• Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

The X-Files – The End (Review)

This May and June, we’re taking a trip back in time to review the fifth season of The X-Files and the second season of Millennium.

The End is a watershed moment for the show.

There is a reasonable argument to be made that The End accomplishes very little in terms of narrative. It doesn’t really do a great job bridging to The X-Files: Fight the Future. It certainly doesn’t do a great job wrapping up any of the show’s long-running concerns. Indeed, it adds two characters who will go on to become major (if controversial) players in the show’s overarching mythology. Even the big dramatic twist at the end of the episode feels familiar, with The End closing on a more memorable visualisation of the cliffhanger to The Erlenmeyer Flask.

Burn, baby, burn...

Burn, baby, burn…

Nevertheless, The End does feel like an end of sorts. It closes out five seasons of The X-Files. Carter had suggested in interviews that he only wanted to do five seasons of the show before transitioning into feature films, and so The End marks the conclusion of the run that Carter had originally planned for the show. After all, The X-Files had crossed the hundred episode mark earlier in the year. It was ripe for syndication. It was at the stage where Fox and Ten Thirteen did not need to keep the show on the air to keep printing money.

At the same time, The End marks another more definitive sort of end. It would be the last piece of The X-Files to be filmed in Vancouver until The X-Files: I Want to Believe a decade later. Vancouver was a part of the show’s DNA. It had been the show’s production hub since The Pilot. More than two decades later, The X-Files would return to Vancouver for its six-episode wrap-up miniseries. Discussing the revival, Carter argued that Vancouver was “a natural place to make a show like The X-Files.” Certainly, the mood and atmosphere lent itself to the series.

"My video collection!"

“My video collection!”

So The End marks a fond farewell from the production team to a city and region that had served them well.  In that respect, it feels like a more definitive sort of ending. The End opens with a scene that is confident enough to let Canada be Canada. As with the opening scene of Herrenvolk, it is almost comical how hard The End flags its “and starring Canada as Canada” cred, to the point where a mountie rushes to the aid of an assassination victim. The closing scene of The End burns down the show’s most iconic and memorable sets.

While The End is not necessarily a satisfying mythology episode or season finalé in its own right, it does feel like a suitably big moment in the evolution of the show.

Smoking gun...

Smoking gun…

Continue reading

The X-Files – The Pine Bluff Variant (Review)

This May and June, we’re taking a trip back in time to review the fifth season of The X-Files and the second season of Millennium.

The Pine Bluff Variant is probably John Shiban’s best solo script for The X-Files.

It is the kind of story that the show does very well, a taut conspiracy thriller packed with sharp twists and turns. Not all of those twists and turns make a great deal of sense, but there is an incredible momentum to the episode that keeps it moving forward. John Shiban’s script is beautifully brought to life by Rob Bowman’s direction, with Bowman demonstrating once again why he was the perfect choice to direct The X-Files: Fight the Future. The Pine Bluff Variant is a well-constructed piece of television.

He who hunts monsters...

He who hunts monsters…

It also fits quite comfortably in the context of where the show is at this point in time. The fourth and fifth seasons of The X-Files saw the show really engaging with the dark underbelly of conspiracy culture just as Mulder when through his own dark midnight of the soul. After three seasons of endorsing paranoia and skepticism, The X-Files was ready to deal with the sorts of organised groups that believed in such conspiracies. The Pine Bluff Variant has Mulder infiltrating a militia a few months before the release of Fight the Future would recreate the Oklahoma City Bombing.

It is a thread with which the show had been playing since The Field Where I Died early in the fourth season. The Pine Bluff Variant is the last time that the series pushes these sorts of militia groups to the fore, with Mulder reaffirming and regaining his faith at the climax of Fight the Future. It is a suitably satisfying farewell to this recurring thematic motif.

Fleshing out the threat...

Fleshing out the threat…

Continue reading

The X-Files – Travelers (Review)

This May and June, we’re taking a trip back in time to review the fifth season of The X-Files and the second season of Millennium.

For all that the fifth season of The X-Files is building towards a major summer movie release, the production team seem surprisingly relaxed about it.

The fifth season is as experimental and as loose as the show ever got. Patient X and The Red and the Black suggested that Chris Carter didn’t even feel beholden to the continuity of The X-Files: Fight the Future, introducing new characters and concepts to the mythology that could not possibly be inserted into the film at this late stage. Similarly, the show was willing to play around with special guest writers like Stephen King and William Gibson, film an entire episode in black and white, focus on relatively minor characters, and reveal two separate secret histories of the X-files.

What do you call a baby Fox?

What do you call a baby Fox?

Of course, some of these innovations were driven by necessity or large goals. Patient X and The Red and the Black represent the beginning of the end for this stage of the mythology. Stories like Unusual Suspects and Travelers focus on characters other than Mulder or Scully because David Duchovny and Gillian Anderson were otherwise engaged. Nevertheless, there is a very relaxed vibe to the fifth season, as if the show is taking an extended moment to enjoy the peak of its popularity. As well it should.

Travelers is an episode that is far from essential in many respects. It is clunky in places, indulgent in others. It feels like the production teams are just happy to root through the old costuming wardrobe and prop departments, delighted to compose over-written monologues and stock characters. Travelers is light and fun, with its indulgence and its relative lack of substance making it more enjoyable than it would otherwise be.

He'll (Garret Dilla)hunt you down...

He’ll (Garret Dilla)hunt you down…

Continue reading

Millennium – Roosters (Review)

This May and June, we’re taking a trip back in time to review the fifth season of The X-Files and the second season of Millennium.

Then Peter remembered the word Jesus had spoken: “Before the rooster crows, you will disown me three times.” And he went outside and wept bitterly.

– Matthew 26:72

Everything is in runes...

Everything is in runes…

Continue reading

The X-Files – The Red and the Black (Review)

This May and June, we’re taking a trip back in time to review the fifth season of The X-Files and the second season of Millennium.

“Before the exploration of space, of the moon and the planets, man hailed that the heavens were the home and province of powerful gods who controlled not just the vast firmament, but the earthly fate of man himself and that the pantheon of powerful, warring deities, was the cause and reason for the human condition, for the past and the future, and for which great monuments would be created on earth as in heaven. But in time man replaced these gods with new gods and new religions that provided no more certain or greater answers than those worshipped by his Greek or Roman or Egyptian ancestors. And while we’ve chosen now our monolithic and benevolent gods and found our certainties in science, believers all, we wait for a sign, a revelation. Our eyes turn skyward ready to accept the truly incredible to find our destiny written in the stars.”

Lift me up...

Lift me up…

Continue reading

Millennium – Owls (Review)

This May and June, we’re taking a trip back in time to review the fifth season of The X-Files and the second season of Millennium.

I am like a pelican of the wilderness; I am become as an owl of the waste places.

– Psalm 102:6

Birds of prey...

Birds of prey…

Continue reading

The X-Files – Patient X (Review)

This May and June, we’re taking a trip back in time to review the fifth season of The X-Files and the second season of Millennium.

This should not work.

There are lots of reasons why Patient X and The Red and the Black should simply implode under their own weight. Most obviously, they are scripts that are rather blatantly just piling more and more back story and convolution onto a framework that is already overloaded and over-stretched. They are introducing new characters at a late stage of the game. They rely on contrivance and sketchy character development. They seem to exist at odds with the script for The X-Files: Fight the Future, which had been written and shot, but was awaiting release.

Everything burns...

Everything burns…

However, despite all this, Patient X and The Red and the Black work very well together. They are the strongest story-driven mythology two-parter since Nisei and 731 at the start of the third season. There is an energy and drive to Patient X and The Red and the Black that has been largely absent from the show’s big blockbuster two-parters since Herrenvolk at the start of the fourth season. After a year-and-a-half treading water as the release date of the movie draws ever closer, it is nice to see Chris Carter cut completely loose.

Patient X and The Red and the Black form a story which doesn’t seem at all worried about what any of this means for the summer realise of Fight the Future. Parts of it become quite difficult to reconcile with the film as released. However, the two-parter is all the stronger for it.

Fog of war...

Fog of war…

Continue reading

The X-Files – Emily (Review)

This May and June, we’re taking a trip back in time to review the fifth season of The X-Files and the second season of Millennium.

The biggest problems with Emily can be summed up in five words:

“… and then Mulder showed up.”

Sorry, Mulder.

Sorry, Mulder.

Continue reading

The X-Files – Unusual Suspects (Review)

This May and June, we’re taking a trip back in time to review the fifth season of The X-Files and the second season of Millennium.

On the surface, Unusual Suspects looks like quite a clean little episode.

It is an obvious production save – a story thrown together when it became clear that David Duchnovny and Gillian Anderson’s commitments to The X-Files: Fight the Future meant that they would not be available to film even the shortened order of twenty episodes in the fifth season. Although Unusual Suspects aired as the third episode of the season, it was actually the first produced. With limited availability to David Duchovny, Unusual Suspects was constructed as an episode that could be built around a member (or members) of the supporting cast.

Hero shot!

Hero shot!

Five seasons in, this is not a radical concept. While Mulder and Scully are still very much the heart of the show, the supporting cast has been developed to the point where the show can turn over an episode to somebody who isn’t Mulder or Scully. The fourth season offered a glimpse of the (possible) secret history of the Cigarette-Smoking Man in Musings of a Cigarette-Smoking Man and allowed Walter Skinner to act out his own morality play in Zero Sum. After these two characters, the Lone Gunmen were likely candidates for their own episode.

As such, Unusual Suspects also works quite well as “ground zero” for the eventual development of The Lone Gunmen during the eighth season of The X-Files. It is the episode that demonstrated that the trio could carry their own story with their eccentric little dynamic, while still being engaging and exciting. Given how The Lone Gunmen turned out, a particularly cynical commentator might suggest that Unusual Suspects very much over-sold the appeal. Nevertheless, Unusual Suspects is a logical and clear step forward in the evolution of the Lone Gunman.

Peering through the curtain...

Peering through the curtain…

And yet, for all that these are the aspects of Unusual Suspects that generate discussion and debate, they are not the heart of the episode. What is most interesting about Unusual Suspects is the way that it allows writer Vince Gilligan to brush up against the show’s central mythology, albeit only fleetingly. Gilligan is fond of arguing that Memento Mori was his only credit on a mythology episode, but that sells Unusual Suspects rather short. Although it does not dabble directly with “black oil” or “alien bounty hunters”, it does allow Gilligan to play with the show’s big central story thread.

Unusual Suspects is not just positioned by Gilligan as the “secret origin” of the Lone Gunmen. The episode is decidedly more ambitious than all that. Without directly acknowledging it, and without explicitly coming out and saying it, Unusual Suspects presents itself as the roots of the show itself. Although nowhere near as boldly and triumphantly subversive as Jose Chung’s “From Outer Space” or Musings of a Cigarette-Smoking Man, the episode allows Gilligan to offer his own sly (and slightly stinging) commentary on the show’s central mythology.

Tonight we're gonna party like it's 1989.

Tonight we’re gonna party like it’s 1989.

Continue reading

The X-Files – Redux I (Review)

This May and June, we’re taking a trip back in time to review the fifth season of The X-Files and the second season of Millennium.

Redux I hits on the same problem that haunted The Blessing Way. It is very hard to structure a three-parter that bridges two seasons of television. The biggest problem is the second episode, which has the unfortunate position of having to serve as a season premiere while carrying the baggage from the last season finalé and remaining unable to resolve anything. So the episode inevitably becomes an exercise in spinning wheels as the show saves all of its potential resolutions for the third episode.

A particular cynical commentator might suggest that Redux I plays as Chris Carter’s twisted take on Aaron Sorkin. Sorkin is famous for his sequences of characters walking through corridors while trading witty banter – a very nice way of keeping physical movement in the midst of largely dialogue-driven plots. This would become a defining feature of The West Wing, the show that Sorkin would launch in September 1999. Redux I seems to prefigure the style, albeit with a twist. There is lots of walking through corridors as characters talk to themselves in monologue.

"Wow, and I though my filing system was bad..."

“Wow, and I thought my filing system was bad…”

Redux I plays as a collection of voice-over monologues transposed over sequences of Mulder wandering through corridors in the Pentagon. One immediately wonders how the Department of Defence could have staged such a complex and convincing hoax against the American people when they cannot find one lost FBI agent inside the Pentagon. The drab setting makes for a shockingly dull episode; the majesty of the Yukon Mountains is lost, replaced by long sequences of grey walls and red doors.

Redux I has more than a few interesting ideas, but its structure is a mess. Sitting between Gethsemane and Redux II, the episode has no clear sense of purpose or momentum; no drive or ambition or excitement.

Don't worry, it could still make sense...

Don’t worry, it could still make sense…

Continue reading