#house of duchovny

[spookysexy]

These belong to me @Spookysexy

[spookysexy]

He’s such a baby here.

[starlightseraph]

i have so many conflicting feelings about my favourite old men. all positive feelings, mind.

do i want to be him? do i want him carnally? do i want to steal his gender? do i want to steal his wife? do i want him to be my honorary dad?

who knows, but i do definitely want to spin him around in a microwave or possibly a blender.

[tinknevertalks]

HOLY FUCK HOLY FUCK HOLY FUCK!!!

Look, as a teenager I mainlined the David Duchovny vid (and song - the video version is actually slightly longer than the album version)(yes that is my level of geekery and I will not be apologising!) so to see Hank Green: 1) talking about it and B) singing along with it at the end is like 🤯🤯🤯

So if you're an X-phile and you've seen the video and been meh, this explains the scientific nature of the whammy!

...

Now excuse me whilst I go sing to myself the song of my people. 😂😂😂

[peachviz]

would u believe I got these for just $5

[spookysexy]

Face swap! They look exactly alike, except for one’s a little more feminine!

It’s an xfile!

Duchovny children what the fuck.

[myassbrokethefall]

[drydak]

how do we feel about rsl as steve’s dad. do we feel good about this

[thexfilesseason4]

Sometimes the x files is lit so beautifully that I have to stop and stare. Scully's face and hair so perfect and ethereal.

[spookysexy]

God, he’s gorgeous

Not a girl, Pappass, it’s a lady.

[inhonoredglory]

Defining Ineffable Love (or, Aziracrow Learn the Rules of Romance)

(In response to this ask about ineffables and asexuality)

One of the major threads this season was Aziraphale and Crowley asking themselves what exactly is their relationship. Not what it is in terms of how much they love each other. (That's a given.) But what it is in terms of the human implications of their love.

Crowley and Aziraphale definitely come at the relationship with different perspectives, in terms of what they’re willing to admit to the relationship being. I don’t think we can entirely interpret it in human terms. –David Tennant (source)

For 6000 years, they’ve never put a name on their relationship. They didn’t, because they’re inhuman, genderless, sexless beings and they didn’t grow up (as it were) with labels. And even when they did learn them, they couldn’t say it was love, because admitting that was a death sentence.

All of Aziraphale’s heart eyes and pining could live comfortably in his mind if he never admitted what that said about him as an angel (trauma compartmentalization). Crowley tries desperately to be cruel and nasty to add white noise around the blatant reality of his constant loyalty to Aziraphale. If you don’t put a word to it, it’s not real and they can’t punish you.

After the Not-pocalypse, for all rights and purposes, Aziraphale and Crowley chose humanity as their identity. We see Aziraphale “playing house” in various human roles (as a landlord, a private eye, a magician).

We even see Crowley intentionally taking on human behavior to handle emotional issues: “Just breathe, that’s what humans do.” They’re slowly and intentionally enculturating themselves into the world they want to belong––earth.

Yet it’s setting up Maggie and Nina that makes Aziraphale and Crowley start thinking about their relationship as a human construct.

Because fundamentally, Aziraphale and Crowley are not human. Like Neil Gaiman tells us constantly, they can’t be defined in human terms when it comes to gender and sexuality. They can shift and move through each and any of those markers at will, purely for the pleasure of the thing: “angels are sexless unless they really want to make an effort.”

IMO that makes them originally asexual, in the sense they were created without the need for sex. And it makes them fundamentally transgender and genderfluid, because while on earth, their sexless, eldritch spiritual bodies take on human, gendered forms and clothing. What gender (and sexuality) they identify with while on earth varies through the eras. Crowley definitely has a fluid gender identity, while Aziraphale appears to have settled on gay man (aka THE southern pansy) for his internal typology (although all of these identities are subject to change).

In the midst of all this fluidity, it’s no wonder Aziraphale and Crowley haven’t thought of their relationship in human terms before. There’s just so much different in them and their bodies than what they see in humanity. And there are no books and songs that show the kind of love they have, in the malleable, sexless bodies they have, with the background they have; it’s all ineffable.

Aziraphale and Crowley didn’t start out thinking they were in a romantic relationship. Whatever feelings they had were long repressed, redefined, and shuttled away. But they did love each other, without question. And it was that love which scared them, because it was bigger than anything they saw among humans, a love that was beautiful and blasphemous and unfathomable.

Kinda like what David Duchovny said about Mulder and Scully in The X-Files, “I don’t know if they’re in love. In a way, their relationship is deeper than that, because they cannot live without each other.”

Now take this profound, ineffable love and drop it into the little boxes and labels human culture has created for itself.

Full disclosure: I’m an asexual demiromantic person in a queerplatonic relationship, so I’ve done a fair bit of research on what romance is and how the rituals of romance are, in many ways, social inventions that vary from culture to culture. There’s love and then there’s romance, and they don’t always overlap. So my interpretation of Aziraphale and Crowley comes through this lens and the fact that Neil Gaiman has affirmed the validity of an ace-spec reading on our ineffables.

Which brings me back to my thesis: That only now are Aziraphale and Crowley thinking of themselves as a romantic couple, precisely because they are interfacing with humans and taking on their social rules.

I like this one asexual person’s description of their experience, which feels very much like our ineffables (from a very good article, I def recommend):

If there is a border between friendship and romance, then in my internal landscape, it goes right through a misty forest where no one has ever bothered to place signs.... Neither of us had intended to start anything even vaguely romantic, but the activities we did and the intense kind of immediate connection we had was coded as romantic in our culture.

That’s what Crowley realizes when Nina confronts him about his relationship to Aziraphale.

“It looks like that from here.” What Crowley and Aziraphale share is beyond definition, but Nina cannot imagine the anything beyond the human labels she was taught. The tragedy of an everlasting love is that it can only be conveyed properly to other humans if it is cast in such small human words––partner, boyfriend, husband.

Because when Crowley denied those human roles for Aziraphale, Nina slid down the path of thinking Aziraphale was just his “bit on the side,” because there were no labels left she could imagine for them. If you don’t put a word to it, it’s not real.

That’s the purpose of labels, to culturally validate a person's identity. Labels, of course, DO NOT create reality; people's experiences are always real, in all their varied ineffability. But labels allow a space for culture (ie other humans and political and legal society) to recognize formally your lived reality.

So Crowley started really thinking about him and Aziraphale, about the ineffable love between them and realized that in human terms, those would be the things he’d call Aziraphale, because those were the words that gave Aziraphale that place of importance in his life.

But with that realization comes all the human trappings and behavioral patterns around those words (the candlelit dinners, dramatic rescues, drinks at the Ritz, etc.) which Crowley had never thought of before, and yet… maybe romance is what he and Aziraphale have been doing all along.

That’s why this season centered so much around Aziraphale and Crowley using cultural artifacts (film and literature) to understand romance, because romance is so deeply socially-defined.

Aziraphale himself has been leaning hard into the romantic social cues (he’s more well-read in the cultural trappings of romance than Crowley is), especially post-Blitz. But when he watches Maggie and Nina dancing, he works up the courage to do something with Crowley that’s even more explicitly loaded as “traditionally romantic” than anything he’s done up to that point.

Because while risking their lives for each other and defying everything for each other is love in its purest form, dancing (specifically in Jane Austen’s world) is a public performance coded for potential marriage partners. It's an intimate ritual of the entire body. (And in British slang, dancing has been used as a euphemism for sex.)

Crowley's "We don't dance" is really telling, because it shows Crowley’s awareness of the unknowable devotion between them vs the human roles Aziraphale is asking him to fill, specifically its physical aspects. Aziraphale is asking to make their relationship more public, more physically explicit, more coded as romantic in a setting specifically intended to couple individuals.

While Maggie and Nina inspired Aziraphale to progress their relationship into a publicly physical direction, Maggie and Nina inspired Crowley to think of the emotional implications of their human roles: the commitment, security, and monogamy of a husband, a partner, an us.

That’s what he decides after Maggie and Nina confront him in the end. “You never say what you’re really thinking.” He wants to codify his relationship so they each become responsible to one another. Aziraphale has always been his soulmate, the one he could always rely on. But he wants to place a word and a role to their love that will bring with it Aziraphale’s commitment and dedication to him.

And that's another reason why Crowley kisses Aziraphale, because he knows Aziraphale was willing to make their relationship physical, and he wants that, too. To consummate this bond in the way humans do.

But Crowley doesn’t really know how to kiss; he’s not as worldly as he makes out to be. (It’s Aziraphale who owns the gun, and Crowley who’s never fired one.) He uses the kiss as a tool to get across to Aziraphale what he wants for them, in the physical language Aziraphale has been using, because "one fabulous kiss and we're good," right?

But it doesn’t work, because real life and real emotions don’t work like that; life and love don’t follow a script, despite the novels and plays and songs.

Aziraphale and Crowley spent this entire season trying to figure out what their relationship is and what they wanted out of it, trying to make sense of the unfathomable thing they share and the human implications of it, and not quite landing on the same page.

Part 2 of this Analysis, covering a correction in Crowley’s statement (“You don’t dance”) and the further implications of dancing/sex.

[allthngs]

david duchovny has this picture hanging somewhere in his house, have a good day

[starlightseraph]

i analyse characters to such an absurd extent that i come up with things that the writers/creators/cast probably never even considered.

and guess what. i’m right.

[spookysexy]

Interesting always, I’m exploring my roots too!

"The Perilous Story of David Duchovny's Family Finally Revealed | Finding Your Roots | Ancestry®"

[http-paprika]

There Was Something Here Once but a new day hides that haze

alternative universe / call of duty x female reader / taglist open / wc 2623 / warnings light swearing / no use of y/n / ship not yet decided / no beta, my grammarly hates me

a word from the author- i started classes in August, so I'm not on top of my writing but I started this the other day and wanting to share it with ya'll because it's too good. And for the pairing, I'm between two characters so you'll just have to see how it goes.

Dew clings to the windshield, a heavy fog leaving the morning hazy and gray. Autumn would soon have a firm hold on the small, quiet town of Aberdeen, making the weather impossible to bear if one did not have a good flannel or coat. Which was a new addition to her wardrobe when she made plans to leave the city and hide away. The one postcard sent from her college friend, the one responsible for getting her this new job, boasted a quaint downtown, heavy snows, and an eerie ambiance she couldn’t shake no matter how hard she tried. It was Twin Peaks personified, just lacking David Duchovny and a young Kyle MacLachlan. 

The engine of her Ford Bronco sputters and creaks. The old vehicle had spent the whole drive up protesting the hills and winding roads that left her constantly breaking. Now, it seemed her ancient car, that she had served her faithfully through college and early adult years, had decided to kick her in the ass. 

“No, no, no.” She groans, hitting her head against the hard steering wheel and instantly regretting it. There’d be a bruise later in the day with her luck. “Not today, baby. I’ve only been at this job a week, I can’t be late already.” 

It would be just her bad luck that the car would give out, her luck that the cell service was questionable so she couldn’t even call. But what wouldn’t be her normal bout of unfortunate events was the man who lived just down the road that she’d seen tinkering with an old sports car. She pops up her head, remembering his existence and hurries out into the morning chill. 

With her fingers crossed together that the stranger would not be a creep, she walks in a fast pace down the cracked asphalt to the little arts and crafts home that sat at the bottom of the hill. There was a blooming garden out front, despite the change in seasons, vegetable, herbs and a few flowers bursting to life and ready for harvest. The two rocking chairs on the front porch made her a little less nervous. Whoever the home belonged to, they seem charming enough in their landscape and aesthetic. 

Hands trembling, she knocks against the screen door, wondering if she should open it and knock directly on the faded blue front door. But after a few knocks, the sound of muffled footsteps reached her ears and soon enough the door was unlocked and opened. Except, the man standing in the doorway was not who she’d seen tinkering with the car, instead, he struck her as a cowboy. Someone who would’ve starred in the western movies her father watched when she was a kid. 

“Can I help you?” He asks, a dull but still visible southern twang visible in his voice. Maybe he was a cowboy, his checkered shirt and worn down boots said as much. 

“Oh, um–” She pauses, trying to collect herself so as to not sound like a fool. The anxiety of being late and belittled by her unruly coworkers was pressing deep into her skin. “I’m sorry for disturbing you so early in the morning. But I just moved into the house up the road last week and my car doesn't want to run today and I’m going to be late for work. I had noticed in passing before that there’s someone in this household who works on cars and was wondering if he’d be willing to take a look at the engine for me? I’m helpless with mechanics.” 

The man nods, understanding her plea for help. “That’s right, John spends all his free time on that hunk of shit.” 

“Are you talking bad about my car again, Phillip?” A booming voice asked from inside the house, it caused her to stand at attention being vividly alert. Suddenly, the man she’d seen while driving by is standing over Phillip’s shoulder, hands resting on Phillip’s hips and a tilt to his head. “Hello there, not often we get new people in these parts.” 

“She just moved into the Riley’s house, her car is acting up, John.” Phillip tells the newcomer in the conversation. Together, the men made quite a fitting pair, rugged and worn at the edges, with various lengths of facial hair and two sets of blue eyes. Without them having to say it out loud, she could feel the warmth of their shared intimacy, a love she could only envy and never grasp. 

“Really? Never thought anyone would be willing to buy it— Ow!” John grumbles, rubbing his side where Phillip had jutted his elbow. “Right, your car. Let me get my things.” 

She frowns at the statement the man had begun but been unable to finish. What had John meant by that? Sure, the house wasn't the nicest, there were cobwebs in corners, cracks on some of the window panes, and a musty smell from sitting empty for a while, but it was a nice enough house. Two bedrooms, two bathrooms, a cozy kitchen that looked out into the woods. It was a quaint cottage that was a dream come true compared to the studio apartment she’d left behind. 

John disappears back into the house, leaving her with an awkward look on her face as Phillip stands there. She wants to ask what John meant by it, the curiosity or rather fear of the truth taps insistently against her skull. But she imagined her neighbor would just shut her down like he’d done with his partner. 

“If it can be fixed, John can fix it, ma’am. He owns and runs the little auto shop in town, you’ve probably seen it. It’s the only one in this hellhole.” Phillip tells her, breaking up the static silence that had overcome them. 

“You don’t like it here?” She raises a brow, surprised to hear it. The few coworkers she had at her new job only sang the praises of Abedreen, telling her it was the greatest little town to live in. But it was clear in Phillip’s tone that he didn’t share the sentiment. 

“I like John, that’s enough to take me anywhere.” 

There was a faithfulness in his voice she didn’t think she’d ever heard outside of television and novels. Her parents were divorced when she was a girl, all her friends in college seemed to have constant relationship problems and doubts, but there wasn’t a doubt in his words. 

“Alright, lead the way.” John reappears behind his partner with a fat toolbox in hand, seemingly unaware of what Phillip had said. But she had a suspicion he knew, because as subtle as it was, she noticed John loop his finger quickly through the belt loop of Phillip’s jeans and tug slightly. And as she turned away to walk off the porch, the smile on Phillip’s face was as visible as the mist that hung in front of her. 

The crunching of John’s boots on top of the gravel kept her company as they walked back to the road. There was a clear impression that the man was the less talkative of the couple, using few words to get his point across. Normally, she wouldn’t mind, but his big hulking figure following her like a shadow kept her nervous. While Phillip had reminded her of the movies her father used to watch, John reminded her of her father. Broad shoulders, dark hair covering his jaw, lack of conversation, and intimidating stature. She couldn’t even remember where her father had been born. Somewhere out west, or so she thought. 

“So how come you moved to Aberdeen?” He finally speaks up once they’re on the road, headed back up the hill to her new home. “Got family in the area?”

“No.”

“Okay. You don’t exactly strike me as the logging or mining type–” 

“An old college friend was from here, and I happened to come across a job position at the library and remember her telling me about the town.” She shrugs, not knowing what else to say without spiraling into the life events that left her desperate enough to start anew in the middle of nowhere, in a town no one seemed to know about. 

“Ah.” John responds. She turned to look quickly down at the asphalt, his thoughtful gaze told her more than enough. He knew there was more to the story, and either he didn’t care or he was polite enough not to ask. “Who’s the friend?”

“What?”

“Your old college friend from here? Who are they? I’d probably know them, lived my entire life in the area.” He says, coming to a slow pace as they reached the top of the hill, her Bronco sitting and waiting to be inspected. She could only pray he could tell her it was fixable. 

“Um, Beau Ridley. Well, now Beau Mayfield since she’s married.” She rambles off, stopping quickly in fear that she’s being too much. A habit she’d developed quickly in college. 

“Yeah, I know Beau– pop the hood for me?” John sets down his tool box and she scurries to follow his orders like a kid finding the right wrench for their dad. Despite owning the car for ages, she struggles to remember where she had to look to open the boot. Finally, the boot clicked open and her view out the windshield was obscured with the metal. From this view, she could see just how badly the paint had begun to fade, and that there was dried bird poop that hadn’t been there the night before. 

“Sorry.” She apologizes as she climbs back out of her car, fiddling with the sleeve of her shirt.

“What for?” He doesn’t even bother looking up from the engine of the car as he pokes around. Blinking at him, she realizes he doesn’t care that it took her a bit too long to pop the trunk or that she disturbed his morning. Realizing that makes her shift from one foot to another and drop her gaze down to the dirt of her driveway. 

“Do me a favor and try to turn on the engine, would ya?” John asks and she quickly hurries to fulfill that task too. She hated meeting new people and new beginnings simply because it meant she had to work hard to make a good impression, the people here weren’t disappointed in her and expected failure like those she knew before. It was a feeling she hated, seeking approval. Yet she did it anyway. 

Propping herself up in the driver’s seat, she fumbles with her keys– the cat keychain she had kept getting in the way– before finally turning the key in the ignition. The rough sound of her car sputtering and struggling, failing to do it’s most basic task of running, causes her to wince. And when she pokes her head out to see John’s expression as she continues to try to make it turn on, she realizes her car is screwed. 

“So?”

“Need to get in the shop,” He informs her. John takes his time explaining what he believed to be the problem and it went all over her head, so she simply nodded. She knew how to change a tire, replace the blinker fluid, and even knew where to refill the car’s coolant, but anything more was outside her realm of knowledge. “You didn’t understand a thing I said, did ya?” 

“No sir.” 

John nods his head in sympathy, probably used to clueless customers in his auto shop. Reaching into the back pocket of his jeans, John pulls out his cracked phone and types up a number. “I’ll call my tow-guy to come up and take it down to the shop, free of charge.”

“How am I going to get to work?” She suddenly responds, remembering why she’d even gone to John’s house in the first place. There’d always been a struggle for her to focus on what comes after something, stuck in the present unable to look forward to the future. Even if the future is only an hour away. 

“Where do you work?” He asks her, putting the phone up to his ear to make the call. 

“At the library.” She responds quickly, John registers her words with a nod before turning away to speak to his tow-driver. He barks at the unfortunate driver, seemingly annoyed by his antics until the call finally ends and he turns on his boot heel to look back at her. 

“Johnny’s gonna be here in about twenty minutes, he’ll drop you off at the library. If that’s alright with you?” John says, making sure that she was comfortable with the situation. “Otherwise, I could drive you down later once I’m done with my breakfast and coffee.” 

“No, no, that’s more than enough.” Her mind keeps going back to his statement, free of charge. How many times had she gotten something in life free? Rarely, if she could remember correctly. “Thank you, John.” 

“You’re in Aberdeen. We take care of our neighbors here.” He turns to close his tool box, picking up the metal container with ease. “You fine with waiting on your own–”

“Yeah, I’m fine. It’s fine.” The thought of inconveniencing John further after he’d already taken time out of his day to help her was too much to ask. Even if she didn’t like the idea of waiting for a stranger to come get her car and take her to work, she’d handle it. 

“You sure?”

“Yes, thank you. Again.” John nods, turning to leave with a hum in his throat low in sound but enough for her to hear in the morning. The fog is beginning to dissipate, letting the autumn sun climb through the tall spindly pine trees, the crisp air clings to your lungs like swallowing ice water. Up here, she finds that she can take a moment to breathe. Away from the bustling traffic of the city, the bog that coated the air. The only noise here was birdsong and wind. A bliss that eclipsed her senses before her phone decides to ring– her manager’s number on the caller ID. 

Her manager forgives the lateness, and even tried to ask if they could do anything to help her but she declines. Sitting on the front step of her house, the hum of a truck overtakes the sounds of nature. And when the tow truck slows to a stop in front of the cottage, she finds herself biting the inside of her cheek. The sudden realization that there’s a stranger here to get her car and take her to work makes her queasy. If she were still in the city, she would’ve considered taking the spotty public transport over this. But it was too far and difficult of a trek to make with her heavy work tote slung over her shoulders and her loafers sinking into the mud from last night’s rain. She wouldn’t make it walking. 

The door of the tow truck opens and the driver climbs out, his back stays turned to her as he reaches back in to grab something. The navy coveralls compliment his tanned arms well, and when he turns to look at her, she realizes they match his eyes as well. Even with his odd mohawk-like hair she finds herself coughing on nothing at the sight of his face. 

“You alright, ma’am?” He asks, knitting his brows together in his concern. There’s a golden look in his face, 

“Yeah, yeah. You’re Johnny?” She wheezes, struggling to clear her throat. 

“That’s right. I’ll have your car hooked up and you to work in no time.” He promises her with a grin, and she fully believes it. Maybe Aberdeen wasn’t the worst little town to exist?

Chapter II

[fimproda]

The X-Files x Interview With the Vampire (AMC)

It's 1996. It's a Monster of the Week episode. Agents Mulder and Scully have been working together for a couple of years at this point; one morning, Mulder barges into his basement office, as per usual, and slams a case file on his desk, right under Scully's nose.

Multiple victims in New Orleans, found murdered in various parts of the city with no blood left in their bodies and puncture wounds on their necks. Mulder already thinks it's a vampire. Scully complains and presents scientific proof to the non-existence of vampires. Mulder wins. They board a plane to Louisiana.

A younger version of the Crime Dawg from 2x08 brings the agents on a spooky tour of NOLA and tells them what happened at 1132 Royal Street:

"Home of the most infamous party ever thrown in New Orleans. This is where two dozen members of high society, they walked in them doors right there. Ain't nobody ever seen them again."

Mulder is intrigued. Scully scoffs and rolls her eyes.

The Crime Dawg goes on with his pitch: Tom Anderson, the Sebastian Melmoth/Lesander Lioncurt King of Raj thing, the Creole hustler and his little child bride, the voodoo cult they were running in the back rooms above the courtyard garden, the who's who of who dat who were brought inside the house on Mardi Gras, 1940 and that couldn't nobody find head or hairpiece of the next day.

"What did they find?" the Crime Dawg asks the agents. "Blood in between the floorboards of three different rooms, bits of indeterminate pieces of bone inside the factory-sized incinerator. Why did Tom Anderson, Mr. Melmoth, the hustler and the child bride lure these particular citizens to this house of lies and intrigue?"

"To murder them, apparently," Scully says, and then goes on a tirade about early 1900s crime scene investigation methods. Mulder follows with a compilation of his encyclopedic knowledge of vampires, which will come in handy in two years when the events of Bad Blood roll around. The Crime Dawg is already hearing wedding bells.

Later, while Scully examines the victims' bodies at the city morgue, Mulder returns to 1132 Royal Street, formerly 1132 Rue Royale. It's a museum now. Inside, there's a picture of the so-called Frenchman, the local Creole hustler and his little child bride. Mulder has a hunch, as one does, but alas, Scully doesn't find any forensic evidence and the case threatens to go cold.

Thankfully, the episode is written by Chris Carter and Frank Spotniz (and, why not, David Duchovny), so the magic of television eventually brings us to the dilapidated doorstep of one Lestat de Lioncurt, who looks exactly like the so-called Frenchman in the picture Mulder saw in the museum at 1132 Royal Street.

Something something, there's a kind of homoerotic tension between Mulder and Lestat that rivals the one between Mulder and Krycek, something something, Lestat reveals himself as a vampire when he bites Mulder and/or Scully, something something, Scully still doesn't believe in vampires. Between one thing and the other, Mulder puts his Oxford psychology degree to good use and psychoanalizes Lestat, who finds himself in the same place as mon cher Louis was 23 years earlier with a bright young reporter with a point of view (and will be again in another 30 years' time, with a bright old reporter with a point of view) and tells Mulder his entire life story.

At the end, it's one of those episodes: the monster is not actually a monster, or however that old X-Files adage goes. A classic Mulder monologue ties it all off nicely:

"Maybe, a vampire is but a man who rejects sociality, who embraces his feelings of alienation and loneliness and sets himself apart from humanity, but still needs to fill that pit with the essence of life and has to go find that in his former mortal fellows, therefore voiding the very premise of his existence.

"This has the vampire wondering what this not-life, not-death ultimately means, if it will ever amount to something.

"Am I something of God that is here because all things that are here are of God's intention? the vampire asks himself. Or am I damned? Am I from the devil? Is my very nature that of the devil?

"Or, perhaps, is my need of blood a mere biological imperative? Am I an obligate carnivore, guilty of nothing but my own survival instinct, just as the lion in his pursuit of the zebra is subjected only to the laws of nature and not those of humanity?"

I've spent the better part of the summer watching The X-Files (I'm currently at the start of season 9) and moved on to ITWV season 2 as soon as fall rolled around. Suffice to say that both these shows have become my current hyperfixations, and I just couldn't stand not making something out of it.

If someone wants to write this under a more serious light, please do; just let me know if and when you do decide to do it and where I might go read it. Because I need to read this.