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The X-Files – The Truth (Review)

This December, we’re taking a trip back in time to review the ninth season of The X-Files.

It is interesting how the popular memory of a thing can differ from the actual thing itself.

Memory was always a key theme of The X-Files, particularly in the early years of the show. Although the aliens and the conspirators were plucked from the demented imaginations of the most paranoid tinfoil hat enthusiasts, a surprising amount of the show was rooted in real history that had been allowed to slip by under the radar: the genocide of the Native Americans; the resettlement of German and Japanese war criminals after the Second World War; radiation experiments upon prisoners; the Tuskegee syphilis experiment.

Daddy's home.

Daddy’s home.

The truth is contained in the gap between memory and history. In a way, then, it feels entirely appropriate that the popular memory of The X-Files should remain quite distinct from the show itself. The popular memory of The X-Files tends to suggest that the mythology makes no sense, that it does not fit together in any tangible form. This is an opinion repeated so often that it has become a critical shorthand when discussing the end of the show; much like the assertion “they were dead all along” tends to come when discussing Lost.

The truth is that the mythology of The X-Files largely made sense. Sure, there were lacunas and contradictions, inconsistencies and illogicalities, but the vast majority of the mythology was fairly linear and straightforward. It had been fairly straightforward for quite some time. The show had been decidedly ambiguous in its first few seasons, only confirming that colonisation was the conspiracy’s end game in Talitha Cumi at the end of the third season. Elements like the black oil and the bees tended to cloud matters, but the internal logic was clear.

Everything burns...

Everything burns…

Significant portions of both The X-Files: Fight the Future and Two Fathers and One Son had been dedicated to spelling out the finer details of the mythology in great detail. Mankind were not the original inhabitants of Earth; the former occupants had returned and were making a rightful claim; the conspirators had agreed to help them, selling out mankind for a chance to extend their own lives. Everything else was window dressing. The production team had laid everything out during the fifth and sixth seasons.

Still, the general consensus of The X-Files was that it was a show driven by mysteries that was always more interested in questions than answers. This was certainly true, but it was somewhat exaggerated. When the cancellation was announced, the media immediately demanded answers. A month before The Truth was broadcast, Tim Goodman complained about how the show offered “precious few answers to Carter’s riddles.” Two days before the broadcast, Aaron Kinney wondered of the conspirators, “Who are these people and what is their agenda?”

The Truth on trial...

The Truth on trial…

It does not matter that these answers have mostly been provided and that the truth is mostly know. This was the context of the conversation unfolding around The Truth, and it likely explains a number of the creative decisions taken during the production of the episode. The Truth plays as an extended video essay dedicated to providing answers that were offered three or four seasons earlier in relation to mysteries that are no longer part of the show. The Truth is a passionate and intense argument that the mythology of The X-Files does make sense.

For viewers tuning back into the show for the first time in years, this means long expository monologues and skilfully edited montages that do not tie into the plot of the episode in any significant way. For those who stuck with the show for these past few seasons, it means rehashing everything that the show has taken for granted since the fifth or sixth season. While it feels like The Truth is desperately longing for vindication, to the extent where the show puts itself on trial in the person of Fox Mulder, this does not make for compelling viewing.

Happy ending.

Happy ending.

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The X-Files – Sunshine Days (Review)

This December, we’re taking a trip back in time to review the ninth season of The X-Files.

Well, here’s hopin’ the TV stays off and he learns how to love the real world.

– Doggett stops just short of adding “… and that goes for you as well.”

The X-Files was always a more romantic show than it would readily admit.

The popular image of the show might be Mulder and Scully walking through darkness searching for a truth that may never be revealed or a hideous monster preying upon innocent victims. Chris Carter’s most successful work might be rooted in the dual betrayals of Watergate and Vietnam. The characters might stalk car parks late at night or explore the darkest corners of the urban landscape. Mulder and Scully might be abducted by forces beyond their control, and subjected to the cruel whims of uncaring fate. The show’s motto might be “trust no one.”

"Let's call it a day..."

“Let’s call it a day…”

Nevertheless, that cynicism is offset with a deep-seated romance. “Trust no one” is one of the defining mantras of The X-Files, but there are other more optimistic catchphrases; “I want to believe” and “the truth is out there.” Optimism outvotes cynicism by a two-to-one majority. It is not quite a decisive victory, but it is something in this cynical and chaotic world. While Mulder and Scully might never actually find the truth which they so desperately seek, they did find one another. That is more than either could have hoped and than some people can claim.

Sunshine Days is a staggeringly romantic and optimistic piece of television. Indeed, it suggests that the cynicism of The X-Files was really just a practiced veneer. As the title suggests, Sunshine Days allows the central cast to smile more frequently over forty-five minutes than most have in the course of their entire run on the show. As with the rest of the show, Sunshine Days is rooted in the culture of the seventies. However, there is something quite heartwarming in how Vince Gilligan eschews All the President’s Men for The Brady Bunch.

Out of this world...

Out of this world…

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The X-Files – Release (Review)

This December, we’re taking a trip back in time to review the ninth season of The X-Files.

Release is a breath of fresh air.

There are problems with the episode, serious problems. The plotting is incredibly loose, with Release relying upon a series of incredible contrivances even once you get past the supernaturally-gifted crime-solver who only joined the FBI so he could solve a murder that happens to connect back to Luke Doggett. At best, Release is clumsy and inelegant. At worst, it makes absolutely no sense. More than that, there is the question of whether or not the episode is actually necessary. Does The X-Files actually need to resolve the murder of Luke Doggett?

Picture perfect...

Picture perfect…

These are fairly sizable and fundamental problems. There is no getting around them. However, Release offsets those problems by being a spectacularly-produced piece of television. Everything works, from Robert Patrick’s performance to Mark Snow’s piano-heavy score to Kim Manner’s stylised direction. Release is a reminder of just how sleek and well-oiled The X-Files could be. That is quite a relief after the triple whammy of Scary Monsters, Jump the Shark and William. Release is a good episode on its own terms; in context, it is a masterpiece.

It also helps that Release feels like the first attempt to give the show actual material closure since Improbable. That closure is thematic rather than literal, with the mystery of Luke Doggett’s death serving as a vehicle through which the show might finally resolve some of its own lingering threads. In the case of Release, the show is tidying away the strands that have been woven into the fabric of The X-Files from the beginning; strands that paid homage to Silence of the Lambs and gave birth to Millennium. Release bids farewell to the forensic side of The X-Files.

The old man and the sea...

The old man and the sea…

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The X-Files – William (Review)

This December, we’re taking a trip back in time to review the ninth season of The X-Files.

William was supposed to make things simpler for The X-Files going forward.

Although the pregnancy narrative of the eighth season had provided a solid arc across the year, it seemed like the production team had no idea what to do with William once the child actually arrived. Despite the fact that Essence and Existence insisted that William was a miracle completely unrelated to the alien colonists, Nothing Important Happened Today I and Nothing Important Happened Today II tried to tie William back into the mythology. Trust No 1 suggested William was part of prophecy. Provenance and Providence had the baby kidnapped.

Mulder cameo.

Mulder cameo.

One of the more frequent criticisms of the ninth season is that William served to handicap Scully as a character. Scully was suddenly relegated to the role of mother, with the scripts and the fans constantly wondering why Scully wasn’t spending more time with the baby. The mythology suggested that Scully was only relevant because of her connections to William and Mulder. Although William and Mulder were subject to a colonist prophecy, Scully was not mentioned. She was just a tether connecting the two, accessible because Gillian Anderson was still in the show.

The fact that the series was ending provided the perfect opportunity to clear William away. William is clearly designed to declutter the narrative of the show by disposing of a dangling loose end. Ironically, it only serves to create a whole lot more.

Taking his face... off.

Taking his face… off.

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Doctor Who: The Husbands of River Song (Review)

Every Christmas is last Christmas.

The Husbands of River Song is an odd duck.

The first half is a fairly light romp, a rapid-fire farce that ties together the goofy science-fiction of Doctor Who with Moffat’s own fondness for banter and wordplay. The plot is fairly light, the dynamics fairly simple; the script leans rather heavily on its two lead characters and a slew of one-liners that aim for quantity over quality. It is in, in many respects, the Moffat era equivalent of a Davies era Christmas special; it is easy to follow bombast with an impressive scale, pitched at the perfect volume to help digest all those mince pies. Even the earlier timeslot seems appropriate.

doctorwho-thehusbandsofriversong2

The second half is something completely different. It is an emotional farewell to the character of River Song, effectively closing the time loop that began all those years (and Doctors) ago with Silence in the Library. Although The Name of the Doctor leaves open the possibility to future stories about River Song, The Husbands of River Song provides the last truly essential piece of the jigsaw puzzle. In doing so, it pays off a bit of continuity that has been hanging in the air for seven years. This seems an odd choice to combine with the lighter fare in the first half.

It is not that there is anything particularly wrong with either half. Certainly, Moffat is a writer who has done an excellent job changing track mid-story at certain points in the past; A Good Man Goes to War comes to mind. However, there are also points at which the switch has been less than elegant; Let’s Kill Hitler is probably the strongest example. The problem with The Husbands of River Song is that it leans far more towards the latter than the former.

doctorwho-thehusbandsofriversong

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The X-Files – Jump the Shark (Review)

This December, we’re taking a trip back in time to review the ninth season of The X-Files.

As The X-Files trundles towards its finalé, there is a sense that the production team do not understand “closure.”

There is, of course, a cheap gag to be made here. Long-time fans of the show might joke that the show never understood the concept of “closure”, as demonstrated by the fact that the show’s mythology frequently resembled a precariously-balanced tower of Jenga bricks gently swaying in a light breeze. This is perhaps a bit unfair; episodes like Requiem and Existence had done a good job of bringing the television show to a point where it might end, only for the show to be picked up for another season.

Shot down in their prime... time slot.

Shot down in their prime… time slot.

The end of the ninth season differs from the ends of the seventh or eighth because the production team know that the show is going to end. There will be no last-minute reprieve, no green-light give mere days before the last episode is actually broadcast. This is, in many ways, the end of The X-Files. With that in mind, the final episodes of the ninth season begin tidying away dangling plot threads and narrative loose ends in the hopes of satisfying the audience. The show seems to be running through a checklist. Lone Gunmen now. William next. Luke Doggett after that.

The problem, of course, is that none of these concepts are really calling for definitive “closure.” There is no reason for the show to draw a line under these supporting characters or plot arcs. It is possible for fans to imagine life beyond a television show for many characters without engaging in ruthless pruning. The Lone Gunmen do not need an epic send-off. In fact, the idea of an epic send-off seems to represent a misunderstanding of the characters themselves.

"Chris Carter said we're invited to the wrap party..."

“Chris Carter said we’re invited to the wrap party…”

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Scannain Podcast – 2015 End of Year Edition!

Podcasting with the lads from Scannain, marking the end of 2015 with a bumper sized “year in film” edition. Niall Murphy, Philip Bagnell, Jason Coyle and I each count down our top ten films of the year and discuss the year that was. Check out the podcast or click the link below!

podcast-2015

Podcasting via Podbean. Archives available here. Podcast features: Niall Murphy, Philip Bagnell, Jason Coyle and Darren Mooney.

The X-Files – Scary Monsters (Review)

This December, we’re taking a trip back in time to review the ninth season of The X-Files.

Scary Monsters is the episode that was in production when The X-Files was cancelled.

Due to the fact that news broke to the public at roughly the same time that it broke to the production team and that the ninth season was fond of shuffling episodes up and down the broadcast order, Scary Monsters aired almost three months after the cancellation was announced to the public. However, the production team were informed while they were working on the episode. Given the low ratings and muted reaction to the ninth season, the cancellation seemed inevitable. Nevertheless, it was quite a blow.

Doggett's burning down the house.

Doggett’s burning down the house.

That is perhaps the most notable fact about Scary Monsters, which is a disappointingly bland episode of television. As with Underneath before it, this is not an embarrassing episode by any measure. It just lacks any real energy or verve. Watching Scary Monsters, there is a sense that the production team were going through the motions, that the reserve of energy that drove the show through its finest seasons had been depleted. The show was running on empty, the production team’s imaginations all but empty.

It feels like the show should have something smart or ironic to say about a kid who can conjure monsters from his own limited imagination. Sadly, it is just a rote monster of the week.

"Now I know how Mulder felt during the season eight credits..."

“Now I know how Mulder felt during the season eight credits…”

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Scannain Podcast #66!

da da da da da da! da da da da!

Podcasting with the lads from Scannain, discussing all your Christmas movie needs. There’s the top ten, movie news, what we watched, and even the release of a little indie film known as Star Wars: The Force Awakens. Check out the podcast or click the link below!

podcast66

Podcasting via Podbean. Archives available here. Podcast features: Niall Murphy, Philip Bagnell, Jason Coyle and Darren Mooney.

The X-Files – Improbable (Review)

This December, we’re taking a trip back in time to review the ninth season of The X-Files.

So I am convinced, from many experiments, I could not study to any degree of perfection either mathematics, arithmetic or algebra without being a deist, if not an atheist.

– John Wesley, The Use of Money

Dio ti ama.”

God loves you. A nice though. An ordering principle.

Three simple words.

There are worse Gods to believe in.

There are worse Gods to believe in.

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