#David Berenbaum

[adamwatchesmovies]

The Spiderwick Chronicles (2008)

The general tone of The Spiderwick Chronicles and an admittedly unnecessary scene of griffin-ridding make it clear it was made to capitalize on the Harry Potter craze. Call it an imitator if you want but this is great family entertainment, the kind I could see children cherishing for years.

Following his parents’ divorce, Jared (Freddie Highmore), his twin brother Simon (also Highmore), their older sister Mallory (Sarah Bolger) with into a new home with their mother Helen (Mary-Louise Parker). In it, Jared finds an old book which reveals a hidden world of magical creatures all around us: goblins, hobgoblins, fairies, brownies, boggarts and more. The book's re-emergence also draws out the shapeshifting ogre Mulgarath (Nick Nolte), who seeks its power and knowledge.

If you didn’t know any better, you’d swear Freddie Highmore has a twin brother, so good is he in the dual role. It isn’t merely that he’s able to convincingly play his parts when acting against green-screens or computer-generated characters, it’s that he creates two distinct people so convincingly you’re sold on everything happening around him, no matter how fantastical. You kind of give children’s films the benefit of the doubt when it comes to the performances but this is superb stuff. In no time at all you're all in with this story.

The Spiderwick Chronicles can get a little frightening. Nick Nolte on a normal day looks menacing and when surrounded with sharp-toothed goblins, little kids may find this picture too intense. Rather than turn children away, however, I think this will make them appreciate it all the more. How many of your favourite childhood movies featured death, monsters or peril from which - at the time - you didn’t think the heroes could escape from? Adults like horror films and I think deep down children do too… as long as it isn’t too extreme. Director Mark Waters finds the right balance. There’s tension and intense scenes but it’s softened with plenty of humour and much wonder. The creatures Jared learns about in the book? They’re all really cool while also remaining faithful to the legends of old.

The best way to describe this family adventure is “fun”. The kids get to be the stars and tackle a big threat but a quality screenplay by Karey Kirkpatrick, David Berenbaum and John Sayles makes everything feel right. The special effects are great and the characters surprisingly well-developed. The children in this film are not simply precocious little creatures, they’re real human beings with flaws… who are also capable of change. There’s a subplot about the children’s father who I think will strike a cord with many audience members. The way it ties into the film’s overall theme of divulging information or holding it back is excellent but subtle. Well done!

I couldn’t tell you why The Spiderwick Chronicles was only a moderate box-office success. Track it down and show it to your nieces and nephews, or if you’re old enough, watch it with your kids. It’s an overlooked gem for the whole family. (On DVD, February 1, 2019)

[bkenber]

'Elf' Movie and 4K/Blu-ray Review

‘Elf’ Movie and 4K/Blu-ray Review

This review was written by Ultimate Rabbit correspondent, Tony Farinella. “Elf” is a movie which, for all intents and purposes, should have no right being as good as it is when you read its plot description. It’s about an adult elf named Buddy (Will Ferrell) who has been raised by elves. He doesn’t seem to realize that he doesn’t really fit in with the rest of elves, as he’s so much bigger than…

[randomfoggytiger]

Mulder's Heart: Alluring Temptations, Denial, and the Slow Burn

In the novelization of Darin Morgan's episode War of the Coprophages (post here), Dr. Bambi Berenbaum is described as "the most beautiful woman that Mulder has ever seen" (loosely quoted, thank you @wonderxphile~.) The thought struck me that, perhaps, it's not an invention or interpretation of the novelist's so much as an offshoot of the root of Mulder's romantic inclinations-- specifically, ones that relate to his self-imposed celibacy.

During the early years of the show, David Duchovny described Mulder's choice to remain single in a particularly singular way: that Mulder was so dedicated to his work that any relationship or life outside of it would feel like cheating. As intriguing as that thought is, another crops up: if that be the case, why was he almost drawn off-course by various women on the show?

THE DESIRE OF THE EYE

All but one of Mulder's short love interests are narratively sexual characters. Phoebe Green and Diana Fowley were exes, both intending to seduce, distract, and control his focus away from the mission. Kristen Kilar and Bambi Berenbaum were two beautiful women that drew and attached his eye immediately. Lastly, Melissa Rydell was a bit of an outlier who still exuded the same pull as the other four: a commonality with Mulder-- one who "understood" him in ways other women hadn't (or wouldn't.)

If his work is his wife, then they are his (potential) mistresses.

Mulder fell hard and fast; but snapped out of his rose-colored fog just as quickly. Each woman didn't withstand the test of his work, always turning their back on him for someone else, someone "greater."

Except for Dana Scully.

SLOW BURN AND DENIAL

The difference between Scully and the other women was that she didn't knock Mulder's socks off at first sight: baggy suit, green haircut, cutting science, and fire-breathing accountability challenged and won his trust before it won his heart.

Be that as it may, within two episodes Mulder had very, very quickly shifted his estimation of Scully from spy to maneuverable hindrance to partner.

By Squeeze he was undeniably, irrevocably territorial. While he respected her decision to leave, he would most certainly have continued tracking her down wherever she was working to discuss details of his case, her case, or any tidbits in-between (as depicted by him interrupting her stakeout.)

Season 2 beat Mulder over the head until he realized how closely he tied Scully to the work. In Little Green Men, he needed her encouragement to combat self-doubt; but more importantly, he needed her there with him, by his side. After her abduction in Ascension, he became listless, self-destructive (@cecilysass's excellent meta here), and dispassionate for the work: there was no curiosity or joy of discovery in 3's case-- in fact, there was no joy at all. In One Breath, he tried to barter his life's work for Cancer Man's location, resigning anyway out of sheer guilt. (Later, he tried to sell his soul again, more directly, to save Scully's life in Memento Mori.) By Firewalker, Scully had already eclipsed the work-- which Mulder didn't acknowledge, to her or himself, until Fight the Future-- and he frequently abandoned leads or "the truth" if he thought her life were in danger. Although she had become indispensable, Mulder didn't realize he loved her until later in the narrative.

Still.

Scully acknowledged her feelings, indirectly, at various times through the series; but he only initiated when afraid she'd leave, forever. While genuinely blinded by his quest, Mulder wasn't stupid. Scully fishing for his genetics in Home led him to banter away the conversation, later fixing a chair firmly under the broken lock separating their rooms. Scully bringing a cheese platter to celebrate in Detour didn't grab his attention from the mystery, but it underscored his efforts to deflect her serious topic later in the forest.

Because, at the heart of the matter (the very place he tried to avoid), Mulder lived in bone-deep denial.

In E.B.E., he quips, "I think it's remotely plausible that someone might think you're hot"; in Irresistible, he fumes over no one noticing where "a pretty woman" went; even in A Ghost That Stole Christmas he huffs, "We're not lovers." Maggie Scully ascertained his feelings immediately in Ascension, and Melissa Scully pushed him to acknowledge them in One Breath: "At least she'll know. And so will you." During the cancer arc, he embraces Scully for never giving up, doesn't discuss her cancer unless absolutely necessary, freely offers affection on her deathbed; then after, tries to deflect a personal talk in the woods while in shock. Even thoughts of harm coming to his partner-- be it not wanting to consider Scully possibly dying in Piper Maru or the split second of doubt despite evidence when she did "die" in Kitsunegari-- throws up an instant wall of denial.

Mulder knew something was "there" after Melissa Scully made him confront himself-- in fact, he likely already sensed something during his conversation with Scully in Tooms-- but he didn't want to poke around to find out exactly "what" it was. He wasn't ready.

Yet.

"FOX " OR "MULDER"

The women closest to Mulder ended up calling him "Fox" (or "Sullivan")... all except Scully, his abandoned lunch colleague in Little Green Men, and the phone sex operator in Small Potatoes.

Scully herself is an even more isolated case, of course.

When she began to make a personal confession in Tooms, Mulder uncomfortably laughed off her "Fox...": "I even made my parents call me 'Mulder'. So. 'Mulder'." Perhaps that's true (or perhaps not, since his father and mother also called him "Fox.") Regardless, he sensed Scully was letting her guard down; and, fearing she was opening her heart in another direction, tried to fend off any loving regard. Scully surprised him, however: "Mulder, I wouldn't put myself on the line for anyone but you" incorporated his preference, expressed her loyalty, and was a far cry from a lovesick oath. He teased the moment away, pleased; then was, by turns, caught, unsettled, and relieved by her teasing repartee.

From that point, his name began to change from professional shield to personal endearment.

But what does this have to do with Mulder's mistresses?

SCULLY, HIS LIFE

Scully was inextricably linked with the work after her return; and, whether Mulder had fully accepted his love for her yet or not (and I'm beginning to think he hadn't fully until her cancer diagnosis), she was now his life. Drawing her away from a "normal life" and dragging her dog along on a lake monster excursion became an expected, routine part of his weekend.

Bambi-- the "most beautiful woman"-- appeared during this chummy, Season 3 phase. When larger questions and greater fears shook stability from under his feet, Melissa Rydell-- the alleged soulmate-- made her (apparently) destined entrance.

Both women fell into a pattern Phoebe and Kristen set: bold, shiny new possibilities; then solace-seeking and grasping insecurity. That pattern, however, was broken during the cancer arc, as exemplified by the exception to this general rule: Diana Fowley.

ESCAPING THE SNARE OF THE FOWLER

Phoebe, Kristen, Bambi, and Melissa effortlessly lured Mulder's focus from his own aims. Not permanently; just enough to create a foil for the work-- a.k.a. Scully. Mulder suffered a few burns from his false romances (post here): passing out from smoke inhalation, watching three buildings go up in flames, and being dismissed from the life of each romantic interest. Diana, too, betrayed him; and Diana, too, was tied to the blaze in his office.

However, Agent Fowley was not sought after like her predecessors. She was also the first to notice a change in Mulder.

When she arrived on the scene, boldly hitching her wagon to his theories and his work, she expected him to readily accept, nay beg, her back on the files. Instead, Mulder laughed off her concerns about Scully, gushing over his new partner's innate ability to make him "work for it." Further, he stuck by Scully's side when his ex was hospitalized, only straying in The Beginning when Diana created an elaborate ruse to separate the two. He didn't initiate or reciprocate her kiss in One Son; and he was more baffled than beaming when "she" wanted to play domesticly-ever-after in Amor Fati. In short, Mulder was not drawn romantically to Diana, at all: in fact, he was wary. Friendly, but distant.

She'd missed her chance.

If Diana had swooped in sometime before Memento Mori's unification, she could have exploited the gnarly feeling that had been building since early Season 4, or widened its distance post Never Again-- a distance that had been building since Mulder's sloughed-off remark in Home and unwitting partner replacement in The Field Where I Died. (More accurately, if CSM had bothered to pay close attention to his lab rats, he'd have noticed a weakness in their partnership and sent in his super rat to exploit it.) As it happens, she did not.

MULDER'S HEART

What does this mean for Mulder and Scully?

At the outset, I believed Mulder learned the depth of his love for Scully during the events of One Breath-- now, however, I'm convinced that's only half true.

Scully had already replaced the work's importance in his life, but neither understood the depths of his reliance on and devotion to her. Mulder was still gut-reacting, not wanting to delve too deeply into his heart to find the truth there. Never Again gave him a great and terrible shakeup because he'd taken Scully's place at his side for granted-- he'd thought "This work is my life" also extended to her; and that she'd glanced at his offer and was preparing to reject it. Mulder was living in full-blown denial: denial so deep that only the incurable, inescapable possibility of her death could tear his blinders off.

After her diagnosis, that denial was blown to pieces; and, afraid to face the ramifications of his realization, and her remission, he kept fleeing. As Scully says in Dreamland I, "We, we just keep driving."

That brings us back to Phoebe Green-- dangerous allure-- and Kristen Kilar-- mutual mourning partner-- and Dr. Berenbaum-- the "most beautiful woman"-- and Melissa Rydell-- tortured twin soul-- and Diana Fowley-- ancient history. His heart was free in Fire, unconsciously grieving in 3, charmingly in denial in War of the Coprophages, seeking Scully in other lives in The Field Where I Died, and beating only for her in The End.

CONCLUSION

A very interesting, complicated man, indeed.

Thanks for reading~

Enjoy!

[nicollekidman]

Hey Abby happy new year just to check how much did The Haunted Mansion (2003, directed by Rob Minkoff and written by David Berenbaum) cost to make?

i have to institute seasonal rules, here at nicollekidman hq we cannot answer that sacred question until october first

[howardhawkshollywoodannex]

Will Ferrell in Elf (2003), written by David Berenbaum. Dave was born in Philadelphia and has eight writing credits, from Elf to 2015. He also wrote The Haunted Mansion and a 2013 Elf tv special.

[sociedadkreativa]

OSMOSIS from Gentle Cowboys on Vimeo.

No one spends more time around the world’s most famous artwork than the security guards who protect it. But did you know many of those security guards are artists themselves?

Osmosis Group Exhibition, at Art Cake Brooklyn, Nov 10-13. Visit Osmosis.nyc

FILM: CREATIVE: Gentle Cowboys CREATIVE TEAM: Lucas Tristao, Boris Opacic, Gabriel Sehringer DESIGNER: Kenisha Rullan - PRODUCTION: GentleCowboys EXECUTIVE PRODUCER: Thereza Helena DIRECTOR: Nick Sokoloff DIRECTOR OF PHOTOGRAPHY: Blake Myers 1st AC: Trevor Boyd AC: Flavio Melgarejo 2ND AC: Emmett Ferrer KEY GRIP: David Djaco GRIP: Joshua Deveaux LOCATION SOUND: Joshua Deveaux GAFFER: Dailson Shikako STEADICAM OPERATOR: Dailson Shikako ASSISTANT DIRECTOR: Suliya Gisele PRODUCTION MANAGER: Lisette de Jesus PRODUCTION ASSISTANT: Aubrey Resto PA DRIVER: Sohyanni “Seez” Luke - EDITING COMPANY: Cut + Run EDITOR: Stacy Peterson EXECUTIVE PRODUCER: Ellese Shell ASSISTANT EDITOR: David Soto - COLOR PRODUCER: Emily Truong COLORIST: Connor Bailey - SOUND COMPANY: Halley Sound ORIGINAL SCORE: David Bessler SOUND DESIGN & MIXING: Vinicius Villani - TALENT FEATURED ON FILM: Afesha Wilkins Deborah A. Meyer Emilie Lemakis Fabian Berenbaum Joé Ortega Maraya Lopez (aka Berdscarnival) Maria Cabrera Nogales Maura Falfán Shamysia Waterman (aka MUTANT)

SPECIAL THANK YOU:

Jeff Kling

The Metropolitan Museum of Art: Rebecca Schear Regina Lombardo Lambert Fernando Max Kyburz Louise Brosnan The Isamu Noguchi Foundation and Garden Museum Justin Baez Aria Rostami Amelia Grohman John Novoa Carlos Leon

PM Artists Matka Studio: Erica Jay

[stefanosap]

OSMOSIS from Gentle Cowboys on Vimeo.

No one spends more time around the world’s most famous artwork than the security guards who protect it. But did you know many of those security guards are artists themselves?

Osmosis Group Exhibition, at Art Cake Brooklyn, Nov 10-13. Visit Osmosis.nyc

FILM: CREATIVE: Gentle Cowboys CREATIVE TEAM: Lucas Tristao, Boris Opacic, Gabriel Sehringer DESIGNER: Kenisha Rullan - PRODUCTION: GentleCowboys EXECUTIVE PRODUCER: Thereza Helena DIRECTOR: Nick Sokoloff DIRECTOR OF PHOTOGRAPHY: Blake Myers 1st AC: Trevor Boyd AC: Flavio Melgarejo 2ND AC: Emmett Ferrer KEY GRIP: David Djaco GRIP: Joshua Deveaux LOCATION SOUND: Joshua Deveaux GAFFER: Dailson Shikako STEADICAM OPERATOR: Dailson Shikako ASSISTANT DIRECTOR: Suliya Gisele PRODUCTION MANAGER: Lisette de Jesus PRODUCTION ASSISTANT: Aubrey Resto PA DRIVER: Sohyanni “Seez” Luke - EDITING COMPANY: Cut + Run EDITOR: Stacy Peterson EXECUTIVE PRODUCER: Ellese Shell ASSISTANT EDITOR: David Soto - COLOR PRODUCER: Emily Truong COLORIST: Connor Bailey - SOUND COMPANY: Halley Sound ORIGINAL SCORE: David Bessler SOUND DESIGN & MIXING: Vinicius Villani - TALENT FEATURED ON FILM: Afesha Wilkins Deborah A. Meyer Emilie Lemakis Fabian Berenbaum Joé Ortega Maraya Lopez (aka Berdscarnival) Maria Cabrera Nogales Maura Falfán Shamysia Waterman (aka MUTANT)

SPECIAL THANK YOU:

Jeff Kling

The Metropolitan Museum of Art: Rebecca Schear Regina Lombardo Lambert Fernando Max Kyburz Louise Brosnan The Isamu Noguchi Foundation and Garden Museum Justin Baez Aria Rostami Amelia Grohman John Novoa Carlos Leon

PM Artists Matka Studio: Erica Jay

[blutarsky]

OSMOSIS from Gentle Cowboys on Vimeo.

No one spends more time around the world’s most famous artwork than the security guards who protect it. But did you know many of those security guards are artists themselves?

Osmosis Group Exhibition, at Art Cake Brooklyn, Nov 10-13. Visit Osmosis.nyc

FILM: CREATIVE: Gentle Cowboys CREATIVE TEAM: Lucas Tristao, Boris Opacic, Gabriel Sehringer DESIGNER: Kenisha Rullan - PRODUCTION: GentleCowboys EXECUTIVE PRODUCER: Thereza Helena DIRECTOR: Nick Sokoloff DIRECTOR OF PHOTOGRAPHY: Blake Myers 1st AC: Trevor Boyd AC: Flavio Melgarejo 2ND AC: Emmett Ferrer KEY GRIP: David Djaco GRIP: Joshua Deveaux LOCATION SOUND: Joshua Deveaux GAFFER: Dailson Shikako STEADICAM OPERATOR: Dailson Shikako ASSISTANT DIRECTOR: Suliya Gisele PRODUCTION MANAGER: Lisette de Jesus PRODUCTION ASSISTANT: Aubrey Resto PA DRIVER: Sohyanni “Seez” Luke - EDITING COMPANY: Cut + Run EDITOR: Stacy Peterson EXECUTIVE PRODUCER: Ellese Shell ASSISTANT EDITOR: David Soto - COLOR PRODUCER: Emily Truong COLORIST: Connor Bailey - SOUND COMPANY: Halley Sound ORIGINAL SCORE: David Bessler SOUND DESIGN & MIXING: Vinicius Villani - TALENT FEATURED ON FILM: Afesha Wilkins Deborah A. Meyer Emilie Lemakis Fabian Berenbaum Joé Ortega Maraya Lopez (aka Berdscarnival) Maria Cabrera Nogales Maura Falfán Shamysia Waterman (aka MUTANT)

SPECIAL THANK YOU:

Jeff Kling

The Metropolitan Museum of Art: Rebecca Schear Regina Lombardo Lambert Fernando Max Kyburz Louise Brosnan The Isamu Noguchi Foundation and Garden Museum Justin Baez Aria Rostami Amelia Grohman John Novoa Carlos Leon

PM Artists Matka Studio: Erica Jay

[harrypotterhousequotes]

GRYFFINDOR:

“MADAME LEOTA: You try. You fail. You try. You fail. But the only true failure is when you stop trying. JIM EVERS: What do you want me to do? Huh? MADAME LEOTA: Try again." 

–David Berenbaum (The Haunted Mansion)

[askeletoninpain]

Elf (2003)

"You sit on a throne of lies."

[genevieveetguy]

I'm gonna say the one thing you aren't supposed to say. I love you... but I love me more. I've been in a relationship with myself for 49 years and that's the one I need to work on.

Sex and the City, Michael Patrick King (2008)

[90smovies]

The X-Files

[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.

[nicollekidman]

Abby, since it's October, I must ask the perennial question: how much did The Haunted Mansion (2003, directed by Rob Minkoff and written by David Berenbaum) cost to make?

[i-watch-movies]

45/100

Movie: Elf (2003)

Starring: New York City

Directed by: Jon Favreau

Written by: David Berenbaum

Did I like this movie?: Yep

Why?/Why Not?: It had the right elements to be a decent Christmas movie, and I cried at the end. 

Why did I watch it?: My daughter hates this movie and I had never seen it. And it was kind of hard to avoid if I was watching tv.

Takeaway: I’m a simp for Christmas

[news-wtf]

Aquaman leading man Jason Momoa will be voicing the Christmastime icon Frosty in a new Frosty the Snowman live-action/CGI hybrid movie.

According to Deadline, the production is set up at Warner Bros. and Stampede. Momoa will also produce the project alongside Jon Berg, Greg Silverman and Geoff Johns. Momoa previously worked with Berg and Silverman on Aquaman. David Berenbaum, who wrote the screenplay for Elf, will be penning the script for Momoa's Frosty the Snowman.