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wavesoutbeingtossed · 8 months

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Screaming from the crypt (or how the past haunts the present on Midnights)

I know it's been discussed so much since Midnights came out but just.

I love how there is such a clear narrative throughout the album (and perhaps especially on the 3am/Vault tracks). About questioning and regret and choices and coming to terms with all of it. It is one long story about how we're all a mosaic of the choices we make, each one taking something from us and leaving something else in its place.

(And now a disclaimer: I'm looking at this mostly through a narrator/subject lens, and trying not to dive too deeply into real-life events or speculation except for in a general sense. For this purpose I like to look at the body of work as art, like literature, because I find it makes it easier to see the common threads in the different songs and cohesion in the narrative.)

In looking at the 3am+ tracks in particular, it's fascinating how some turns of phrases or themes repeat themselves in different songs, in different contexts. (I'm only focusing on the non-standard tracks because there are too many songs and I'd be here all day but I bet I could do a part two lol.) I know many people have pointed out the parallels throughout her discography already and I’m not saying anything groundbreaking by writing this, but I love how these parallels run through in the same album, because it makes it seem like it's one long story, or at least, one long rumination on many different stories that are coalescing into a single narrative.

Battle (let’s go)

For instance, the one that jumped out at me when I started writing this post the other week was, "Tore your banners down, took the battle underground," in The Great War and "If clarity's in death, then why won't this die? Years of tearing down our banners, you and I," in Would've, Could've Should've. It's a story about staying stuck in the same cycle of reliving trauma and coping mechanisms and bad habits over and over again and fantasizing about how taking the “antagonist” out and gaining the upper hand for good would bring closure (WCS), but the truth is that nothing ever will. All that cycle does, though, is repeat itself in other situations, and in this case pushes someone away the narrator cares for (TGW). The difference is that the imagined battle in WCS is a two-way street in her mind (that is ultimately unwinnable because it was never a fair fight), but in TGW it's one-sided -- she's the one fighting dirty, taking shots, the way she'd been doing in her imagination (or nightmares) all these years. But the person in front of her isn't fighting back the way the person in her mind in WCS would, because their intentions are honourable instead of exploitative.

And that's paralleled in another pair of lyrics from the two songs, "And maybe it's the past talking, screaming from the crypt, telling me to punish you for things you never did," (in TGW) and "The tomb won't close, I fight with you in my sleep," (in WCS). In both cases, the funeral imagery makes it seem like this past event should be dead and buried in WCS, but it keeps rising from the dead, haunting her no matter what she does and in TGW, another (or perhaps the same?) tomb that won't close keeps unleashing new ways to hurt her and in turn the new person in her life. In other words, the trauma from the past continues to bleed into the present.

(Again from a literary point of view, I'm not saying the events of the two songs are linked IRL, but they're fascinating textual parallels on the album as a string of chapters, which is why Dear Reader is so compelling, but that's a whole other essay.)

To keep the battle motif going, there’s yet another parallel, this time between TGW’s "[You were a] soldier down on that icy ground, looked up at me with honor and truth," and You’re Losing Me’s "All I did was bleed as I tried to be the bravest soldier, fighting in only your army.” In the former, the subject is laying down his armour in the war she’s projecting onto him, waving the white flag, and she realizes that she’s about to destroy something if she doesn’t put her sword down too. By the time we get to YLM, the roles are almost reversed; at the very least they’re supposed to be on the same team, but in this case she’s doing all the heavy lifting, fighting for their relationship in contrast to his apathy killing it. It’s also pretty interesting (if not outright intentional) that one of the 3am+ editions of the albums starts with The Great War, where they find themselves in conflict (even if it’s in her head) that ends in a truce, and ends with You’re Losing Me signalling the end of the relationship, evidence that the resolution in the first song wasn’t an ending but merely a ceasefire before the last battle.

Putting the rest under a cut because this is waaaaay too long now ⤵️

(There’s also another metaphor there in The Great War with its battle imagery: World War I, aka The Great War, was supposed to be the war to end all wars, because loss on its scale was never seen before and when it ended, most thought never again would the world embroil itself in such battle, the horrors and implications were so devastating. Two decades later, the world found itself in WWII, with an even larger scope and more horrific consequences, the intervening time between the two a period of festering conflicts and resentment leading to some of the worst acts the world would see. Bringing real life into it for a second, there’s something a little poetic, though sad, about The Great War the song being about a fight that could have ended the relationship that they ultimately resolved and was meant to be evidence of the strength of their love, but so too did it end up being a period of d��tente, the greater battle coming for them years later. But that is not the point of this post.)

If one thing had been different

Another major theme in these editions is pondering the "what ifs?" of life, but I think it takes on even more significance in the broader context of the album in the lyrics of "I'm never gonna meet what could've been, would've been, should've been you," in Bigger than the Whole Sky and the repetition of would've/could've in Would've, Could've, Should've (I would've looked away at the first glance, I would've stayed on my knees, I would've gone along with the righteous, I could've gone on as I was, would've could've should've if I'd only played it safe, etc.) In both songs, the narrator is mourning an alternate course their life could have taken* and questioning what they could have done differently, in the aftermath of trauma and loss, and the regret that comes with that loss, and with the loss of agency in the situation because ultimately it was never in their hands. In an album full of questions, wondering about the path not taken, or the forks in the road that have led to a different version of your life, it's digging deeper into the contrast of choice vs. fate, action vs. reaction, dwelling on the past vs. moving on. When you're supposed to let go of the past, what do you do when it is holding your future hostage?

(*I know there are different interpretations/speculation about BTTWS which I am not getting into on main. I'm just saying that whatever the song is about, it's grieving something that never came to be. The literal origin of the song is less important to the album than the sense of loss it portrays. Whatever the inspiration is, it's crafted to tell part of the story of Midnights of ruminating over how, to borrow from her previous work, if one thing had been different, would everything be different?)

(Also I was today years old when I realized that the words are inverted in the two songs. Apparently I've been hearing BTTWS wrong this whole time.)

There's also an interesting tangent in the role of faith in both songs: in WCS, the events of the story cause her to lose her faith (e.g. "All I used to do was pray," "you're a crisis of my faith,") and question all the things she felt had been unquestionable until that point in her life (e.g. "I could have gone along with the righteous"), whereas in BTTWS, she questions whether that very lack of faith is to blame for the loss in that song ("did some force take you because I didn't pray? [...] It's not meant to be, so I'll say words I don't believe"). It's like pinpointing the moment her life changed and upended her beliefs (WCS), but as a result then leaving her unmoored in times of crisis because ultimately there's no explanation or comfort to be taken from what she used to hold true before that (BTTWS). The words she once relied upon to guide her have long since lost their meaning, but in times of trouble it leaves her wondering if that faith she once held then lost could have prevented this pain.

(Shoutout to WCS for being Catholic guilt personified lol.)

To keep on with the vaguely faith-y notions, an obvious parallel is the line in Would’ve Could’ve Should’ve about, “I damn sure never would've danced with the devil at nineteen,” and, "When you aim at the devil, make sure you don't miss," in Dear Reader. All of WCS is about her fighting with an antagonist who haunts her, with whom she wholly regrets ever becoming involved. DR could be seen as a reflection on that fall from grace, warning the audience that if you choose to go after the person (or thing) haunting you, make sure you do so clearheaded enough to be decisive. Again, these “devils” may not be related in real life: the IRL devil in DR could be speaking about her naysayers, or Kim*ye, or Scott & Scooter B, etc., meaning not to cross your enemies until you know you can win. But taking real life out of it and looking at it textually, I am intrigued by the link between WCS and DR, so that’s what I’m going with here. And perhaps that’s even the point in a wider sense; there will be multiple “devils” in your life, or threats to your well-being. If you’re going to commit to taking them down — whether it’s an actual person, or the demons inside you that refuse to let you go — make sure you have the right ammo so that they can no longer hurt you. (Of course, one lesson from these experiences is that sometimes you can’t win, and you have to live with the fallout.)

(Sidebar: I know that “dancing with the devil” is a turn of phrase that means being led into temptation and engaging in risky behaviour, as opposed to describing the actual person. Given the religious metaphors in the song, that could very well be/is the intention, particularly when it’s preceded by, “I would have stayed on my knees” as in she would have continued to follow her faith — in whatever sense that means — had she never met this person, which could also be a more eloquent way of saying she would have continued to be live her life in a way that was righteous (even naive) and seen the world in black and white. Either way, it’s a force she wholly rejects. Like I said, multiple devils, same fight.)

Regret comes up too: in WCS, she says, "I regret you all the time," obviously directed at the person who manipulated her and led to her perceived downfall, citing him as the one impulse she wished she'd never followed, because it won't leave her no matter how hard she’s tried. In High Infidelity, she tells the person to, "put on your records and regret me," and on the surface, it’s like she’s turning the tables, painting herself as the one now causing the regret in someone else, the one inflicting the pain this time. Yet the verse preceding it and the lines following it in the chorus depict a partner who is also emotionally manipulative and vindictive like in WCS (“you said I was freeloading, I didn’t know you were keeping count,” “put on your headphones and burn my city,”). It’s not so much that she’s intentionally harming the person (the way the person in WCS does to her), but rather that the venom in the subject’s feelings towards her seeps through; she’s imagining the way he’s going to feel about her when she leaves, hating her just for by being who she is. (There could be another tangent about how in both songs she’s there to be a “token” in a game for both of the men, who play her for their own purposes.) The regret is dripping with disdain. It’s as though she’s picturing how the person is going to hate her for doing what she’s thinking of doing the way she hates the person who first hurt her.

Sadness, unsurprisingly, shows up in a few lyrics. In BTTWS, “Everything I touch becomes sick with sadness,” sets the scene of a person so overcome with grief that it permeates everything around them; they cannot see their way out of it and feel like the fog will never lift. In Hits Different, it’s, “My sadness is contagious,” the result of a breakup where the person’s grief again touches everything and everyone around them, pushing them further in their despair and loneliness. The reason behind the grief in either case may vary, but regardless of the source, the feeling is overpowering and isolating. They may be different chapters in the story, but the devastation is hauntingly familiar. (As is a recurring theme in Midnights as a whole: there are situations and feelings that present themselves at different points in her journey and colour in the lines in different ways along the road. Like revisiting an old vice and realizing the hit isn’t quite the same as it was in the past.)

Death by a thousand cuts

She also writes about wounds on this album, which isn't surprising I suppose given that the whole conceit is that these are things that have kept her up at night over the years. WCS is perhaps the driving narrative on this never ending hurt when she sings, “The wound won't close, I keep on waiting for a sign, I regret you all the time,” suggesting that no matter what she does, the pain of this experience has permeated everything she’s done afterwards. (Not unlike the overwhelming grief in BTTWS, for instance.) Elsewhere, in High Infidelity she sings, "Lock broken, slur spoken, wound open, game token," and in Hits Different, "Make it make some sense why the wound is still bleeding.” Again I'm not suggesting they're about the same events; the line in HI is about a situation where a partner crosses a boundary, hits below the belt, picks at an insecurity (or creates a new one) and treats the relationship like it's transactional, opening the floodgates in turn. In HD, the wound seems to be more self-inflicted, where she's pushed the person away. (Over a situation real or imagined she feels she needs distance from.) But again, something has picked at her like a raw nerve, and just like in the past, she's hurting, even in a different time and place and person. Almost like the wounds of the past break open over and over again to create new scars. If one were to extrapolate further, it wouldn’t be the biggest leap to wonder if the wound open in WCS, then torn apart in HI makes the one in HD hurt even more.

(I once wrote a post about how I think as time goes on, WCS is going to turn into one of those songs that will be found to drive so much of her work, because it’s just… kind of the unsaid thesis statement of so much of her songwriting.)

Another repeated theme is that of the empty home and loneliness. In High Infidelity, she sings, "At the house lonely, good money I'd pay if you just know me, seemed like the right thing at the time," painting a picture of someone who may have everything they'd want to the outside world, but in reality feels metaphorically trapped in their home (or at least alone amidst abundance), a symbol of a relationship gone sour and a failure to build connection. She just wants someone to understand her, want her for her, but as she's written earlier in the song, she's just a pawn in the game, a trophy from the hunt. Home, in this case, is lonely, isolated, an emblem of her fears. In Dear Reader, she continues this thread, then singing, "You wouldn't take my word for it if you knew who was talking, if you knew where I was walking, to a house not a home, all alone 'cause nobody's there, where I pace in my pen and my friends found friends who care, no one sees you lose when you're playing solitaire." It's the same idea, admitting to listeners that the gilded cage she lived in kept her distanced from her loved ones and real connection, keeping her struggles close to the vest but feeling desperately lonely amidst her crowning success. She's pushed people away and it may have felt like the right thing at the time, but in the end maybe felt like she was trapped. And when you push people away, eventually they take you at your word and stop pushing back; you’re a victim of your own success at isolating yourself. What starts out of self-preservation then further perpetuates the underlying problems.

(There's another interesting link about "home" also feeling unsafe with HI's "Your picket fence is sharp as knives," which further leads into the theme of marriage/domesticity feeling dangerous, which is a whole other thing I won't get into here because it's another discussion and may derail this already gargantuan word salad.)

In a slightly similar vein, we have the metaphor of bad weather for a rocky road or unstable relationship, in High Infidelity again with, "Storm coming, good husband, bad omen, dragged my feet right down the aisle" and You’re Losing Me’s "every morning I glared at you with storms in my eyes.” They aren’t speaking of the same situation or even same kind of breakdown, but it is pretty interesting how the idea of clouds/storms/floods/etc. play such a role in Taylor’s music to signal depression, apprehension, fear, uncertainty, etc. In HI, I think the “storm” coming is the looming threat of commitment to a partner who makes the narrator uneasy (if not fearful). In this case, the idea of making a life with this person is not one that incites joy or comfort, but instead makes the narrator feel that dark times are ahead if she continues down this path. Perhaps in some way, the “storms” in YLM have made good on the threat in HI in a different way; it’s a different home, a different relationship, but the clouds have settled in regardless, and some of her fears have come to fruition in ways she did not expect. The person she once trusted no longer sees her or her struggles (or worse, doesn’t care), and the resentment and pain build with each passing day.

Coming back to heartbreak, one of the obvious "full circle" moments is the beginning of a relationship in Paris, where she says that, "I'm so in love that I might stop breathing," clearly enthralled in a new love that allows her to shut the world out and grow in private, capturing the all-encompassing nature of the relationship. This infatuation has consumed her in the most wonderful way (in contrast to the sorrow of some of the previous songs), and it feels like a life-altering (or even life-sustaining?) force that is so strong she may forget what it’s like to breathe. (Metaphorically speaking, of course.) By the end of the album, though, in You're Losing Me, that heart-stopping love has become a threat: "my heart won't start anymore for you." In the former, her racing heart is full of excitement, but by the latter, her heart has given out completely under the weight of the pain she bears. (YLM is full of death/illness imagery which I already wrote about awhile ago so I won't hear, but needless to say that song deserves its own essay for so many reasons.) She's gone from the unbridled joy of the beginnings of a relationship to the unrelenting sorrow of its end, two sides of the same coin.

Love as death appears elsewhere in the music too, for instance, in High Infidelity’s, “You know there's many different ways that you can kill the one you love, the slowest way is never loving them enough" and You’re Losing Me’s “How can you say that you love someone you can't tell is dying? […] My face was gray, but you wouldn't admit that we were sick.” Though not completely analogous situations, they both tell the tale of one partner’s apathy (or at least denial) destroying the other. In the former, the partner’s actions (or inaction) are more insidious, if not sinister; in the latter, the lack of momentum (or admission of a problem) is passive. In both cases, the end result is the narrator’s demise; it’s a drawn out affair that chips away at her morale and her health and her sense of self. (Breaking my own rule about bringing in alleged actual events into the discussion, but the idea that the relationship in High Infidelity, which was obviously fraught with unease and even fear, ended in a similarly excruciatingly slow and hurtful death by a thousand cuts as the relationship in You’re Losing Me almost did at that time must have been so painful. It almost feels like YLM is wondering why what used to be a source of light in her life was mirroring a situation that caused her such pain in the past.)

From the same little breaks in your soul

I said early on that part of what is so compelling about Midnights is that it feels like an album about ruminating — on choices, on events, on people — and the two final “bonus” tracks of the album depict that as well. In Hits Different, she sings that, “they say if it’s right, you know,” an ode to the confusion of a breakup and struggling with the aftermath of calling it quits. It’s a line that has always intrigued me, because the typical use of the phrase is in the sense of, “you’ll know when you meet the one,” but here it seems to have a double meaning, a reassurance perhaps from the friends (who later on tell her that "love is a lie") that she’ll know if she’s made the right decision in calling it off, but could also be her wondering if the relationship is right, she’ll know, and want to reconcile. In the final bonus track, You’re Losing Me, she sings, “now I just sit in the dark and wonder if it’s time,” this time leaving no doubt about the dilemma she faces, though it’s no less fraught. She’s wondering, perhaps for the last time, if now is finally the moment to end the relationship for good. They say that if it’s right she’ll know, and now she’s wondering if that feeling inside her (that once told her her partner was the one, which is why it hit differently), is telling her that it’s time to go for good. Wait Alexa play “It’s Time To Go.” These are not only the things that keep her up at night, but the things that play over in her mind like a film reel in her waking hours.

Midnights as a whole is a deeply personal album, as is most of Taylor's work, but the 3am+ edition tracks seem to dig even deeper to a lot of the issues raised on the standard album. Almost like the standard tracks are the things she wonders about on sleepless nights, but the bonus tracks are the things that haunt her in the aftermath. The regret, anger, sadness, grief, relief, even joy— they’re the price she pays for the memories she keeps reliving. Midnights might be the most cohesive narrative of all her albums, and really does feel like we’re watching someone work through her journal over time, stopping short of outright naming those giant fears and intrusive thoughts (except for when she does) but making them plain as day when you connect the songs together, and perhaps never more clearly than in the expanded album. It’s incredible how the songs stand on their own to relay a specific moment in time, but that they are also self-referential to each other (whether thematically or overtly) to weave a larger web over the entire work. We’re so lucky as fans to have these stories and to keep peeling back these layers as time passes. (And my literature-analysis-loving ass loves her even more for it.)

This is obviously by no means an exhaustive list, and I know there are more parallels and probably even stronger links (particularly when you add the standard version into the mix), but these were the ones that particularly struck me and I’m just glad I’ve had a chance to sit with this and think it through. ❤️

#writing letters addressed to the fire #me thinking too hard about taylor lyrics #taylor swift #midnights #long post #lyrics analysis #song parallels #Gabby this one is for you friend <3 #here goes nothing #Happy Friday or something idk!#(also i know i said there are things i wouldn’t discuss on main but my dms are open lol)#this is not as structured or well plotted out as I wanted it to be #and turned out to be more stream of consciousness than legit essay #but whatever at least i got my thoughts out there and it can release some plot of land in my brain for other stuff to think over lol #If anyone ever reads this thank you! And I’m sorry?#The best compliment i ever got in school #was when we were doing an analysis of a poem in English lit in college #And i brought something up casually #and my prof went ‘I’ve been teaching this class for eight years and that’s the first time anyone’s ever brought it up like that’#’and that just blew my mind’#and i was like ‘who me?’#so that’s all you need to know about me lol #Midnights: The Great War #Bigger than the whole sky #bttws #Midnights: Paris #Midnights: high infidelity #would’ve could’ve should’ve #Midnights: dear reader #midnights: bigger than the whole sky

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mulders-too-large-shirt · 3 months

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s2 episode 24 thoughts

this episode was quite spooky. because cannibalism is real. but something about scully about to get her head chopped off and boiled seemed more outlandish than all the aliens and the guy that kills people with his shadow or even lizard man eugene tooms!

which is strange. because those things are pretty outlandish! maybe its because it was so much scarier than even evil lizard men.

let’s jump in:

so this is an episode involving more meat. did we need more meat, after the earlier meat processing content in s2 episode 10? many are saying no. but not chris carter!

we begin at a dirt road at night. in the state of arkansas. we have an older man and a younger woman named paula in a car, which is not suspicious at all! /s

oh and now the old man choking? is this natural or did she induce it with some poison. i mean maybe he deserved it, if she did. he takes some pills, so I’m guessing it is due to natural causes. now she beckons him out to the woods.

into the woods. she says he has to catch her. is she luring him into a Bigfoot trap? we have yet to really see Bigfoot, and maybe he’s hungry. although Bigfoot is more Pacific Northwest than Arkansas, i think.

author's note: we tested negative for bigfoot in this episode :(

oh! this man tripped and is now surrounded by people with flashlights and very cool masks. get axe murdered, fucker.

back in DC! aforementioned fucker has been gone for 10 weeks and scully thinks the higher ups are sending them on a wild goose chase. “i’m not questioning the legitimacy of the case, just their motives in assigning it to us” <- damn, very well spoken by a rightfully suspicious woman

oh, but at the scene, someone saw a fire. and mulder says the fire is “supposed to be the spirits of massacred Indians” OH...

(mentally i was like, please do not be another scary Indigenous story episode. and we did in fact get that. sighs deeply. we can make things scary without making Indigenous people the scary ones! or using the trauma of genocide as a setting for spooky time! well, i'm sure you, dear reader, know that, so i shall not preach to the choir, but i will point out that these thoughts were going through my mind)

“these are only legends, mulder”, says a dismissive scully. and why is her hair looking excellent today. I mean not that it isn’t usually but damn. shoutout to the hair and makeup team.

the place on the side of the road where he went missing had a big fire! could be a bonfire, both parties thought. until mulder remembered a documentary he saw in college...

(hehehehe mulder spent college watching documentaries <3)

! MULDER LORE REVEAL ! wow it's been a while since i've gotten to format some text like that. he watched a documentary about an insane asylum in college and it gave him nightmares.

(and this may not be super relevant to his character, but to ME, it is, so i shall note it <3)

he's got the VHS from the doc all loaded up, and presses play on a guy rambling about a fire demon!! who was found in the same spot as the fire mark!!! dun dun dunnn

(love the implication that he either purchased his own copy of the documentary that gave him nightmares in college, or had to go rent it from the video store. both are wonderful possibilities)

cut to arkansas. mulder is on the scene holding a plastic fork from the ground. wearing his silly sunglasses. lmaooo idk why they make me laugh. what a serious gentleman.

sheriff arrives at the scene. he says the witch’s peg to ward off spirits is normal there and also that the fire mark comes from illegal trash burning. and, as an American i am aware of how Americans love an illegal trash burn. but still. suspicious.

sheriff says the missing man george was chasing women out of town. lovely sounding fellow /s

wife questioning time!! he left her years ago. oh, but tea: the day before he went missing he was going to cite major health violations in the chicken plant! hmm... a cause for murder?

mulder gives the wife his phone number. also mulder is also looking very good today. but that is an evil voice in my head that ought to be silenced.

noooo, it's chicken plant time. no thank you ma’am, i would be out in the car <3

paula from the woods at work in the plant!!! taking mystery pills. seemingly in pain??

chicken cutting cam. oh, this is not for me!

the agents chat with the manager, who says george was trying to shut them down. and while clocked in, paula is sweating. she just gasped in front of a whole bunch of chickens and some guy with very blue eyes. she sees a human head on the chicken stand and picks it up and throws it off. shoutout to this fake decapitated head and my best friends in the prop department for making such a funny creation.

(but of course, it was a hallucination, and she really just threw a poor chicken on the floor!!! his sacrifice was in vain... gone but not forgotten)

mulder is inspecting the chicken gutting operation and i've said it before and i'll say it again: he is braver than me.

ohh, more chicken drama: george was filing a lawsuit about “line hypnosis” and it was dismissed before he vanished! he deserved to win. is there a meat processing union? there ought to be. but he was the only one citing bad health practices, the other 3 workers said it was fine... sooo what’s the truth…

“what’s that” asks mulder, who then gets shown the feed processor, and asks “chickens feed on chickens?” <- heartbreaking realization. many of us remember where we were when learning this information. i'm sure it will stick with him forever. and i'm frankly surprised he didn't know already.

NAURRR THE SLUDGE AND BLOOD nasty nasty evil

OH plot twist: paula is holding the manager with a knife to his throat… scully telling everyone to calm down. personally i would be not calm. she said “don’t get excited” but me? experiencing an active hostage situation at my place of work? i would be excited

NOOO the sheriff shot her and she fell into the feed conveyor belt processing… thing. sheriff i KNOW you are covering something up. you will not hide from me.

SHE GETS GULPED INTO THE FEED BELT THINGY GAGGG it’s giving the jungle by upton sinclair that caused many american 8th graders to confront the corruption of the meat industry

paula had gone to the doctor about headaches… like george!!! doctor had assumed the condition was stress induced. and they did have similar symptoms.

treated them both with codine… ain’t that a bit strong?? this man doesn't seem to be a very good doctor, tbh. i mean i don't think the guy that works at the chicken plant to sew back on fingers needs to be an expert in everything but like. codine for headaches? umm girl.

mr. chaco of chaco’s chicken was paula’s grandfather… if i was a grandfather rich off of chicken money, my grandkids would not be working the processing line, let me tell u that much!

back to the agents: these two should not be looking as good as they do in a chicken processing plant. they had to really step it up today to compensate for the horrors of the set.

chicken man lives in a mansion. further evidence of corruption. paula, i would not have had you working in such conditions if i was your grandfather. there has been a deep wrong here, i can see already.

and he’s got a big hat and is feeding his chicken corn. not other chickens, like the feed he makes in his plant... seems he is aware of the ethical issues implied in his business. also, mulder with those weird ass glasses.

cacho is going on about the subject of chickens. and how he built this town. he sure is taking an awful lot of credit for creating a town, pretty sure that's a team effort mr. chaco. he's also going on about how he thought george was trying to tear him down.

AUTOPSY TIME!! rare degenerative disorder in da brain of paula. and scully has only seen it one other time back in med school because you can only really find it in an autopsy. nice work, doctor! <- i just typed “nice worm 🪱” so we'll let that stay for the added sense of whimsy it provides

but despite looking like a young girl fresh out of high school, paula was born in '48?! she was 47 years old. allegedly. this is not adding up. so they go on a quest to find her birth certificate and see what the truth is.

debrief in the car. so: odds are not great that she and george had the same very rare disease

during this discussion, our duo are run off the road by a chicken truck!!!! no! oh... he drove them into a river. mulder has shifted into rescue mode as the river is red with chicken gore. i feel someone might be distracting them and trying to get the body… (this was actually not the case i was just overly suspicious)

but more chicken drama: the driver had the same symptoms as george and paula! how can this be?!

“i just came up with a sick theory, mulder” (grabs her shoulder) “ooh, I’m listening” LMAOOOO this is sososo funny to me. yeah tell me ur sick theories scully you have my full attention.

GAG!! because it is both gross and shocking. her theory: what if someone put george’s body in the feed grinder, and then since it’s a prion disease, a chicken ate it, and someone ate a chicken, and it spread to the humans!!!! AHHHH! well that would be an epidemic, because they ship chickens out across the country… she glances knowingly, implying things could be very bad

the river is filled with bird gore from the plant BLECH... who allows this??!! please say there are some modern regulations in place to prevent this being done irl.

mulder says he wants it dragged, thinking that maybe george is in there. and the sheriff is hesitant to do this. once again, i’m onto you, sheriff. i mean, a river full of chicken gore: it would be a good place to put a dead body.

and bam! a body is found. or rather. many many many bones. many bodies. and they are still going. damn.

so, we have a ton of bones. scully can put them into 9 distinct skeletons, one of which is in fact george. i love that she can do that, put the bones into distinct skeletons. she knows it's geroge from a pin in his femur!

“all of them share one, strange detail though” “well, they seem to have lost their heads” “… well, besides that” <- LMAOOOO idk why this was so funny to me... he really thought he picked up on something but he did Not.

here's the linking detail: all the bones are smooth and buffed like they have been polished. ??? who is polishing bones? it sure isn't me, i'll tell you that much.

george’s wife is at the scene, learning her husband's body has been found, and she is sobbing. and the sheriff says “we’ll take care of you” now what does THAT mean? because it's not really sounding like the welcoming words of a man who is going to guide his neighbor through tragedy, and instead like there is something bigger at play here...

back at the plant, the doctor is mentioning another guy coming down “with the symptoms”…. omg. so this IS a known thing from the inside. mr. chaco knows but he isn’t doing anything about it!!!!! chicken dramaaaa goes crazy

scully at the scene of all the bones, carrying a bucket of chicken. lmao. she is braver than me, for i would have gone vegan the first moment i set foot in chicken processing land.

mulder does some digging: 87 people have disappeared in the area in 50 years! that seems... a lot? and he thinks the same person or persons were responsible. he thinks they were EATEN!! boiled in a pot.

“they used similar evidence to prove cannibalism among on the Anasazi tribe of New Mexico” okay: 1. why do you know that 2. need to look into these allegations for myself and 3. Anasazi… that is the title of the next episode!!! what could this mean!! another cannibalism episode?!

scully is very sad to say that paula could have gotten sick from eating george :( girl I’m not convinced the chicken is clean put it down NOW

cannibalism = eternal life? follow for more crazy mulder theories!

she puts aside the chicken……. good!

mr. chaco says “he’ll handle it” and george's wife doris arrives, saying she “can’t keep lying”… she says “she did it” (!!)

OH????? she... killed her husband? that is a bold thing to admit to.

“we’re gonna take good care of you”, says mr. chaco, which raises the question: are they a cannibal cult???? is that what he means when he mentions that he “built this town”???

now what the hell is going on. <- an interjection i stand by

mulder and scully are going to the courthouse to look at the papers and all the birth records are burnt!! doris calls mulder and says he’s afraid mr. chaco will kill her… they split up…. nooooo i hate splitting up!!! i watched so much scooby doo as a kid!

GASP! a guy in a mask like we saw at the very beginning of the episode is in doris' home!!! drumbeat playing while she screams…. overall, this is very not good, i wrote, referring to the use of Indigenous imagery for this murder, and also doris being murdered in the first place

scully at the scene of the murder ft. big ass flashlight. she gets in through the side door. gun: out. trench coat: open. looks: served. diagnosis: baby girl that could kill me, and i am respectful of the fact that she has this power yet refrains from using it on me.

mulder at mr. chaco’s house. mr. chaco has some… stuff in his home. including photos with Indigenous people and also bones. having human bones in your house, and especially on display, is not a good sign of ethics in play. and a skull. Oh! it says the skull is from a tribe in New Guinea... why tf does he have that. put it back???

at the back of chaco's parlor, we see a mysterious door. mulder is busting it open.

LORD ALMIGHTY, I DID NOT THINK THERE WOULD BE HEADS INSIDE??? HELLO???

so that must be where all of the heads that mulder noticed were missing have gone. they're sewn up sort of like shrunken heads. very spooky. once again, pour one out for the props department for such a creation.

noooo chaco is in the house with scully, who was investigating the call of doris. NOOOO HE KNOCKED HER OUT!!! this seriously needs to stop happening like i'm worried about the brain damage she is experiencing.

back to mulder cam. goodness. all of these heads.

in a field now. doctor is serving some soup. to a bunch of people. who are eating around a big bonfire. do NOT tell me scully is in that meal....

she is not. YET! but he is bringing her over to be roasted. and they ate doris! chaco is yelling about turning on each other and how they were only supposed to eat outsiders. girl you shouldn't be eating anybody last time i checked.

man in the mask shows up with an axe. and chaco is decapitated in front of scully. who is put into the decapitation thingy next. GIRL THIS IS FUCKED UP!!!

mulder on the scene, just in time. he shoots the dude in the mask.

“you alright?” he asks, brushing her hair back after lifting her out of the decapitation machine. my good friend, i would venture to guess that she is not quite alright at the moment!!! this will take an awful lot of unpacking!!!

sigh. but the tenderness of the near death experience. coming back to life in someone's arms. yeah i'll romanticize that.

TEA!!! the sheriff was the one under the mask!!!!!! i knew he was up to no good.

wrap up: chicken place shut down. unclear how many citizens of the town ate people. 27 have become ill with prion disease. chaco’s plane was shot down in 1947, and he spent 7 months with a cannibalistic tribe, and also he was born in 1902, so he was 93 at his death- so the cannibalism really WAS extending life. and we see some more feed being scooped to the chickens as scully says his remains have yet to be found. end scene.

HUH???? what in da hell. so what are we thinking kids…?

well, i'll tell you something: turns out i am afraid of cannibal cults, no matter how outlandish they seem! i guess when you get a villain or evil situation of the week show like this, you WILL learn exactly what kind of fear pushes your buttons. i can imagine almost nothing scarier than being led to the slaughter like scully was. seems a purposeful commentary on the meat industry, especially when taken in with the other meat episode this season.

so, if i were scully, i do think i would need to take a week or so off. but she is just built different than i am.

some things bugged me here. first of all, like i mentioned, you don't need to throw in Indigenous people to make a scary story. like is the thought of a bunch of arkansas cannibals not horrific enough? the scary was there!

second, i have not been doing a kidnapping count, but i feel that scully is getting the rough of the deal here. i believe in gender equality when it comes to characters being kidnapped. like, an even 1:1 ratio. why are we denying mulder his damsel in distress arc? does anyone think about how he would feel? how nice it would be to see scully burst in with a gun and shoot the fellow that was about to cannibalize him?

still, it is rare an episode actually spooks me, so i must give credit where it is due. even if it felt a little outlandish, your girl was frightened! scully needs a vacation now. i also thoroughly laughed at the sick theories line and his funny sunglasses.

it's funny to note, but i like the episodes that are either very silly and light hearted, or incredibly angsty the best. and that may seem contradictory, but you cannot tell me that one breath and humbug may be on opposite ends of the tone spectrum, but they are both objectively Perfect. i'll have to think more on why they are the best in my opinion, but i think honestly i would watch these two read the dictionary.

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