#house of duchovny

[spookysexy]

These belong to me @Spookysexy

[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.

[dd-is-my-guiltypleasure]

New crafty project : I'm gonna create a page for each DD's characters on movies / series.

21. Tommy (House of D)

[peachviz]

would u believe I got these for just $5

[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.

[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.

[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?

Taglist is Open for Future Potiential Updates!

[cutemothman]

this photo of duchovny makes me want to build a house with my bare hands

[greatcheshire]

What is the deal with Twin Peaks Season 2?

Oh gosh so

Twin Peaks season 1 was a huge surprise hit for ABC, which obviously the executives loved. What they didn't love was the fact that the show, which focused on finding the killer of Laura Palmer, ended its first season without revealing the killer of Laura Palmer. In addition, the show was also such a big hit that they ordered 22 episode for season 2, about three times as many as the 8 episode first season, which meant a lot more space that needed to be filled.

There's also another thing here where season 2 also marked David Lynch putting more... Lynch things in the series. Season 1 had touches of supernatural or surreal elements, sure, especially compared to other TV shows at the time, but for the most part could still be enjoyed or viewed as a standard small town mystery soap opera by a wide amount of its audience. Compare this to early season 2, which introduces spirits, a cream corn ghost child, and sunglasses that possess you and make you smoke cigarettes. A lot of people were put off by this turn, either by it getting too weird for them or for simply not liking the more overt supernatural tone the show was taking.

For what it's worth, in my opinion, the first 9 episodes of Season 2 are phenomenal. Some of my favorite stuff in the series. The moments where Twin Peaks really becomes its own beast. One thing about this section is that this is where ABC was really pushing for Lynch and Frost to reveal the identity of Laura Palmer's killer, something they had never wanted to do but ended up having to do anyway. The end result is the killer getting revealed 1/3 of the way into the season, and the final three episodes dealing with the reveal of the killer and the aftermath are honestly amazing. Fantastic work. Episode 7 has probably my favorite TV moment of all time. It's that damn good.

But then a problem came - the killer was found. The central mystery had been solved.

And there's still 13 more episodes left of the season.

What happened next is one of the most famous quality drop offs in television history. Lynch, both due to his frustrations with ABC and also due to his obligations with filming his movie Wild At Heart, took a step back from the show, letting other writers try to fill in for him. The result was disastrous, with writers struggling to figure out how to replicate Lynch and Frost's style and what Twin Peaks could even be about without the Palmer case.

Some plotlines that are in Twin Peaks season 2, I shit you not:

A business owner gets PTSD and believes himself to be a confederate general, forcing everyone around him to recreate the Civil War with miniatures

David Duchovny shows up as a trans woman FBI agent

The show's Hannibal equivalent disguises himself as a horse and tranq darts a military general involved in classified Area 51 material

The show's Hannibal equivalent kills some random guy and stuffs him in a giant, house sized chess piece as a calling card

Local cool biker James Hurley leaves Twin Peaks, discovers a woman who is trying to scam him into killing her husband but that scam is also a scam from the husband who is also her brother to convince some boy to do a fake scam and attempt to kill him or something and it takes up five episodes and nothing happens and then James leaves the show

The main planned romance arc was vetoed by one of the actors so they had to come up with new love interests solely so fans would stop shipping the two of them. The two new love interests are played by Heather Graham and Billy Zane. They get nothing to do. Heather Graham is a suicidal nun named Annie Blackburn. Billy Zane is a cowboy named John Justice Wheeler

A 40 year old woman with an eyepatch and super strength gets amnesia and believes she's a high school cheerleader. They let her onto the wrestling team because of her super strength and she starts dating the jerk jock there because she's able to dom him

A woman becomes a door knob

They decide to host a beauty pageant to raise money to save a pine weasel. This is the plotline for the final few episodes.

We begin to learn more about UFOs and aliens and the existence of a dark dimension called the Black Lodge

Two men compete to see who is the real father of the sheriff assistant Lucy's child. At one point, they believe he might be the spawn of Satan.

They take Cooper out of the FBI because he went to Canada without permission and place him in Lesbian Flannel for the rest of the season (The only time Lesbian Flannel is a downgrade for a character)

The mayor's 80 year old brother, who investigates UFOs, dies by getting fucked to death by his 20 year old wife. The mayor brings a shotgun to the sheriff's office and plans to shoot the wife for killing his brother with sex and witchcraft. The police solve this by locking them both in the room together until they start to have sex and announce their plans to adopt

And this is just the simplified version of it!  All of this caused Twin Peaks to drop HARD in the ratings. Like literally from the top of the charts to the bottom. This stretch of episodes aren’t entirely bad. There is some good stuff there, the lore is important for future things, and the episodes start to pick up when the Hannibal equivalent Windom Earle gets introduced. But as a whole... OOF is it hard to watch.  Lynch would come back again to direct the season finale of season 2, hoping to generate enough interest from viewers and executives in giving it a season 3. He tossed out the script that was written by the season 2 writing team and made his own thing and it rules. The finale for season 2 is one of the best episodes of TV ever. A high mark of Lynch’s career. It’s so fucking good. It’s so good, it’s worth season 2 despite it all. And it ends on one hell of a cliffhanger. 

Only to get cancelled. 

Lynch was given the opportunity to do a movie to end the series properly and resolve the cliffhanger. Instead he made a prequel. A move that angered many at the time. And then 25 years later, Twin Peaks finally got a third season, one that was so good, it was named the best movie of 2017 by Sight & Sound. But the effects of season 2 live on, the way that it alienated audiences and put Twin Peaks solely into niche territory one baffling decision at a time. 

[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.

[dd-is-my-guiltypleasure]

Amazing to find a new but old pic.

[autistickittycat22]

I’m afraid of leaving my house

I’m afraid of dying of cancer

I’m afraid of black sedans, white vans, and computers

I’m afraid of losing my mind

I’m afraid of windows and airplanes

I’m afraid of my past, my fans, and my future

But I never been afraid of no one breaking my heart

It’s not like I’m ‘bout to fall and cut my throat on the shards

And I’m afraid of damn near everything

All my life’s a panic trip, a rocket ship to planet schizoid

Hold me like a tourniquet, and I’ll you, like an iron maiden

I’ve grown used to fear

But no, not to you yet, my dear

Oh, I love you so much it scares me half to death

I’m not used to this

How did it happen, baby?

Oh, I love you so much it scares me half to death

The other half, I guess, I’m giving to you

Oh, baby

Oh, I’m afraid that you’ll change your mind

I’m afraid there’s somebody better

I’m afraid of four-letter words, like “love”, “for”

And “ever”, or whatever

And I’m afraid you’ll notice all my flaws

I’m afraid you already have, obviously

And I’m afraid I’ll come on too strong

Hold you too tight and scare you too

But I never been afraid to wear my heart on my sleeve

At least to prove I’m weak and if you cut me I’ll bleed

Could you be the light my X-Rays need?

All my life’s a Duchovny role

Oh, Gilian, you won’t believe this

Spit me out, you don’t know where I’ve been

Hold me at claws length, baby

I’m not used to fear of losing something I hold dead

Oh, I love you so much it scares me half to death

I’m not used to this

How did it happen, baby?

Oh, I love you so much it scares me half to death

The other half I guess I’m giving to you

Oh, baby!

I’ll twist my words: a clever turn of phrase

Sorry, darling, please excuse my

Constant need to self-aggrandize

Coddling my narcissism

M.A.D. come ride my A-bomb

While I beg you to say I’m okay

So here’s one last lyric to sum up these

Thoughts I struggle to come up with

To make me sound deep and smart and

Then I promise I’ll shut up

Wait, let me think

Hold on, I got this

Anything but “I’m in love with you”

I love you so much it scares me half to death

How should I put this

How did this happen, baby?

Oh, I love you so much it scares me half to death

The other half I guess I’m giving to you

Oh, baby!

(I mean it’s kind of a lot…)

[randomfoggytiger]

Fail Better Premium: David's Thoughts (Part IV, 1/3)

Creating a breadcrumb trail with David Duchovny's personal growth.

"Just getting down my thoughts before coffee. That's the dangerous part.

"Yeah, it was really nice to have somebody from the world of sport, as they say, tennis, weigh in on this; because when I'd had the podcast idea, I'd figured sports was going to play a pretty big role... because sports is the one area where we've kinda baked in the notion of success and failure. And it's a cyclical kind of reality in sports-- you win some, you lose some.... It's also how we as children learn how to deal with success and failure, with wins and losses. It creates a safe place-- it should be a safe place.

"I mean, I was out there with my kid-- things are different, now, than when I was a kid. There were, there were hardly-- my parents saw maybe... my mother came to one basketball game when I scored my thousandth point; and my dad-- my parents were split at that point-- my dad maybe came to one or two baseball games. So. Uh, where was I going with that? When my kids were playing, when my daughter was playing softball and my son was playing baseball, we went to every game and the parents went to every game. And, um, sometimes I think that's wonderful, and sometimes I think it sucks.

"Because, for me, sports was all mine; and my parents had no ego involved in that. My mom, I think she was happy that I was playing sports, that I was out of the house for a little longer. My dad was gone at that point-- he didn't have the male ego involved in whatever sports accomplishments I was gonna have. I'm sure he enjoyed watching me enjoy myself; but, y'know, there wasn't this kind of 'I'm with you every step of the way, Son' business that seem to be happening now.

"Blah, David-- see? Maybe it's the coffee that focuses me."

(Part I, Part II, Part III)

[whumpees]

The X-Files whump list

Synopsis: The X-Files focused on the professional lives of two FBI special agents, Fox Mulder and Dana Scully, who are charged with investigating unusual and unsolved cases, known as X-Files, that involved elements of the supernatural or paranormal. Some of these cases forwarded the series’ mythological story arc and involved the investigative duo’s moving closer toward uncovering a vast government conspiracy regarding the existence of extraterrestrials.

Whumpee: fox mulder played by david duchovny

Seasons: 11 (1993-2018) (218 eps)

Movies: 2

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S01

Ep2: kidnapped, held down on a stretcher, restrained in the stretcher and given a sedative injection by force & oxygen mask put on his face, delirious (half awake), in an operation room, scully got him out and he looked confused & shocked & wasn't walking well? He forgot how he got kidnapped

Ep5: mini attack & lifts his shirt for paramedics to bandage his torso

Ep10: mini attack & bruised cheek. Thrown against the ground & limping & using crutches

Ep12: suffocating from smoke, collapse on the floor and helped to walk by firemen

Ep13: shot in the leg and falls on the floor, laying in a stretcher unconscious with an oxygen mask & leg bleeding, recovering in the hospital (the whole things was very brief and boring)

Ep14: hit on the head and falls on the ground then hit again and knocked out briefly

Ep20: attacked by insects, hospitalized & has bruises on his face

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S02

Ep1: found passed out

Ep15: stabbed or something in the arm by magic or whatever and falls on the ground & scully finds him laying on the ground

Ep16: flash forward: brought to the hospital in a critical condition, hypothermia, bad eye bruising, but in a bathtub to warm him, his heart stops and the scene is cut

Ep17: thrown at the ground multiple times, a substance gets in his eyes and he's almost blinded,dragged out side of the submarine and falls from a high distance, unable to see properly & difficultly moving, the scene from last episode continues and he his in a bathtub. Defibrillation, in the hospital for days unconscious, woke up and speaking with difficulty

Ep18: attacked by a gorilla and falls on the ground, hit by light and then found unconscious with his head bleeding

Ep19: "aging fast", rescued & passed out in hospital

Ep25: sleep deprived, loses his temper and attacks someone and so is manhandled. Asleep, wakes up started by scully, says he came home cuz he might have been running a fever, coughs. Sweating and breathing heavily a lil bit crying at the death of someone and comes home to scully with a fever and she puts him to bed and puts a cold cloth on his head. He won't listen to scully so she shoots him, falls unconscious, wakes up in someone's house bandaged, turned out he was being drugged and it's what caused him to get out of control to get everyone to distrust him. Holding his arm to his torso to stay still and not aggravate his wound. In a burning place, status unknown

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S03

Ep1: found passed out under debris, carried to safty, passed out for 3 days with high fever

Ep4: fighting, thrown in the ground, hurt & winces in pain

Ep7: pushed across the room (srsly what's with the useless pain free pushes???)

Ep9: in a fight & pushed to the ground (i swear one more push and imma 😤 i just write them in case somebody cares about details 🙃)

Ep10: strangled, blood marks from the robe on his neck, knocked out & kicked multiple times, found unconscious with bloody face, carried while unconscious

Ep14: hit in the face, face treated by paramedic

Ep16: in a car accident, passed out, wakes up briefly and passes out again, wakes up in the hospital

Ep24: in a fight and thrown to the ground & a little hurt

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S04

Ep1: smashed against a car & falls on the ground, meets scully and she says "you're freezing, you're in shock."

Ep3: tranquillised, collapses, found paralysed with his eyes open, unresponsive, dragged by scully

Ep8: whipped, passed out on the ground in a prison cell then wakes up, held down by many men & injected something to take him to do "experiments" on him, woke up tied in bed, worms entering his nose and get through his eyes and whole face 🤮

Ep9: passed out in the cell in a fetal position, thrown away by an explosion, helped to walk by scully

Ep15: punched & stepped on

Ep23: woke up on the floor covered in blood (not his) & doesn't remember what happened, scully finds him in a bathtub trying to warm himself and says "you're in shock", gets a sudden severe headache, on the floor & comes to consciousness, headache again, slapped hard af lol, goes to a doctor to perform a certain procedure on him to trigger his memories, doc injects him with something, in a bed struggling like he's having seizures ( he's remembering things) & doc restrains him

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S05

Ep2: puts his head next to scully while she's sleeping and cries silently (i don't list emotional whump but this one he looked so helpless i liked that 😂)

Ep3: a substance is sprayed all over him & is painful so he takes off his shirt & writhes in pain on the gound & seems delirious or smth

Ep4: attacked by smth and hurt his arm and has a scratch on his chest, is cold and scully says you might still be in shock, scully cuddles him and he sleeps like a baby on her lap, the scratch on his chest is bandaged

Ep5: collapses from gass

Ep11: chained & electrocuted, virtual reality: woke up in an ambulance & confused asks what happened & finds his arms burned from the electrocution, opens his eyes again, sweating & being rushed to the operating room, turns out those "doctors" want to experiment on him & he notices that and is dead scared and asks for scully to be his doctor, injected smth in his neck, wakes up, says "i feel sick", finds his arm cut and panics, nurse suffocates him with pillow, wakes up again with both his arms cut:: back in reality: tied to the machine that forced him to watch that virtual world, scully calls out for him but the machine druggs him to not answer her, scully gets him off the machine & he's unresponsive, she helps him walk

Ep12: eats drugged pizza & is found passed put & is slapped to wake up (& the scene is repeated but from mulder's narrative and he has difficulty speaking then passes out), "attacked" & wakes up in a car

Ep14: attacked & falls on the ground & a gun point at him

Ep18: blindfolded, his hands are restrained to the table, being interrogated & every time he doesn't "confess" they pull back his finger and he's in so much pain & screams, they finally break his finger & he's dying 😂😂, finger in a cast

Ep19: hysterically attacking someone cuz he thinks he's a monster & so he's manhandled, thought to be having psychosis so he's admitted to the hospital restrained in bed, injected smth & winces in pain, nurse turns off light so he can sleep and then the monster comes to him and he screams for help and begs the nurse to untie him but she dismisses him and thinks he's crazy so he just screams all night 😂😂

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S06

Ep3: (this man has to get him self in trouble all the time 😂😂😂) passed out in the water face down, pulled out of the water by rope while passed out, wakes up fast & coughs up water, punched several times but the men who saved him, jumps into the water, wakes up in hospital & says "i feel like hell"

Ep13: attacked by an octopus (but not shown) & has its marks around his neck & he can't breathe well, stumbles

Ep14: shot, scully rips his shirt & puts her hand in the wound to stop the bleeding

Ep21: unconscious and being digested alive by mushrooms, rescued and pulled from underground and put in an ambulance

Ep22: an image keeps triggering him every time he sees it: feels disoriented, hissing ears every, blurry vision, collapses in pain, later put in a psychiatric facility and is shown through the camera to act hostile & screaming, doctors said they're given him alot of drugs enough to put him into a coma put his brain has an "abnormal brain function"

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S07

Ep1: abnormal brain activity that won't allow it to shut down or rest manifesting in episodes of aggression, attacks someone, manhandled against the wall, unresponsive & restrained in bed hands & legs, in a wheelchair while still unresponsive, given a high dose of a drug to lower his brain activity so he can walk to get him out of the hospital but results in a seizure & held down in bed

Ep2: still in bed like a zombie, injected smth in his head & is in pain , in handcuffs & still in hospital gown, on a table arms & legs tied & unconscious, being operated on, laying unconscious, wakes up & says to scully with difficulty: "help me"

Ep4: found in a basement sitting on the ground with hurt his arm (zombie attack) , arm bandaged

Ep6: shot in the arm (literally has no whump at all not even pain!!), being bandaged in hospital

Ep9: bitten by snakes & found unconscious on the ground by scully, in the hospital

E13: beaten by a character in a game

E16: attacked & drowned but doesn't pass out

Ep18: coughs blood, insect eggs are hatching in his lungs, unconscious in the operating room and the worms are being vacuumed from his lungs by a tube, unconscious in bed, wakes up & his voice is weak, gasps for air, "code blue", the docs are trying to stabilise him

Ep21: thrown to the ground by an explosion

Ep22: abducted by aliens

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S08

Ep1: aliens doing experiments on him (honestly brutal ew), screaming, in scully's "dream" but it's actually real & shown later: naked & restrained to the chair by bars pierced through his hands & legs, his chest being cut open & screaming

Ep2: ( not actually mulder but someone masking as him but it looked good tho 🙂: jumps from a cliff, passed out on the ground), again shown in someone's dream but it's real: naked & unconscious, and again at the end of the episode

Ep14: found in a forest passed out.

Ep15: presumed dead, dug out of the grave, at the hospital

Ep16: flashback of the horrific experiments

Ep20: attacked & falls unconscious on the ground, scully treats his face

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S09

(He was missing the whole season)

Ep19: appears in a prison cell, a soldier asks him "what are you thinking?" And mulder replies "where am i?", the man goes "wrong answer" and punches him in the stomach and he crumples to the ground, soldier: "no sleeping!", the man comes to ask him the same question again and "wrong answer!" And hits him, tries to hit him again but mulder resists but the man holds the weapon up his throat and is choking him, in the ground sleeping naked and the man comes again and shouts "no sleep!" and mulder is startled, he asks him again what is he thinking (basically torturing him into compliance) and mulder says "what should i be thinking?" The man says "you're a guilty man who did blah blah" and holds his stick up to hit him and shouts "say it!!" and mulder flinches, mulder submits and says "I'm a guilty man who did blah blah" and is shaking

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S10

Ep2: ringing ears, falls on his knees and holds his head

Ep5: takes drugs and is high, wakes up in the hospital, in a wheelchair

Ep6: is shown with bruised and bloody face, flashback showing why he had the bruised face: in a fight, choked:: on the ground (sick from a disease spreading in the whole population), passed out in a chair, wakes up, someone picks him up and helps him walk

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S11

None

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Movies

The X-files: fight the future (1998)

Shot in his head & falls on the ground, wakes up at the hospital and tries to leave immediately and they try to stop him

Passes out on the ice (from exhaustion?), scully hugs him to keep him warm

The X-files: i want to believe (2008)

To be updated