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The X-Files – X-Cops (Review)

This November, we’re taking a trip back in time to review the seventh season of The X-Files and the first (and only) season of Harsh Realm.

There is a very serious argument to be made that X-Cops represents the last point at which The X-Files truly pushed itself.

There are experimental episodes later in the run that play with new narrative forms and concepts. Improbable features a snazzy musical number; Lord of the Flies intersects with stunt-driven television shows; Sunshine Days has the characters enter The Brady Bunch. However, X-Cops represents the last time that The X-Files allows itself to be completely submerged in a high-concept idea, following the concept through to its logical conclusion in the spirit of Jose Chung’s “From Outer Space” or Bad Blood or Triangle.

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X-Cops features Mulder and Scully crossing over into an episode of Cops. However, the episode is told entirely from the perspective of the Cops production team, filmed and broadcast as if it were an episode of Fox’s long-running law enforcement reality television show. The camera becomes a performer in X-Cops, and at no point in the entire forty-five minutes does it “break character.” Barring the use of the X-Files opening credits sequence and superimposing the logo at commercials, X-Cops adopts the form and structure of Cops.

This is a boldly experimental piece of television; it is not the sort of episode that viewers expect from a show in its seventh season. This is a giddy and goofy concept more akin to enthusiastic student filmmaking than an established television institution. After Sein und Zeit and Closure suggested that The X-Files was winding down, X-Cops proves that there’s life in the old show yet. Sadly, this feels like something of a last gasp; there would never be quite as much life in The X-Files after this point.

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