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New Podcast! The X-Cast – Season 3, Episode 17 (“Pusher”)

I’m back on The X-Cast this week, to cover a very special episode. Pusher is host Tony Black’s favourite episode, and we recorded this close to his birthday. So no pressure, then.

Pusher has long been a favourite of mine as well, a crackerjack suspense-filled episode from the powerhouse team of writer Vince Gilligan and director Rob Bowman. It’s an episode that works very well both within the confines of The X-Files itself and beyond. Even more than Soft Light, it is an episode that informs a lot of Gilligan’s core themes and ideas going forward. There is a surprising amount of Breaking Bad and Better Call Saul to be found in the episode, for example.

The truth is in here. You can listen to the episode here, or click the link below.

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New Podcast! The X-Cast X-Files Podwatch – Episode #61 (The Beginning/Drive)

I’m thrilled to be a part of The X-Cast X-Files Podwatch, a daily snippet podcast rewatching the entirety of The X-Files between now and the launch of the new season. It is something of a spin-off of The X-Cast, a great X-Files podcast run by the charming Tony Black. Tony has assembled a fantastic array of guests and hosts to go through The X-Files episode-by-episodes. With the new season announced to be starting in early January, Tony’s doing two episodes of the podcast per day, so buckle up. We’re almost there at this point, just winding down from The X-Files: Fight the Future.

My first appearance (covering the first episodes) of the sixth season teams me up once again with Tony himself. We’re discussing the first two episodes of the season, The Beginning and Drive, two episodes very clearly flowing out of the feature film. Indeed, Drive is one of my favourite X-Files episodes of all time.

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New Podcast! The X-Cast X-Files Podwatch – Episode #59 (Folie à Deux/The End)

I’m thrilled to be a part of The X-Cast X-Files Podwatch, a daily snippet podcast rewatching the entirety of The X-Files between now and the launch of the new season. It is something of a spin-off of The X-Cast, a great X-Files podcast run by the charming Tony Black. Tony has assembled a fantastic array of guests and hosts to go through The X-Files episode-by-episodes. With the new season announced to be starting in early January, Tony’s doing two episodes of the podcast per day, so buckle up. It’s going to be fun.

My final appearance (covering the final episodes) of the fifth season teams me up once again with the inimitable Clara Cook. We’re discussing the last two episodes of the season, Folie à Deux and The End, two episodes very clearly set up to lead in The X-Files: Fight the Future.

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Night Stalker – What’s the Frequency, Kolchak? (Review)

This January, to prepare for the release of the new six-part season of The X-Files, we’re wrapping up our coverage of the show, particularly handling the various odds and ends between the show’s last episode and the launch of the revival.

What’s The Frequency, Kolchak? is the episode written by Vince Gilligan.

Gilligan remained one of Frank Spotnitz’s most keen collaborators in the years following the end of The X-Files. Gilligan had worked with Spotnitz as part of the writing staff on the short-lived Robbery Homicide Division before the pair moved on to Night Stalker. After ABC cancelled Night Stalker, the pair would collaborate on the television series A.M.P.E.D. for Spike, writing a pilot that would eventually air as a television movie when the network declined to pick it up for series.

"Wow, ABC really is a tough network to play with..."

“Wow, ABC really is a tough network to play with…”

Sadly, Night Stalker only lasted long enough for Gilligan to script a single episode of the show. Still, he fared better than fellow staffer Darin Morgan; Morgan’s script for The M-Word did not make it into production before the axe fell on the show. This is a shame; the materials available on the DVD that never made it to air on ABC suggest a show more comfortable with itself than the first six episodes would suggest. More than any other episode of the first season of Night Stalker, What’s the Frequency, Kolchak? speaks to the series’ potential.

It is just a shame that it arrives too late.

The monster at the end of the hall...

The monster at the end of the hall…

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The X-Files – Sunshine Days (Review)

This December, we’re taking a trip back in time to review the ninth season of The X-Files.

Well, here’s hopin’ the TV stays off and he learns how to love the real world.

– Doggett stops just short of adding “… and that goes for you as well.”

The X-Files was always a more romantic show than it would readily admit.

The popular image of the show might be Mulder and Scully walking through darkness searching for a truth that may never be revealed or a hideous monster preying upon innocent victims. Chris Carter’s most successful work might be rooted in the dual betrayals of Watergate and Vietnam. The characters might stalk car parks late at night or explore the darkest corners of the urban landscape. Mulder and Scully might be abducted by forces beyond their control, and subjected to the cruel whims of uncaring fate. The show’s motto might be “trust no one.”

"Let's call it a day..."

“Let’s call it a day…”

Nevertheless, that cynicism is offset with a deep-seated romance. “Trust no one” is one of the defining mantras of The X-Files, but there are other more optimistic catchphrases; “I want to believe” and “the truth is out there.” Optimism outvotes cynicism by a two-to-one majority. It is not quite a decisive victory, but it is something in this cynical and chaotic world. While Mulder and Scully might never actually find the truth which they so desperately seek, they did find one another. That is more than either could have hoped and than some people can claim.

Sunshine Days is a staggeringly romantic and optimistic piece of television. Indeed, it suggests that the cynicism of The X-Files was really just a practiced veneer. As the title suggests, Sunshine Days allows the central cast to smile more frequently over forty-five minutes than most have in the course of their entire run on the show. As with the rest of the show, Sunshine Days is rooted in the culture of the seventies. However, there is something quite heartwarming in how Vince Gilligan eschews All the President’s Men for The Brady Bunch.

Out of this world...

Out of this world…

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The X-Files – Jump the Shark (Review)

This December, we’re taking a trip back in time to review the ninth season of The X-Files.

As The X-Files trundles towards its finalé, there is a sense that the production team do not understand “closure.”

There is, of course, a cheap gag to be made here. Long-time fans of the show might joke that the show never understood the concept of “closure”, as demonstrated by the fact that the show’s mythology frequently resembled a precariously-balanced tower of Jenga bricks gently swaying in a light breeze. This is perhaps a bit unfair; episodes like Requiem and Existence had done a good job of bringing the television show to a point where it might end, only for the show to be picked up for another season.

Shot down in their prime... time slot.

Shot down in their prime… time slot.

The end of the ninth season differs from the ends of the seventh or eighth because the production team know that the show is going to end. There will be no last-minute reprieve, no green-light give mere days before the last episode is actually broadcast. This is, in many ways, the end of The X-Files. With that in mind, the final episodes of the ninth season begin tidying away dangling plot threads and narrative loose ends in the hopes of satisfying the audience. The show seems to be running through a checklist. Lone Gunmen now. William next. Luke Doggett after that.

The problem, of course, is that none of these concepts are really calling for definitive “closure.” There is no reason for the show to draw a line under these supporting characters or plot arcs. It is possible for fans to imagine life beyond a television show for many characters without engaging in ruthless pruning. The Lone Gunmen do not need an epic send-off. In fact, the idea of an epic send-off seems to represent a misunderstanding of the characters themselves.

"Chris Carter said we're invited to the wrap party..."

“Chris Carter said we’re invited to the wrap party…”

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The X-Files – John Doe (Review)

This December, we’re taking a trip back in time to review the ninth season of The X-Files.

A man without a past on a show without a future.

John Doe opens with John Doggett on the floor of a dusty warehouse, an addict stealing his shoes. Doggett chases the thief out of the warehouse, stunned to realise that he is actually in Mexico. His pursuit of the addict culminates in his arrest by local law enforcement, a couple of cops demanding to see his identification papers. Doggett pats himself down looking for something, but the horror of his situation seems to dawn on him. Asked for his name, all Doggett can offer is an awkward “I don’t know.” His past has been stolen from him.

"Woah, boy. Computer-generated film grain. I'm either in Mexico or a CSI flashback."

“Woah, boy. Computer-generated film grain. I’m either in Mexico or a CSI flashback.”

Four days after the initial broadcast of John Doe, it was announced that there would be no tenth season of The X-Files. Fox and Chris Carter were retiring the show after a phenomenal nine-season run. Of course, production had wrapped on John Doe long before the decision had been made; the crew were working on Scary Monsters when news filtered down about the looming end of the show. However, there was something quite appropriate about the timing of all this. John Doggett lost his past in the same week that The X-Files lost its future.

There is almost a weird poetry in that.

Breaking Decent.

Breaking Decent.

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