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The X-Files (Topps) #15-16 – Home of the Brave (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.

And so, we approach the end of an era.

The end of the third season of The X-Files brought down the curtain in a number of different ways. It was the last season of The X-Files to air beginning-to-end on Friday nights, turning it into a truly global phenomenon. It was the last season to air before Chris Carter launched Millennium and the last season broadcast before the show began to focus on The X-Files: Fight the Future; perhaps making it the last season of the show to have Chris Carter’s completely undivided attention for quite some time.

This is the end...

This is the end…

Amid all these changes, the shifting of the creative team on the tie-in comic book is not the biggest change taking place, but it contributes to a larger sense that The X-Files is changing. Writer Stefan Patrucha and artist Charles Adlard had worked on The X-Files since Topps launched the comic. On top of their sixteen issues of the regular series, the duo had worked on an annual, two digests and a variety of short (and special) stories during their tenure.

It is very strange to see the pair departing, because their work on X-Files tie-in comic book ranks as one of the most consistently interesting tie-ins published in mainstream comics.

Don't go into the light...

Don’t go into the light…

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The X-Files – Quagmire (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.

Quagmire is a delightful little episode, one of third season episodes that most effectively embodies what casual fans (or even those who have never seen the show) think of when they hear the words The X-Files.” In Wanting to Believe, author Robert Shearman describes Quagmire as something akin to a “live action Scooby Doo, and he’s not far wrong. This is Mulder and Scully searching together in the darkness, looking for a monster that may or may not be there. You don’t get more archetypical X-Files than that.

One of the defining features of the third season of The X-Files has been a sense of consolidation. It feels like the show experimented a great deal in its first two years, but the third season is very much about cementing and solidifying its identity. It is no wonder, then, that the third season has such a high concentration of archetypal episode – episodes you can show an interested viewer and say this is The X-Files in a forty-five minute nutshell.” In that respect, Quagmire ranks with D.P.O. or Pusher or Clyde Bruckman’s Final Repose as a great introduction to the show.

There's something in the water!

There’s something in the water!

Of course, Quagmire is a very good introduction to The X-Files for new viewers, but it is also something of a farewell. It is Kim Newton’s last script for the show. Newton had joined the writing staff at the start of the third season. Her other major credit was Revelations. Like Revelations, there is a sense that Quagmire was heavily re-written before it made it in front of the cameras. In this case, it is something of an open secret that Quagmire received a fairly significant polish from departing story editor Darin Morgan, whose fingerprints are all over the finished draft.

If Darin Morgan bid farewell to The X-Files with Jose Chung’s “From Outer Space”, then Quagmire serves as something of a coda to his time on the show. If that is the case, it makes for an uncharacteristically upbeat postscript to Morgan’s work on the show.

They really collared the bad guy...

They really collared the bad guy…

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The X-Files (Topps) Digest #2 – Dead to the World (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.

Stefan Petrucha and Charles Adlard are winding at this point in their curatorship of Topps’ The X-Files comic book. The duo have contributed an absolutely staggering volume of work to the line. On top of monthly issues and short stories, there have been annuals and digests. The volume of the output has been staggering. All of it has been written by Petrucha and the vast majority was illustrated by Adlard. The quality has – generally speaking – been quite impressive.

Dead to the World is the headline story in the second “digest” published by Topps comics. As with Big Foot, Warm Heart before it, the format of the “digest” feels a little strange. There is a single (and rather long) comic written by Petrucha and illustrated by Adlard, following by a collection of shorts taken from Ray Bradbury Comics, a somewhat less popular feature of Topps’ comic book publishing line. There is a sense that the format might have worked better as a collection of short X-Files-themed stories for a variety of creators.

Face to face...

Face to face…

Nevertheless, the result is interesting. In many ways, Big Foot, Warm Heart seemed to point at where Petrucha and Adlard would go when they wrapped up their massive twelve-part “Aquarius” mega-arc. With its reflections on human failings and human abuses, it seemed like Big Foot, Warm Heart set the tone for the stories that would follow – like One Player Only or Falling. It offered a tease of things to come, suggesting the humanity could be more monstrous than any mythological creature.

In contrast, it is very tough to see where Dead to the World might have been pointing. Then again, Petrucha and Adlard would be gone from the comic a month after its publication. So perhaps the story’s funereal atmosphere feels appropriate.

Here there be monsters...

Here there be monsters…

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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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The X-Files (Topps) #14 – Falling (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.

Falling is a delightfully nasty piece of work.

It is, to be fair, something that has been gestating for quite a while in Petrucha and Adlard’s extended run on The X-Files. If their first year on the title explored the loose boundary between reality and unreality, their final few issues shifted to more grounded and cynical themes. Most explicitly, the idea that humanity makes the best monsters. It is a gleefully subversive twist on one of the core elements of The X-Files: the idea that monsters are real.

Falling to pieces...

Falling to pieces…

Petrucha and Adlard had broached this before. This was the key point in Big Foot, Warm Heart, where the eponymous creature shows more humanity than the human antagonist of the story. One Player Only featured a delightful red herring when it suggested a murderous artificial intelligence had driven a developer to a killing spree at a software company, only to reveal that the developer’s actions were entirely his own. It will be taken to the logical extreme in Home of the Brave, essentially the duo’s grand finalé.

Blending together the Americana and nostalgia of Stand By Me with the brutal cynicism of Lord of the Flies, Falling is a compelling and unsettling read.

If a tree falls in the woods...

If a tree falls in the woods…

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The X-Files – Jose Chung’s “From Outer Space” (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.

Then there are those who care not about extraterrestrials, searching for meaning in other human beings. Rare or lucky are those who find it. For although we may not be alone in the universe, in our own separate ways, on this planet, we are all alone.

– Darin Morgan takes his bow

It came from beyond the stars...

It came from beyond the stars…

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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 – Hell Money (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.

Hell Money is an oft-overlooked episode of The X-Files.

The positioning in the third season probably doesn’t help. It comes directly after Teso Dos Bichos, probably the season’s weakest episode. It is also positioned in the gap between Pusher and Jose Chung’s “From Outer Space”, two broadly-loved episodes that serve as pitch-perfect examples of The X-Files both on- and off-format. In contrast, Hell Money is something a little stranger. It is not as conventional as Pusher, nor as radical as Jose Chung’s “From Outer Space.”

Seeing is believing...

Seeing is believing…

Instead, Hell Money is an episode of The X-Files that loosely fits the show’s format. Mulder and Scully investigate a bunch of macabre murders where sinister forces are at work. However, in keeping with the broad themes of the third season, the evil in Hell Money takes a particularly banal form. There are no monsters here; at least, not any supernatural monsters. The only ghosts that haunt the narrative are metaphorical. There is a culture alien to our leads, but one a bit more grounded than extraterrestrials.

Hell Money is a clever and thoughtful piece of television that feels subtly and harrowingly subversive.

The writing is on the wall...

The writing is on the wall…

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The X-Files – Teso Dos Bichos (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.

It happens.

Every once in a while, there is a misfire. This is especially true when producing a genre television series churning out over twenty episodes a year. Inevitably, some of those episodes will fail; a few will fail spectacularly. Such is the way of things. It is hard to think of a twenty-odd episode season of anything that managed to maintain consistent levels of brilliance for a full season. All you can really hope is that the eventual and inevitable misfire is mostly technical.

No bones about it...

No bones about it…

Teso Dos Bichos is a terrible episode of The X-Files. It is a terrible episode of television in general. However, it is terrible in ways that are mostly banal. This isn’t a failure of overreaching ambition, like Fearful Symmetry. It isn’t a missed opportunity, like 3. It isn’t even a racist and sexist nightmare, like Excelsis Dei. Instead, Teso Dos Bichos is just bad television. It is an episode that probably didn’t work on paper, containing elements that were unlikely to work on film either.

Given how strong the third season has been, there’s a desire to brush past Teso Dos Bichos, and pretend it simply did not happen.

Cat people!

Cat people!

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Space: Above and Beyond – Dear Earth (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.

In many respects, Dear Earth serves as a mirror to Toy Soldiers.

Both stories are based around familiar wartime story beats. Both are very sentimental hours of television. Both are firmly anchored in the idea that Space: Above and Beyond is largely about reworking the narratives of the Second World War for a futuristic outer space setting. There is a lot of overlap between Dear Earth and Toy Soldiers, with the episodes feeling like two peas in a pod. They both appeal to the same aspects of Space: Above and Beyond.

You've got mail...

You’ve got mail…

However, Dear Earth works a lot better than Toy Soldiers did. It is dealing with a similar collection of iconic imagery and ideas associated with the Second World War, touching on many of the same themes and ideas; it is just that the execution is considerably stronger. Dear Earth is a show that not only has a lot more charm than Toy Soldiers did, but a lot more humanity. It is an episode that does a lot to remind viewers why they have come to care for the show’s ensemble.

Dear Earth is a very well-made piece of television.

Astro-turf...

Astro-turf…

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