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#txf quotes
freckleslikestars · 10 months
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The X Files Quotes that I say/reference so often that I’ve had to make gifs of them part 2/?
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deathsbestgirl · 3 months
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“One day, you'll ask me to speak of a truth - of the miracle of your birth. To explain what is unexplained. And if I falter or fail on this day, know there is an answer, my child, a sacred imperishable truth, but one you may never hope to find alone. Chance meeting your perfect other, your perfect opposite - your protector and endangeror. Chance embarking with this other on the greatest of journeys - a search for truths fugitive and imponderable. If one day this chance may befall you, my son, do not fail or falter to seize it. The truths are out there. And if one day you should behold a miracle, as I have in you, you will learn the truth is not found in science, or on some unseen plane, but by looking into your own heart. And in that moment you will be blessed - and stricken. For the truest truths are what hold us together, or keep us painfully, desperately apart."
like yall heard these words from scully's mouth and still think she didn't love mulder & the x files more than anything
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damn. david was so right for this.
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sashacalle · 5 months
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I see the correlation, but just because I work for the federal government doesn't mean I'm an expert on cockroaches. THE X FILES, Season 3 (1995)
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morleycigarettes · 18 days
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It feels like more of a Mulder line, but I can’t recall any Mulder&Queequeg moments.? Happy to be proven wrong.
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bisexualfbiagents · 5 months
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You know when I was a kid, I had this ritual. I closed my eyes before I walked into my room, cause I thought that one day when I opened them my sister would be there. Just lying in bed, like nothing ever happened. You know I'm still walking into that room, everyday of my life.
THE X FILES GIF MEME [2/8] CHARACTERS Samantha Mulder
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samanthamulder · 10 months
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THE X-FILES (1993-2018)
SEASON FIVE — What do you hope to find? I mean, in the end.
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spnscripthunt · 8 months
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The work everyone did on "The Pilot" was phenomenal, so it's no surprise Supernatural got picked up for a series. At that point, according to Kripke, the studio said he needed to partner with an executive producer with production experience. They paired him with Robert Singer, which Kripke describes as being "like an arranged marriage, because you're going to be working more closely with that person than anyone else. It's worked out beyond both of our expectations." Robert Singer concurs. "We're very much of the same mind, Eric and I, and I think that he fills in certain gaps I have and I fill in certain gaps he has. Kripke feels Singer doesn't get nearly the credit he deserves for the complexity he brings to the show when filling in those gaps. "He is the one who really demands the characters have depth."
The studio also wanted Kripke to bring in someone to help build the mythology, to build stories, to work with the writers, so "David [Nutter] told Eric, 'Get Shiban in here,' remembers co-executive producer John Shiban. "So we met and immediately clicked." Shiban brought years of The X-Files experience to the table, and with regards to mythology, he posed the question, "Can you build a boat that will still float, but without all its pieces? Because . . . there are discoveries that are going to be made along the way, there'll be characters that you stumble on." The idea of Meg, who turned out to be very central to the mythology as an undercover demon, was a perfect example of that.
They started hiring staff writers as soon as the series was picked up, and Kripke hit the ground running, ready to dive into the lore he adores. "I showed up the first day of work with eighty urban legends that were my favorites." For the first batch of episodes, the legends tended to come first. "I had a pile that I really wanted to do," Kripke explains. "The storylines of the boys came later. But once we realized how good they were and the depth of storytelling we could tell about them, we really began to focus more on what their issues were, and what interesting story we wanted to tell about them.
With their focus flipped, they started to only use urban legends that fit with the boys' story. And Kripke thinks the second half of season one was better than the first half because of that.
Excerpted from: Knight, Nicholas. Supernatural: The Official Companion Season One. Titan Books, 2007: 12-13.
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nefertitisfjordd · 7 months
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freckleslikestars · 10 months
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(some of) my favourite lines from The X Files 5.12 Bad Blood
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deathsbestgirl · 6 months
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okay. writing about why never again should come before leonard betts is actually hard. because it's really just a few small moments in leonard betts make more sense if they're after never again, and it's so much better to go to memento mori right after the reveal at the end of leonard betts.
never again ends with silence. mulder cutting off his sentence. if it were going to happen, it would be then. but it doesn't, and so the silence persists.
leonard betts has a similar feel to arcadia, where they're trying to get on the same page, slip back into their roles. mulder uses humor at crazy moments, and scully pretends not to think it's funny and stays focused on the case.
in the end, she sits alone in the car in silence. waiting for mulder. he tells her she did a good job, she should proud. a verbal validation he doesn't often give, something she craves & loves, a little taste of something she wanted from him in never again. and she can't enjoy it because she's terrified. scully believes leonard betts and she just wants to go home.
it really strikes me the way there's no physical comfort. in paper hearts, scully was fierce. she tried so hard for mulder and failed. but in the end, he leans into her, they hug, she pets his head. in never again there was no comfort either. mulder was petty and he didn't understand. this time he's kinder when she was attacked, but there's a physical distance that isn't typical.
then in memento mori, she calls only mulder. scully tells him so tenderly. she has no idea what to do, and she know what this will do to mulder. he's with her when they go to skinner so they can officially open a case on it & investigate. when she doesn't explain it to skinner, mulder steps in for her. he tries so hard to be strong when they both know he isn't. but scully is being forced to face something she's left buried. now she can't.
in the hospital, she calls mulder to ask him to bring her stuff & call her mom. she writes letter after letter to mulder. begging forgiveness, telling him she'll only get through this because she knows he's out there, following his own path.
but their path is the same. he will follow her to her death.
they have never been as physically affectionate as they are in memento mori and the reduxes.
in elegy, she sees the ghosts, an omen of her impending death. when she finally tells mulder, he's hurt. he wants to be there for her. in demons, he believes she's dying and that he can't save her, and they both deserve answers. he doesn't want to live without her, he can't keep on his search for the truth without her. but he also won't ask her to follow him into this and he only calls her when he can't remember what happened, there's blood & he's in shock. she knows his suicidal tendencies, it's exactly what has her so worried. who will be there for him when she's gone?
mulder + scully know exactly what they have. scully will give him everything she has, even when it's only her dignity so that he won't rot in prison for something he had to do. mulder will follow her to end of the earth, to the grace without any hesitation.
small potatoes is so painful because of the unspoken agreement not to address their feelings. "mulder" shows up at scully's apartment, and she gives in. she's soaking up the attention she's always wanted from him. they don't kiss, she doesn't move to bridge the gap, she just waits. and then the real mulder comes crashing in and the pain is face is clearly visible. he knew exactly where van blundht was going. it wasn't even a question.
mulder isn't heartbroken that van blundht had a chance with scully and he doesn't, he's heartbroken because they chose silence and now she has a deadly cancer.
in detour, scully makes an attempt to open the door and mulder flees. he knew what was on her mind, but he still can't take it from her. she can't even be mad, but the silence persists and the gap grows.
there's nothing they won't do for each other, but leaving their feelings unsaid hurts them. to the point scully thinks all she's done is hold him back. and in fight the future, he finally says so many of the things she has desperately needed to hear. and she clings to her skeptic role because it still wasn't quite enough. their kiss was interrupted and they don't bring it up and fowley is present, driving another wedge.
from scully's perspective, mulder didn't trust her in never again, and then she lives it all over again because of diana. he doesn't trust her judgment, reduces it to jealousy because they both know her feelings. and she's still unsure of mulder's because of this, and the ever persistent silence. even after one son, he doesn't accept it. only after amor fati, when he was able to hear diana's thoughts and she consequently dies for helping scully save him, does he understand that scully's right. and once again, gives a beautiful speech. between all of this there's been "you're my one in five billion" and "i love you" and "you saved the world scully" and the hallway/bee scene and they play baseball & flirt. until he says to her, looking into her eyes, that she was his friend, his constant, his touchstone.
scully never hears what he says to diana about her. which could have helped her. but she only saw him holding her hand, clinging to diana's shared beliefs, because he knows her. and like in never again, she feels invisible. she feels useless. she's holding him back.
it isn't until the end of amor fati that the tension breaks. things become lighter when scully feels more secure. when he starts giving her the attention she has always wanted, when he lets her take the lead on cases, when she's allowed to believe sometimes without it turning their world upside down.
it's just a better progression. never again shouldn't be about scully's cancer diagnosis & impending death. it's about her, her patterns, mulder. it's about her struggles with what's expected of her, what she should want and the reality of what she wants & chose. her fear that mulder is an authority, and that she gives him that authority.
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Scully: quick! You're losing a lot of blood, what's your type? Mulder: redhead, blue eyes, likes science, shorty, FBI agent, works in forensics— Scully, blushing inevitably, rolling her eyes: your blood type, Mulder.
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Scully: This will probably go faster if we split up.
Mulder, nods:
Mulder: Can I come with you?
Scully: Okay, where did I lose you on the whole “splitting up” thing?
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twinktor-frankenstein · 9 months
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morleycigarettes · 25 days
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The ghosts in ‘The Ghosts Who Stole Christmas’ *want* visitors, so don’t use that as an argument.
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mssunshiney03 · 1 month
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💯 Dana Scully
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