House of TV

Father-daughter Brad and Fiona Dourif. Both badass actors.

Father-daughter Bryan Cranston-Taylor Dearden. When I want to feel unsettled I can think about how she was five when he was on TXF.

Then there’s Jeff Kober (Bear from Ice, Duke from The Pitt). It's wild because he was instantly familiar to me on The Pitt, but it took me some time to place him.

Not that I'm an expert or anything—and I'm sure all of these are ice-cold takes—but mostly so I have it to update as I fall in love with new ones: here are the TXF fics (all linked) that have moved me the most:

Lots and Lots of Files by Fandomme: the first TXF fic I fell in love with. Still (as of 1/2026) being updated, but there's plenty there to love already (240k atm). Internally consistent, canon-compliant, following the length of the series in (mostly post-ep) vignette form.

Incrementum by lepusarcticus: Absolute sexual poetry. Just unbelievable stuff. Lit a fire in my brain that has not gone out, months later.

Omens by lepusarcticus: A casefile with deeply satisfying UST—> RST MSR.

Blood Rush by danidedarcy: A fun college AU vampire story. Very good UST.

A Ponderous House by @cecilysass: Recently completed, but instant classic. The angst, you guys. So, so good.

The Marriage Spectacular by @cecilysass. I don't want to include too many by the same author(s), but it's easy to to do with cecilysass's work. Her fics are consistently great, and she excels at that border between yearning and angst. This one was sweet and funny and very satisfying.

Never Enough by ee_ombra_ombra: Not complete, but absolutely captivating. There's dark stuff here, so proceed with caution; it probably isn't for everyone. But the characterization and the prose are mesmerizing.

Goshen by Bonetree: I don't even know how to describe this one, other than must-read. Beautiful and sweet and intense.

Edges of the Night by oohnotvery: Incredibly angsty. Honestly makes me wonder if I should even be writing, myself, with how perfect and liquid the prose is. Very satisfying, great plot choices. A fun and moving read.

Love in all the Wrong Places by SisterSpooky1013: I went into this not knowing what to expect, and what a great time! I giggled with delight multiple times. Fun and sexy, and a great ending.

Days Off for Saving the World by lonegunga1: A post-Millenium fic that takes such time and care in its exploration. Sexy, fun, sweet, intense. Like slipping into a warm bath. There's plenty to savor—and the quality of the prose is stunning.

The Haiku Files by geekgirl25: Updating (at least) daily right now. A single haiku per episode from Scully's POV. Sweet, quick, and straight to the heart, like a little daily fun-sized candy bar.

isn't it messed up (how i'm just dying to be him?) by lovesprings: A post-Small Potatoes fic (which might be my favorite category; I'm a sucker for SP) in which Mulder is an absolute sopping mess over Scully in the best way. Very well-written smut.

Later by Soronia: In-sane-ly hot 🔥, you guys. Also mesmerizing prose. Possibly my favorite characterization of DKS that I've read, hands down.

One Week at Quantico by CrossedBeams: incredible yearning. A fun pre-series AU in which Mulder is teaching at Quantico while Scully is in training. Hits the sweet spot at 33k.

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i just spent 2 hours of my life making this flowchart wtf

click to enlarge

notes: not every episode is on here and i didn’t rec much past season 7

Here’s the real crazy idea though, Fanny has to get closer to Boxer to get the intel she needs to stay ahead of the law. They get closer and start to catch feelings and suddenly Fanny is in love with man hunting her down while Boxer is in love with the crime boss he’s trying to dethrone.

e.g. Whitaker vs. Trinity, Langdon vs. Mel

obviously there are exceptions to this non-rule but this isn't an isolated observation. So. I wonder if the reason ppl refer to the female physicians by their first names is because of 1. some type of internalized misogyny or 2. because the women are more relatable and referring to them by first name is one more step towards being parasocial with a fictional character

Frohike has never seen her so… docile. She’s giggly, even whiny, as he pulls her away from the bar. (“Where’re we goin’?”)

In the lobby, her heel gets stuck in the crack between the elevator car and the floor, and he helps un-stick her: “C’mon, little lady.”

“‘hike, you’re silly.”

Her voice is so high. She steadies herself with a hand on his shoulder, then pats it and gives him a big smile. “You’re th’ lil lady.”

“Okay, Dr. Scully,” he tells her.

Her eyes go big and surprised. Then she sneezes—all over them both—and wrinkles her nose.

Frohike produces a handkerchief from his jacket pocket for the first time since he placed it there some years ago, lest a beautiful woman find herself in need, and hands it to her. After wiping her nose, Scully passes it back.

“Keep it.”

She clutches the hankie to her chest and swoons, dramatic.

-

After Susanne administers the antidote, she’s sleepy. Passed out, in fact. But he’s not about to leave her to sleep in her uncomfortable shoes, over the covers, so she wakes as he’s shucking off her heels and trying to turn down the bed while she’s already in it.

She mmphs and mumbles—her little sleeping noises, rolls halfway over, and finally opens her eyes.

Blink.

“Hey, Scully,” he greets her. “You sleeping alright?”

“You got my shoes?” She wiggles her toes.

“Yeah. Yeah, I got ‘em. They’re right here.”

“Where’s Muller?” she wonders, voice scratchy and small. She rubs an eye. “He’s coming t’ get me, right?”

It breaks his heart.

“Yeah,” Frohike tells her, and rubs her arm. “He’s coming to getcha. He’ll be here soon.”

-

“Hey.” She wakes again to Mulder’s hand on her forehead, pushing back her hair. He looks worried. “You alright?”

“Mm.” She feels his body, a warm spot, through the covers where he sits on the bed. She curls around him, getting comfy.

“You feeling okay?”

Clearly, he can see, she’s fine. But he is not a man at ease, having flown cross-country at the news that not only had the Gunmen tricked his partner into her own trip to Vegas—she had been drugged.

“M’ good,” Scully mumbles. “You got me.”

Well then.

“Alright,” he whispers, chuckling, and kisses her cheek. “You just keep resting, Scully. I’m gonna go yell at my three least favorite stooges for a while, and then I’ll be right back, okay?”

“M’kay.” But she hooks an arm over his thigh so he stays put. “Love you.”

I don’t. I’ve been sitting with this show for a while now. This whole season I’ve been waiting to hate Bix’s arc with the same fervour that some of the more vocal fans do. I’ve been waiting to feel the injustice done to a “strong female character” (a phrase I fucking hate by the way, but that’s an argument for another time). I’ve seen the arguments that she should have stayed with the rebellion, that she was a fighter sidelined for the sake of a man, that she was reduced to a baby-factory straight out of right wing propaganda (Jesus Christ). And I disagree with every fucking one of them. 

For me, in season two, Bix is the heart of the show. She is the ethos, the drive, the reason that rebellion matters. Bix becomes, in a way, the most important character Andor has to offer us.

Andor has always been very clear in its ideology. Blatantly so. And one of the ideals it strives to impart to its audience is that we are not meant to live in fear. We are not meant to live under oppression. We are not meant to live looking down. For Andor the heart, the drive, the reason behind rebellion is to create a future where we are free. And where love, and peace, and community, and kindness, and hope are our foundations and are the only matter of our lives. 

Andor doesn’t want its characters to be fighters. They are forced to be. Andor doesn’t want its characters to live hiding and scared and clawing for any glimpse of peace and love and hope they can get. They have no other choice. Rebellion is important. It is so so fucking important. But it is only important because of what it fights for. 

Bix is not a fighter. In Andor’s first season she is a mechanic selling to Luthen on the side for extra money. She is not struggling against the empire. She is not joining a rebellion. She is getting the fuck by and living her fucking life. And one day her connection to Cassian puts her under the empire’s gaze and she is invasively tortured and horrifically traumatised because of it. And she endures. 

Bix is, also, an incredibly important character to me personally. There can often be a narrative surrounding trauma that it should make you the fighter everyone seems to think Bix should be. That you should take your pain and terror and suffering and turn it around and let it make you stronger. Use it to beat back against the person, or group, or institution that traumatised you. That you should pick yourself up, dust yourself off, take that horror, and fight back (girlboss-ify yourself and take those motherfuckers down). And to that I say, no. I don’t want that. I’ve done my fighting. I’ve lost my battles and I’ve come out the other side scarred in ways that still hurt to touch. What I want is to stop. Is to rest. Is to put this pain down and move out the other side of it and live, finally. 

For me, watching Bix as an horrifically traumatised woman live stuck in that fight for the first half of the second season was harrowing. To see her spend her time in the Coruscant safehouse grappling with the true cost of what it means to fight the way she needs to in this war, never at peace as the life she lives and the things she must do force her to stay held in her trauma, had me aching in ways I didn’t realise I would. To see her stuck in the dark and the gloom and the cold, and yearning the whole time she is in Coruscant to be able to go out and live without having to look over her shoulder, hurt in ways I struggle to put words to.

And then, to see her get out. 

I know there is a lot of contention about seeing Bix have little to do on Yavin. And to that I will say, it’s a big show, there are a lot of characters, and she is on Yavin during a storyline that arguably should not narratively or structurally be focusing on her anyway. I know there is also a lot of contention about writing her leaving Cassian for the sake of the rebellion. That it diminishes her character to a plot beat. And while perhaps the tropes at play feel trite in comparison to the more grounded beats the show is known for hitting, this is still storytelling. All the characters are, functionally, still devices serving a narrative. Bix leaves, and narratively becomes our ethos. Becomes the heart of this story. Becomes the reason we have been watching this all play out for our two-season run. Bix becomes the most important character in the show. Because this is why we must fight. For Bix. For everything she represents in that moment. She becomes the way Cassian’s life should be if it weren’t for this war, and in doing so becomes the way all of their lives should be. Should have always been. And will be one day soon. 

She is the reason. For all of it. For every loss, for every death, for every fight. It is her. She is the hope at the heart of the rebellion.

That last scene on Mina-Rau; the gentle light, Bee playing, the table set for a community to eat and laugh and be. People smiling and content and together and peaceful. And Bix, free. Of the trauma, of the loss, of the death, of the fight. Looking up at the open sky with her child. Literally holding in her arms the life that the rebellion has always been fighting for. 

That is the hope at the end of our story -- that Bix is the one that gets to live.