Dana Scully was not standard television beautiful, but a diminutive pre-Raphaelite, pale of skin and red of hair, who could give equal amounts of soul to lines like “Nothing happens in contradiction to nature, just in contradiction to what we know of it” and “Well, seeing as how it’s Friday, I was thinking I could get some work done on that monograph I’m writing for the penology review: ‘Diminished Acetylcholine Production in Recidivist Offenders.’” A woman who, when asked by her pestering partner to examine a cadaver’s head just one more time for a set of horns, can snap on her gloves and mutter “Whatever” like she really means it.
And, about TV romance — or at least spooky chemistry:
The pairing, based mostly on the dynamic between actors Anderson and Duchovny, crackled, and the show had at its core a professional relationship that was not just sexually, but romantically, electric. Of course, back then, when we all walked a mile to school and programs started the season in September and finished them in May, slow-burn television relationships burned really slowly, especially in comparison with today’s short-attention-span theater, when an unrequited prime-time couple can maybe make it to sweeps before kicking off their panties. Not only did the sparks between Mulder and Scully fly fast and far, but the drawing out of their relationship allowed their audience to fall for them too, despite the irritating imperfections of both character and plot.
See you at the movies!