Send me your prompts (inbox me) about Diana Fowley/Mulder/Scully. hurt/comfort/angst/humor/revenge whatever you can think of and whatever fic you always wanted to read but doesn’t exist yet 😊
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"Well tbh his lyrics also sound like he is trying too hard and I don’t find them especially exceptional."
Skulls, I feel the same way! But I try not to say anything—I’m surrounded by Duchovny fans who think any criticism of him is a crime against humanity… so here goes: in my opinion, his lyrics—actually, anything he writes—and 80% of what he says, follow the same pattern, where his obsessive attempt to impress and sound deep ends up ruining everything.
That’s just the problem. Why can’t you state your opinion. It’s a cult if you can’t take an opinion that isn’t your own. To me it’s just he tries to hard and ends up saying nothing at all. Just like the book of poems it’s word vomit to me. Makes zero sense and I don’t think Shakespeare, Alighieri, Rumi or Eliot would get a hard on over his poems.
He wants to be that modern renaissance man people can admire so bad but can’t help his true colors and that’s why he ends up being a fraud polished by an Ivy League education. But a turd is still a turd it just take longer to see through the veil he constructed around himself to conceal that he is nothing more than a boy with an inflated ego and emotional damage he never learned to regulate or cope with.
In fact, he can play at being a musician as much as he wants; all this isn’t expensive for someone like him—these days, costs have plummeted. Back in the ’90s, you had to spend tens of thousands of dollars because the equipment was analog and massive.
Today, anyone can put their music on Spotify, Apple Music, Deezer, TikTok, and Instagram using services called Digital Distributors (or Aggregators). The process is simple, fast, and accessible.
As for concerts, there will always be fans willing not only to spend money on tickets and torture themselves with his music, but also to praise him as a great musician.
The only thing money can’t buy him is real success and recognition, outside the circle of people who adore him for his acting or who are on his payroll. Musical talent can’t be manufactured; we’re talking about a technical and biological limitation that no technology or bank account can overcome.
And the only risk he runs—since we’re talking about a gigantic ego that seems to truly believe in this charade—is becoming the perfect target for mass ridicule on social media: nothing generates faster engagement than humor derived from others’ embarrassment. I believe he’ll only stop if that happens—so far, he’s gotten away unscathed.
I apologize for the long message.
Well he can write his music circus off. But I don’t think he would ever but money into it if he was loosing a lot of money. We all know he is stingy.
What money also can’t buy him is the adoration and fame he craves otherwise he would retire to Costa Rica with his toy.
He would be better off to stop the singing and pretending he is 30. And just do a tour of “ an evening with David Duchovny” where fans can do meet and greets and he can talk about his failures or soy candles whatever floats his boat. And I’m sure he would be able to sell that out better than his music. He would be able to get people hanging onto his very word and he could play all knowing guru. He could sell his books and other merch at the entrance too. But his yes sayers like Brad will not let that happen because they all profit off of him and Dickovny is too up his own ass to realize those people don’t have his best interest at heart.
have you listened to David’s new song PoP? If you haven’t will you? Always appreciate the analysis 😚
Since you are one of a couple of people who asked about the new song I gave it a listen together with a friend who is actually a musician 😂 sorry C.for dragging you into that. Underneath is a long “analysis” of our combined opinions.
The short version is: The vocal performance has the confidence of a wannabe rock star and the note accuracy of a leaf blower trying jazz. He approaches melody like a tourist approaching a foreign subway map: confused, committed, and blocking traffic. He approaches notes the way a moth approaches a lightbulb: with confidence, confusion, and no plan. That’s all the metaphors to nicely describe that train-wreck of a song.
The band is doing competent, tasteful adult-rock wallpaper: guitars behaving themselves, drums keeping the furniture upright, mix compressed and radio-safe. Then Duchovny enters, and suddenly the song feels like it has developed a balance disorder.
The central issue is that his voice does not sound weathered or raw in the cool way. It sounds unsupported. There’s a difference between Leonard Cohen’s late-career subterranean croak and a man leaning into a melody like he’s trying to remember where he parked it. Cohen had gravity. Waits had grotesque theater. Dylan had phrasing. Duchovny has intent. Intent is nice. Intent is not a note.
The vocal is the musical equivalent of a handsome actor showing up to a knife fight with a bookmark. He clearly wants this to be literate, bruised, poetic folk-rock — all wounded masculinity, tasteful guitars, existential smolder. But the singing keeps dragging it back to earth. Every time the song tries to wear a leather jacket, the vocal hands it a cardigan.
The worst thing is that the arrangement is not bad enough to distract you. It’s too professional. The band creates this clean, serious little stage for him, and then his voice steps into the spotlight sounding like a podcast host being forced to front a Tom Petty tribute band at a charity gala.
And the pitch correction — if there is any — is doing what it can, but this is not a “fix the pitch” problem only. It’s phrasing, tone, breath, attack, confidence, placement. Auto-Tune can move a note onto the grid; it cannot give the singer authority. It cannot add blood to a performance. It cannot transform “man reciting near a melody” into “singer inhabiting a song.”
The song wants to be soulful, but the vocal makes it strangely airless. It does not ache; it mopes. It does not confess; it narrates its own emotional press release. There is an almost academic seriousness to it, like a divorced literature professor wrote “rock song” on the board and underlined it twice.
Prince of Pieces sounds like a song being held hostage by its own lead vocal.
There may be a decent folk-rock tune buried somewhere underneath it, but Duchovny’s singing is the kind of thing that makes the arrangement look around nervously for an adult. The band can strum, shimmer, and behave professionally all it wants; the second his voice enters, the whole track starts wobbling like a bar stool with one leg shorter than the others.
The problem is not that his voice is ugly. Ugly voices can be magnificent. Tom Waits sounds like a haunted gravel driveway. Leonard Cohen sounded like a priest confessing to the furniture. Bob Dylan often sang like he was arguing with a harmonica in a wind tunnel. But those singers knew how to inhabit their limitations. Duchovny just sounds trapped inside his.
His pitch doesn’t feel expressive; it feels accidental. Notes don’t land so much as wander into the room late, wearing the wrong jacket. There’s a persistent sense that the melody is somewhere nearby, perhaps in another postal code, and he is bravely attempting to locate it by smell.
And Auto-Tune? Auto-Tune here would be less a studio tool than a hostage negotiator. You can almost imagine the software staring at the waveform and saying, “I’m sorry, I’m not a magician.” Pitch correction can tighten a singer who is close. It cannot install a singer where one has not been detected.
What makes it worse is that Duchovny’s whole musical brand seems to want to be taken seriously: literary lyrics, adult-rock sincerity, tasteful guitars, wounded-man gravitas. But the vocal keeps puncturing the illusion. It’s hard to buy the poetic ache when the performance sounds like someone doing Leonard Cohen karaoke after being spun around three times.
The cruelty of it is that he probably means every word. There’s no cynicism in it. That almost makes the song harder to dunk on, because sincerity is sitting right there in the front row, blinking sadly. But sincerity is not pitch. Sincerity is not phrasing. Sincerity is not breath control. At some point, earnestness stops being moving and starts being a guy in expensive boots missing the note with conviction.
The song may have bones, but the vocal performance keeps tripping over them. It is not charmingly ragged; it is technically adrift, emotionally overcast, and musically under-qualified. The result is less ‘seasoned troubadour’ than ‘adjunct professor fronting a band at the faculty wine mixer.
Rating: 3/10
One point for sincerity, one point is for confidence/courage bordering on forensic evidence, one for the band surviving the incident.
Just my hot take. They have clearly not seen each other for a while. The first time they said hi to each other was clearly when G went up to him for a hug. No catching up backstage so not much communication. G always wants to dive straight to the Gillovny love fest but D seems gunshy. Plus he was helping WB Davis get into his seat. G assumed he would sit next to her but there was no moderator so he just sat where he first ended up. He probably didn't hear her and he's not going to suddenly rush over to sit next to her. It would look desperate and weird. Gone are the days were they were clearly messing around with each other in private and are going to hang on each other's arm. The second day, D looked more relaxed. Someone said they were constantly going to each other's signing table to show each other stuff. She's asking him if he knows where the G spot is and taking videos of him backstage. DD just needs to get warmed up first and takes his cues from G if she communicates with him. They are both in relationships so I guess he doesn't want to overstep. He knows how far to take it as long as he's comfortable.
It’s not his first con. Everyone left the chair empty. It was his choice to not sit there. He was dancing around for a minute too imo get out of sitting next to GA. She addressed him she pointed with her hand and he was directly in front of her. If you can’t sit next to someone who supported all your BS for over 30 years then that’s quite pathetic imo. It’s a panel not a porn shoot. What’s the worst that could have happened a touch on the arm ?! 😂
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His wife is a grown woman. Maybe she doesn't want kids or can't have any? David has been clear that he doesn't want more kids so she knows what she got into and they probably talked about it extensively beforehand. She seems to adore his kids so maybe that's enough for her.
Adore his kids- they are nearly her age. Sorry but I don’t think she had any say in it. I think he made it clear and it was a take it or leave it situation.
West is sucking up to her dad for possibly multiple reasons one being he gets her roles and she always was more of a daddy’s girl. Miller imo stays clear of MP as much as he can, he doesn’t even follow her or vice versa. MP knows she has to play nice with west and miller because she might be the sugarbaby but I don’t think Dickovny would keep her around if his kids would have turned on him and cut contact. She knows without his money she is left with nothing in LA. 30+yrs old no career, no education or degree, nothing to show but having been at the beck and call of a senior citizen with a thick wallet.
Because I just watched kyouryokusenshi's full YouTube video of the cast panel yesterday starting when they all came out and sat down and seriously, I'm not seeing what others seem to be seeing that's bringing them joy on Twitter.
To recap:
• I saw everyone come out and Gillian clearly expecting David to sit next to her.
• I saw everyone else expecting David to sit next to her. Even Mitch didn't touch that empty seat and Mitch is *always* awkwardly looking for an excuse to be in Gillian's immediate orbit.
• I saw Gillian jokingly asking, "What's happening, David?" the way you'd do when trying to get someone to focus.
• And then I saw David leave Gillian hanging, prompting Annabeth to get rid of Gillian's empty chair and move herself and Mitch closer in.
So, basically, I saw Gillian, as usual, being nothing but kind, gracious, and attentive to David. And I saw David, as usual, play stupid little games, play dumb about said games, and leave her hanging probably just for kicks at this point.
Gillian deserves a better friend than David.
David deserves to grow old with someone who would not be totally devastated if he were to check out in time for her to fall in love with someone in her age vicinity, have a real wedding, and make babies before it's biologically too late while enjoying her spousal inheritance.
I really wish Gillian would just tap into her inner Stella when it came to David. It's past time.
I mean I think it's clear after all these years the queerbaiting is a marketing strategy. It's kind of a joke at this point to people who have noticed it. But some people buy the fantasy and it's fine. She's just catering to people who have fantasies about her. Celebrities do it all the time.
Yeah I know that’s why I say good for her. People have free will and can support whatever they want with their money. But to pretend she is some great champion is BS. I’m not saying she isn’t supportive but that’s a big difference.
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With this kind of publication, Gillian and her team make queerbaiting or does she want to convey the message that she today assumes to be queer?
I don’t mean to be mean but why is anyone surprised? This kind of Marketing works. And people need to learn public GA and Gspot isn’t private GA. She and her team do what they need to do to sell and keep people engaged and since a lot of her fanbase is queer and gay her team and brand caters to that.
It’s been going on for forever tbh. Her not labeling herself clearly and openly keeps the fantasy alive. Not that she has to but it’s clearly part of the strategy 🤷♀️ at the same time people need to just look at her track record and the picture is pretty clear.
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Gillian didn't just get the costumes right, the film is also doing very well. It's still early days, but the reviews so far have been excellent (including from the mainstream media, not just the queer niche).
I haven’t looked at reviews- I never do before I watch something. But good for her and well deserved because we all can agree she is a great actress.
And Gillian, huh? Making her Cannes debut in style. Even she didn't expect that…
I think she looked great. Loved the curls. The second pale rose dress wasn’t a fav for me but I’m just glad she didn’t wear Hearst. I liked the first outfit better the second was too much Barbie Pearl style for me but all in all I think she looked great in Cannes.
