2020.
  42. ^ "Season Seven gates to DVD!". Gateworld. 19 October 2004. Archived from the original on 4 February 2005. Retrieved 27 January 2021.
  43. ^ McCusker, Eamonn (24 October 2004). "Stargate SG-1: Volume 36". DVD Times. Archived from the original on 24 October 2004.
  44. ^ Lacey, Gord (3 November 2004). "Stargate SG-1 - Season 7 Box Set Review". TV Shows on DVD. Archived from the original on 6 May 2006.
  45. ^ "Stargate expands iTunes, Amazon presence". Gateworld. 11 January 2008. Archived from the original on 15 January 2008. Retrieved 8 December 2020.
  46. ^ "Entire Stargate television library now streaming on Netflix". Gateworld. 16 August 2010. Retrieved 8 December 2020.
  47. ^ "Stargate's HD Blu-ray Picture: Better Than The DVDs?". GateWorld. 1 March 2021. Retrieved 18 June 2021.

External links

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