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Millennium – Pilot (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.

You think you’re protecting me but you make it worse, Frank. You can’t shut the world out for me. You can’t ask me to pretend that I don’t know what you do.

Everyone pretends. We all make believe. These men I help catch – make us.

We’re raising a daughter, Frank. The real world starts to seep in. You can’t stop it.

I want you to make believe that I can.

Fade to Black...

Fade to Black…

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The X-Files – Teliko (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.

The very premise of Teliko is something that should probably have big flashing warning lights around it.

Teliko is an episode about an immigrant from Burkina Faso who celebrates his arrival by murdering within the African-American community. As such, it is the kind of story that the production team has to be very careful in handling. It could easily become a horrendously xenophobic anti-immigration story, a warning about the dangers of opening the borders to foreigners from cultures that are different to our own. And that is even before the episode decides to have the monstrous murderers turn his African-American victims white.

Top drawer...

Top drawer…

Writer Howard Gordon has navigated this sort of minefield before. Fresh Bones was a voodoo story set within a Haitian refugee camp. As such, it came with many of the same sorts of latent issues. It would be very easy to put a foot wrong, to turn the story into a collection of unpleasant and reactionary stereotypes that painted the foreign as inherently and undeniably horrific. Gordon’s script for Fresh Bones cleverly side-stepped a lot of these problems, becoming one of the strongest scripts of the second season.

While Teliko makes a conscious effort to avoid these potential hurdles, it isn’t quite as quick on its feet.

It's okay. Everybody gets a little airsick.

It’s okay. Everybody gets a little airsick.

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The X-Files (Topps) #17 – Thin Air (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.

By all accounts, this was the kind of creative team that Ten Thirteen Productions probably wanted on Topps’ X-Files comic since the start.

Stefan Petrucha and Charles Adlard had done a phenomenal amount of work on The X-Files comic line. They had written sixteen issues of the monthly series, an annual, two digests and a slew of short stories scattered across various forums. However, it was quite clear that their approach to the comic was not quite what Ten Thirteen had hoped for when they licensed the comic to Topps. Petrucha’s scripts were ambitious, bold and playful; they were occasionally downright cheeky. Adlard was a master of mood and expression; he was less suited to likeness.

Here come the men in black...

Here come the men in black…

This had caused no small amount of friction between the production company and the creative team. By all accounts, the working relationship between Petrucha and the production company was quite strained. Eventually they fired him from the comic, making Home of the Brave the last story written by Stefan Petrucha and Charles Adlard on Topps’ The X-Files comics. Given the two had been with the comic from the start, this was quite a radical change.

However, this did allow Topps to put a team more agreeable to Ten Thirteen’s demands on the comic.

"I call it blue steal..."

“I call it blue steal…”

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The X-Files – Home (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.

Home is a big one.

It is an episode that is frequently ranked among the best that the show ever produced. It is an episode that many viewers remember quite clearly, even if they only saw it once years earlier. It was the first episode of the show to receive a viewer discretion warning on initial broadcast and was famously never repeated on the Fox Network. “It had one airing and then it was banned,” writer Glen Morgan quipped. “Jim and I don’t get rerun money for that.” It is also one of the rare episodes of The X-Files that is not explicitly paranormal in its subject matter, instead wandering into the macabre and the taboo.

Here there be monsters...

Here there be monsters…

Home also marks the return of writers Glen Morgan and James Wong to the series, following the cancellation of Space: Above and Beyond. With the debut of Millennium looming, the production team on The X-Files was under pressure. Fox had convinced Morgan and Wong to return to Ten Thirteen in return for producing a pilot for The Notorious Seven, one the duo’s long-gestating ideas. Morgan and Wong would produce four episodes of the fourth season of The X-Files and three episodes of the first season of Millennium.

Home is the first of their four scripts for the fourth season of The X-Files, and it sets the mood quite well. Returning from Space: Above and Beyond, the two seemed to be bristling with an electric energy and a palpable frustration. While not all four scripts are unqualified masterpieces, they each serve to push The X-Files further than it has gone before. Perhaps the most surprising thing about Home is that it is the most conventional of these four explosive scripts.

The mother of all problems...

The mother of all problems…

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The X-Files: Season One (Topps) #0 – Pilot (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.

Given the success of the monthly comic book series, it made sense for Topps to try to capitalise on The X-Files as much as possible. The series was exploding into the mainstream. Chris Carter was launched a second television show, Millennium, to capitalise on the success. Fox were planning to move the series to Sunday nights. There was already talk about a possible movie franchise. This was a great time to be publishing X-Files comics.

Topps had already used the series to sell “digests” packed with unrelated comics, and had published annuals to get a little extra sales revenue into the fiscal year. However, there was a clear desire to publish more X-Files work with more consistency. Ideas began to percolate – Kevin J. Anderson would pen a miniseries based on his Ground Zero novel during the show’s fifth season, for example. The company also decided to publish a series of comic books adapting early episodes of the series.

The truth is out there...

The truth is out there…

The series didn’t properly launch until the following year, with a series of monthly adaptations of first season episodes running from the start of the fifth season through to the month following the release of X-Files: Fight the Future. Conveniently titled Season One, these comics were only cancelled when Topps folded its comic book division – vanishing quite suddenly from the stands, with little warning.

The adaptation of The Pilot was actually released a year earlier than the monthly series – it was re-packaged and re-released once Topps committed to a monthly series of adaptations. As such, it makes for a strange teaser of things to come.

This could be the start of a beautiful friendship...

This could be the start of a beautiful friendship…

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The X-Files – Herrenvolk (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.

After Talitha Cumi, Herrenvolk cannot help but seem like a little bit of a disappointment.

Towards the end of the episode, the Alien Bounty Hunter hunts down Jeremiah Smith. Mulder begs for mercy, but the Bounty Hunter will hear nothing of it. “He shows you pieces, but tells you nothing of the whole,” the Bounty Hunter remarks to Mulder. It feels like that sentiment encapsulates Herrenvolk in a nutshell. Mulder goes on the run with Jeremiah Smith and sees a collection of vague but compelling things that may or may not tie into colonisation.

"Now you're thinking, 'I hope that's shepherd's pie in my knickers!'"

“Now you’re thinking, ‘I hope that’s shepherd’s pie in my knickers!'”

Like a lot of the mythology in the fourth and fifth seasons, it feels like a holding pattern. Talitha Cumi was surprisingly candid in its revelations. The aliens were plotting to colonise Earth in collaboration with the human conspirators. The date had been set, the plot was in motion. That was a pretty big bombshell, confirmed in unequivocal terms. It was arguably the clearest and most transparent that the conspiracy arc would ever be. There was a clear goal, a deadline, and a sense of purpose.

Almost immediately, Herrenvolk works to muddy the water. It stalls, it procrastinates, it delays, it evades. It is a plot structured around a collection of ominous conspiracy buzz words (DNA, smallpox, colonies, clones) without a clear purpose or objective.

A bloody mess...

A bloody mess…

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The X-Files – Season 3 (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.

The second season of The X-Files was quite experimental in nature. Not all of that experimentation was intentional or planned, but the second season worked quite hard to demonstrate what the show could do. Gillian Anderson’s pregnancy forced the show to plot a relatively long-form arc, with Scully getting abducted and the X-files remaining closed for the first six episodes of the season. In essence, Anderson’s absence forced the show to embrace serialisation.

Other second-season experiments seemed more relaxed. The show discovered that big two-part mythology episodes did well during sweeps. Die Hand Die Verletzt and Humbug proved that the series could do comedy. David Nutter, Rob Bowman and Kim Manners became the show’s go-to directors. The show’s alien conspiracy arc became a recurring thread rather than a subset of the monsters of the week. There was a lot learnt during that second season.

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The third season of The X-Files feels a lot more relaxed, and a lot more comfortable. The third season seems to be largely about reinforcing the lessons learned during the second season. The third season gives more work to writers, directors and actors who made an impression during the second season. It works hard to solidify the concept of The X-Files. It seems like Chris Carter and his collaborators have finally figured out exactly what The X-Files should be, and are delivering it consistently.

The result is one of the most impressive seasons of television produced in the nineties, beginning a hot streak for the show. Chris Carter and Ten Thirteen would manage to produce three consistently fantastic seasons of television between September 1995 and May 1998. The third season of The X-Files really gets that ball rolling in a very profound and meaningful sense.

xfiles-josechungsfromouterspace5 Continue reading

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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Stefan Petrucha and Charles Adlard’s Run on The X-Files (Topps) (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.

Topps’ X-Files comic was a massive success in the nineties.

The monthly series ran for forty-one issues between January 1995 and September 1998. In that time, Topps also produced an X-Files graphic novel, three digests, two annuals, a spin-off line of Season One comics and a miniseries adaptation of a Kevin Anderson novel. They also reprinted the series in quite a few formats, indicating that the comic sold well even outside the monthly schedule. The only reason that the series came to an end was because Topps eventually decided to retire from comic book publishing.

xfiles-feelingsofunreality4

After Topps withdrew from the comic book market following the Great Comic Crash of the mid-to-late nineties, the X-Files license lay fallow. Barring two Lone Gunman comics published by Dark Horse in 2001, there would be no new officially licensed X-Files comics written between September 1998 and September 2008, when Frank Spotnitz scripted a miniseries for Wildstorm. It is incredible to look back on the success of the Topps line for those three-and-a-half years when it held the license.

A lot of the credit for that success is owed to writer Stefan Petrucha, cover artist Miran Kim and interior artist Charles Adlard.

xfiles-homeofthebrave17

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The X-Files – Wetwired (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.

Wetwired is an oddity.

It is the penultimate episode of the third season, written by special effects supervisor Matt Beck. It is very much a conspiracy episode, albeit one lacking any real sense of forward moment and with only the loosest thematic ties to the rest of the show’s mythology. Unlike – say – Soft Light, this is not simply a “monster of the week” story with elements of the mythology grafted in. The show has largely move past those, which is why Avatar felt so weird.

More like

More like “terror vision”, am I right?

Instead, Wetwired is that strangest of government conspiracy stories. It is an episode dedicated almost exclusively to shady goings-on at the highest levels of government, but with no mention or inference of aliens or other sinister long-term plots. Wetwired stands out as something strange and hard to place; perhaps its closest analogue is The Pine Bluff Variant from towards the end of the fifth season.

The result is an oddity that is a little uneven and disjointed, an episode packed with clever ideas and concepts, but difficulty connecting them to each other.

Scully has had it with Mulder's quips about her driving...

Scully has had it with Mulder’s quips about her driving…

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