Pantry - Kitchen
Kitchen pantry - large contemporary l-shaped medium tone wood floor kitchen pantry idea with a double-bowl sink, flat-panel cabinets, medium tone wood cabinets, quartz countertops, beige backsplash, mosaic tile backsplash, stainless steel appliances and an island
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i rewatched home for the first time last night and i'm so glad i did, i think it's easier to appreciate what the kings (glenmorganjameswong i'd do anything for u) were trying to say when you're able to sit with it more and move past the initial confrontation.
i love that in cultural discussion of this series, which is known as a supernatural sci-fi drama, its most infamous episode (home) and its scariest monster (irresistible's donnie pfaster) are nothing otherworldly or less than human. this show always knew that the most terrifying creatures are men, it never tried to invest in convincing its audience that they aren't.
in irresistible, according to mulder's final voiceover, the horror is in "that which is most familiar, most common place. that boy next door, donnie pfaster, the unremarkable younger brother of four older sisters, extraordinary only in his ordinariness, could grow up to be the devil in a buttoned-down shirt."
in the aptly named grotesque, the horror is our own nature, the monster "within." ultimately, it is never confirmed whether the "possession" that drove patterson to kill was literal, or if it was simply the weight of the lessons he'd been teaching for years.
in never again, the monster is misogyny, is our own internal voice ("she hates women. my wife, my boss, you."). in the end, the driving hatred is little more than a chemical reaction in ed's body, a poisoning derived from the inside out.
mulder spends most of beyond the sea refusing to entertain boggs' claims that he is psychic ("some killers are projects of society. some act out past abuses. boggs kills because he likes it.")
in paper hearts, the opposite, as he tells roche that the connection between them is some sort of "nexus." (roche laughs in his face, "i hear things about you, mulder...it's like your world will be okay as long as you can believe in, like, flying saucers...i can see you're not as open-minded as you think you are."), the episode never confirms any metaphysical link.
(what it does confirm, are bones buried in dirt, mulder's bare hands unearthing them. scraps of tattered fabric in evidence bags, marked with sharpie. a dusty vacuum cleaner under the stairs. roche at the foul line with a basketball: "you'd trust a child molester?")
but in home, in the series' most disturbing and notorious episode, monstrosity is in fear of advancement. the only myth or theory presented is that of the small town, of a place where you don't have to lock your doors. its reminiscent of a dream that's both past and future, as mulder recalls a rose-colored childhood and declares, "if i had to settle down, build a home, be a place like this."
when mulder and scully encroach on the town of home, pennsylvania: the sheriff remarks that he knew the day would come. that the "modern world" would find them, and things would change. ultimately, it's a family that's lived in the same house since the civil war that kills him.
in home, PA, monstrosity is in motherhood. in being trapped in a prison that you bred and created. grasping for control, for perpetual consistency, until you've built something so convoluted and isolated that it can no longer thrive.
(the progression of scully's "what must a mother go through?" to her question, "what about your family?" to mulder's "scully...i never saw you as a mother before," conversations and realizations had, only through the lens of cruelty. in a way, this is where the rest of their lives begin.)
in morgan and wong's archetypal dystopia of "mayberry," mulder and scully enter as desensitized outsiders, the show never afraid to utilize its core characters in narrative contrast. mulder plays baseball next to an infant's grave, frets over trying to watch the knicks game, pauses to crack an elvis joke past the door where a man was just decapitated. scully complains about lab results next to mutilated bodies that she never looks at, is petulant about having to wear a bulletproof vest, references "babe" next to pigs on a crime scene, flirts after autopsying a deformed baby.
(when scully comments that the lock is broken on mulder's motel room, he tells her you "don't have to lock your doors around here," then shoves a chair up against the door.)
the peacock family, as well as the town of home as a whole, don't fear the outside world so much as they obsess over stagnancy, idealize the familiar. the peacocks produce multiple generations of humans and animals alike through only what can be found within the confines of their property, until all that they're cultivating is disease, their children unable to survive.
in the end, it doesn't stop them from persisting, and the remaining peacocks leave town in their old white car, off to find (the final line of the episode) "a brand new home."
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