saintscully writes johnlock and mclennon ❤️‍🔥

sasha. she/her. johnlock / mclennon / msr fics at saintscully @ AO3.

[therealsaintscully]

saintscully's completed johnlock/mclennon/x-files fics - a master post (Jan. 2026)

Since I'm a bit stuck with some of my WIPs, here's a list of my completed ones, ordered by most recent to the oldest:

(mclennon-ish) Joe (E, 1 chapter) Some time in New York City, John falls in love. Most of the time, he isn’t sure it really happened.

(johnlock) A Quiet Night In (G, 1 chapter) New Year’s Eve doesn’t go according to plan.

(x-files/msr) Produce and Other Miracles (G, 1 chapter) In the hospital, it’d felt abstract—tethered to IVs, barely in her own body. Here, in the quiet hum of domestic space, she’s unmistakably herself, and more fragile for it.

(johnlock) The Eye Begins to See (T, 4 Chapters) John watches Sherlock from afar, like a stranger. These days, of course, that's exactly what he is.

(mclennon) Under Dove-Grey Skies (M, 1 chapter) Paul’s just Orpheus with better equipment.

(x-files/msr) Paper Thin (G, 1 chapter) She doesn’t know which scares her more: that he’ll never find the answer, or that he might.

(mclennon) Gretna Green Waltz (E, 1 Chapter) A fleeting melody chases Paul for decades—a tune half-remembered, a life half-lived. This is its story.

On Hold (E, PWP, 1 chapter) John is on hold with the bank. Sherlock empties the teapot into the flowers.

things we can't untie (T, Friends to Lovers, 1 chapter) John moves back to Baker Street on the last day of summer.

Simon (or: Love Calls You by Your Name) (M, Established Relationship, 1 chapter) John bumps into Simon. The Simon. Five times in one night Simon.

Life and Death in Sunderland (M, Happens during Sherlock's hiatus, 1 chapter) One last sip, one last over-the-shoulder glance at the ghost. It’s still standing there when he leaves, forever staring out into the water. ***Life and Death's companion piece, written from Sherlock's POV during his hiatus, is I Have Not Lingered (M, 6 chapters).

Plus One (G, TSOT fix-it, 1 chapter) More precisely —and more to the point— Sherlock was staring at the man’s arse, hanging mid-air like a denim-clad piñata.

Mark Your Calendars (M, Friends to Lovers, 1 chapter) John happens upon a box full of Sherlock’s old yearly planners.

Erosion (E, Friends to Lovers, 12 chapters) Sherlock's father falls ill. James Sholto is back in town. John has to navigate the consequences of crime, illness and death and their impact on his frayed relationship with Sherlock.

The Fight or Flight series, made up for Fight or Flight (M, TST fix-it of sorts, 10 chapters) - This is the story of John and Sherlock during Mary’s months away from London, continued by Detours (M, Post-TFP, 12 chaptes) - John has to examine everything he thought he knew about Sherlock, himself and their relationship in order to win his rightful place yet again.

[shithowdy]

Full process of the quails since a few people have asked me about my process! Notes on what's being shown in alt text.

[beatlesblogging]

'74 mclennon my beloveds

[kommetz]

reading a textbook for class and i’m going insane. why is this just poetry. what. this is a STEM class what’s going on.

[kommetz]

HELLO????? HELLO?????

[lunaetsaturnus]

the text was written by Her and the post was ghost written by Assistant Director Walter Skinner

[therealsaintscully]

That is very clearly a Carl Sagan inspired text my friend. And that is very different from Chris Carter's half-assed purple prose.

[therealsaintscully]

Are you interested in 601 words of a Wham! inspired mclennon AU where John and Paul live together in 1984?

Well, you can find one under the cut.

My sincere apologies to Andrew Ridgeley.

New York City, 1984

One sure sign of getting old, John’s realised in recent years, is hearing Mimi crawl out of your own mouth. You spend your youth horrifying the nation in leather trousers and Cuban heels, then suddenly you’re squinting at MTV thinking that long-legged lad, belting across a stage in a CHOOSE LIFE T-shirt (which John immediately resents for being such a good slogan) really ought to put something on before he catches his death. Then, the video drops into slow motion, the lad suddenly switches into a jumper the colour of radioactive chewing gum and the shortest, tightest pair of shorts John Lennon has ever seen outside of a West German stag film.

“Christ,” John says to the telly.

"What?" Paul meanders into the sitting room with a cig hanging off his lips looking offensively comfortable in one of John’s old jumpers.

“What’s this again?” John asks.

“Wham!,” Paul says.

“No, the song.”

“Wake Me Up Before You Go-Go.”

John stares at him in judgemental silence then turns to watch the telly again, before the next thought just leaves his mouth. “Brian’d have a coronary if he saw this.”

“What, 'cause of the shorts?” Paul asks.

"He’d drop us faster than lightning if that thing walked into NEMS,” John says, jabbing a finger at the television. Not the other one; he’s useless. Nice smile. Looks trustworthy in the way Labradors do.

But this fella, the pretty one… Aye. Brian would've dropped everything and followed him around like a lost puppy.

Because that lad is not straight.

John’s not entirely sure George What's-His-Name-Is knows it yet, mind you, but John certainly does. You don’t spend your twenties surrounded by theatre managers, art-school ponces, bisexual German photographers and Paul McCartney without developing a sort of radar for these things.

"He's alright," Paul says, attempting to sound casual and failing spectacularly.

“He’s gorgeous,” John says immediately.

Paul shrugs. "Wouldn't need all the showing off if he trusted the music."

John's head swivels toward so fast you can practically hear the vertebrae crack and stares: You?! You, eyelashes-for-days, trousers-ripping James Paul McCartney, are going to come into this sitting room and say that sentence out loud with a straight face? To me?!

"Imagine how rich we'd have been if we'd shoved you into a pair of those and got you up at Shea Stadium."

Paul, God bless him, blushes. “We are rich.”

"Could've been richer."

"Fuck off."

"Could've bought Wales."

"We could buy Wales now."

"Aye, but then we'd have had two Waleses."

Paul actually laughs at that, which only encourages him.

"Too hairy for it anyway," John muses. "America wasn't ready for McCartney thigh."

“Neither were you, if memory serves.”

John ignores this with tremendous dignity.

Paul glances back toward the television again, properly studying George Michael as though assessing livestock before auction.

“Are you fixin' to replace me with a younger, prettier model, then?”

John snorts. “You are the younger, prettier model, love,” he says with a (luckily) well-practiced, fool proof gurn.

That earns him a narrowed stare that reminds him of Martha deciding whether a misbehaving kitten is worth disciplining or merely judging. A moment later the look softens. John takes this as permission and plants a kiss on Paul's cheek, who scrunches his nose, embarrassed by affection on principle.

“Behave,” Paul mutters.

"Never," John says lazily, smoke curling out the corner of his mouth.

Paul swats the back of his head without even looking away from the telly.

[absoluteuemployment]

Also happy pride to John Lennon and Paul McCartney

[supertrouperrr]

Almost kissing? "I owe you everything"? After years of hugging each other at most? If I witnessed that in 1998 I'd go insane

[rosenkranz-does-things]

some attempts at vintage pulp covers style

prints commissions patreon

[youreadarkwizard]

Gillian Anderson and David Duchovny at FAN EXPO Denver, 05/30/2026.

[everythingfox]

Who needs therapy when this exists

[huariqueje]

West Beach Cherries - Jan Crawford , 2017

Canadian , b. 1960s

Acrylic on canvas , 40 x 30 in .

[thecollectibles]

Doggust 2025 by Amanda Macfarlane

[fellshish]

sometimes showrunners understand the characters the least

[therealsaintscully]

are they actually expecting me to watch a new cut of a film that features dana scully m.d googling 'stem cell research'

[therealsaintscully]

I have thoughts™ about why Paul would rush into talking to John about getting back with Yoko (on her behest) during the lost weekend but I'm too tired to look up al my references 🚬

[therealsaintscully]

OK so I'm doing this without linking to a few of the quotes I'm thinking about, so here we go;

Why, one must wonder, would Paul rush (literally, rush) to L.A. on Yoko's behalf to speak to John about getting back together with her?

The story we're told is that Yoko visited the McCartneys (~early 1974, maybe February or March) in London to talk to them about John, and they agreed that when they arrived in L.A., where John had been living with May, they'd speak to him about getting his act together and doing whatever he had to do in order to get back with Yoko.

This was all happening days, or at most weeks, after the same day when John learned that Yoko had been sleeping with someone else. That night, John kissed May at a public event and their relationship was effectively outed. The world learned that while John was still married to Yoko, he now had a young, beautiful girlfriend he'd been living with in L.A.

The McCartneys arrived in L.A. later that month for the Oscars (this is late March). Live and Let Die was nominated. They showed up at the studio for what we now know as the Toot and a Snore session, which May, and history, recalls as the first time John and Paul were in a room together since the breakup (which true afaik; there was at least one dinner with the wives in late '71 or '72. In general, there are very contrasting accounts about just how close John and Paul were during the lost weekend. I'm 100% convinced that John was hiding an intensity of this relationship with Paul from May, perhaps so she doesn't report it to Yoko.).

The next day, Paul and Linda visited John, May, and their gang at the house they were renting. This is supposedly when the conversation happened: Paul presenting Yoko's terms for getting back together. Paul himself later recalled them: you won't move back into the Dakota right away, you'll have to woo her, date her, bring her flowers, etc.

It's unclear, to me at least, whether Linda and May were present for this conversation, and what John's reaction really was. According to May, John simply said he was with her, and she reports that hearing him say that made her feel the relationship was serious and had a real future. I'm very curious about so many things here; how did John REALLY react to this conversation, and the fact that Paul was doing Yoko's bidding? Because I doubt a prickly, drunk John Lennon just responded with a one liner and that was it.

And maybe the bigger question - WHY would Paul agree to do something like that?

My first guess has always been that Yoko, very cleverly, may have guessed that Paul would jump at the chance to do something that reaffirmed his place as the second most important person in John's life after her. Yoko must have knows Paul's wounded ego would eat it all up. Another guess for me has always been that Paul, who is very calculating, was hoping to get to on Yoko's good side and earn points with her, for various reasons, such as possible business issues that were being still being discussed back then.

But why would Paul take the risk?

His relationship with John was already rocky enough. Why risk damaging it further by getting involved in John's marriage? Why speak on Yoko's behalf when, at the very least, we know Paul was disturbed by the changes he saw in John during the heroin years? There was certainly no love lost between Paul and Yoko at that point, and I suspect his feelings about her ran much deeper than he'd ever let on, even if we leave mclennon completely out of the equation (which I certainly don't).

So here's what I think. I'm not a psychologist, but my gut feeling is that ever since The Breakup, Paul had been seeking to be John's equal, even a mirror image. They'd spurred each other into marriages (that's a direct quote from Paul!); made their new wife their number one creative collaborator. I remember reading a quote from John who recalled a phone conversation with Paul, which he doesn't date but discusses in the context of '70-'71, of Paul telling him that he and Linda will be doing the same thing John and Yoko are (e.g recording together). Then, the two couples went on collaborating with new groups and recording albums. Somewhere in 72', though, the symmetry ends. Paul starts Wings and raises a family but John and Yoko fall apart and also, sadly, fail to have a baby and lose Kyoko. John loses his confidence and stops performing. But we also know about Paul paying so much weight on later symmetry in following years: he constantly still mentions John's bread baking period, and how John becoming a father to Sean meant they had something that brought them (relatively) closer together. He got his precious symmetry back.

Remember, this whole situation (Paul talking to John about Yoko in '74) came during a time when John was going through drunk stupors and just outed his relationship with May. I'm sure Paul was aware of all of this, and watching it from the side-lines.

I wonder if Paul had felt that the breakdown of John's relationship with Yoko during the last weekend would somehow break some sort of post-Breakup symmetry between the two of them and Paul felt like he needed intervene. I'm not sure How and Why he would feel like that, but Paul probably wasn't interested in matching John's new bachelorhood by running around in L.A and having a young hot girlfriend. If there's one person that Paul McCartney has ever measured himself against it's John (and probably still is, amazingly). If he'd intervened, he must have assumed that John's life would be better Yoko than whatever John had had going on with in L.A. It's curious to think WHY he would think that, but the fact it is that when Paul and Linda were in L.A, John was writing and recording and producing, May was encouraging him to work with Paul again, John had renewed his relationship with Julian and so on. Things were better in many ways that Paul would approve of.

Maybe Paul had only realized those things in later months, though as always when it comes to John it's hard to tell how exactly he'd felt. On the one hand, that week or so of the McCartney's meeting John and May in L.A was followed by Paul writing Call Me Back Again. On the other hand, a few months later, Paul and Linda were visiting May and John in their NYC penthouse, and later made plans to meet and work together in New Orleans, so maybe Paul belatedly realized that John might be better off without Yoko.

What do you think about Paul's intervening?

[sgtpeppers]

whoever said momma gets by feels like post-breakup depression paul and linda has broken my heart and I’ve been thinking about it all night btw

[subaru-copilot]