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The X-Files – Paper Hearts (Review)

This February and March, we’re taking a trip back in time to review the fourth season of The X-Files and the first season of Millennium.

Paper Hearts is one of the best scripts that Vince Gilligan would write for The X-Files, and one of the best episodes of the fourth season. This is enough to put it in the frontrunners of any possible “best episode ever” ranking.

The episode is spectacular. It works on just about every conceivable level. It has a great script from a great young staff writer. It has a great guest star in Tom Noonan. It features a great performance from David Duchovny. Rob Bowman does a spectacular job directing. Mark Snow is one of the most consistent composers working in nineties television, and his score for Paper Hearts manages to be simple, effective and memorable. It is thoughtful, atmospheric, emotional and compelling. It is the perfect storm.

The truth is buried...

The truth is buried…

However, the real cherry on Paper Hearts is just how easy it would be to mess up an episode like this. On paper, Paper Hearts seems like a disaster waiting to happen. It is an episode that teases the audience with a potentially massive reversal of one of the show’s core truths. It posits an alternative theory for the abduction of Samantha Mulder that would shake the show to its very core. If Paper Hearts followed through on that basic premise, everything would change. Much like Never Again, this is an episode with the potential to poison the show.

Which makes it inevitable that Paper Hearts will back away from its potentially game-changing premise, which brings its own challenges. It is one thing to up-end the apple cart; it is another to pretend to up-end the apple cart only to restore the status quo at the end of the hour. On paper, and from any synopsis, Paper Hearts seems like the biggest cheat imaginable. “Everything is different!” it seems to yell. “And then it’s not!” The real beauty of Paper Hearts is the way that the episode works almost perfectly even with these huge hurdles to clear.

The heart of the matter...

The heart of the matter…

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The X-Files – Talitha Cumi (Review)

This November (and a little of December), we’re taking a trip back in time to review the third season of The X-Files and the first (and only) season of Space: Above and Beyond.

Talitha Cumi is a staggeringly confident piece of television, the kind of episode casually produced by a show at (or approaching) the top of its game.

It is interesting just how much this season finalé seems to promise business as usual. It is perhaps the least radical of the show’s season-ending cliffhangers, with the third season closing on an immediate rather than a conceptual threat to our leads and to The X-Files as a show. The Erlenmeyer Flask ended with the death of Deep Throat and the closing of the X-files. Anasazi ended with Mulder being burnt alive in a boxcar filled with alien bodies. Gethsemane ups the ante further.

A stab in the dark...

A stab in the dark…

In contrast, Talitha Cumi ends with the Alien Bounty Hunter walking towards Mulder and Scully in a rather menacing fashion. It is very effective television – and a solidly suspenseful cliffhanger – but it also feels rather low-key when compared to other season-ending episodes. Talitha Cumi feels like a pretty effective hook, rather than a game-changer. There’s an immediacy to the cliffhanger, but nothing that threatens to upend the show as a whole.

Then again, one suspects that is entirely the point. The third season has been largely about consolidation of The X-Files. It makes sense that it wouldn’t throw everything up into the air at the end of the season.

It's been a long year...

It’s been a long year…

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The X-Files – Avatar (Review)

This November (and a little of December), we’re taking a trip back in time to review the third season of The X-Files and the first (and only) season of Space: Above and Beyond.

Avatar is really the first time that The X-Files relies on a member of its supporting cast to carry a story all by themselves.

Later seasons will get a bit more adventurous when it comes to sharing screen time. Musings of a Cigarette-Smoking Man and En Ami both offer viewers a glimpse at the man behind the cigarette. The Lone Gunmen prepare for their own spin-off with The Unusual Suspects and Three of a Kind. Even Skinner gets a couple more character-centric episodes with Zero Sum and S.R. 819. In a way, Hungry is a day-in-the-life episode of a monster of the week.

Pushing Mulder to the background...

Pushing Mulder to the background…

Avatar is an episode that demonstrates that these kinds of stories are possible – that The X-Files can lift the focus off of Mulder and Scully for a week and flesh out those characters who exist at the periphery of the series. Just under two years after he was first introduced, Mitch Pileggi has proven himself invaluable to the series. Asking him to carry an episode like this demonstrates the show’s faith in the character.

Avatar is a bit rough around the edges, struggling to decide whether it is part of the show’s conspiracy mythology or a stand-alone monster tale in a season that has worked hard to delineate the two types of show. Still, it’s an ambitious late-season installment that makes a lasting impression on what The X-Files can be.

Don't look now...

Don’t look now…

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Space: Above and Beyond – R & R (Review)

This November (and a little of December), we’re taking a trip back in time to review the third season of The X-Files and the first (and only) season of Space: Above and Beyond.

R & R is what might be described as a “monkey’s paw” situation.

Space: Above and Beyond finally gets to air on Friday nights. It had been promised a Friday night slot in early development, before Fox moved it to Sunday to make room for Strange Luck. Glen Morgan and James Wong had been promised the coveted Friday night slot again in January 1996, but it never materialised. Finally, late in the season, Fox manage to air an episode of Space: Above and Beyond on a Friday night. That episode would even air directly before The X-Files. And not just any episode of The X-Files. Jose Chung’s “From Outer Space”, a classic.

Everything is Coolio!

Everything is Coolio!

However, as the Host himself points out in R & R, everything has its price. Here, it seemed like Fox had chosen the most stereotypically network-friendly episode of Space: Above and Beyond to air in that Friday night slot. So there were hot young people at night clubs, celebrity cameos, romance, angst, melodrama, absurdity. It is one of the most grotesquely heightened episodes of Space: Above and Beyond ever produced, to the point that Hawkes picks up and drops a drug addiction as only one of the episode’s three primary plot threads.

R & R is not a good episode of television. It is the weakest that Space: Above and Beyond has been in quite some time, and the weakest it would be from this point onwards. It seems like a cruel irony that it finally managed to get that Friday night slot it so desperately wanted.

Chalk it up as a misfire...

Chalk it up as a misfire…

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The X-Files – Colony (Review)

This August (and a little of September), we’re taking a trip back in time to review the second season of The X-Files. In November, we’ll be looking at the third season. And maybe more.

Colony is another second season game changer. As with other episodes in the second season, there’s a sense that the production team are really getting to grips with what works with the show – laying groundwork and defining a template that they can work with into the show’s third season. While the Duane Barry and Ascension two-parter had been an act of desperation to work around Gillian Anderson’s pregnancy, Colony and End Game is a two-parter that the show embraced entirely of its own volition.

These two two-part episodes really set the template for the show going forward. There’s a sense that Chris Carter and his team were really defining what a season of The X-Files should look like, giving them a blueprint that they might build on in the years ahead. From the second season through to the sixth, the show would stick quite rigidly to the idea of two big two-parters in the middle of the season, quite apart from any multi-part stories bridging the seasons.

Lights in the sky...

Lights in the sky…

These two parters were typically broadcast as part of the “sweeps”, and inevitably focused on the show’s alien conspiracy mythology. Even the more stand-alone two-parters like A Christmas Carol and Emily or Dreamland Part I and Dreamland Part II still build off the series’ central mythology. Given those were the points at which the show got the highest exposure, and the point where the show worked hardest to draw in an audience, it’s no surprise that the mythology arc rose to such prominence.

Duane Barry and Ascension undoubtedly set a precedent, but those episodes were prompted by factors outside the control of the creative team. However, Colony and End Game really solidified that precedent into a guiding principle for the show. This two-parter comes to codify and cement a lot of the things that the show’s mythology comes to take for granted. For better and worse.

Quite pointed...

Quite pointed…

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The X-Files – One Breath (Review)

This August (and a little of September), we’re taking a trip back in time to review the second season of The X-Files. In November, we’ll be looking at the third season. And maybe more.

If there were ever any doubt that The X-Files is fundamentally about faith in the nineties, One Breath should put the matter to rest.

An astounding, moving, staggering and thoughtful piece of work, One Breath not only wraps up the arc that opened the second season, it also provides closure to the themes that writers Glen Morgan and James Wong had been seeding throughout this first stretch of the season. One Breath bookends the meditation on faith that began in Little Green Men and serves as a counterpoint to the paranoia of Blood and the nihilism of 3.

One Breath is a tremendous piece of work, the best episode of the season and one that deserves to be mentioned among the very best the show ever produced.

Grave stakes...

Grave stakes…

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The X-Files – Fire (Review)

Well, Fire is probably Chris Carter’s strongest script since The Pilot. I suppose we should be grateful for that, at least.

All fired up...

All fired up…

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Non-Review Review: X-Files – I Want to Believe

The title just about says it all. I want to believe in The X-Files. I want to believe in Mulder and Scully. I want to believe in Chris Carter. But I’m looking for proof. Proof that the franchise that held the entire world’s attention for a few minutes in the mid- to late-nineties still has some life in it. Proof that a ridiculous complicated and illogical and poorly written final few seasons on the air had not sucked the marrow entirely from the bones of a once unique pop cultural entity. So, what does the movie give me? Not concrete proof, but a little hint of faith. The film is not as bad as the final two years of the show. That’s the good news. The bad news is that it isn’t as good as the first five.

"X" doesn't mark the spot...

"X" doesn't mark the spot...

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