#the end !!

[randomfoggytiger]

"My Touchstone": the Turning Point

Dedicated to the anon who asked:

I would love to hear your thoughts on how the “touchstone” conversation changed Mulder and Scully’s relationship. Was it this scene that propelled them into a romantic relationship?

To answer that question, I have to back up a bit to Fight the Future. Actually, let's back up even further-- to the cancer arc-- so we can get a clearer picture of the relationship between these two Avoidants (post here.)

FORWARD AND BACKWARD

Mulder realizes the extent of his feelings for Scully in Memento Mori.

I posit Scully's already known her feelings since at least early Season 2; but her temperament leads her to suppress, rather than express, emotional wants or needs. Never Again (posts here and here) was the result of both Season 3's on-and-off jealousy and Mulder's avoidance of a normal life (Home, post here) and search for his tragic soulmate (The Field Where I Died.) Because of this, Scully tries to pinpoint and grapple with her "endless line", realizing-- too late-- that she wanted recognition (and more) from Mulder (as spelled out in the script, here.) Mulder realizes this, too, and lets the matter drop.

For Scully, it's advantageous to keep everything unsaid, largely because Mulder isn't ready... for anything, really (as discussed in the Home post linked above, and demonstrated by this clip.) Everything he's been drawn to or attracted by has an ephemeral, fleeting resemblance to some other normalcy he craves (post here)-- but has never, ever lasted. Except Scully.

So, Mulder realizes his feelings, Scully escapes cancer by the skin of her teeth, and we arrive at Detour... where he runs from the motel, chasing after his monster case.

Some read this moment as Mulder realizing and dodging Scully's intentions, others that he was completely blind to her intentions. I file it as the latter; but we also have ample evidence of Mulder noticing Scully's actions briefly before losing focus in favor of another tantalizing mystery (ex. the beginning of The Unnatural.) He misses the forest for the trees in his personal life-- or rather, he doesn't see the value in fixating on it beyond a few superficial check-ins here and there (we'll get to that.) Scully's always by his side, they have the work, he wants answers, why change? It's the same question he asks her in other contexts (ex. "Why now? Why Boggs?" in Beyond the Sea.)

Season 5 continues. It's a rough year for Mulder (post here.) And for Scully: The End is another episode on a pile of episodes where she feels she's "failed" Mulder, leading to her dispirited goodbye in FTF.

Thus, we arrive at Fight the Future: the moment that forces Mulder to make a confession or lose Scully. To him, her importance was never in question; but the hard part is admitting how broken he feels without her. He was afraid to do more in their partnership because... what would happen if things changed? His fear is rooted in the "What if?", and holds him back from a course of action. Scully's fear is rooted in "Did I choose right?", and manifests after she decides on a course of action (A Christmas Carol's doubts after joining the FBI, Never Again after four years in, all things after the Season of Secret Sex, etc.)

Despite the good that came from his hallway, Mulder's greatest fear is realized when Scully nearly dies after he confesses he needs her. This kicks him into retreat mode (post here)-- "go be a doctor", he tells her. It's Scully who says, "I can't", and clings to his hand, who refuses to give up. That is important, because it's another example of how reliant on Scully Mulder is, to the detriment of his own growth, at times.

Mulder takes her words to mean that Scully is unflinchingly by his side-- which is true. What isn't is his next assumption: that they're on the same page.

They're not, really.

THE IMPORTANCE OF SEASON 6

In The Beginning, Scully hasn't felt the need to change-- she's a scientist, she needs proof-- but she hasn't confronted and overcome her unnecessary doubts, either. Mulder, meanwhile, demonstrates he hasn't changed, either-- and, more importantly, how far removed he is still if from a functioning relationship... as Scully suspected. Hurt that she didn't back him up before their superiors-- which resulted in them losing the files-- he hides behind frustration and anger. Scully feels rejected, and lo and behold! Diana appears; and wins back some ground with Mulder while Scully loses Gibson Praise. By the end of the episode, Mulder doesn't want to cosign to Scully's theory because her science, he thinks, betrayed them before. And lo and behold! It kind of did. But it didn't this time, when it's too late.

Where does that place them early Season 6? As an enclosed unit, with Mulder pillaging the basement-- without consulting Diana-- and sneaking off on his own or taking Scully with him on his misadventures. For all that could be wrong between them, a lot is still right; and both put in the effort to include and watch out for the each other.

Then Two Fathers and One Son (posts here, here, and here) shakes them apart: Mulder doesn't want to believe yet another ally is using and manipulating him; but gives in and goes to investigate Diana when Scully threatens to walk if he doesn't listen to her. He's speared in the Achilles Heel, however-- fatalism in the face of the inevitable-- and almost gives up completely before Scully yells him back from the brink. This happens again in Amor Fati; but he finally learns his lesson there. Scully is visibly angry with him at the end of the episode... and then we have the next few episodes as if nothing happened.

Agua Mala completely resolves their festering from One Son (yes, it's a blink-and-you'll-miss-it resolution; and, yes, I need to sit down and write that out sometime) and propels them into their old-- dare I say, lighthearted-- routine and banter (i.e. Monday, Arcadia, etc.)

An important side note: To accurately place where Mulder and Scully were romantically during this period, we have to figure out if there was lingering tension post One Son. The facts simply don't support that narrative. We see in Arcadia that Scully was enjoying herself at first-- only brushing Mulder off initially when he used her as part of his schmaltzy facade (during their arrival)-- until her partner began poking at her, too (posts here), to maintain distance between them (post here.) We see in Alpha (posts here) that their banter was fun and lighthearted until she found out Mulder kept information relevant to that case from her; and that that information was yet another woman he wanted her to trust without question because he did. (Regardless, she still looked out for his best interests and sympathized with him after Karin's death.) We are shown in Milagro (posts here) that her tops are dropping lower and lower in an unconscious desire to grab Mulder's attention; but more importantly, that Mulder still hasn't considered her in all the ways Dana Katherine Scully exists. Yet, tension only arises when Scully feels overlooked, not displaced-- a creeping of her old assumptions and Mulder's missed signals in Never Again 2.0, not a minimization of her value ala One Son. We see in The Unnatural that she's survived Padgett and is setting subtlety aside for the first time in their relationship; so no tension there at all.

In short, we see Scully moving on and wanting Mulder to move on with her, too... and Mulder either not getting the hint outright (the beginning of Arcadia and Milagro), or getting distracted by the next shiny case instead, despite her efforts (Alpha, The Unnatural.)

The Unnatural: stage one of Mulder's mature development (and you can thank David Duchovny for each of these stages, by the way.) I.e. Detour with unmistakably romantic overtures, in case Mulder missed them the first time (which seems to be a pattern for Scully: near death, survival, resolution, and overtures.) Mulder would have to be thick to miss her obvious flirting, but he still loses himself in another x-file and runs off to badger Arthur Dales about it-- meaning, at this point, Scully has his attention, but not his full attention. Scully takes this as a matter of course-- because that's how Mulder's been from Season 1 (i.e. The Jersey Devil's "Unlike you, Mulder, I would like to have a life"/"I have a life.") However, Mulder finally learns "the mystery of the heart"; and decides to test this out with Scully on the baseball field. It's a small, small, small step because he's not used to this "normal", this appreciation for small, perhaps insignificant things. More to the point, he's probably afraid to do more-- was afraid she wouldn't even show up, per his expression; and will be afraid to follow-up, per his actions in Amor Fati and Millennium. But he did it; and Scully knew what Mulder was meaning to demonstrate ("Shut up, Mulder, I'm playing baseball.), as Duchovny intended.

So, where does that take us? The IVF arc, of course (post here.) It's a failure, splat (or not a part of some fans' canon); and that keeps up moving rapidly along to the next beat in their relationship.

Field Trip. Oh, boy. Field Trip: the episode that prepares both agents for the foundational upheaval of the Biogenesis-Amor Fati arc. Scully can't solely rely on her pat scientific rationalizations; and Mulder doesn't trust her blind loyalty and belief. And both are undeniably coded as a couple throughout their "trip." The main takeaway from this experience is that they doubt themselves more than they doubt each other; and their doubts in each other pale in comparison to their unshakeable trust.

MY TOUCHSTONE

That leads us neatly to Biogenesis-Amor Fati... which we shall mostly skip for brevity's sake, as this arc accomplishes very little (despite its exorbitant screen time.)

Diana shows up, but has to admit Mulder has been asking for Scully "since last night." The barb doesn't land for Scully (while the implication highly amuses Skinner, post here); and after their resolution in Season 6-- Milagro and The Unnatural and the IVF arc and, most recently, Field Trip-- she remains unshaken in her conviction of Mulder's loyalty. She flies to Africa, touches the baby-restorer ship, and accomplishes... very little before flying back and finding out Tena has turned her son over to CSM.

Mulder, meanwhile, is stuck in dreamland. @cecilysass wrote an incredible post on the topic here; and @jaspertedd and @deathsbestgirl's theories-- that Mulder's dreams are influenced by those around him (post here)-- are interesting and pertinent additions. If true, that speaks to a deeper hole in Mulder's psyche he's yet to repair: doubting himself so much so that the influence of others takes precedence over his conscience. We've seen that before many times (one of which is Diana's manipulation in One Son, another of which was CSM's temptation in Redux II); but in each case, it was Scully-- a stronger moral barometer-- that kept him back or influenced his courage in the right direction. Mulder doesn't need to borrow her conscience, just her strength to act on his own.

"You were my constant, my touchstone"/"And you are mine" speaks volumes about where these characters are.

Mulder needed to accurately see that a life, a world where he was handed all his answers and given atonement for all his trespasses was empty and shallow without Scully. He needed, further, to shake off that side of himself that would rather wallow than fight, that put Scully in a position, over and over again, to save his life (Demons) or to talk him back from the edge (The Ghosts That Stole Christmas, though a mirage, was based in a truth.) For Mulder, Amor Fati is the crest of a long, arduous hill that took him decades to climb; and now tips him down, at last, towards maturity, self-actualization, and closure.

Scully needed to come to a different, frightening realization: that the cornerstones of her beliefs might be built on lies, too. She needed to open her mind to possibilities that challenged or even betrayed her beliefs-- to overcome the fear inside that was still inflicting self-doubt. For Scully, Amor Fati was the beginning of the end of her security in "the facts"-- but one that gave her the opportunity to step away from "the tried and true" in order to find herself: her intuition, and her happiness.

"You were my constant, my touchstone"/"And you are mine" is the verbalization of their mutual revelations.

THE END FOR MULDER, THE BEGINNING FOR SCULLY

Amor Fati, for Mulder, was a Part 2 to Redux II and a do-over for One Son: he was confronted by his conscience and learned, once again, to stand by it. But not alone, not yet. For Scully, it was the beginning of her journey, one that culminates in all things (post here.) Her relationship struggles aren't rooted in an upfront fear about moving forward in a relationship-- only what comes after, a pattern in all her relationships and major life decisions (post here.)

Yet, Mulder doesn't make a move in his hallway-- doesn't even try-- after his touchstone speech. Why?

Because Scully was overwhelmed and conflicted and needed space to work through her (Diana-adjacent) guilt-- the same feelings he'd battled with throughout Season 4 and 5: failing and failing and failing. With a little space and a little time for him to recover and a little case thrown in to get her back on track (Hungry), their equilibrium is reestablished.

And that leads us to Millennium and the Season of Secret Sex.

It's Mulder who initiated his confession in Fight the Future, it's Mulder who invited her to play ball under the stars, and it's Mulder who affirmed she was his touchstone; so, it's Mulder who initiates their first kiss. Scully continues to hold herself in a waiting position-- standing at attention, Starbuck-style, until her captain makes the first move (something that all things shifts, as well)-- but all bets are off when he does. Mulder's first step initiates all her ensuing ones: jealously knocking into him in and playing with his tie in Rush, teasing about all being "right with the world" when they (hypothetically) return home in The Goldberg Variation, and each and every fond ribbing she tosses his way. There's a resolution between the two that isn't shaken until En Ami's trickery (which... was a topic all its own, post here) and all things's doubts.

Then we arrive at Closure. This episode is the resolution to Mulder's character arc-- not only because he found his sister and, effectively, laid her to rest, but because he learned to trust to her happy ending without needing Scully to believe him. For the first time, he exercises a "conscience", if you will, separately from Scully-- she is his touchstone, still, but not his whole being. A monumental change from Redux II and Folie a Deux and Fight the Future: then, it was "I knew you'd tell me if I was making a mistake" and "no one else" on earth believes him and "I don't want to do this alone. I don't even know if I can." Now, she remains his touchstone, his realignment; but he can stand on his own two feet without curling into whatever shape will earn him love from others.

all things is to Scully what Closure was to Mulder. Her touchstone claimed her as his in Amor Fati; and Scully thought this meant Mulder promised to always be there when she navigated strange waters... and then he ditches her for crop circles in England. Mulder doesn't understand why she's making a big deal of weekend work now instead of every weekend before; and the two separate in not bad but not great spirits (ala Never Again.) Feeling adrift, Scully runs into Daniel Waterston, and we know what happens from there. In short, all things forces Scully to have distance from Mulder's influence-- as Amor Fati had forced him from her-- in order to choose, with a clear conscience, if this path, this touchstone, is the right one for her. all things finally sets her free from her inhibitions: she guides Mulder back to their apartment and lets him ramble on and on without feeling displaced or devalued by his split focus.

Scully wouldn't be driven to this crossroads and its resolution had not Mulder calmed her self-reproach and claimed her as his "touchstone", allowing her to come back to and lean on that truth in her darkest hours. As we know, she's always relied on Mulder's strength-- Irresistible, Memento Mori, Elegy, etc.-- but had yet to rely on her own. all things, finally, guides her into her own strength and abilities.

COULD A RELATIONSHIP BETWEEN THEM HAVE WORKED BEFORE?

Realistically, anything can work with enough dedication and elbow grease (from both parties.) But, actually factually, the reciprocity needed for an intimate relationship wouldn't have been equal until after Mulder's return from "another life, another world." While they loved each other, Mulder's mercurial ways would wear on Scully's security, and Scully's sudden doubts and distance would dig Mulder's insecurities deeper in.

Mulder, the FBI profiler, was more strongly aware of this than Scully; while Scully, the scientific medical doctor, was more alertly aware of Mulder's constant retreat and instability than her own conflicting, distancing, brewing emotions. He had to learn to stand on his own two feet: a man who railed against the sky and stood up to his superiors and welcomed an existence as a pariah; and who would crumble the instant love was offered then revoked. She had to learn to trust her own instincts: a woman who rigidly tried to rein in her insecurities through facts and detached logical thinking; and who would implode with doubt the instant someone she respected or trusted questioned her decisions or intuition.

Could it or would it have worked? Yes, I think so. But Mulder and Scully were, I believe, happiest to begin a relationship when they did, on their own terms. They needed to be each other's touchstone first, not his "one-in-five-billion" or her "strength."

Partners, in all things.

CONCLUSION

"My touchstone" was the awakening for both: of how far Mulder had come, and much farther Scully had to go. Moreover, it solidified the nature of their relationship: unshakeable reliance and dependable trust, even if the whole world was (is) falling apart.

In short, Anon? Yes.

Thanks for reading~

Enjoy!

[pisscentral]

haven’t posted any art in a bit sooo

FEAR WHEEL

(btw yes the dice is purposefully all snake eyes, just clarifying)

[pocket-dragon]

MeetingAstarion.png

[deadscell]

[shockpinkrosary]

The beginning and the end

Happy new year !

[paullobennett]

Tu foi a minha última tentativa de amor. Ninguém nunca mais vai saber o que é ser amado por mim.

- SR.BENNETT

[zluty-spendlik]

Oliver Banks my guyyy

I didnt wanna do anything too edgy, even tho he is the death guy, he used to be an accountant, right – besides, the end is like super passive and doesnt need to bring attention to itself, so i thought "yeah nothing flashy" BUT THEN i came across this sweater online and was like nghhhhhhhh yeah i HAVE to do that

[aengelren]

“Eren took off first, Mikasa stayed behind him, and I was dead last.” Eren died first, Mikasa buried beside him, Armin kept visiting their graves as an old man until he joined them

Race towards the tree/chronological order they died in

[prairiedeath]

source

[20th-century-man]

Photo by Bunny Yeager.

[randomfoggytiger]

I don't want to shame or be age-ist, but why did they bring in Mimi Rogers as Diana? She looks so much older than both Scully and Mulder. Was she hot and in the market in the 90s? I can see that her assertiveness and self-assuredness could be attractive, but she just didn't seem to "fit in". It's almost as if Mulder went for her because of mommy issues and looking for an older woman like Scully did with Daniel and her daddy issues.

I don't know anything about the actress. My issue is just with the casting and that she fit more in line with being an older character that came across, to me, more like a wicked step mother than a potential mate.

I don't think the question is ageist. :DDD It's a reality that she does look older than Mulder-- but that really works for canon.

Actually factually, they hired Mimi Rogers because DD acted with her before (The Rapture); and he likes to bring his friends forward into new projects. But her casting also enabled David and Mimi to take their characters' interactions in a slightly different direction than the script dictated.

I get you completely, Anon-- and I agree. That angle worked for me, however: it underlined Mulder's personal growth over the past five years (and showed how glaringly unimportant Diana had become.)

Diana Fowley: the Definition of Manipulative Comfort

(Credit to: @iddoitforfreebaabe)

In the script, CC wrote Diana as a knock-out who subtly wielded her sexual prowess to draw Mulder's attention away from "the truth" (and to make Scully jealous, ahem ahem.) There was a sneering, preening quality to her that isn't present with Mimi Rogers. And I like that change; because five years and a thriving partnership have changed Mulder as a person-- not completely, but enough. Sneering, preening superficiality would repel, not attract, the person he's become.

Moreover, Mulder is a man so haunted by his past that he sees his sister in every little girl-- or, to the point, he sees the love and security he lost in childhood in every feminine, devoted, almost nurturing brunette. (He's drawn to women who promise love, companionship, and ease up front, only to be duped by their intentions and strung along with breadcrumbs of affection later.) I don't think he's looking for other sisters or other mothers in his selection process; just that their standard of beauty has been normalized since childhood. Importantly, we see his own distinct sexual preferences separate from his traumas: Mulder is attracted to intelligent, outspoken women, be it Pheobe Green or Diana Fowley or Dana Scully (or Bambi Berenbaum, etc.) This trait doesn't define his on-screen interactions with Tena Mulder-- a very passive, emotional woman when around him-- nor distinguish Samantha in his memories. They weren't idiots, certainly; but that's not how he selectively remembers them.

Back to Diana.

THE NATURE OF DIANA AND MULDER'S PAST RELATIONSHIP

Diana Fowley is the perfect archetype of a person who latches onto potential-- for intelligence and companionship-- and stays until she decides to leave (cutting loose ends cleanly, and purposefully parting friends.) Relationships are for advantage, positive or negative.

We know this because of her reappearance: in The End, Diana expects to waltz back in and turn Mulder's affections back to herself with the snap of her fingers; in The Beginning, she chastises Mulder for doubting her dedication and loyalty to the files (read: him); and in One Son, she foists a kiss on Mulder when he is at his lowest point.

She's not a mother figure but a dangerous second thing: a prey animal who locates the wounded boy in the man and weaponizes that to her advantage-- hence, her full name (Diana meaning 'goddess of the hunt'; Fowley, a spin on the word fowler or snare.) (It's not until The Blessing Way that Mulder began to question his own mother's involvement in the conspiracy, posts here and here; which provides ample proof of the lengths his ex would have been able to twist him about without his suspicion.) Diana knows how to mask her control through silky "Fox, I know better; and you know I know better" language that skirts his animosity and detection. While Phoebe is cruel and callous and careless-- getting caught-out both times she and Mulder engaged in a relationship of sorts-- Diana is circumspect and calculating and careful. Diana exploits his weak spot-- self-punishment and a desperate need for love-- by disguising her attentions behind loving, near-maternal guidance and protection... something she would have known he lacked after Mulder unveiled his backstory. While Phoebe is reliant on relationships and adoration and praise to feel superior-- unable to face or accept rejection-- Diana doesn't rely on anyone or anything except herself (hence why CSM came to depend on her, too.)

DIANA, THE (PURPOSEFULLY) NOT-SO RAVISHING

All that logic and canonical consistency aside, the beauty in Mimi Rogers's casting is that she isn't a ravishing beauty to Mulder.

Mulder isn't head-over-heels for her like he was Phoebe Green or Bambi Berenbaum or (later) Scully. In the magazines and tapes that aren't his, in his dreams, in his Kill Switch illusion, Mulder fantasizes about larger-than-life sexuality: the Jersey Devil, Phoebe, Bambi, the blonde bimbo nurses, Jade Afterglow, Scully in sci-fi gear, etc. The exaggeration in their presentation captures his imagination and attention. (We see hints of Diana as a wanton, sexually deviant temptress here and there: namely in Mulder's vision of her in Amor Fati-- post here-- where he is not surprised to see her in aggressive, sexy lingerie-- but is surprised to hear she suddenly wants to settle down and have children, post here. And, again, "settling down" is framed as "It's time to grow up, Fox"-- another maternally slanted manipulation.) In casting Mimi, their dynamic changed from Phoebe-Green-enraptured to old-wound-manipulation.

Mulder himself wasn't gutted over their breakup-- telling Diana, without a shadow in his eyes pointing to past hurts or wounds or pain he'd overcome, "I've done okay without you." It was Diana who walked and Diana who returned; but it's Mulder who didn't ask her to stay either time. She was his partner: not in the "wildly understood definition of that term", but a literal partner who discovered the X-Files alongside him, who spent five years of her life with him, and who left-- without regrets, from either side-- for greener pastures. It had been a comfortable, not passionate, relationship. Afterwards, Mulder was content to burrow down in the basement, alone; and resented any intruder into his sanctum after she left.

And when Diana returns, he's stiff, tense; and takes a while to warm up to her presence. Yes, because of his past with her, yes because he hadn't informed Scully of said past; but mostly because he knows Diana is there for a reason. And, profiler that he is, Mulder suspects he's the reason. And he's right.

DIANA FOWLEY V. DANIEL WATERSTON

How does Mulder's draw to Diana differ from Scully's draw to Daniel?

Well, firstly, we have to discuss the similarities. Both Diana and Daniel are older partners, and both put down the instincts of their lovers (or would-be lovers, in Scully's case) to assert their own interests and end goals. ...The similarities largely end there.

The differences, however, point to the nuance of their situations.

Mulder isn't drawn to Diana because she was "his mother"-- he was attracted to her because his inner porch bug is drawn to the promise of a light at the end of the tunnel; and always coaxes him into the dangerous dark and straight towards the beam of a bug zapper. In this case, he got caught in the window screen, peering into the glow of a house but unable to advance towards or retreat from it. Diana and he had good times, comfortable times that they could remember fondly later; but their reminiscing consists of her helping on the files, not the years of their relationship beforehand. In essence, they have "the work"-- in whatever current form that was-- between them and nothing more (in contrast to his bond with Scully, which transcends Mulder's search for "the truth.")

Scully is drawn to Daniel because he is "other fathers"-- a man who not only understands her expertise and passion but rewards it with devotion and pride. While Diana left Mulder and was, apparently, perfectly content to be single as she carried out the Syndicate's aims (or because she left her options open to exploit CSM's interest), Daniel mourned and pined after his loss, letting his cracked marriage dissolve completely and abandoning his daughter to-- hopefully, maybe-- run into Scully someday. Diana and Mulder coasted five years-- another sign their relationship didn't healthily benefit either person-- before they decidedly separated. Daniel and Scully had a stormy (near) love affair, and split after the tempestuous blowout.

(By the way, Mulder and Scully, carry out those patterns with their ensuing relationships: Scully moving fast and strong with Jack and Jerse before they separate; and Mulder coasting on from case-to-couch, phone to his ear when he gets lonely at nights. Their partnership ultimately breaks each other's pattern, posts here, here, and here.)

Diana does fall in love with Mulder, though: by One Son, we see she truly has lingering feelings for her ex-- that take a backseat to her Consortium calling (and lack of characterization)-- and by Amor Fati, her affection has grown enough to manifest guilt, shame, and change-- that results in her death. However: the series portrays this as new emotional growth, not a symptom of their past relationship. Mulder doesn't expect that depth of feeling from her in The End nor The Beginning; nor even Two Fathers and One Son (hence his consternation with Scully's "jealous" suspicions, post here.) Again, "I've done okay without you" speaks volumes-- especially with the twinkle Mulder sports to show Diana that, for the first time in his life, he's found a spark: that his current "relationship" isn't comfortable or stagnant or in the past. (Which is why she reads between the lines and plans to break apart the partnership as deftly as possible.)

CONCLUSION

Hopefully these thoughts helped in some way or form. :DDDDD But what do you think, Anon?

Thanks for reading~

Enjoy!

**Note**: Here's the interview mentioned in the tags.

[jordankennedy]

i saw someone assigning characters from the saw movies to the entities on twitter and they were so incorrect it made me mad enough to do my own

[ozzyeelz]

Something I’ve been working on…

[strawlessandbraless]

The CW’s Supernatural where everything is the same except End Cas’s orgy is just dudes

[y2kaee]

[deadscell]