The X-Files | the m0vie blog

The X-Files – Terms of Endearment (Review)

Posted on July 15, 2015 by Darren

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

Terms of Endearment is perhaps the most conventional episode of The X-Files to air between Drive and Agua Mala.

The early sixth season was generally quite experimental and playful, and Terms of Endearment stands out in this stretch of the season as an episode that is very much structured like a horror story and which conforms to the expectations of an episode of The X-Files. A local law enforcement official brings a case to the attention of the FBI; Mulder and Scully trade theories; Mulder pursues his hunches, while Scully offers pseudo-scientific rationalisations. There is a crime; there is a paranormal element; there is a secret.

Who said their marriage is lacking some fire?

Terms of Endearment is an episode that could easily have been written into the fifth or seventh seasons of the show without any real difficulty. Barring the brief appearance of Spender at the start of the episode, and the occasional references to the fact that Mulder is not technically on the X-files anymore, this is business as usual. Indeed, the episode’s themes of reproductive horror might have fit quite comfortably with the recurring infant-related horror stories that populated the fifth season.

Still, Terms of Endearment works. In a way, its somewhat conventional nature serves it well. As with the stand-alone monster of the week stories scattered sparingly through the fifth season, it is easier to appreciate an episode like this when it feels exceptional rather than generic. Featuring an intriguing central metaphor, a great guest performance, and a number of memorable visuals, Terms of Endearment is a clever and powerful little script. It is not a bad début from writer David Amann.

“Who loves you, baby?”

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Filed under: The X-Files | Tagged: Abortion, babies, bruce campbell, conformity, david amann, demon babies, demons, feminism, incubus, pregnancy, Rosemary's Baby, the adventures of brisco county jr, the adventures of brisco county junior, the man in the gray flannel suit, the man in the grey flannel suit, the x-files, x-files | Leave a comment »

Millennium – Omertà (Review)

Posted on July 15, 2015 by Darren

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

It might not feel like it – particularly while actually watching the episode – but Omertà does represent something of a shift in the third season of the show.

Although it was the ninth episode of the third season to be broadcast, it was the eighth produced. It was held back so that it could be broadcast closer to Christmas, in keeping with the themes of the show. As a result, it was the first episode of the third season not to be produced by Michael Duggan. Chip Johannessen is the only “executive producer” listed before Chris Carter at the end of the episode. In a way, shuffling Michael Duggan’s script for Human Essence back earlier in the broadcast order might have been a good thing; it makes for a cleaner break.

“Merry Christmas, Mr. Black.”

Omertà is not a great piece of television, by any measure. It is not even a good piece of television, by most measures. However, it does mark a point of transition for the third season of Millennium. Omertà begins a run of episodes that deal substantively with the legacy of the show’s second season, and which engage with grand themes of death and spiritual rebirth. The third season of Millennium is a thematic mess, but Omertà represents a point where it seems like the creative team might finally be getting a grip on things, almost half-way through the year.

None of this makes Omertà any easier to watch, but it does provide an intriguing prism through which the episode might be viewed.

“Tonight, we’re gonna party like it’s 1989!”

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Filed under: Millennium | Tagged: angels, gangsters, internal consistency, magic, michael perry, michael r. perry, millennium, mobs, Omertà, organised crime, the x-files | Leave a comment »

The X-Files – How the Ghosts Stole Christmas (Review)

Posted on July 14, 2015 by Darren

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

Building off episodes like Triangle and Dreamland, How the Ghosts Stole Christmas continues to develop and expand upon the sixth season’s fascination with issues of time and love.

With the closing of the X-files in The End, it seems like The X-Files has abandoned any real focus on the procedural element of the series. Instead of being a show about two people employed to investigate weird phenomenon together, it seems that The X-Files has evolved into a series about two people who investigate weird phenomena in their spare time. It seems likely that Mulder would have invited Scully on his Christmas Eve stake out even if they were working on the X-files together, but the fact that this is a recreational activity certainly recontextualises it.

Semi-title drop!

The first half of the sixth season of The X-Files is perhaps the most invested that the show has ever been in the nature of the relationship between Mulder and Scully. After all, the seventh season shies away from questions concerning a Mulder and Scully romance; the eighth season keeps William’s parentage a mystery until the last possible moment. The opening stretch of the sixth season is really the only point in the show’s run where the series has an extended conversation about what the two mean to one another and how they express that.

How the Ghosts Stole Christmas is essentially an episode about Mulder and Scully receiving paranormal couples’ counseling that goes horribly wrong.

“Merry Christmas, everybody!”

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Filed under: The X-Files | Tagged: age, chris carter, christmas, christmas episode, ed asner, how the ghosts stole christmas, Lily Tomlin, love, lyda, maurice, mulder, scully, the x-files, time, x-files | Leave a comment »

Millennium – Human Essence (Review)

Posted on July 14, 2015 by Darren

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

Human Essence is the second (and final) script from Michael Duggan. It is also, notably, the first episode of the third season not to credit Duggan as an “executive producer” before the final credits.

Human Essence is a terrible episode of television. However, it is interesting to note that it is mostly terrible in ways that generic television can be terrible. The third season of Millennium is often terrible because of decisions or realities imposed by or resulting from creative decisions relating to the show itself. In the case of something like Through a Glass Darkly, the terribleness results from a perfect storm of vices associated with Millennium as a show. The Innocents and Exegesis are hobbled by choices made about the direction of the show.

Here there be monsters…

Human Essence is terrible in a much more generic way. It would be a terrible episode of just about any television show. One of the problems with the episode is that it feels like it could easily be a terrible episode of just about any television show. With some light revisions, Human Essence could easily become a terrible episode of The X-Files or a terrible episode of Law & Order. Change the character names, tweak the dialogue a little. It wouldn’t take more than some light scrubbing to remove any hint of Millennium from the script.

However, it would take significantly more scrubbing to get the smell of crap off the script.

Yeah. We’re hip.

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Filed under: Millennium | Tagged: drugs, drugs are bad, emma hollis, frank black, heroin, human essence, michael duggan, millennium, racism, worst episode ever | Leave a comment »

The X-Files – Dreamland II (Review)

Posted on July 13, 2015 by Darren

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

Morris Fletcher is (and remains) one of the more interesting aspects of the Dreamland two-parter.

Fletcher would go on to become perhaps the most unlikely recurring character in the history of The X-Files. Michael McKean would reprise the role for a brief cameo in Three of a Kind at the end of the season. As with Kersh, he would disappear from the show’s world for the troubled seventh season, but would return the following year. He made a guest appearance in All About Yves, the finalé of The Lone Gunmen. Fletcher would then follow the Lone Gunmen back to The X-Files, appearing in Jump the Shark during the final season.

And the shippers went wild…

A large part of what makes Fletcher work is the wonderful guest performance of Michael McKean. McKean is a veteran actor with a long history of great work, dating back to his breakout role as Lenny (and Squiggy) on the sitcom Laverne and Shirley. Along with the move to Los Angeles, the sixth season of The X-Files began to drift away from Chris Carter’s initial reluctance to cast recognisable actors in significant roles. The X-Files: Fight the Future had featured guest appearances from Martin Landau, Blythe Danner, Armin Muller-Stahl and Glenne Headly.

The two-parter built around Michael McKean paves the way for appearances from Ed Asner, Lily Tomlin and Bruce Campbell. These are all superb guest performances, and consciously play into the idea that the sixth season of The X-Files has taken on a more playful or vaudevillian style. It is too much to describe these guest roles as “stunt casting” in the same way that putting Jerry Springer in The Post-Modern Prometheus or Burt Reynolds in Improbable was stunt casting, but the casting decisions are part of a broader change in the show.

Our man Morris…

On paper, Morris Fletcher could easily come off as a one-note creep. After all, he is a character who thinks nothing of using his body swap with Fox Mulder to cheat on his wife of twenty years. There is a creepy and pervy banality to his evil, one that mirrors that of Eddie Van Blundht in Small Potatoes. However, while Small Potatoes felt a little too sympathetic to pathetic Eddie Van Blundht, Dreamland strikes a better balance in its portrayal of Morris Fletcher. McKean plays Fletcher as a very human character, but one who is no less creepy for his well-practiced charm.

It goes almost without saying that Michael McKean’s guest performance is a major reason why Dreamland (mostly) works.

Not particularly reflective…

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Filed under: The X-Files | Tagged: commentary, deconstruction, dreamland, frank spotnitz, john shiban, kim manners, Michael McKean, morris fletcher, mulder, science fiction, scully, subversion, vince gilligan, x-files | 1 Comment »

The X-Files – Dreamland I (Review)

Posted on July 13, 2015 by Darren

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

It occasionally seems like the sixth season of The X-Files is having something approaching a midlife crisis.

It has gone through a fairly massive change in routine and lifestyle; the show recently pulled up sticks and moved to Los Angeles. It has gotten a lot more ostentatious; it looks to be spending a lot more money than it was before, and it is hanging around with a whole new caliber of guest star. It has reinvented itself completely; no longer the brooding and atmospheric show it once was, it is now downright goofy and silly. Old acquaintances would be forgiven if they had trouble recognising the show. And it’s perfectly understandable.

Back to back…

This is the sixth season. Dreamland I is the one-hundred-and-twenty-first episode of The X-Files. The show is well past what Chris Carter had originally planned, and well past just about any measure of success. Most shows are lucky to reach a sixth season, let alone come into the sixth season off the back of a summer film and with a great deal of security about the future. David Duchovny, Gillian Anderson and Chris Carter were all committed through to the end of the seventh season. There was even talk of a sequel to The X-Files: Fight the Future being released in 2000.

Dreamland I and Dreamland II just externalise that midlife crisis, using the classic “freaky friday” body swap set up putting Fox Mulder in a dead-end job with a family that hates him as Morris Fletcher tries to help the FBI agent grow up just a little bit.

“Yep. It’s a little… out there.”

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Filed under: The X-Files | Tagged: aliens, comedy, dreamland, dreamland ii, frank spotnitz, john shiban, Life, mid-life crisis, mythology, reset button, romance, serialisation, status quo, Television, Truth, vince gilligan, x-files | 2 Comments »

The X-Files – Triangle (Review)

Posted on July 10, 2015 by Darren

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

There are a lot of reasons to celebrate Triangle.

The episode gets a lot of attention for its wonderful use of long tracking shots. According to Chris Carter’s commentary, there are only twenty-four individual shots stitched together to produce the forty-five-minute episode. Considering the amount of split-screen action at the climax, that is not a lot. Triangle is an artistic tour de force for writer and director Chris Carter. The success that both Birdman and True Detective enjoyed in 2014 due to their extended takes suggests that Carter was significantly ahead of the curve.

Dragging up the past…

There are other aspects to note. Triangle also ushers in a new mood and tone for the sixth season of The X-Files. The show had moved to Los Angeles, and would struggle with how to retain its identity in the new (and bright) surroundings of California. The Beginning and Drive had both answered the question in their own way, but Triangle ushers in a whole new approach to storytelling. Triangle is the first of a series of light and breezy episodes in the early stretch of the sixth season where The X-Files almost turns into a paranormal sitcom.

However, there is one other reason to celebrate Triangle. It is an extended forty-five minute pun on the word “ship.”

Cigarette-Smoking Nazi…

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Filed under: The X-Files | Tagged: bermuda triangle, chris carter, comedy, conspiracy, experimental, long takes, love, mulder, nazis, pop culture, romance, scully, Ship, shippers, spender, the x-files, triangle, ust, x-files | 2 Comments »

The X-Files – Drive (Review)

Posted on July 10, 2015 by Darren

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

In many ways, Drive feels like an episode that tackles the move to California head-on.

After all, the plot of Drive essentially finds Mulder trapped in a car heading westwards through Nevada and into California. The episode even lingers on a “welcome to California” sign, tacitly acknowledging the massive change that had taken place behind the scenes between the fifth and sixth seasons of The X-Files. It is a very clever way of addressing a major change to the production of the show, one that is candid and open about the fact that things are inherently different now.

“Running out of west…”

More than that, Drive figures out how to build an episode of The X-Files around the change in production location. The sixth season often finds the production team struggling to find the right tone and mood to match the new location; after all, the show cannot simply pretend that it is still filming in Vancouver. California is sunnier, hotter and drier than Vancouver ever was – the sixth season of The X-Files spends a little time trying to adapt to those new filming conditions.

This challenge is arguably most obvious in the string of (literally and metaphorically) lighter episodes in the first stretch of the season. The sixth season is quite controversial among fans of the show because there is a period of time where it seems like The X-Files might transform itself into a quirky romantic sit-com. Episodes like Triangle, Dreamland I, Dreamland II, How the Ghosts Stole Christmas and The Rain King would be the lighter episodes of any previous season; they seem to pile in on top of one another at the start of the sixth season.

Feels like going home…

In contrast, Drive is very much a quintessential episode of The X-Files. It is a classic episode of the show. It is scary, it is tense, it is meticulously constructed. There is humour to be found, but the stakes feel real and personal. Writer Vince Gilligan very shrewdly plays into the constraints of the new Los Angeles production realities. A lot of Drive takes place during the day on long desert roads. It takes advantage of California’s impressive interstate system, with twenty-five highways covering almost two-and-half thousand miles.

However, Drive is more than simply a demonstration that The X-Files can still work in its new home. Drive is a superb piece of television in its own right. It is highly regarded as one of the finest episodes of The X-Files from the second half of the run. It is notable for a wonderful premise, a great script, and a mesmerising guest performance from Bryan Cranston. Drive would be the first collaboration between writer Vince Gilligan and actor Bryan Cranston, but not the last.

Drive of your life…

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Filed under: The X-Files | Tagged: Breaking Bad, Bryan Cranston, California, capitalism, Drive, el dorado, expansion, go west, gold rush, Manifest Destiny, mulder, pacific, Pacific Ocean, patrick crump, running out of west, the end of history, vince gilligan, western, working life, x-files | Leave a comment »

Millennium – Through a Glass Darkly (Review)

Posted on July 9, 2015 by Darren

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

Through a Glass Darkly is a terrible piece of television.

There is no nice way to say it. There is no excusing it. Through a Glass Darkly is an absolutely wretched script directed in a cloying manner. It is cliché, it is clumsy, it is trite. It is manipulative and cynical. There are no redeeming features to Through a Glass Darkly beyond the fact that it makes Human Essence and Omerta look significantly better than they actually are. This is an abysmal production, and one of the worst forty-five minutes of television that Ten Thirteen has broadcast to this point. It is up there with Excelsis Dei.

"You are a paedophile, you are a nonce, you're a perv, you're a slot badger, you're a two pin din plug, you're a bush dodger, you're a small bean regarder, you're an unabummer, you're a nut administrator, you're a bent ref, you're the crazy world of Arthur Brown, you're a fence foal, you're a free willy, you're a chimney bottler, you're a bunty man, you're a shrub rocketeer..."

“You are a paedophile, you are a nonce, you’re a perv, you’re a slot badger, you’re a two pin din plug, you’re a bush dodger, you’re a small bean regarder, you’re a unabummer, you’re a nut administrator, you’re a bent ref, you’re the crazy world of Arthur Brown, you’re a fence foal, you’re a free willy, you’re a chimney bottler, you’re a bunty man, you’re a shrub rocketeer…”

Child sex abuse is an absolutely horrific reality. The world is not always a nice place, and the world is not always a safe place. In the late nineties, film and television were growing more comfortable with exploring and addressing issues of child abuse. However, it was something that needed to be handled with a great deal of care and skill. Millennium had already learned how difficult it could be to tell a story about child abuse, with Chris Carter’s well-intentioned but clumsy The Well-Worn Lock.

Through a Glass Darkly manages to retroactively make The Well-Worn Lock seem like a work of genius.

“…this paedophile has disguised himself as a school in Sheffield.”

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Filed under: Millennium | Tagged: Child abuse, child sex abuse, cloying, happiness, manipulation, millennium, paedophilia, terrible, through a glass darkly, todd solondz, trite, violence | Leave a comment »

The X-Files – The Beginning (Review)

Posted on July 9, 2015 by Darren

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

The more things change, the more they stay the same.

The opening shot of The Beginning makes it quite clear that things have changed. The camera opens staring at the sunny cloudless sky of California, doubling for Arizona. It pans down to an open desert. As the production team conceded with Anasazi, the desert was just about the only American environment that Vancouver could not easily mimic – to the point where the team had to paint rocks red in order to convincingly set a scene in New Mexico. California makes for a much more convincing desert.

Bursting on to the scene…

The contrast is striking. The sixth season of The X-Files is bright and sunny; it is aware of its new production reality and chooses to embrace them rather than pointlessly resist them. Things had changed, and there was nothing to be gained from pretending otherwise. It is no wonder that the opening sequence of The Beginning features a group of working-stiff conspirators in transit; the perfect opening image for a season still figuring out how Los Angeles works. The Beginning loads all of that into its opening shot, getting it out in the open before it gets down to business.

At the same time, The Beginning is keen to stress that not too much has actually changed. The naming of the fifth season finalé and the sixth season premiere is decidedly symmetrical – The End and The Beginning. In fact, naming the second part of a two-part episode “The Beginning” is a very clear attempt at reassurance. It is a beginning without actually being a beginning; it is a conclusion without actually being a conclusion. The wheel keeps on turning. All that is missing is the ouroboros.

Dude, that’s totally not sterile…

The closing shot as much as confirms this, revealing that the bold new alien design revealed in The X-Files: Fight the Future is not so bold and new after all. Instead, the monster obviously inspired by Alien is something of a missing link, a tether connecting the grey aliens seen in episodes like Duane Barry to the black oil introduced in Piper Maru. It is all one big circle in perpetual motion. Everything is connected. Everything fits together. The show might have moved two thousand miles south, but it hasn’t missed a step.

For better or worse, The Beginning is about assuring viewers that – no matter what has changed – everything remains the same. It is up to the viewer to decide whether that is a good or a bad thing.