My Encyclopedia of My X-Files Fic Lists, Analyses, Fan Vids, and Fan Fiction Resources
So, I pushed all my little anthills into one dust pile because I got sick and tired of having to manually search through my colonies to find that ONE drone.
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I've been thinking about Mulder and clutter, how he hangs on to things, and the psychology behind that. Perhaps he's prone to hoarding because of the loss he's experienced in life? Or is he just an ADHD trash panda?
tl;dr: Mulder isn't hoarding, he's trying to fit.
It's interesting because Mulder lives a very simple life: by necessity, on the couch, in the basement. Even Scully agrees he chooses a Spartan existence in pursuit of his aims.
However, I'd make the case that he's also a very nostalgic man-- celebrating a launch at NASA (a childhood dream), pouring memories of happier times into Scully's ear (ala Aubrey, Home, etc.), watching old movies (preferably in black and white), struggling with modern technology and preferring to live off the grid (even in the original series), the list goes on.
Yet when his apartment was hollowed out and renovated (and his boxed and boarded pieces probably dumped somewhere) in Dreamland II, Mulder just... moved on. In a way, his bedroom was cluttered up by an existence he didn't live-- papers and gear and a four-poster bed-- and, once emptied, provided him another habitable (if still simple) space to exist in. A proper pillow, a proper sink. And he chose to live there, which is interesting.
Season 6 in general was Mulder's year of domestication: forcing him to ground, pair bond tighter with Scully, confess his love to her, sneak case files or hack emails or drag her to Florida or invite her on a date-- in short, to reinforce how important she was, not just their partnership. And while some cosmic force, fate, or freewill gave him this choice, bam!, along came a bedroom. One he simply moved into.
This post has escaped your original question, so I'll reel it back: why is Mulder prone to hoarding?
The one place we see Mulder's true hoarding tendency manifest is where he actually lives: the basement. Mounds and stacks and pockets and spaces and jammed crannies and crammed histories.
There is his passion.
And in a way-- I suspect-- Mulder's not really a hoarder so much as a man who's forced a lifetime, with all its incumbents, into a small office tucked away in the bowels of a basement. Same with his study in I Want to Believe. Same, if I recall, with their house in the Revival (or S10, at least.) What we're witnessing is a man boxing himself into the safest, most intimate corner he can-- away from prying eyes-- and filling that space to the brim and overflowing. Until Scully expands him, frankly.
That, and he's messy.
My analysis is that Mulder isn't hoarding: he's trying to fit into (and slipping out of) constraints placed by himself, for himself.
Not dissimilar to Scully, in her own way.
The Magical Reality of The X-Files
(and Its Philes and Fandom)
May 13, 1995:
"Its a New Age show, definitely," Duchovny agrees while poking at his muesli. "It's a secular religious show. It's saying that miracles do happen. Critics have said that the show is dark, but its actually light not in tone or execution but in philosophy. Most TV shows depict the world as being extremely dangerous. the x-files ushers you into a world of latter-day saints where we can still have magic. The time of miracles has not passed, it says. We're living in it."
In one episode, Mulder contemplates his faith in his sister's abduction: "This belief sustained me, fueling a quest for truths that were as elusive as the memory itself - to believe as passionately as I do was not without sacrifice. But I always accepted the risks to my career, my reputation, my relationships, to life itself." If you're thinking "to boldly go where no man has gone before," you're not alone. Even the grammatical construction known as the otherworldly infinitive prompts deja vu.
In Hollywood, they're talking X movie. X novels are published by harperprism, and topps brings out a monthly X comic book. An X cd is under way, said by producer David was to be a search for the "midpoint between moody ambient music and death metal."
Last June X-Philers, as they are called, gathered at a convention in San Diego to exchange enthusiasms, listen to speeches by supernumerary characters and to wear FBI-style name tags. Since then, similar conventions have been held or are planned for more than a dozen cities.
America Online, Delphi, and other computer services sponsor discussion of the episodes and allow viewers to download FAQs (frequently asked questions). There are online simulations in which fans can assume roles from the show. Here, one can speak the secret language of true fans who gush over Duchovny's WPDF (wounded puppy dog face) or his tendency to be V&C (Vulnerable & Cute). Only aficionados can talk about the CITDBTB (Conversation in the Dark by the Bed), the time when Mulder tells Scully about his sister's abduction.
Online, one can learn the arcana of the show: Mulder is the maiden name of creator Chris Carter's mother. The agent's computer password is trustno1.
The clock next to Mulder's bed always shows 11:31 because November 21 is Carter's wife's birthday. Both Carter and director R.W. Goodwin had cameos in last season's finale as, respectively, an FBI agent and a gardener. Scully's name is a homage to Lost Angels Dodgers announce Vin Scully. Online gossip even suggests that the evil Krycek may somehow be related to Carl Kolchak from Kolchak: The Night Stalker, Daren McGavin's atavistic serioes from the Seventies.
The differences between the X-Files and its ancestors are illuminating. The Twilight Zone and the Night Stalker always maintained a dimension of ambiguity in their spookiness. The twilight zone's famous syncopated theme song reinforced the show's either -or premise: Is it true or just a dream? You decide. Doo-doo-doo-doo.
The X-Files asks no such question. Strange sh-t most certainly does happen in this world: That really was an alien clone dissolving into an aquamarine puddle of ectoplasm. The ambiguity is left to be found in how we explain the mysteries of the universe. Scully wears a cross, but her sister consults crystals.
"The belief in other worlds is a time-honored human endeavor," Duchovny says. "Not to show any disrespect for organized religion, but it is a similar enterprise. People want to believe in another place, a better place, where good people are rewarded. This world is definitely not that place.
"I would like to see Fox Mulder take on a life of his own," he continues, "and actually have a Joseph Campbell journey, rather than have him merely play through a series of unrelated experiences. I see it more as an interior journey: Why is this man in so much pain? Why is he obsessed? Why would anyone want to live their life this way? How do we heal him? How do we show him the truth?"
1996: the Anderson-Klotzs
Planned to Leave Vancouver
Found a tidbit of information that I've not only never seen before but never heard discussed--
July 17, 1996
GILLIAN: My husband Clyde (art director Clyde Klotz, 33) is Canadian and our 14-month-old daughter, Piper, was born in Canada - but after the show ends we'll move to the States.
BONUS
"The Move Has Rounded Everything Out"
The Vancouver Move: Gillian Anderson Welcomed the Change
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Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Anya is LIVE right now
FREE
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The Magical Reality of The X-Files
(and Its Philes and Fandom)
May 13, 1995:
"Its a New Age show, definitely," Duchovny agrees while poking at his muesli. "It's a secular religious show. It's saying that miracles do happen. Critics have said that the show is dark, but its actually light not in tone or execution but in philosophy. Most TV shows depict the world as being extremely dangerous. the x-files ushers you into a world of latter-day saints where we can still have magic. The time of miracles has not passed, it says. We're living in it."
In one episode, Mulder contemplates his faith in his sister's abduction: "This belief sustained me, fueling a quest for truths that were as elusive as the memory itself - to believe as passionately as I do was not without sacrifice. But I always accepted the risks to my career, my reputation, my relationships, to life itself." If you're thinking "to boldly go where no man has gone before," you're not alone. Even the grammatical construction known as the otherworldly infinitive prompts deja vu.
In Hollywood, they're talking X movie. X novels are published by harperprism, and topps brings out a monthly X comic book. An X cd is under way, said by producer David was to be a search for the "midpoint between moody ambient music and death metal."
Last June X-Philers, as they are called, gathered at a convention in San Diego to exchange enthusiasms, listen to speeches by supernumerary characters and to wear FBI-style name tags. Since then, similar conventions have been held or are planned for more than a dozen cities.
America Online, Delphi, and other computer services sponsor discussion of the episodes and allow viewers to download FAQs (frequently asked questions). There are online simulations in which fans can assume roles from the show. Here, one can speak the secret language of true fans who gush over Duchovny's WPDF (wounded puppy dog face) or his tendency to be V&C (Vulnerable & Cute). Only aficionados can talk about the CITDBTB (Conversation in the Dark by the Bed), the time when Mulder tells Scully about his sister's abduction.
Online, one can learn the arcana of the show: Mulder is the maiden name of creator Chris Carter's mother. The agent's computer password is trustno1.
The clock next to Mulder's bed always shows 11:31 because November 21 is Carter's wife's birthday. Both Carter and director R.W. Goodwin had cameos in last season's finale as, respectively, an FBI agent and a gardener. Scully's name is a homage to Lost Angels Dodgers announce Vin Scully. Online gossip even suggests that the evil Krycek may somehow be related to Carl Kolchak from Kolchak: The Night Stalker, Daren McGavin's atavistic serioes from the Seventies.
The differences between the X-Files and its ancestors are illuminating. The Twilight Zone and the Night Stalker always maintained a dimension of ambiguity in their spookiness. The twilight zone's famous syncopated theme song reinforced the show's either -or premise: Is it true or just a dream? You decide. Doo-doo-doo-doo.
The X-Files asks no such question. Strange sh-t most certainly does happen in this world: That really was an alien clone dissolving into an aquamarine puddle of ectoplasm. The ambiguity is left to be found in how we explain the mysteries of the universe. Scully wears a cross, but her sister consults crystals.
"The belief in other worlds is a time-honored human endeavor," Duchovny says. "Not to show any disrespect for organized religion, but it is a similar enterprise. People want to believe in another place, a better place, where good people are rewarded. This world is definitely not that place.
"I would like to see Fox Mulder take on a life of his own," he continues, "and actually have a Joseph Campbell journey, rather than have him merely play through a series of unrelated experiences. I see it more as an interior journey: Why is this man in so much pain? Why is he obsessed? Why would anyone want to live their life this way? How do we heal him? How do we show him the truth?"
Creating a breadcrumb trail with David Duchovny's personal growth.
“What a sparky talk with, uh, Graydon Carter! Time flew by. Really enjoyed that.
“And we got to it at the end-- I’m not sure if it’s in the podcast itself, but I, I’ve had kind of a, a bit of a… as I said--” [laughs] “--as I said with great rancor, a bee in my bonnet about the fact that Air Mail had never, um, reviewed one of my novels. And Graydon informed me that Air Mail does not review fiction. So, there you have it! I’ve been harboring this kind of--” [lighter tone] “--you know, just a little bubbling resentment against Air Mail because I’ve seen how, how they’ve, uh, reviewed memoirs of actors. And they must be memoirs at this point because I’ve seen how they’ve reviewed actors’ writing; and I’d be like, ‘Uh, why are they not addressing me?’ So, there you go. Knowledge is power. Knowledge is forgiveness. I’m an idiot.
“But, you know, Graydon is a guy of great personal style; and I’m a person of no personal style. I just wear jeans and a t-shirt. And people who have a dress code or a style of dress like Graydon, they fascinate me because--” [pauses] “--I think of style like a signal: style as a, almost a tribal thing. But he, he informed me that, you know, the original style of dressing up in that wear, of wearing a suit and tie at Spy, was almost like a Trojan horse: y’know, the, that, ‘We are serious journalists, but we are also storming the citadel, here, of hipness. Of the status quo. We’re puncturing the status quo. And we’re wearing your clothes so that you talk to us, so that you let us in....’
“You know, there’s, we talked, we’ve talked often with people about punk music as being kind of a, a ‘f-- you’ to the system, of whatever rock-’n-roll was at that point. Status quo. And I think that, the… Spy was punk not in the sense of punk music, but as I said, had that system-crashing energy, that young system-crashing energy in the same way that SNL was exposing the conventions of television that had been in place since the beginning of television. The veneer of professionalism, the veneer of, um-- [pause] --uh…. almost worship, almost celebrity worship. But, uh, SNL put the light to all that. SNL exposed, in its liveness-- in its being prone to errors, in its being prone to accidents-- exposed the kind of amateurish nature to some of these things. And that was liberating, just as David Letterman, um, exposed the bull-t of the talk show format. I love Carson, y’know? But when Letterman came along, Carson became impossible. Y’know, ‘cause Dave exposed the bull-t factor underneath the celebrity interview, and he exposed the kind of coolness of the interviewer, of the Carson figure. He was constantly kind of making fun of himself, being ironic towards himself. And once we went there, we never went back. So, I think Graydon, Lorne [Michaels], and Dave really created a, a style that we’re still in, in many ways.
“But what I wanted, what I didn’t ask Graydon, and what I was thinking of, is the, in Spy and sometimes in Vanity Fair (maybe, I could be getting this wrong; but more in Spy), you know, the kind of possibly... humiliation of a person, whether or not they deserved it.” [Sucks in a breath through his teeth.] “Does anybody really deserve humiliation? I’m thinking of a few people that do. But, but, you know, the way that people get humiliated on the internet now is a whole different ballgame. That style of takedown, you know, ‘owning’ people…. It makes failure harder, I think. I think it can inhibit people from taking chances. It can inhibit people from telling the truth. So I think, um, I want to think about that. I want to think about whether the glee that I might take reading a Spy takedown, or an internet takedown of somebody I personally don’t like or don’t like whatever about them. It... as that exists in the culture, um, failing gets harder and harder. And failing should get… not easier, but less humiliating and more humility inducing, something I’ve touched upon again and again.
"And speaking of Graydon, I see, like, his personal affect is not one of wanting to humiliate. But it is more humble, it is more one of humility. So I was, um, enlightened about that, in a way. And I, you know, I, I just come out of a place where I feel like, personally, I have felt humiliated at times publicly. And maybe that’s just me being too self-serious. Maybe I should not take myself too seriously. Maybe I needed that. Maybe I needed that on the way to humility. Maybe I needed that to get better."
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