#fugitive alien

[mst3kgifs]

I'll catch up...

[tygerbug]

she's everything he's just Ken

[your-fave-is-forklift-certified]

Rocky from Fugitive Alien is Forklift Certified!

[ironychan]

ME INTRODUCING A FRIEND TO THE 'FUGITIVE ALIEN' EPISODES: "This is Ken. His job is Space."

[shipburner]

Ulfsind Valnastar, dying of Forklifts

[yautjalover]

And while I’m horny posting, let’s not forget this sexy beast. He was the only redeeming quality from the film that didn’t happen but unfortunately did. The way he strode around like he owned the place everywhere he went really got me. 😩 I’ve called it a “gorilla walk” since he kind reminds me of one with that “Get the fuck outta my way” vibe. When he died, I was no longer interested in that travesty of a film.

His mask design was the worst I’ve seen, unfortunately, but his armor was sick. It was pretty neat! They really fucked over this guy. So much potential for a good story and it was blown.

I mean, LOOK AT HIM STRUT LIKE A PEACOCK. 🥵

A few more good moments from this hunk. 👇🏻

Some neat behind the scenes shit of this one man army.

That last little gif is always funny! He’s like “Put that shit down and let’s talk, bro.” 🤣

Also, can we mention that the actor who played Fugitive is a black guy? I feel like no one ever talks about that. We got our second black actor for a Predator suit actor.

Up until this point we had Kevin Peter Hall (RIP).

The actor’s name is Brian A. Prince.

He really brought a new presence to the Yautja and a distinct aura. I hope they bring him back for future projects in a better film. The guy deserves it!

Anywho, if you made it this far… What did you like about Fugitive? I’d love to hear what others have to say! He needs more love I think.

[zarokart]

Yes, it’s the notebook I use at school 😅

[chicken-blitz13]

I made this on pinterest. I've made that my pfp on bluesky lol.

(anyone with a bluesky should follow me /lh)

[symbioticyautja]

People = Shit.

[randomfoggytiger]

Mulder's Alien Baby Baby Trauma In-Depth (Part XV): Making an Effort

In the last part, Mulder was able to see (for the first time since his abduction) that Scully hasn't, won't, and will never give up on anyone she deems "worth the effort"-- and that, he concluded, included him.

This being the case, it seems he's made it his mission to prove that she, too, is worth the effort.

Mulder Tries

After Monica Reyes assists in the arrest of the alleged culprit of Luke Doggett’s murder, Mulder finds Doggett by Scully’s bedside; and silently orders the other man into the hallway. Though angry at this exchange-- and angrier at the world and its injustice-- Doggett relents and follows him out, jaw clenched tightly shut as he moves as far away from his partner's partner as possible.

Unbeknownst to Mulder, the latter was in the grips of his own PTSD flashback-- the day his son’s burnt body was discovered. The episode connects clear and blatant dots between his journey to belief and Scully's (including a cursed scene transition, here); but we are also left to draw a few obvious conclusions: Doggett lost his son and was assigned to the files while Mulder gained a son (a baby of unspecified sex, at this point) and was blocked from the files. Both men suffer from PTSD, to varying degrees; and both men are thrown together in the latter end of Season 8 to protect Scully and her baby-- a redemption of their own past losses. (And while these parallels, ideas, and themes are intriguing, it would be nice if they were properly fleshed out in their execution.)

Doggett's anger evaporates in the hallway; and he stuffs his hands in his pockets, slowly nodding as Mulder immovably explains, "She just fell back to sleep."

Head down, he says, "I just wanted to check to see how she's doin'." But that's not all; and Doggett exhales before further stating, "'Course I'm here with this other thing-- we, uh, we caught this killer Jeb Dukes. He's in the ICU. He may not make it."

Mulder runs his tongue over his lips and swallows-- a nervous tick-- while the other agent finishes. Despite everything he's been through, those profiling skills are still spookily intact: "And now you're wondering if there really was a connection?"

Doggett doesn't answer, not wanting to admit his doubts; but he doesn't bother to deny it, either. There's a defensive, curious stance in his stooping shoulders and sideways-upright glance, as if he is inviting Mulder's opinion while shifting away from his scrutiny. In short, Doggett is posturing: pretending to be rationally stable while adrift and looking for guidance.

Never one to leave others floundering or in pain, Mulder decides to act on Scully's insight, and offers an olive branch: he opens up.

Looking down at first, he begins, "When I, uh, when I first came to work at the FBI, I worked at Violent Crimes."

Agent Doggett knows where this is going-- former cop that he is-- and turns his head to the side as Mulder gently drones on.

"I saw the worst of humanity. I saw monsters."

At this, Doggett looks up, trying to guess if 'monsters' is metaphorical or literal.

"And I wondered how they became that way. How these men became so evil. I know, there were--" Breaking off, Mulder shakes his head, shifting through past testimony and reports, "--Psychological explanations: victims of their environment, victims of their parents. But those scientific explanations were never truly satisfying.

"And I began to think," he confesses, moving one hand to wave it around briefly before recrossing his arms, "of evil like, like a disease. You know, it goes from man-to-man, or age-to-age-- most of us walk around thinking we're incapable of any acts of evil. And we are. Y'know, we can stifle that momentary urge to kill, or to hurt-- we have some kind of immunity to it."

"But I think it's possible that there's..."

Again, he trails off, lips pressed tight as he weighs his words. "An occurrence in somebody's life-- a tragedy or a loss-- that leaves them vulnerable." He further gentles his voice when Doggett's face pinches: "And all of a sudden-- at that point in their lives, when they're weakened-- they're open to evil. And they can become evil."

Agent Doggett's skepticism peaks through as he fills in the blanks. "If that were true, then what you're saying is, is... this man we wheeled in here tonight is effectively evil. Same evil that killed my son."

Mulder maintains Doggett's level gaze, swallowing-- not denying the other's conclusion.

"You really believe that, Agent Mulder?"

"Nah," Mulder cracks, a genuine smile shyly peeking through-- the first around Doggett. "I'm not really a good test for questions like that. I'll believe almost anything. Y'know?"

Doggett snorts, acknowledging the joke and chastising himself for grasping at this explanation.

"You may never know," Mulder reveals. "It may be like Agent Reyes says--" an acknowledgment of Monica's instincts, as well as a channeling of Doggett's attention to the other agent, "--it may be random and meaningless: who it affects, who it goes to."

"What if it isn't?"

"Well then you'd be seeing something that I don't, Agent Doggett": and what a conclusion-- Mulder is steering Doggett to trust his own intuition. It neatly attempts to shred Doggett's reliance on Scully or himself, and to plant a seed of faith in his own instincts (or Reyes's instincts of his instincts.)

Doggett walks away, unable to accept that possibility; and Mulder remains fixed by Scully's door, knowing where he belongs and decisively staying there-- a journey the other agent is still struggling through.

She Is Worth the Effort 

“Mulder, you never fail to surprise me.”

The scene opens on Scully, perched on a couch with a pizza before her, and Mulder sneaking behind her to hide his surprise present again. Hands on her belly, she turns her head to try to find him, slowly, contentedly continuing, “I just wish I felt like eating it.”

Nonchalantly, he swings around the couch with plates, napkins, and silverware in hand-- silverware, for pizza?-- flippantly assuring, with a comedic lilt in his voice, “That’s cool-- we can just wait for the cheese to congeal and eat it later.”

After sitting and noticing her reluctant smile, Mulder deduces, “You miss your regular pizza man, don’t you?”

“Yes,” Scully pouts as her partner slumps and defeatedly lets the silverware drop to the table. 

Mulder is trying to become everything Scully needs: friend to her associate, father of her baby, and delivery boy of her favorite pizza. His efforts, however, are stymied by the new ropes he’s still learning-- forgetting, in this instance, to ask if she would like a pizza fresh from her release; or even if she can eat one. When he realizes his carefully crafted plan falls through, he slumps: Scully’s pizza boy wouldn’t fail because he would know when she needed one. And while that isn’t an entirely logical train of thought, it’s one that’s easily suggestible. 

He takes this failure to heart, caving in and avoiding her eyes as the “Aha!” moment turns into a heavy “I should have known this” thud. 

Scully, however, has an ace up her sleeve: revealing her expert rouse with a subtle, “That’s okay, he’s coming later.” She’s so pleased with herself that she fails to hold back a smile, outright giggling when Mulder catches her humor and returns it with a mock-stunned expression. 

Both visibly glow and twinkle while connecting over this simple couples’ joke-- the second they’ve shared since his return, and the first that is levied back-and-forth with equal, humored fervor (post here.)

As Scully’s giggle turns to a chuckle then peters out, Mulder reaches behind her for the stowaway surprise. (An aside: Scully looks down at her belly before her partner shifts, as if her laughter brought on an unexpected bump of movement.)

He keeps his face focused on her, watching her curious eyes track his hand (knowing his partner loves presents, posts here and here); and stays still, mouth wide in anticipation, as she gasps with delight. 

“Bet you forgot about that, didn’t you?”

Shaking her head as emphatically as she can, Scully insists, “No, I didn’t, actually. I thought about it a lot, while I was lying in my hospital bed.” She spares him an assuring, more somber glance while methodically tearing the package open, as if to say you and your efforts were not forgotten, despite my compounding worry and troubles. 

Mulder, meanwhile, loses a touch of his joy, eyebrow twitching, eyes tightening, throat swallowing at the acknowledgment of her recent hospitalization.

But he tries to school his features and zone back into the moment. Her words-- “Wondering what on earth you’d given me”-- help; but it still takes effort to shake off, with a bounce, that darker mood. 

“And?” he prods, voice intentionally buoyant. 

The present is revealed; and Scully is immediately touched, mouth opening in shock. Face pinching, she whispers then croaks, “Oh, Mulder,” swinging the doll around between them to study it intently. 

Pleased, he asks, “Is it what you imagined?”

Eyes squinting, she states, “Not even close.” Sensing there are layers of meaning behind this gift-- and that her partner is continuing a reemergence back to his former ways-- Scully looks up and breaks into a smile.

Mulder leans forward, drinking up this freer atmosphere between them. “Oh, my, that’s the wrong doll, actually.” His face slips near the end of his tease; and Scully calls him on it-- to the delight of them both-- by pretending to swipe at her partner with the toy.

He dodges, and they both fall into a fit of gleeful chuckles and giggles. 

It’s Scully who switches up the mood first, pivoting suddenly into, “But then that’s the other gift you gave me, Mulder.” She looks up from the doll, staring at his softened, tentative expression: there is a hesitant bracing there--not of having to own up to fatherhood or claim this baby, but of wondering what she’s going to say next; and what she expects him to say in response-- before he relaxes with a tender smile.

And she, as always, throws him a curve ball: “Courage. To believe.” Scully looks down, shy, but decides not to dodge Mulder’s natural assumption entirely: “And I hope that’s a gift I can pass on.” Again, she looks up, lips pursed in a smile, eyes locked as Scully draws their attention to the baby: content, and confident.

And that’s an interesting statement: not only does this imply Scully is having a baby (because obviously) but it also implies she is directly tying something intrinsically Mulder to this child-- meaning, this child will be, and was going to be, connected to him no matter what. We know both know the baby is his, and that Mulder wasn’t jealous or resentful of his child (posts here and here); but what I find more fascinating is that there are multiple, subtle clues that Scully would have raised her baby as Mulder’s child (Skinner’s “he’s not the last” in Deadalive; Scully’s blue mourning-but-moving-on sweater, post here; and her pointed remark in this scene.) This is the first time she’s confessed her intentions to her partner; and that points to how personal this decision is for her-- Scully confessions don’t come lightly; and don’t come willingly to anyone, at all, unless that person’s a Mulder.

Mulder takes this revelation in stride, staring at her bump in contemplative silence before re-locking eyes and nodding. 

A split-second one-two-three happened there: 

His eyes slid lower, taking in her words as they came to rest on their child. 

His eyes snapped up, a wild, possessive, purposefully stilled gleam in them. 

His eyes lowered again as he nodded and twitched an eyebrow: I understand and That’s not all I gave you wrapped up in one. 

Scully, being Scully, catches this one-two-three. She begins petting the doll’s hair, an attempt to work through the happy, vulnerable emotions that are nearly breaking from her control. The camera fades out as she masters them; and that is the end of Mulder and Scully in Empedocles.

NOBODY GETS THERE ALONE

I'd be remiss if we didn't compare this sweet and affectionate moment to the last time Mulder gave Scully a gift. There are quite a few parallels, actually.

In Tempus Fugit, Mulder takes Scully to their frequent hangout, and loudly sings along to and claps afterwards with the staff's "Happy Birthday" cheer. (In fact, he continues clapping long after the staff leave and the patrons drop off.) Then, he made sure she had something fun to nibble on (either because the local provided it or because he sneaked in a Snoball) while opening her niche gift. Like Empedocles, however, their moment is interrupted by tragedy and more tragedy (Max's and Pendrell's death; Scully's abruption and Luke's killer's case.)

Alongside these parallels, the mechanism for each gift remains the same: to do things right. In Season 4, it was spurred on by Mulder's fear of Scully's cancer and realization of the depth of his feelings (post here); in Season 8, it is instigated by Mulder's return and stabilization after his death. In both cases, Mulder wants to make up for lost time: birthdays (in dog years, he parries) and fatherly moments missed.

And Scully figures him out-- already had him, probably, when he showed up at her door with something from his mother's, post here-- both times, smiling and puzzling over her partner's presents, divining their oblique and askance meanings. "Teamwork" in Tempus Fugit and "Family" in Empedocles.

Mulder's gestures themselves paint a broader, more evolved picture of his feelings for and commitments to Scully. During the cancer arc, Mulder ran and ran and ran headlong into work or self-recrimination or anyplace where he didn't have to acknowledge Scully's death (they both did, post here.) During the pregnancy arc, Mulder returns, despite his PTSD and doubts and fears, after an abduction (This Is Not Happening), after his "death" (Deadalive), after the failed DOD mission (Three Words), after Doggett and Reyes's case (Empedocles), after the black oil rig (Vienen), after a begrudging trip to help Doggett (Alone), after trying and failing to do the right thing (Essence-Existence.)

An important note: the writers carefully picked and chose what present Mulder picked and chose each time. A NASA commemoration medallion in Tempus Fugit pointed to his hope alongside Scully and the fathomless, though largely unspoken, value Mulder placed on their work together. Their partnership, Mulder said, is a gift; and one he needed (needs) to see things through. It was a sentiment Scully didn't hear voiced until Fight the Future, but it's one he was acutely aware of since their separation and her abduction in Season 2. A cloth doll from his mother's pointed to the day Scully was by his side when he lost sight of the answers and would have lost his closure if not for her truth. It was a different time in their partnership, one that didn't require them to step around the danger between them. In both instances, his presents were a symbol of their relationship beating back the darkest hours: her cancer and their hope, his mother's death and his closure. And there is one last meaning to this gift-- the most glaring one: an extension of the Mulder family trinkets to the next generation of Mulders.

CONCLUSION

Empedocles is wrapped!

Thanks for reading~

Enjoy!

[mst3kgifs]

Rita... meter maid!

[ivormybeloved]

Okay maybe i should do more rants about my MCSM AU ideas bc like. I have a LOT and then a month later I see someone mention an idea like it and I missed my chance 😭 so let's just clear up a few things

WARNING: some things may be triggering to some, so if you don't like mentions of kidnapping, death, religious themes, and a few other serious topics then these stories are not for you.

DELUSION [Main themes: Religious Trauma, corrupt society, coping mechanisms] — This will be the main AU I post for a while. It might be finished around late 2025/2026. The entire plot of that is this: Jesse is a pretty normal guy. He lives in a small town in the middle of nowhere, wishing for some adventure or something more. Each night he has weird dreams of familiar faces and his mother, Ivy. Ivy is not his biological mother and was forced to take care of jesse after his father, her twin brother, went missing. Jesse, accompanied by Reuben, one day finds a strange portal he's never seen before and falls into it. He finds himself in a strange and wacky world with no escape. Things will quickly turn into horror as he dives into the secrets of this world and even the people he feels close to. Every character in this story is an experiment that either has or is based on some sort of disorder/disability. Not all depictions may be accurate, but I'm planning on doing more research. The scientist and made all of these creatures is Ivor, The Creator. He's treated as a god and even sees himself as such. Our World's Delusions is not the official writing and is only hints at the future story + random ideas I have that I write out so that y'all can see them. The writing is on AO3 and my only fic I have written so far

THE GREATEST SHOW UNEARTHED [Main themes: Imagination, Greif, Kidnapping] — this au is, of course, based on the song (nicknamed FREAKSHOW AU) The current story at time of posting this is: Ivor takes his son, Jesse, to a carnival. They soon get wrapped up in the plans of the evil ringmaster (Romeo) who steals and manipulates children to join his circus. At day, it's a normal and fun circus. At night, it's a horrific, gorey freakshow filled with some unimaginable horrors. This is the first AU of mine where Ivor is (FOR ONCE) a good dad (not counting me and Br0ken's rewrite AU. That one takes 2nd place)

TOYMAKER [Main themes: Death, Paranoia, Greif, Loss, Drug use] — This AU doesn't have much story currently!

FEARS/PHOBIA [Main theme: Suicide, getting over fears, Mental health] — This AU is mainly just major death. In this AU, each of the characters represent a phobia that Jesse has. Jesse starts killing all of them, trying to free himself from paranoia. Along the way, he gets tired of it. He tries to befriend some fears but soon kills them still. After becoming fearless and killing Romeo (the fear of death) he takes his own life.

FUGITIVE AU — this was a ship AU I had made because I was sad there was barely any Jailbirds (Reginald x Milo) content. The main idea: Milo would steal items and basically commit various crimes for Build Club. He'd get arrested sometimes, but was let go as no one had any evidence that it was actually him who committed the crime. When in jail, he'd talk to Reginald quite a bit and they seemed to get along. Isa, however, was tired of these constant crimes and the fugitive going unpunished, so she ordered Reginald to do whatever he could to capture them. Once Reginald successfully captured Milo, Isa sentanced the criminal to death by void. Reginald tries to protest, claiming that the punishment is much too harsh, but Isa doesn't listen and instead orders the guards to arrest Reginald with charge of treason. Reginald and Milo end up falling off of the island together mid-battle and fall to the island. Reginald wants to find a way back up and talk some sense into Isa, but Milo is completely ECSTATIC and only agrees to find a way back up when Milo remembers Build Club

ALIEN AU — random PolyOrder AU I thought of because of a narrative writing prompt at school 😭. The Old Order are pretty much just are aliens from a planet that is mainly just The End. They crash on Earth and the only person who doesn't like the new world is Soren. They decide to stay on the planet and study the world. They meet a human (Gabriel) and he helps them learn more about the world

BIOME AU — one-off idea I had. Each of the characters are celestial beings (or gods/admins) that rule over specific biomes. There's sections of the world for them to have these biomes and their followers/cults. A collab AU with @thegreatnure!!

AXOLOTL AU — little AU where the Adventure Trio (after Jack is killed in season 2) are revived as axolotl's and are found by Ivor after the Older Order breaks up. It's a small AU idea I had to while talking to @/thegreatnure

HIGH SCHOOL AU — collab au with @/br0ken-camera! It's exactly what it sounds like. There's not much story to this other than little headcanons that I'll post about sometimes

I will update when I make another AU or change something. Other than that, have a good day!!

TRAILS AU — This is an AU I thought of a while ago. The story follows Jes and Jessi, Player One and Player Two. They explore a puzzle filled game and interact with the different residents of the world. They find out what happened to the game and why development had ended. A virus had intruded the game and then the characters started acting odd, that was what they were told.

WHITE PUMPKIN IVOR — so. third AU I've ever worked on. It's pretty much what it sounds like and I might rewrite it sometime in the future.

[wthtorke]

Do you think Yautja would like motorcycles? Or would they be upset if their mate rides one? This is the current debate between my friend and I.

I think they wouldn't have a problem with it tbh

Granted there's a chance (depending which yautja we're talking about) that they'd think its an ancient thing and yk, there's better options out there than a thing with WHEELS

Others (I'm thinking about city hunter and fugitive) would probably think that's sick as fuck lmao

Like how sometimes you look at people on horses and you think they look cool even though there's sm more 'efficient' ways of going places

ALSO if we're talking about a mated yautja, you're wearing armor- as in that sturdy black plated suit for crashes. That puny ass helmet of yours ain't impressive and definitely does not offer you enough protection

I have a patron request I'm working on that talks around this and man lmao I'm having fun with it

[interdimensionalhellscapeportal]

Me & everyone else living in Louisiana @ ep 8 of the Bad Batch:

[black-suns-rim]

Fugitive is afraid…

@queenlybeastly for you, you big simp. I might start drawing more movie Yautja lol

[aletterinthenameofsanity]

Feelings about Bringing Back Moffat For RTD2 + Other Writers I Think Should Get the Chance

Whelp, just found out that Steven Moffat is going to be writing an episode of Fifteen and I'm just like...eh? about the whole prospect. Like, not as terrified as I once might have been but like...hoping he grew as a writer. Because even though I vastly prefer his one-offs to his overarching season ideas...let's not pretend that you couldn't see the warning signs looking back. The focus on either women as mothers (Doctor Dances) women companions as operating in service/deference to the Doctor (Empty Child/Blink) or women as the Time Traveller's Wife (Girl in the Fireplace, Silence in the Library/Forest of the Dead). Empty Child/Doctor Dances, Blink, and Silence in the Library/Forest of the Dead are all fantastic episodes and I think Blink is the strongest one-off (though let's all remember that the ending was suggested by Gatiss, not Moffat) though I will adore Empty Child/Doctor Dances until I die (though let's not forget that Jack Harkness was an RTD invention).

I really hope he learned his lessons through writing latestage Clara and Bill as companions, but I'm honestly just as scared of his racial undertones as am of RTD's. Let's not forget that both of the black companions under Moffat (Bill&Danny) were both dehumanized/turned into Cybermen in order to service Clara and the Doctor/Missy's arcs (though Bill's ending is far better handled in terms of giving Bill her own ending than Danny's, imo), just as RTD really callously handled Martha's treatment, especially in historical episodes. That is not to say that I don't have some hope due to how Bill's race was handled in Thin Ice, but let's just say I'm cautious about getting super excited like some people are.

All of which is to say...I want Toby Whithouse to write a one-off in the RTD2 Era. Or many. I want his examination of the fucked-up and complicated psychological aspects of the Doctor/Companion relationship and even the Doctor themself (I mean he is the one who wrote School Reunion, God Complex, A Town Called Mercy, Under the Lake/Before the Flood, and Vampires of Venice).

ALSO more women and writers of color. I want to see what kind of new voices in sci-fi can be brought to the table and explore more aspects of their experiences, especially as it pertains to historical/future episodes. I'm done with pretending that Demons of the Punjab wasn't one of the best episodes of Doctor Who, and that was specifically because an Indian writer (Vinay Patel) was brought in to write it. (Also, can we see Vinay back as well? He also wrote Fugitive of the Judoon which was another banger. He's also really good at exploring character feelings/implications of time travel/memory.) I also think that Joy Wilkinson, who wrote the Witchfinders, could be a fun choice as well. I really liked the Witchfinders and I'm curious to see how she might tackle a subject matter like that again.