#mulders eyes...he knows...

[california-112]

I'm fine. I can handle it.

[gingerteaonthetardis]

NICK & JESS in New Girl S01E03: Wedding

[mulders-too-large-shirt]

s3 episode 23 thoughts

the previous episode was SO good. but, it is true, i was distracted by the dog. it was SUCH!! a perfect episode. EXCEPT for that one thing. so i hope that today, i can face this episode with a clear head, free of judgement based on the fate of little dogs.

well, boy, i did face this episode with a clear mind, and wow. wowza. another AMAZING ep... and i will keep the angst from this episode in my heart forever and bottle it and take a nice long swig when i need my msr feels, which is basically always. wow. an exclamation point doesn't even feel APPROPRIATE, it just needs to hang in the air for a bit. (wiping tears away) wow....

let us go back to yesterday's notes, which shall commence below:

reading the episode description... so this one features murders linked to a device that alters television signals… huh. man, too many people i know don’t even have cable anymore. this simply would not work in the modern era. imagine if hulu or tubi or something made you kill people though lmao that would be silly to imagine.

we open with a guy digging a hole in the woods. always a promising start. seems he’s in an orchard of some sort? and the music is very very creepy. 

okay, so just as you suspect, this dude is burying a dead guy. sometimes your gut instinct is correct and tropes are not meant to be subverted. but the dude who is burying him says “your killing days are OVER” so is this actually a justice arc??? hmm. it is not clear. man, it would be hard to dig a hole like that.

shovel murder man is at home washing the blood off. but then someone else approaches him and he kills THAT GUY TOO WITH THE SHOVEL?? huh? what is going on. 

police at da guy’s house. everyone has the same face as the dude he just killed??? so they tase him. and then the faces go back to their REAL faces. now what is going on here!!!!!!!!!!

as the real faces return, the man realizes he killed someone named sarah!!! and he seems sooo upset by the fact that he killed sarah!!!! poor sarah :(

so does the tv make you see other people’s faces on the bodies of random people….? omg that’s insidious...

we now shift to a different scene, one where mulder is sitting in his car at 2 am. doing what???? waiting for some guy!!! he was waiting TWO HOURS for this guy!!! who is this guy...? it's giving blind date/drug deal.

the man who enters his car gives him a newspaper clipping about the murders we just saw. and mulder came here after getting AN ANONYMOUS EMAIL in the middle of the night??? this is crazy because literally so many people want him dead and this would have been a very easy way to accomplish that goal. wow. seriously, no self-preservation instincts on this guy.

mystery man says he has no obligation to explain what is going on, but if mulder walks away from it, more people will die. so no pressure!! xx

cutscene to a hospital, where mulder is watching our murderer through glass, while scully comes in saying that she is sorry she is late, but “the beltway was a parking lot”. beltway refers to interstate 495! thank you wikipedia i love your services!

murderer is named joseph. and he claims to have been killing the same guy over and over again, and that he wouldn’t die. which seems pretty awful.

OH! and the week before, in the same town, a babysitter attacked the kids she was watching because she thought they were WOLVES??? omg that is horrific??

they’re talking to the physician, dr. stroman, who says perhaps this was provoked by amphetamine abuse. then joseph starts SCREAMING. he sees a guy on the TV- miriskovic- sorry y’all idk my post-soviet history 💔 (update: i googled it, i don't even think that guy was real because all the results are links to wikis on this specific episode... reveals how little i truly know)

anyway, seeing that guy's face on the TV seems to have triggered the screaming situation. does he have trauma from the country he used to live in and seeing references to it makes these things happen…? that would be a wild episode. put me in the writer's room and let me cook.

scully quickly picks up on the fact that this case is Weird, and mulder admits it came from some random guy, which makes her suspicious. but they go to the crime scene, and, like always, he lifts the crime scene tape up over her head, and it’s very charming despite the lack of sensibility in going down this whole rabbit hole.

the minute they get in, they hear screaming and a gunshot! but it’s just some kids watching TV??? eating popcorn in a crime scene??? LMAO WHAT?

mulder kicks them out and scruffs one of the boy’s heads... ohhhh he needs to be a father so bad huh... like i have been saying this since s1 he just has a Need to tease and spoil children. well, we can unpack that another time. there's crime afoot.

so he watches the tv and it starts to go all static-y because a guy outside is fixing the wires. scully finds a TON of tapes and they’re just shelves and shelves of cable TV shows!!!

“there must be hundreds of videos here”, she says, to which he asks “anything good?” <- idk why this made me giggle. it sounded like he was gonna put one in and chill for a bit lmao

scully starts to wonder if seeing the cable news, like joseph had recorded, was what triggered his episode back at the hospital. ooooh! a theory!!! 

cut to mulder watching a tape in the bed of his motel, making an absolute pile of sunflower seeds- this dude is gonna attract mice or something someday omfg- and also he has a cola which is peak american culture. LMAOOOO he has a HUGE pile of tapes on the floor i’m crying... my type A self could NOT deal with him!

he says he watched 36 hours of bernard shaw and bobbi batista and is now also ready to kill someone as scully welcomes him into her room, which also has cola but is much more nicely organized! she found something weird on the tapes from late april, each a night when he committed a murder 

AND WHY DID MULDER GET ALL COZIED UP ON HER COUCH?????? hooooooly fuck i have never seen such a baby girl of a man

OMFG??? all the reports from the murder nights feature that miriskovic guy!!!

so did seeing violence make him violent? mulder says no, and that theory assumes that “americans are just empty vessels, ready to be filled with any idea or image that’s fed to them like a bunch of pavlov dogs, and go out and act on it” oh if only this man could see the news lately……… insert ben affleck smoking a cigarette image here to describe the things we see in our current age. mulder you would not believe.

he’s really bashing her theory, but she’s saying maybe he was high and seeing these things sent him on a spiral- makes sense to me

he is leaving to go get some sleep (after admitting he can’t explain what is going on!!! which always endears me) but scully says she is going to watch the rest of the tapes… a herculean task for our girl

middle of the night and it’s still tape time for scully, but she hears the phone ringing. she hears mulder having a conversation. and he says “no, she doesn’t” which is weird… that is suspicious… what doesn't she...

scully chews her ice which is so funny because me too sometimes. she has chewed all of her ice and must fetch more. and get a cola ofc!!! nothing more american than a cold soda iktr!

but she sees mulder in his car??? lighting up with cig man???? HUH??? and handing over a tape? omfg this is crazy. i assume she is hallucinating though, because no way….

cutscene to a lady named helene watching “the price is nice” (lmaooo) and washing some dishes. but the soap in the dishes starts to look funny- and everything is glitching around her!!! she sees a man outside in a hammock… kissing a woman!!! and oh, she is furious!! she gets her SHOTGUN?? this has escalated very fast. and we hear some shooting!!!

scully is still very visibly disturbed. mulder is reporting the murder, but she seems like a shell of herself. she checks the ash tray in the car, and there is no ash… she notices the car has been moved and he says he got a paper…. why do you ask…. “nothing. it’s nothing” OHHH THIS IS JUICY

so the crime scene has a very bloody hammock. and a dead man, who the wife claims he saw in the hammock with a blonde. but the only other creature at the scene was a dog!!!

OH!!! the hammock man wasn’t even helene's HUSBAND??? this really is LAYERED!! she killed the NEIGHBOR thinking it was her husband, who wasn’t even in town!!!!!! how do you mess this up so badly?

despite the fact that scully is clearly suspicious of mulder, she is sharing the umbrella with him in their usual fashion, and the sense of tension this produces is delicious 

they go to investigate the crime scene and mulder finds some sort of bike and immediately climbs upon it while proclaiming that television does NOT cause violence (LMAOOO HE IS SO WEIRD i need him.) 

they find a bunch more tapes and AGAIN the same guy is messing with the cables outside while they're investigating!!!! mulder is in chase mode!!!! but he cannot chase this dude in the van!!! no man, even a track star such as him, can outrun a van carrying secrets!

scully is trying to fast forward the TV and she looks out to see mulder climbing the pole…. average day for a man like him. he finds a weird cable scrambler in there. she wants to send it to the crime lab, but he says he’ll do the analysis, and she should go interview helene the murderer. OH... she is so suspicious, she just wants to go home…. scully :((( mulder is deeply confused as to why she is being so weird 

so he takes the thingy to the lone gunmen, who say it looks like it’s used for blocking premium cable channels, which i didn’t even know was a thing, you learn so much with this show. but it doesn’t block anything!!! HOWEVER, if you compare a tv with the machine and one without it, the one with the machine is slightly different. hmm...

“you know how television works?” “yeah, you click it on, you have a picture” <- the man who said that line went to oxford btw

it seems that this cable blocker thingy is adding some sort of frequency, but they can’t tell what… hmm.

mulder on the road. scully calls and only asks “where are you” in this very flat and creepy tone and OH i’m scared!!!!

he tries to explain that there is some sort of signal being introduced to the tv- he even says she might be right about the tv inducing violence theory! but she isn’t answering… she hears a clicking, like they're being listened to, and she says he never went to the detective…. let’s wait and talk on a landline, he says.

despite being in his car many miles away, he can tell that there is something very wrong with scully. he says don’t go anywhere, he’ll be right there, and redials after she hangs up. it's very much echoing when she said something similar to him in his crazed gargoyle quest.

but she is so scared, she rips the phone out of the wall and takes it apart!!!! and then the lamp too, and the table. she is checking everything for any sort of bugs!

holy hell, we have never seen her like this before... but i’m actually gagged because she is usually relatively stoic and seeing her paranoid is so different, but it also feels very natural??? she is acting her ass off here as she rips up everything in this motel room. big shoutout to GA, i love your work.

and the static that set in helene's vision earlier is setting in hers now!!! she hears a car pull up and drops to the floor…. she hears a man say “she’s in here” and a pounding on the door. 

OMFG someone tries to open the door and she FIRES 4 SHOTS RIGHT AWAY??? but it’s mulder!!!!

(author's note: i was thinking after i finished the episode, and we know that she is a good shot- remember how she hit just the right angle to knock mulder out but not kill him at the end of s2? so she is either SO out of it that she cannot even aim straight, or there is a tiny tiny tiny part of her that still thinks that mulder isn't worth killing. please mull over which option brings you greater angst)

he’s coming in with his gun and his hair is blowing in the wind and he can’t FIND HER!!!!! it was really very dramatic. hair blowing in the wind has this effect.

cutscene to scully’s mom’s house, and we see a picture of young scully on the table... AWW stop she’s so cuuuute and one of missy as well 😭😭😭

OH! it’s mulder on the phone calling mrs. scully in the middle of the night!!! NOOOO he has to tell her that he doesn’t know where she is :( NOOOO poor mrs. scully has gone through too much. he feels SO bad breaking this news, that he even apologizes for hanging up right away, something he never ever does. he must be in deeeep distress to do such a thing.

and why does he hang up?? because SKINNER IS HERE!!! he’s leading a manhunt for scully, and mulder is saying she shouldn’t be hunted like a convict… but skinner says dude SHE FIRED FOUR ROUNDS AT YOU AND SOME RANDOM GUY last night!!!!

despite this, mulder insists that he can get her to listen to him if they just keep her safe; she’s suffering from some sort of paranoid psychosis. skinner is being quite patient as he tries to explain that the video tapes made her do it. skinner says well... you better find her before these guys do.

GASP!!! he’s putting up the x on his window! and doing that thing where he bounces his basketball because he cannot relax!!! stop i'm emotional!!!!!

the lone gunmen call to say they found something on the tape…. and it induces electrical activity…. MIND CONTROL???

but why wasn’t he effected?

! MULDER LORE REVEAL ! HE’S RED-GREEN COLORBLIND???? THIS IS AN INSANE LORE DROP TO GIVE NEARLY 4 SEASONS IN??????

wait, is this just for plot purposes, or is DD actually colorblind and they decided to roll with it? because now i’m gonna be looking at all the red-ish things we see on screen (like his tie he is grabbing to emphasize his point) and wonder, can he see that? how does this impact his tie selection process....

okay that really threw me off guard. man, i was getting to think we'd never get another lore reveal, which is a shame because i quite like formatting those facts in that way. good to know we could get more at anytime!

he gets a phone call from maryland state police. the lone gunmen ask if she’s okay and he says no, he has to go and ID the body. WHAT!!!! WHAT!!!!!!!!!!!! he is trying to keep composed. holy fuck………..

(heavy breathing as i grab your shoulder and squeeze) hey man. hey. he was trying so hard to be strong.

so he pulls up to the morgue and stops before he gets out of the car, and holds his head above the wheel STOP I’LL CRY???? i’ll cry… what are they putting him through??? losing her again……..

(i mean i have SEEN gifs of scully in seasons past this one, so i know she's gonna pull through, but HE doesn't know that, and must be reliving the worst days of his life AGAIN, and aughhhhh!)

but the mystery guy from the start of the episode that give him the info on the muders pulls up and says get in right now!!!!!! mulder is furious, he says he’s busy. in a shocking display of insensitivity, mystery man says he does not give a fuck. mulder is yelling that this is all his fault. mystery man says “they” are destroying the evidence, and they’ll finish it by tomorrow if he keeps searching for her, but he kicks the door shut and ignores him.

(omg…. he loves her enough to break him out of his bloodhound mode… the dogged ahab-like quest for answers and revenge… i’m getting flashbacks to his conversation with missy in one breath…….. realizing he needs to put the ones he loves before his need for revenge sometimes..... wow)

so he walks into the morgue, and the dude in there says they found a body nude and shot in the forehead.

he closes his eyes to try and brace himself before taking a peek, to prepare to see her lifeless, probably reliving those many hours by her bedside when she was in the hospital, trying to imagine her shot in the forehead, the scully he knows and loves with her dry humor and her teasing smile and caffeine dependency, the her that is so full of life, lifeless…

but it isn’t her. PHEW!

despite this being good news that he has to share- she's not dead! her mother isn’t answering her phone…. so he goes to her house. and i'm thinking, oh my gosh, did she do something rash in her grief?

but mrs. scully answers the door and claims dana isn’t here. he bursts in and says he needs to see her right now. omg, he saw right through her lies.

(also, it always feels weird to refer to her as dana, but moving on)

NO!!!! she has him at gunpoint and says he’s here to kill him!!! poor guy looks so flabbergasted… and her mom is trying to get her to please put down the gun, and he’s trying to explain what is going on!!! he is so singularly locked into her…. 

“he’s lied to me from the beginning. he’s never trusted me” “scully, you are the only one i trust” AUGHHHHH (rips my clothes off of my body in biblical levels of grief) 

“you’re one of the people who abducted me” AUGHHHHHHHHHHHHHHHHHHH (rips off not only my clothing but also my hair as i experience emotions that rival what job from the bible went through)

she’s CRYING, and saying he killed her sister while her mom gets between him and the gun… and she’s saying she knows she’s safe here, that’s why she came here, and to put the gun down. and she falls into her mother’s arms sobbing. 

WHAAAAAAAAT. and he had to watch all that… oh my scully oh my goodness my poor scully…

timeskip a little bit. he shows up to the hospital where scully is with her mother, and mockingly puts his hands up in surrender, because he is so STUPID and he always has to make a joke, and i love him so terribly, so so so terribly, because he loves HER.

she's laying in the bed, and he shuts off the tv and asks how she’s feeling. she says she is ASHAMED- as if being a victim of mind control was a personal failing. scully, i want to yell, you have NO REASON to be ashamed, let me take all the shame from you and carry it elsewhere. she says it was like the world was turned upside down.

and he makes ANOTHER stupid joke about the world being out to get him, and now she knows how he feels-

before leaning in and explaining how joseph, the first murderer on this case, became convinced he was killing the bosnian war criminal who people called “the modern hitler”, which was especially important to him because both of his parents survived the holocaust. hence his line about the killing days being over!!!

and helene was scared her husband would cheat on her. so somehow the TV signal turned their worst fears into a living nightmare. 

OHHHH HER WORST NIGHTMARE IS HIM BETRAYING HER. HIM BEING RESPONSIBLE FOR HER GOING MISSING AND LOSING HER AUTONOMY AND MEMORIES... wails into my shirt. 

(this reminds me of that episode in s2- irresistible- when we learn her biggest fear is that humans are capable of terrible horrific things and grasping to trust despite that knowledge. we’re seeing that again right here. how uncertainty seeps in)

THEY CALL HIM THE CANCER MAN!!! wow very official canon recognition of the name (yeah it’s happened before but it happened again so that is cool) anyway she says she saw him giving cancer man the tapes and reporting.

he says that maybe cancer man was behind this, but then he whispers “why don’t you try and get some rest?” and there is something in me that melts so entirely as he leaves her to sleep.

(perhaps it is the fact that hurt/comfort and whump are my favorite tropes. because is there anything more intimate than letting someone see you at your most vulnerable, and them choosing to love you at it? is there any feeling more cutting than seeing your loved one suffer and knowing you’d stop the world for an instant of their relief? the terrible desperation of both parties, the wordless connection upon recovery, someone being the last thing you see before everything fades to black and then the first person you see when you return... yeah. it’s cathartic. but also it makes me want to yell and cry. pls give me all the hurt/comfort content)

so the doctor found high serotonin levels in her that maybe can be associated with mania, but now they’re back to normal. he asks if someone in her situation would be diagnosed with amphetamine abuse, and she says no. then he quickly calls the hospital where joseph is staying… what is he cooking in there…

he wants to talk to joseph's doctor, dr. stroman, who left behind only a number from the motel…. and he had JUST checked out…. so he’s going through his stuff. and asking about his calls. and he DOES find a cigarette in his room but a lot of people smoke so… try not to jump to conclusions juni… but the cigarettes mean one thing in this show!!! was this innocent-looking doctor behind such a cruel experiment?!

he calls and has the last number the doctor called get checked from the folks at the lab… so he goes to visit the place of residence and creepy music is playing. the dude from the cable company we saw before rolls up!!! he walks right inside the house, so mulder peeks inside. it seems the people in the house set up a trap of some sort, as they are talking about “him” showing up at 7.

he bursts in after hearing gunshots and both of the men in there are dead!!! shot in the head!!!!

who is there... but X???? X says he HAD to kill those men- he just hoped mulder would get them first. and oh, mulder is YELLING AT X!!! he is letting him HAVE IT!!! he says he is a coward, he was too scared to unveil the situation with the mind control TV murders himself….. he says X NEVER risks his own life, but he sure does make him risk mulder and scully’s.

OH! he is holding X at gunpoint. all X is saying is that he failed, and that mulder needs him. so he walks out, confident he won't pull the trigger. and he doesn't. 

WHAT! i need to kind of just let that sit for a second. i need to figure out this X fellow, but i get the sense i never will…. he failed… because he chose to try and save scully…….

cutscene to skinner’s office, where mulder is giving him a report. and scully walks in and says that dr. stroman DIED IN 1978!!! when skinner asks about the killer, mulder jumps in and says he remains unknown… oh, skinner is def gonna pick up on that….

so now we see X in a random back alley. getting into a car…. WITH CANCER MAN?????? X REPORTS TO CANCER MAN??? he asks if he has completed his work, and X reports that he has cleaned out all the personnel, everything is removed, but mulder still has a device. and mulder’s source has been eliminated. but the source’s source remains unknown. oh, he’s def lying through his teeth.

OOOOOOH this episode was SO good.

oh man, my brain is racing in a bunch of different directions. scully breaking down and sobbing into her mother’s arms…. scully convinced that mulder is a traitor, that he did those terrible things to her…. mulder so scared that she was gone, bouncing his basketball, getting a call from the police department that he had to go identify her… choosing her, even in what he thought was death, over following the Truth… the sick and twisted relationship he has with X, and X with Cancer Man, and Cancer Man with the world… it’s making me think of how mulder broke into his house that one time, was going to kill him over what he did to scully, and cancer man had the nerve to say he liked mulder… OOOH my brain is just racing racing racing. 

poor scully… how scared she was, how horrified afterward… 

other things that are on my mind, in no particular order: the bond between scully and her mother; mulder being all babygirl on that couch; mulder hopping on that bicycle and picking up some random doll from the murder victim's house; how haunting scully's voice was when she asked him over the phone where he was; their cola drinking; mrs. scully trusting mulder no matter what; how he tried to cover the grief in his voice when he told the lone gunmen he had to go identify her body; how he kicked the door shut of the mystery man, damning the investigation to pay his respects; how his head hovered above the wheel of the car before he got out to do that; how X uses and uses him to no clear end, and what is HE doing reporting to cig man, and what was that random doctor doing conducted fucked up experiments on random people; and scully's miraculously bad aim; mulder's conviction he could talk sense into her (spoiler: he could not); her shame at being convinced he had been the one who abducted her; how terrifying that must have been; and his stupid jokes when he walked into her hospital room, with the sincerity he tries so hard to outrun and outfox breaking through in his whispered why don't you get some rest?

so needless to say, i see why this one is a fan-favorite. this is certainly one i will be revisiting in the future when i need something strong. i have a million things to think over that will stick with me Forever, and i am in no rush to move on from this. in fact, i took these notes yesterday, but in the process of editing them tonight, i have decided i am not ready for the season finale and will have to save it for tomorrow because i'm still feeling So Many Things. so stay tuned to see how that goes, because whew!

[randomfoggytiger]

Tiger! Curious, what are your thoughts on Scully’s “oh brother” after Mulder’s “I love you” in triangle?

I took it as her being frustrated over Mulder almost getting himself killed and it was the wrong time for a proclamation of that kind.

I’ve also heard that he was on pain meds and Scully knew he wasn’t in his normal state of mind, but I don’t buy that.

Thanks!

I think I sit on the drugged side of the fence, personally; though I might change my mind in future if given more thought.

Scully was frustrated-- mad even-- at being ditched; but Triangle focuses solely on her determination to save her partner. TLG thought Mulder was in trouble, and she took it as a matter of course that he would be (hence her FBI shenanigans.) We are led to assume she found Mulder face-down in the water; but even so, the end of the episode concludes with her talking gently and calmly at his bedside while fondly bossing him around.

In Mulder's past hospitalization scenarios, Scully was prone to take a careful, soothing approach (even when she assumed he was in the wrong.) This episode is relatively the same... except: she addresses Mulder as if he were high, stating "Mulder settle down, that's an order"/"Yeah, yeah I did"/"I want you to close your eyes and repeat, 'There's no place like home'" (all loosely quoted.) She says these statements while listening to her partner ramble on about the Queen Anne or Thor's Hammer or her saving the world. Although she's not the only one who thinks he's high-- Skinner and TLG are convinced, as well-- she's the self-appointed, rational one there to talk him down. (Skinner prefers sarcastic Toto quips instead.)

As realistic as it would have been for her to be frustrated with his foolhardiness or tangled up in lingering Diana Fowley emotions... Triangle doesn't conclude with either of those. (Diana Fowley, for example, is entirely forgotten until One Son by both agents; and is forgotten again after a quick "look, they made up" moment at the end of Agua Mala. Yes, that is a writing problem; no, I am not complaining.) It's up to the audience to inject more into this scene than the writers or actors or directors intended-- complicated emotions weren't a part of Triangle's vision. (But are we surprised, with The X-Files?)

In Triangle's conclusion particularly, Scully isn't angry or closed off, nor does she shut Mulder down like she would if she were frustrated (or took his words or the intent behind them seriously.) Instead, she thinks he's just high; and sighs (at the wall-- a Jim in The Office moment, before it's time) the infamous "Oh, brother" before turning heel and walking away. In her mind, Mulder's too high to take these actions personally, or even to remember them. She's so convinced that she walks away exasperated and just a smidge humored (e.g. her exaggerated posture, shoulders, and expression.) It's so... Mulder to acknowledge and proclaim their love openly at the strangest time while basking in, as Scully sees it, the high of her "saving" the world (i.e. saving him.) It's endearing, perhaps, but it's also so ridiculous (to her) that she automatically doesn't give his confession the time of day.

Why didn't Scully continue to dissuade or reason with Mulder, as she was doing up to this point? Scully wrestles through the last scene trying to get Mulder back to sleep: she sweeps in, tries to calm him down; then spends the next few minutes fruitlessly attempting to untangle his logic so she can get him to unwind and drift back to dreamworld. But, after achieving practically nothing, she ends the interlude with an injunction to close his eyes and go to sleep. Mulder obeying then popping back up is so Mulder that she comes back and tucks in her chin, expecting another line of unimportant, sleep-stalling rambles. So when he says, "I love you", she takes it as the height of drug-induced delirium and walks off before he can embarrass himself further. Almost-- but not quite-- the attitude of a parent being called back by their child on a sugar high and hearing such a string of jittery nonsense that they regret their decision, and strictly reinforce bedtime rules.

The humor, for the audience, is that Scully doesn't doubt that Mulder loves her-- that's not a question; that understanding, in fact, fuels her early, mid, and latter Season 6 decisions-- but that she can't believe he's devolved into such lovey dovey delirium that Mulder's willing to (potentially) embarrass himself when he remembers later. He just confessed his feelings that summer (after five plus years), and didn't drop the L word then, even in the midst of heightened anxiety and mutual misery. Here, to her knowledge, he is in no state to own up to or confess the depth of his feelings, either. And yet, it's such a Mulder thing to do-- to do it anyway, and like this-- that she's left with a bone-deep sigh ("Oh, brother") and a determination not to feed into this delusion.

Still. She keeps this confession in mind as the season progresses (or, more truthfully, the writers do), testing the waters and pushing the boundaries to see how deep Mulder's reticence or repression goes (classic examples include Dreamland, Arcadia, Alpha, Milagro, The Unnatural, etc. etc.) It's why Season 6 is so fun to me... but that's another topic for another time.

Those are my thoughts, anyway! Would be interested to hear yours¬.

[dabeth-is-dead]

Gotta love when Mulder gets to be a total geek

[carefulfears]

the end. (x)

[gregmarriage]

need me a relationship like mulder and scully. i say wild and crazy things, but you respect and admire my beliefs and my passion. also, you think i’m cute

[pennyserenade]

“mulder and scully would be better if they never met each other” “scully would be so much better without mulder” “mulder doesn’t deserve scully” how about you shut up!

[snekdood]

lmao???

this quiz sorts through characters from like dozens of fandoms and finds the one you’re most like. I’m not even a little bit surprised by my result

[flygonscales]

I’ve just watched Hellraiser and it was so cool you know? I’ve already added Pinhead to my mental list of ‘people who are I think are cool and who I think I’d have a crush on if I wasn’t ace (it’s like I subconsciously identify them as people to have a crush on but my brain never gets any further except a vague sense of cool-ness but its different to the normal way of thinking a person is cool)’.

After this I’ve definitely identified what horror films I like - more sci fi or fantasy films with lots and lots of practical effects, fake blood and just lots of gunge. There’s a reason why I watched The Thing and it went straight up to one of my favourite films ever, and Hellraiser looks set to follow. I really want to watch The Fly, because if I’m not mistaken that’ll give me plenty of fun practical effects and alien slime.

[k2ulhu]

my favorite part of constantly rewatching the x files is seeing someone who looks really familiar and wondering what else I've seen them in. and it's another x files episode

[shhhhimwatchingthis]

just started the X-Files after years of Pop Culture osmosis, parody, references and memes

But holy shit did none of you prepare me for the pathetic wet cat rizz of Fox Mulder. Puppy dog eyes every other scene. He loses every stand off with every other government agent, military op, co-worker he bumps into. Sassy little quips in between getting his ass kicked and the puppy dog eyes. he's deeply traumatized. he has no social life. he never knows whats going on. he's one of the smartest people in any room he's in and knows more than most what's going on.

This guy is just sopping wet vibes, desperate need to believe, and love for Scully. Character of all time.

[13atoms]

Handsome and a Genius (Spencer Reid x F!Bau!Reader)

Inspired by that one scene in x files where mulder stands like a himbo looking handsome and being the future of beauty. you know the one I mean

Summary: Spencer’s overactive brain draws more attention than it ought to on a case, and you see him in a new light. 3k words.

Contains: hostile witnesses, spencer being clueless (but an absolute babe), friends to lovers. (No offence to Florida im sure it’s very nice, reader is having a bad day, and I am far too British for that kind of heat)

The sticky Florida air had long since plastered your clothes to your skin, leaving you short of breath and with the unpleasant feeling of damp hair against your scalp. The whole team had groaned at the revelation their next case would be in the outskirts of Miami, and as soon as the plane door opened you understood why.

You were hot, and grumpy. The salty, swampy air made you feel disgusting as you approached witness after witness. There was a serial killer operating in and around mobile home parks in the area, with the two most recent murders taking place in Royal Biscayne Trailer Park, both over a week ago. While the rest the team spread out across the other crime scenes, you and your partner had been dispatched to this one.

It was a world away from Quantico: sun-bleached, dense, full of plastic and palms instead of concrete and maples. Nonetheless, the principles remained the same no matter where you were. Take everything in, speak to everyone, suspect everyone. Stepping in and out of trailers gave you very little relief from the heat, although respite from the sun pounding down on you was a welcome break.

Dr Spencer Reid stood a short distance away, shielding his eyes with his hand as he contemplated the sea of trailers around him. He’d stared around as you drove into the park, something faraway in his eyes as he memorised every detail from the safety of the SUV.

Now he stood close to you, heads inches apart as he whispered so that only you could hear. He faced one way, you the other, and you could focus on his words knowing that Spencer was watching your back.

“These things all come equipped with the same locks, at least each model does. If you recognise the trailer home, you know how to pick it. It’s fairly trivial, for someone with some basic industry knowledge.”

You hummed through pursed lips, surveying the small crowd who had gathered to gawk at a pair of FBI officers on their turf.

“And that would be true of all of the trailer parks… we know he’s got a common MO.”

“Exactly.”

“You reckon someone in the industry, then? A salesman? Maintenance guy?”

Spencer rolled his neck, stared up at the sky for a moment. His curls were long at the moment, damp at the name of his neck, a little frizzy in the humidity.

“Not necessarily.”

“It’s quite specific,” you agreed, “anyone operating as a common thief around here would have the knowledge too. We could be talking about a classic escalation – burglar to home invader to murderer?”

His eyes snapped from you to his phone.

“I’ve asked Garcia to check out any patterns in robberies, home invasions… the locks are hardly scratched. We know he wears gloves, cleans his tools. This guy knows what he’s doing.”

You nodded, surveying the street again. The sun was glinting off of white plastic, making you squint. You worried for Spencer, the heat and the light wouldn’t be doing his headaches any good.

“You want me to take that?” Spencer was saying, and you snapped your attention in the direction he was gestured.

There was middle-aged man a little way forward of the crowd, shoulders hunched, hands entwined. Nervous. He had the tan of someone who lived here year-round, not a big believer in suncream, with tanlines when he removed his hat and glasses to speak to you.

“I’ve got it,” you murmured, and Spencer nodded.

It was an unspoken part of your partnership, that Spencer liked when you started conversations with witnesses. You liked that he trusted you, trusted your skills, never questioned whether you’d done the right thing when you spoke to people.

Instead he remained a short distance away, climbing up the front steps of someone’s home for a higher vantage point to survey the place.

“Hello, sir. Can I help you?”

“Yes, ma’am. Thank you. You said you’re with the FBI?”

The man had a tip, and it was an interesting one. A rumour spread throughout the HOA about someone trying the locks at night, the sound of metal against the doorways, silhouettes against frosted glass. A few people even had security camera footage, though nothing identifiable. It was great. You gave him your card, told him to get the footage to you asap.

It must be terrifying, you realised, to hear that kind of noise in the night. To be so close to danger, after a neighbour had been killed. The local sheriff’s department seemed frustrated by the interest the case was garnering – frankly you were amazed the story wasn’t bigger. There was no small amount of comforting involved in the conversation you had with the witness, and soon enough a few more people stepped forwards from the crowd. All seemed middle-aged, likely transplants to the sunshine state, and equally shaken.

When everyone’s stories had finished, they stood in silence for a moment. You frowned, noticing their gazes slightly misaligned.

Spencer.

He was stood at your shoulder, sharp gaze flickering across each face of the gathered residents.

“This is my colleague, Dr Reid. A few of you have already met, I believe.”

“You know,” he began, “the socio-economic factors influencing the way we think about crime in mobile home communities are fascinating. Often trailer parks are stereotyped negatively in the media, and because they are generally cheaper to live in than traditional housing estates, and that can foster a sense of shame or isolation for residents. Transient populations can also make community policing and security difficult, and anomalies in the patterns of everyday life become more difficult for people to subconsciously spot.”

You held your breath, and tried not to look worried at the reaction of the small crowd. Instead, you focused on Spencer. He was speaking with his hands a lot today.

“But I think the assumptions we tend to make about trailer parks completely overlook the very nature of living so close to your neighbours. There is a sense of community in living so closely, as evidenced by the conversations we’ve been having today. I’m not sure whether the killer understands that, or is exploiting the former theory that places like this allow for more deviations from the way we implement traditional security in communities. An unsub might hold some sort of resentment towards trailer parks, or some specific resident in his past, or perhaps he’s simply exploiting how incredibly easy it is to simply walk up to a mobile home and slip the lock open with a humble mass-produced lock pick.”

He was greeted with a sea of blank faces, littered with the occasional frown. Finally he looked to you. You caught the furrow of his brow, the way his shoulders hunched into himself, the clutching of his elbows to his body.

Oh, Spencer.

“That’s really interesting!” you tried to say, but Spencer was already backing away.

“Anyway, I’ll, um, leave you to it.”

“Thank you, Dr Reid,” you called after him, as he fled, disappearing into the shade of a nearby trailer.

 Your heart ached for him a bit, but you pushed that aside. Instead, you had a sea of potentially offended retirees to keep on side.

“God, what I’d give for a brain like that,” your witness laughed, his linen shirt straining under the movement.

You couldn’t help smiling, a little relieved the tension had broken.

“It’s not often someone has a face like that and a good head on their shoulders,” one of the older ladies piped up.

You found yourself looking over your shoulder at Spencer, his profile sharp as he looked down the road, deep in thought.

“He’s certainly a rare breed,” you agreed fondly.

A number of the crowd were following your gaze, and someone in you wanted to snap them out of it. Stop them from staring.

“He actually has an eidetic memory. Once he’s seen or heard something, he remembers it perfectly, forever. It’s incredible.”

“Oh, my goodness! I can hardly remember my own email password!”

“I wouldn’t mind if he hung around me and talked like that all day, even if I didn’t understand a word of it. Though perhaps he could use a haircut…”

There was a chorus of agreement and various coo-ing which seemed to occupy the entire scale from grandmotherly to entirely inappropriate. You couldn’t help staring at Spencer a moment longer, wondering if he was truly oblivious, or simply pretending to be.

A rare breed.

You were certain you’d never met anyone else like him. Certain you felt like a better version of yourself in his company. That you’d trust him with your life, that you searched every room you entered until you saw him. Watched the elevator doors each time they opened, all morning, until Spencer walked in.

You were certain you’d felt giddy the first time Spencer insisted the two of you would work together, alone.

 “Imagine knowing that he’d remember everything, forever…” one of the women was saying, her eyebrows raised in a way you didn’t particularly enjoy.

You cleared your throat, and hooked one hand over the badge at your waist.

“Unless anyone has any further leads, we’d better be on our way…”

The group silenced, and watched you dutifully. You passed out a few more cards, reiterated how dedicated the team was to stopping this killer, and gave out a few promises that there would be a police presence after dark throughout the trailer park.

When the request for any further questions was met with more glances towards Spencer, you thanked your witness, and made a beeline for the car. After only a few seconds Spencer was beside you, jogging to catch up.

“All done?” he asked, and you smiled at the question.

“I think so.”

You started the engine and both waited with the doors open for the car to cool down. The department’s penchant for black SUVs was not helpful when the sun was so vicious. Feeling the heat themselves, the group of residents had dispersed into a few groups, wandering into one another’s homes to continue gossiping.

“God, I’m disgusting,” you lamented, “sorry for the sweat-smell. I might actually take a cold shower when we get to the hotel.”

Spencer was already waving you off, leaning into the car to mess with the AC. Through the open door you saw him groan at the heat, swiping a curl from his face.

“I’m afraid to raise my arms. It’s so humid, I’m not sure why anyone would retire here. High humidity aggravates a number of chronic conditions, especially respiratory ones, which are common in older people. Not to mention the skin cancer…”

“And it ruins your hair,” you teased.

Spencer faked a gasp, and reached for a damp, limp section of his hair.

“I mean, look at it!”

You laughed, and rolled your eyes at him, nothing but fondness settling warm and tight in your chest.

Surveying the road in front of you for one final time you saw a few curtain-twitchers, but no new faces. You climbed into the car, wincing at the heat. The seatbelt buckle was burning hot, and you swore as it burned your fingers.

“I always forget about that,” you grumbled, slamming the car door closed.

“You know, if you fasten your seatbelt after you get out, it stops the metal getting hot and burning you,” Reid offered, and you rolled your eyes at him again.

“Gosh, doesn’t it get exhausting being right about everything?”

Spencer went quiet, and all you heard was the click of his own belt. After a few moments the car was cool and bearable, and your lungs felt like they could finally move again. The sat-nav happily talked away, and you started stealing worried looks at your partner once you’d returned to properly-maintained roads.

“What you said out there was really good, do you mind if we go over it again once we get to the station? I think it’s worth exploring.”

“I shouldn’t have said it in front of them.”

He was right, but you didn’t have to heart to say anything. That was the thing which made your heart twinge about Spencer – he was so insecure, and yet so self-aware, it was the worst of both worlds. Being an expert in body language was a double-edged sword.

“I don’t think they minded. Did you hear those old ladies talking about your big brain?”

Spencer didn’t laugh. He turned himself towards the window, curled up with his hand beneath his jaw.

“They were very impressed. So was I, for what it’s worth. I think we’ll make some really good progress on this profile tonight.”

He hummed agreement. Watched a vista of blurred blue and green and white going past the window. The radio was turned down to a low hum, you could hardly hear it. Silence pierced its way through and sound of mumbled songs and road noise.

“Are you okay?” you asked finally.

“I’m okay.”

You sighed. Tapped the steering wheel. Sped a little to get through an intersection on amber.

 “Spencer…”

“I’m sorry. I really didn’t mean to ruin that for you I just… sometimes I think of things and it’s like I have to tell you.

“Spencer I’m not mad at you! Not at all! I think we’re both just tired, and too warm…”

He didn’t say anything.

“Honestly, I was worried you’d heard what those ladies were saying about you and gotten upset. It was inappropriate of them…”

“I didn’t hear anything. What did they say?”

Your gaze was focused on the road, but you met Spencer’s eye in the rear-view mirror as he watched your face.

“Just that you were a handsome young man. And that they wanted you to get a haircut, which I firmly disagree with…” you teased.

Spencer touched his hair self-consciously. He was still quite curled up, leaning away from you despite his interest in the conversation.

“That’s nice of them, I suppose.”

“‘Nice’ is an interesting way of putting it, but I’m glad you’re not upset about it.”

“When I was a kid, I read a book at the library about how to tell if you’re attractive. It was for women, all about makeup and stuff, but there was a section about what made guys hot. I could never figure it out, I just always thought I looked like an alien.”

The sudden change made you sit up straight, heart in your mouth as you rolled to a stop behind a queue of traffic.

“I think everyone feels like that sometimes. Being a teenager is really hard.”

 “I… yeah. I suppose so.”

“I always felt so jealous of the people who walked around looking perfect every day, confident that they were not. It just never came naturally to me.”

“Really? I assumed you were one of those girls in school who I’d be too afraid to talk to.”

You scoffed, and for a moment were struck by how little you really knew about one another. The way Spencer looked at you, looked it everyone, it felt as though he had an x-ray into every tiny detail of your life. How could he know, though?

“Of course not,” you laughed nervously.

You weren’t sure if you’d prefer Spencer knew the truth, or kept believing whatever he’d made up ini his head. You weren’t sure what any of this conversation meant. Traffic was moving. The precinct was two turns away.

“I’m not sure I believe you.”

He was teasing you. Finally he leant back in his seat, shoulders square to it, legs stretched out in the passenger footwell.

“Either way, I’m glad you can talk to me now. I’d miss it if you didn’t.”

“You might be the only person on this planet with that opinion.”

You took a moment to glance across the car at him, and caught a flash of a smile. He was joking. You released tension from your shoulders you hadn’t realised you were holding.

“I’m sure that’s not true. You’re a handsome genius, just like Barbara said.”

“Her name was Barbara?” Reid laughed.

You shrugged, and took the final turn into the precinct parking lot.

“I’ve got no idea.”

Even with the SUV in park, the aircon no longer blasting away, neither of you moved. Not for a moment, at least. A moment of peace before the chaos all began again. Just the two of you. Wherever you were, with Spencer was your favourite place to be.

“You’re the same, you know. A genius. And handsome…”

You frowned.

“Pretty! Beautiful. You know what I mean.”

“Handsome?”

In truth, you didn’t care about the words. Not at all. Not when your heart was pounding at the realisation Spencer had his gaze fixed on your lips, his eyes soft and pupils blown wide.

“Beautiful,” Spencer repeated, “You know, in a lot of languages, handsome can be translated for men and women. The word itself doesn’t have a gender. Guapa, for example, in Spanish…”

You let him talk, on and on. You decided you wouldn’t kiss him yet, while your hair was matted in sweat and Spencer’s face was brushed with sunburn and embarrassment.

“Bella is more popular in South America, though, or bonita. My favourite is Japanese, though. Kirei. To be beautiful both inside and out…”

Only a few more moments passed before Morgan arrived and banged on the glass with a wide grin and a sweat-beaded brow, announcing a break in the case. You were sorry for the interruption.

[hanspolo]

it's raining. you're on the couch under a blanket. the x-files is on. mulder, wearing a tie from the clearance bin, quixotically explains how bigfoot and nessy are entirely misunderstood. scully, exasperated, one eye half closed, launches into a rebuttal. she knows he already knows what she thinks but it's the dance they do. he asks what she thinks of nowheresville new york this time of year. she tells him he can't be serious. he informs her that their flight leaves in an hour. thinly-veiled eye fucking masquerading as indignant outrage. he's insane and she'll follow him anywhere. she's infuriating and she makes him whole. they're turned on. you're turned on. the rain continues.

[cecilysass]

Mulder's Top 10 Out of Hand Jokes

(ranked from "mildly spicy" to "okay how was that on 90s prime time")

10. MULDER: Before anyone passes judgement, let me remind you that we're in the Arctic. (Ice, season 1) Rationale: Mild. Genitalia jokes in a professional capacity (and with more people than just your partner) a little iffy. But Mulder was trying to break the tension. 9. MULDER: Hey Scully, is this demonstration of boyish agility turning you on at all? (Schizogeny, season 5)Rationale: Fascinating choice to say to a co-worker, but ultimately low level flirty.

8. SCULLY: Mulder, did you see their eyes? If I were that stoned--MULDER: Ooh, if you were that stoned, what? (Deep Throat, season 1) Rationale: Vague but discernible innuendo, considerably aided by DD's delivery. 7. MULDER: Birds do it, bees do it, even educated MDs do it. (Small Potatoes, season 4) Rationale: In context seemingly a flippant comment about the case, but attractive partner being educated MD makes this more eyebrow-raising.

6. LANGLY: Obviously, you haven't read our August edition of The Lone Gunmen. MULDER: I'm sorry, boys. It arrived the same day as my subscription to Celebrity Skin. (Blood, season 2) Rationale: Direct pornography use joke (that is completely reality-based and everyone knows it.) 5. MULDER: You want to make that honeymoon video now? (Arcadia, season 6) Rationale: Actual joke fairly mild, but undercover married context gives it an added zing.

4. MULDER: I don't know about you, Scully, but I am feeling the great need to blast the crap out of something. (First Person Shooter, season 7) Rationale: On the surface, about firing weapons in a video game. In the episode? After Mulder has been lusting over Jade Afterglow? Sexual overtone at best, an absolutely filthy double meaning at worst.

3. SCULLY: Snake-handling – we didn't learn that in catechism class. MULDER: That's funny, I knew a couple of Catholic schoolgirls who were expert at it. (Signs and Wonders, season 7) Rationale: Wait … what did he say? To his Catholic partner?

2. KRYCEK: You must be losing it, Mulder. I can beat you with one hand. MULDER: Isn't that how you like to beat yourself? (The Red and the Black, season 5) Rationale: Arguably Mulder’s finest junior high boy one liner. Taking it to an art form.

1. SCULLY : I guess that's why we're going to Aubrey. MULDER : Yes, and also, I've always been intrigued by women named B.J.. (Aubrey, season 3) Rationale: It’s not even connected to anything! It’s just randomly out of hand! It makes you wonder if they named the character this only to set up the joke. And there is really no way to spin this other than the most obvious meaning.

Very special bonus out-of-hand Scully: MULDER: I was merely extending her a professional courtesy. SCULLY: Oh, is that what you were extending? (Fire, season 1)Rationale: One of the best tbh. You should have done it more, Scully.

[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.