Tag Archives: Never Again

I Want to Believe: I don’t think I’m the one who’s changed.


 

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This wasn’t the plan. Within a year of the series finale, Chris Carter and Frank Spotnitz were brainstorming an idea for the next installment in what everyone assumed would be The X-Files’ continuing feature film franchise. The release would be sometime in 2004. The fandom was out there.

But then, there were delays, and negotiations, and delays, and scheduling issues, and more delays… and a lawsuit. By the end of all that, Carter and Spotnitz were left to work with a small budget, an unsupportive studio, and a dwindling fan base; the cultural zeitgeist of the 90’s had passed and even if it hadn’t, Seasons 8 and 9 had laid waste to much of the public’s interest in The X-Files. Oh, and they lost all their plot notes so they had to scrap their previous ideas and start the script from scratch. Oh, and there was a writer’s strike during filming which meant they couldn’t fix any of the script’s problems.

I Want to Believe was a brainchild born under less than ideal circumstances. It’s little wonder then that it wafts whiffs of the smoke of disappointment. When I squint at it mentally, I see a middle aged man looking nostalgically back on his promising youth and trying to keep hope alive for the future.

But is it good?

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One plan that stayed alive from the beginning was to make this movie an extended Monster of the Week episode, a stand-alone, rather than write it as part of the larger mythology. This way audiences who didn’t know the series could get into it; it could generate general interest and pave the path for more films. As a fan who always leaned more toward the stand-alone episodes, I was and am all for this.

IWTB is an atmospheric, contained, pensive film. That’s what it needed to be, especially on a small budget. Personally, I wasn’t looking for loud explosions or dramatic special effects. I needed a Monster of the Week, not that was bigger and badder, but that was better than what I got in a typical episode.

To that end, the film is shot beautifully. The production went back to Vancouver and the director of photography from the series, Bill Roe, was brought back for this big screen effort so it looks like The X-Files. Someone new to the franchise would get a quick and easy idea of its trademark aesthetic. The setting, the chill, the darkness, it’s all perfect. And for a while, it convinces me I’m back home, imaginatively speaking.

But the difficulty in making this a MOTW is that it creates continuity issues for long time fans. When we last saw Mulder and Scully some six years previously, Mulder was on the run for his life after being given the death penalty by the F.B.I.. After being a part of the plan to help him escape, Scully ran off with him, and I don’t suppose she handed in her resignation either. We left them in a hotel room in New Mexico, hiding from an alien infiltrated government and on their way to Canada, ready to give everything in order to prevent alien colonization before D-Day 12/22/12.

In order for this to be a proper MOTW and still fit into the framework of the mythology, I assumed they would still be on the run or in hiding, but would somehow stumble upon an X-File, an outbreak of platonic paranormal activity or some such. I was sort of right about their being in hiding. Mulder’s hiding out in his home office while Scully lives openly, not under an assumed name, and works in a private Catholic hospital. There’s no underlying sense of urgency. (I’m sorry… when did the Super Soldiers stop posing a threat? I don’t need a mythology rundown, just a wee bit of context, please.)

After all that build up Season 9 about the government being out to kill Mulder, after Carter painted these two characters into the ultimate corner where they have no choice but to leave everything and everyone behind to take on the world by themselves, the threat is magically gone, just like Scully’s cancer, just like Mulder’s brain disease, and just like William. It’s safe for Mulder to walk into F.B.I. headquarters now. There are no Super Soldiers hiding in plain sight there. And the government doesn’t care about him one way or the other. “Just do us this favor and we’ll pretend none of it ever happened, Mulder.” Well, I’m going to do this plot a favor and pretend this issue was resolved in a much more satisfactory fashion.

In the grand scheme of things, how they get to this point is not a big deal. All that matters to me is that Mulder and Scully have an X-File to solve again. Mulder and Scully. Mulder and Scully.

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Is it too much to ask to see Mulder and Scully solve an interesting case… together? That’s all I want. That’s what I tuned into The X-Files to see every week. Instead we have Scully at first urging Mulder back into the land of the living only to retreat herself just as things get interesting. If IWTB is anything, it’s a character study, but not of Mulder, of Scully.

For first time viewers, it no doubt doesn’t matter. But for obsessive Philes, we know that Scully has a long history of being a paying passenger on Mulder’s crazy train. She’s briefly fantasized about normalcy in episodes like “Emily” (5×7) and “Dreamland” (6×4). And she’s questioned her life choices a few times in episodes like “Never Again” (4×13) and “all things” (7×17). But as in the ending of “all things”, she has reaffirmed her decision to continue tilting at windmills with Mulder over and over again. She did it, for example, in “Quagmire” (3×22), “Tooms” (1×20), “Paper Clip” (3×2), “Memento Mori” (4×15), Fight the Future, etc. etc. Scully wasn’t dragged into this quest and she hasn’t been dragged along. She’s invested in the journey.

Heck, she even reconfirmed her commitment in “The Field Where I Died” (4×5). It’s a strange day indeed when I have to use TFWID as evidence of anything good and true…

Anyway, the last time we saw Scully in “The Truth” (9×19/20) she was doing what she does best after debunking Mulder’s theories and that’s keeping him in the fight, like she did in “Little Green Men” (2×1), “One Son” (6×12), and “The Sixth Extinction II: Amor Fati” (7×4), to mention a few episodes of note. Scully is the official Keeper of Mulder’s Faith. And that’s why reading between the lines of the script, I believe ITWB was designed to turn the tables, that it’s meant to show us a weary Scully who now has to be urged back into battle herself by Mulder and by God.

This is potentially a very interesting and welcome moment of personal evolution for her character. Characters, like real people (and Scully is real), evolve and change. But if Scully’s going to jump from “Let’s fight the darkness, Mulder” to “I don’t wanna fight the darkness, Mulder” then we need some kind of context as to how and why.

I remember in the script stage talking a lot about what Scully could say and couldn’t say to [Mulder], that it couldn’t be selfish, her refusal to join him and wanting him to stop. She had to have legitimate reasons about where she was in her life. – Spotnitz, Blu-ray Commentary

Did going on the lam test her faith and her patience? Did she miss her family? Is that why she and Mulder settled down and she took a regular job again? Scully says that she and Mulder have a home and that she doesn’t want the darkness to creep back into that home. Is it that she and Mulder have finally found happiness and she doesn’t want to lose it? Or is it the relative peace that she values? ‘Cause they don’t exactly look like they’re living in non-marital bliss…

Is it that she’s rediscovered her calling as a physician? Are we supposed to understand she’s found fulfillment elsewhere now that she and Mulder aren’t chasing monsters anymore and that her work helping others has replaced the necessity of her work on the X-Files? Maybe it’s her relationship with young Christian, who is not so subtly named “Christian” and comes to represent both her lost son and the Christian faith she questions as she thinks on both her own losses and this young boy’s suffering.

If all that is the case, then I’m sad to say it doesn’t prove particularly effective as character motivation. The fate of the wide world rests on Mulder and Scully’s shoulders, but having Mulder out of the house for this case is too much for her to take? So she threatens to leave the only person who understands everything she’s been through? The person who she’s saved and who has saved her more times than she can count? Really? Well just roll me into a ball of confusion.

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When did Scully become that chick? When did she become the clingy girlfriend or the stereotypical cop’s wife for whom no emergency is worth her husband missing dinner? The woman who from the outside male perspective doesn’t appear logical, but purely hormonal? Scully’s suddenly the type to emotionally manipulate Mulder into doing what she wants by holding their relationship over his head?

In the interest of full disclosure, I have a very low tolerance for onscreen relationship drama. Breakup or don’t. I have things to do.

I think the tension between Mulder and Scully would have worked much better if it had stayed centered around the case. We’re used to seeing Mulder and Scully at odds. The tension between them comes from their different perspectives, which actually work in a sort of harmony to drive the plot forward. There’s no need to force feed us marital drama. If there’s tension between them, let it be about the work itself, not their personal romance.

After all, as ever, they’re ultimately after the same thing. Scully is trying to save a life and so is Mulder. Not only is she after the same thing, she’s going after it in the same way – by exploring extreme possibilities. Even if Scully is wrapped up in what she’s doing at the hospital, there’s no legitimate emotional reason given for why she wants Mulder to give up trying to save these women and come back home and be a good househusband. (Oh, are you losing Mulder’s attention? I am so sorry.)

But that’s enough of my sarcasm because this isn’t a horrible movie. In fact, it starts off really well. There’s a creepy murder. Mulder and Scully are on a new mission – the team is back together. Mark Snow’s music is as effective as ever. It’s dark, it’s atmospheric, Mulder’s spouting mumbo jumbo nobody cares about and Scully looks worried about him. All is well in my world.

I especially like how the movie keeps us guessing as to the current status of Mulder and Scully’s relationship. Is it just that she knows how to find him for the F.B.I. or that they’re in regular contact? Are they in regular contact or is she at home in that house? Even at the end of the movie, is Scully moving out and saying goodbye or is she leaving for another day at work? See how things don’t have to be out in the open to stay interesting?

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Unfortunately, though, the movie hops over the boredom line at about the halfway mark. As the relationship drama ramps up, the mystery itself winds down. Instead of taking time to develop the villain or up the stakes of the plot, IWTB focuses on Mulder and Scully’s adventures with the peodophile priest. Father Joe is played convincingly and even sympathetically by Billy Connolly. But the overall plot is sacrificed to the themes of persistence and redemption that Father Joe represents. I love those themes, but isn’t there still supposed to be a mystery here worth solving?

Father Joe is here more than anything to be the voice of God for Scully, to convince her not to give up on young Christian or her faith. But, Scully’s like the prophet Jonah. Some people she’d rather not see God forgive. There can’t be a more unregenerate soul than a priest turned pedophile, right? If so, then the theme that absolutely anyone can be redeemed and anyone who presents themselves available can be used by God comes through loud and clear. By the end, Scully seems to have accepted the message on behalf of us all. 

As ever in The X-Files, God, Providence is at work behind the events. These are themes Chris Carter keeps coming back to, no doubt because they’re a part of him.

Verdict:

It’s not great, it’s not horrible. It’s just okay. But “okay” isn’t a satisfying comeback after six years. And “okay” doesn’t get you a third movie.

I remember seeing this in the theater for my 25th birthday. One of my best friends had come down to help me celebrate my quarter life crisis and what perfect timing! Mulder and Scully were back. After the way Season 9 ended and the amount of time that had passed, I had assumed all momentum was gone and that there would be no movie franchise forthcoming. Imagine the thrill when I found out we were getting a new movie, and a MOTW at that!

I was duly giddy with excitement, but I couldn’t help noting that we were about the only ones in the theater. And while the movie started out great, even as I thoroughly enjoyed myself and was happy to be seeing Mulder and Scully onscreen even when I wasn’t thoroughly enjoying myself, I knew even then that this wasn’t the kind of movie that spawned yet another movie. Mulder and Scully waved to me and I waved back to them (shamelessly) with the sad knowledge that this likely really was the end this time.

And then it wasn’t…

“I think we always had the desire that we would potentially do a third feature. I think we all felt that the second one that we did wasn’t necessarily the right way for us to end.” – Gillian Anderson

“I feel like we didn’t end on the right note before.“ – Gillian Anderson

I so agree. And I’m so, so grateful that it didn’t end here. If this had been a mediocre episode of the series, I could’ve shrugged off some of its failings much easier. When I thought it was The X-Files’ last gasp, it was a more painful thought. I’ve gone through ups and downs in my feelings about IWTB, but I think I’ve finally learned to accept it for what it is.  IWTB sounds like an instrument tuning back up. But you don’t listen to the orchestra tune up without then sitting through the concert. This was The X-Files getting a feel for itself again. This was the actors connecting with the characters again. This wasn’t a fully satisfying outing that left you feeling like Mulder and Scully’s journey was complete.

In the end, I’m glad IWTB wasn’t sufficient to launch another movie. In the end, the only satisfying way to finish out this series is to finish it out as a series. A couple of hours of screen time isn’t going to cut it to resolve everything that needs to be resolved. We don’t know where this new miniseries will lead, if it will lead to other miniseries. But if I can see the old team solving cases together one more time, it’ll all be worth it.

C+

Misplaced Bush Jokes:

“This stubbornness of yours… it’s why I fell in love with you.” I HATE this line. It’s the low point of the movie and one of the most cringe-worthy moments of the entire franchise. And no, I’m not surrendering my shipper card.

Enough with the free ads for Google. Google’s doing just fine on its own.

Realistically, this stood no chance being released during The Dark Knight’s massive reign.

A gay man kills innocent people to harvest limbs for transplant for his lover as part of a Russian medical conspiracy. They really thought that would work as a plot, huh?

Amanda Peet and Xzibit don’t feel like X-Files characters.

Speaking of which, what was the point of Agent Whitney’s toothless Mulder crush? I mean, other than kinda grossing me and Scully out?

Scully’s abilities as a doctor were always suspect given her resume. But when did she find time while on the run from the government to undergo training in pediatrics? And now the pathologist is poking around in the brains of the living? Scully does a quick Google search then wheels the boy into the OR for an experimental procedure the same day?

And, really? We’re going to bring Scully back to Seasons 1 & 3 with the “Samantha is Mulder’s only motivation” schtick?

THE BEARD, THO.

I can’t believe the Russians would successfully do those surgeries in those kind of unsanitary conditions.

“Write it down. Put it in a book.” – HUH???

William left me with an emptiness that couldn’t be filled either. Let’s see what happens now…

Dear Revival – As you can see, we’ve already been there, done that with the breakup idea.

Movin’ On Up:

The Skinner Hug. Squeal me.

I remember the actress who plays the missing agent from “The Post-Modern Prometheus” (5×6). TPMP – My eternal debt to Chris Carter.

Between this and TPMP, it’s clear Chris Carter has a Frankenstein fetish.

Father Joe can’t have visions with Scully in the room. Echoes of the Stupendous Yappi in “Clyde Bruckman’s Final Repose” (3×4).

The hospital asks Scully to let go of her case, Scully asks Mulder to let go of his.

I love the effortless elegance of Scully’s hair.

Best Quotes:

Mulder: If it were me, I’d be on the guy 24/7, I’d be in bed with him kissing his holy ass.

Whitney: Father Joe’s a convicted pedophile.

Mulder: …Maybe I’d stay out of bed with him.

——————–

Scully: What is this?

Whitney: Dorms for habitual sex offenders.

Scully: Dorms?

Whitney: They manage the complex and police themselves. Father Joe lives here voluntarily with his roommate.

Mulder: Just avoid the activities room.

——————–

Scully: What are you doing?

Mulder: [Walks off] I’m trying to ignore you. {Editor’s Note: ME TOO.}

——————–

Skinner: I know Mulder. He’d get to a phone and call first. He wouldn’t do anything crazy.

Scully: [Looks at him]

Skinner: Not overly crazy.

 

En Ami 7×15: Here’s a story to warm the cockles of your heart.


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The devil went down to Virginia.

The title basically gives the crux of this episode away. Is C.G.B. Spender, aka Cigarette-Smoking Man, acting “en ami,” “as a friend?” Or is he, as ever, Scully’s enemy?

When “En Ami” first aired I remember liking it alright, but overall feeling a little disappointed. I’m happy to report that it improves upon rewatching, provided one keeps one’s expectations in check; this isn’t designed to be fright fest or a fast-paced adventure or even a true mythology episode. It’s really a quiet study in psychological intrigue. Somehow or other, CSM is able to wear down Scully’s mind to the point where she believes him. Him! A confirmed liar and the father of them.

In a welcome turn, Scully is the object of everyone’s attention and affection this episode. Though the real stars of “En Ami” are Scully’s breasts.

I kid.

No, I don’t.

A few gratuitous shots of Scully’s cleavage aside, it feels good to watch her launch her own investigation for the first time in a long time. Well, I guess it’s not really an investigation. CSM sets Scully up from the beginning by orchestrating a series of events designed to trick her into showing up at a particular meeting place, otherwise, he wouldn’t be able to get his hands on the cure to his disease.

He starts by curing Jason, a little boy diagnosed with cancer whose parents don’t believe in traditional medicine for religious reasons. Jason is visited one night by “angels” who implant a chip in his neck, triggering his immediate recovery. CSM draws Scully’s attention to this little miracle, knowing that because of the chip she’d had in her own neck and her battle against cancer after she had it removed, she wouldn’t be able to ignore the implications.

Once Scully is duly intrigued, CSM announces his presence, telling Scully that Jason isn’t the first and he doesn’t have to be the last. In what feels like a clear-cut case of the devil masquerading as God, CSM claims that he has the cure for cancer and he’ll give it to Scully and only to Scully. Enough of that Mulder. He doesn’t know what’s good for him.

The feeling is mutual as Mulder is done listening to CSM and warns Scully that she shouldn’t fall for his mind games either. Here’s where Scully gets really radical, not because she decides to go on a road trip with CSM, but because she lies to Mulder and thinks she can get away with it.

Now, I’m all for Scully ditching Mulder. Heaven knows he deserves it after the untold times he’s left her flapping in the wind of ignorance while he ran headlong into danger. But did Scully really think Mulder wouldn’t catch on immediately? Mulder, who as far back as “Paper Clip” (3×2) she had a psychic connection with. Notice she can’t look him in the face and lie, she has to do it over an answering machine.

No, it seems like a battle she knew she’d lose; she was merely buying time to get away with CSM. The benefit her foolishness affords us is a great scene in Scully’s hallway between Mulder and Scully’s building super. Also, there’s a fabulous moment when Skinner is on the phone with Scully and Mulder reaches for the phone, but she hangs up rather than talk to him. Burn.

But I’m getting off topic. Back to the plot.

Scully and CSM run off together and leave Mulder pacing the floor with worry. CSM introduces Scully to another one of his success stories, Marjorie Butters, a one hundred and eighteen-year-old woman who doesn’t look a day over seventy. How we went from the cure for cancer to the secret of eternal life, I don’t know. But for some reason, Scully the doctor is convinced, not by scientific proof, but by anecdotal evidence. Maybe she wants to believe.

Now that she does believe, and this is a jump in logic I’m never quite able to make, CSM also convinces her that there’s a contact they have to meet who holds the science that Scully needs to save the world. I thought CSM already had the cure? No? Well, I’m going to give the plot the benefit of the doubt and assume that CSM had access to the chips, but not the (alien) science behind the technology, and that’s what he promised Scully.

Anywho, after a very skeevy moment where Scully falls dead asleep in the car and CSM puts gloves on before staring at her… dangerously, they arrive at a quaint little hotel in the idyllic middle of nowhere. Did CSM drug her? Please, for the love of applesauce, somebody tell me changed her own clothes and put herself in bed. ‘Cause Scully and I are both a little freaked out right now.

It’s over a candlelit dinner when The Girls and Scully, their co-star, are told by CSM that this technology will not only cure cancer but it’s the cure for all that ills. No one comes out and uses the word “panacea,” but I suppose that would make the idea sound farfetched. And no one wants The X-Files to sound farfetched. Perhaps, though, this explains Marjorie Butters.

The more interesting thing is that CSM spills his guts. Well, okay. I’m overstating that. But he does reveal a secret longing for human love. Supposedly, near death’s door as he is, he wants to leave behind something good. He regrets choosing a life of bitter loneliness. Whether he says this out of genuine remorse, or whether this is part of his scheme to trick Scully, or whether he has unrealistic hopes of seducing Scully, you be the judge.

We do know he’s up to something, however, as Black-Haired Man from Fight the Future is back and secretly doing his dirty work. Scully also has a secret admirer who slips her a note in the restaurant, telling her to meet him at dawn. Actually, he calls it “first light,” but we all know that’s purely for flair.

Scully goes to meet him out on the lake and he turns out to be “Cobra,” a man wanted by the federal government and who was involved in some shadow project at the Department of Defense. As Mulder and the Lone Gunmen find out separately, “Cobra” has been emailing Scully for the past six months. He thought she was emailing him back. She wasn’t. Somebody, who probably looks a lot like CSM, hacked her computer, intercepted the emails and responded as Scully. That same somebody set up this meeting at the quaint little hotel in the idyllic middle of nowhere.

“Cobra” gives Scully a disk that supposedly contains the secret to utopia on it and drops some not so subtle hints about he and Scully creating their own private utopia. He’ll have to make do with that last glance at our fair heroine, alas, as Black-Haired Man promptly shoots him from his hidden position in the woods almost as soon as he hands over the disk. He takes aim at Scully too – after all, all they wanted was the disk and Scully was merely the lure to draw Cobra out – but the shot we hear ring out kills him instead. It looks like CSM has a soft spot for Scully after all. Whether he intended to save her from the beginning… I have my doubts. But it would appear that CSM’s more emotionally attached to his sworn enemies than his minions. Funny how relationships can develop like that.

Safe and sound, Scully hands the disk over to CSM who duly gives it back to her because, after all, the whole point was to get this information into Scully’s hands. Back in Mulder’s apartment, Scully looks hopefully up at Mulder who was ready to call out the National Guard over his missing partner. The expression on his face as he looks up and away from her is priceless. He says nothing with his mouth but his eyes say, “I can’t even talk to you right now.” All’s not forgiven yet.

Scully has incurred Mulder’s ire to no avail. There’s nothing on the disk. CSM switched them somehow, giving Scully a blank disk and keeping the disk with the information on it he needs to save his own life. That’s all this was ever about. The fake office building, the fake miracles, all of it. It was an elaborate rouse to save himself.

Why, then, does he toss the disk into the water? Could it be that not everything he told Scully was a lie? Maybe he doesn’t really want to live, not if he continues to live a meaningless and lonely life.

Verdict:

Whew! I know I don’t usually recap this much. But with so much intrigue, it seemed easier to combine my comments with the plot for the most part. This isn’t a traditional mythology episode, but there are almost as many twists and turns.

The ambiguity of it all is actually one of this episodes weak points, or strong points depending on how you look at it. Back in the day, The X-Files used to leave its audience hanging on the regular. This was our first and only offering of a script from William B. Davis (heavily edited by Frank Spotnitz) who, understandably, wanted to get inside CSM’s head a little bit. And, even more understandably, wanted some more screentime with Gillian Anderson. The thing is, CSM tells us things about himself, but it’s hard to decide which lie to believe. In the end, we’re not any closer to knowing who he is. Unless, of course, like me, you think he truly is a lonely man with a soft spot for Scully and Mulder.

As I said before, it’s a quiet, thoughtful sort of episode without any fireworks or mayhem. But I like it because even if it doesn’t offer concrete insight, it gives me several good laughs and moments of tension.

Hee-Haws –

  • The Lone Gunmen in drag
  • “Do you know how many people have died in there?”
  • Mulder so ticked at Scully he can’t even look in her direction

Uh-Ohs –

  • Black-Haired Man masquerades as the Mailman
  • Did CSM just see Scully naked???

There’s a bit where CSM tries to psycho-analyze Scully that I could have done without. However, at least there’s some emotional continuity with “Never Again” (4×13). Not that CSM knows Scully as well as he thinks he does, not based on her eyebrow raise after he accuses her of living “a life alone.” Hmm…

Long story not so short, I think it’s good. The plot can be a little hard to follow, it’s hard to believe Scully would fall for CSM’s lies on so little evidence, and it’s a little tame, so I’m torn between grades. With the aftertaste of “First Person Shooter” (7×13) still in my mouth, I’m almost inclined to upgrade it in comparison. But I think I’ll have to go with a:

B+

Blank Disks:

Seriously though, I love Mulder’s wounded housewife routine. “Where were you? You should have called!”

You really can’t blame CSM for taking a shot. Gillian Anderson looks especially gorgeous this episode. I’m glad they gave her the chance to dress up at least once in the series.

Scully makes secret tape recordings for Mulder. Tapes. Remember those?

That scene where Scully’s asleep in the car with CSM and he reaches over to touch her reminds me, perversely, of “Pusher” (3×17).

This was director Rob Bowman’s final episode before leaving the show.

Scully’s motivations – Maybe she falls for it all so easily because CSM knew which buttons to push. He focused on her compassion as a doctor, her sense of justice as a law enforcement agent, her curiosity as a scientist, and her empathy as a cancer survivor. No wonder he went to her and not to Mulder.

Best Quotes:

Mulder: I’ve just got to know whether it was Roma Downey or Della Reese.

————————

Scully: What the hell are you doing?

CSM: God’s work, what else?

————————

Apartment Manager: Tenants like having an FBI agent in the building. Gives them a sense of security.

Mulder: Do you know how many people have died in there?

Apartment Manager: Oh, we don’t really talk about that.

———————–

Mulder: Who the hell is Cobra? Scully would have told me about him.

Langly: Well, it looks like she’s gone to great lengths to keep this from you.

Mulder: I don’t believe that. She knows that I’d find her, no matter what. {Editor’s Note: He can back that up too, y’all.}

 

Tithonus 6×9: You’re a lucky man.


The gift that keeps on giving.

Oh, Vince Gilligan. Why you make me love you so???

I watched an interview not long ago where Gilligan (humbly) admitted that when it came to writing X-Files episodes, he edited other people’s stories – no one edited his. Watch “Tithonus” and understand why.

It’s been so long since the days of “Paper Hearts” (4×8) and “Unruhe” (4×2) that I’d almost forgotten Gilligan writes serious tales too, and writes them well. Similarly to “Elegy” (4×22), this is one of the few episodes in a show populated week after week by gruesome deaths that is actually about death. Or, more accurately, about life and at what point death could be preferable.

Like “Unruhe” and another previous episode, “Oubliette” (3×8), the action in “Tithonus” revolves around that unnerving staple of modernity, that casual bit of creepiness that hides in plain sight: Photography. There’s something so much more… invasive about an old-fashioned camera like the one Alfred Felig uses, something that’s been lost with the advent of the pocket digital camera, something that is fundamental to the success of stories like this where the camera is a villain in its own right – an uninvited violation, a soulless enemy. We say the lens “captures” an image and it’s a subtle way of acknowledging an unspoken discomfort. Between the blinding flash and the disorienting sound, the subject of the photograph is momentarily vulnerable. A part of them has been “possessed” by the camera whether they were willing participants in the event or not.

And who is more vulnerable than those who are already half dead? That’s where Alfred Felig comes in. The man that time forgot. In echoes Clyde Bruckman before him, this is a man saddled with a curse that anyone on the outside looking in would think is a gift, and it’s taken all the joy out of living.

Unlike the mythological Tithonus, the eponymous source of this episode’s title, who lives forever but shrivels up with age until he turns into a cricket, Felig doesn’t physically grow old and withered. But he is cursed to live forever without the heart of youth, the heart that desires, as Scully says, to learn and experience and love. Tithonus’ immortality becomes a curse because his goddess lover forgot to add eternal youth to the gift of eternal life and, abandoned by his love, he longs for death. Felig has the opposite problem in that he has a form of eternal youth without the substance of it; he’s been dead a long time, he just can’t convince his body to follow. As Agent Ritter says, “He’s always been a geezer.” He scoffs at Scully’s suggestion that love is worth living for. What use is love to him?

But what if Felig hadn’t forgotten the name of his long-deceased wife? If Mrs. Felig could have lived eternally with her husband in wedded bliss, would he still have hunted death so relentlessly? Would invincibility still feel so cold a curse?

I submit that someone who merely possessed immortality would be cursed, but someone imbued with eternal youth may feel differently. Either way, who would want to live forever in this world? Perhaps one of the greatest acts of mercy God ever bestowed on mankind was to curse them with death in the Garden of Eden; they wouldn’t spend eternity in a world corrupted by evil. Even if, like Felig, death refused to touch you, you’d live to watch generations of others suffer. No, only the disturbed are in a hurry to leave but no one in their right mind wants to stay indefinitely either. Well, except for me. But then, no one said I was in my right mind.

For her part, Scully doesn’t understand Felig because she’s still so full of energy and curiosity. You can tell from her reaction that she finds his, shall we say, unappreciative view of life a little depressing.  She hasn’t grown tired yet the way the aged do. I remember how my 90-odd-years-old grandmother used to tell me that being old was exhausting, not because she wasn’t happy to live a long life, but because at some point, living takes effort. Felig is just tired. And when he’s eventually allowed to stop, to be at peace, you can see the relief on his face. Felig’s dying moments, when he’s reunited with death, are like a master class in acting from guest star Geoffrey Lewis.

But I know what many longtime fans are wondering, will Scully ever even know what that feels like? Way back when, X-Files legend Darin Morgan penned this oft-discussed exchange between Scully and psychic Clyde Bruckman for “Clyde Bruckman’s Final Repose” (3×4):

Scully: All right. So how do I die?
Clyde Bruckman: You don’t.

Does this mean that “Tithonus” confirmation of the long-held speculation that Scully is immortal? By looking at death in Scully’s place, does Felig cause Scully to take his place in the land of the perpetually living?

While Vince Gilligan is famous for throwing clever references to earlier episodes in his scripts and so it wouldn’t be beyond him to do something like this, the clear message of this episode is that too much life is no life at all and I suspect Gilligan loves Scully too much to make her immortal. And I can’t find the interview, but I know he’s said that wasn’t what he was implying. Besides, he would have already known that Darin Morgan never intended to hint that she was either:

“Clyde Bruckman’s Final Repose” contained several lines of dialogue that sent fans into a frenzy pondering their meaning. The first came when Bruckman told Scully she wouldn’t die. “Some people took it to mean that Scully was immortal, but the meaning was that Clyde knows how Scully’s going to die, but he likes her so much he’s not going to tell her because telling her would ruin her life, whether she believed it or not. Telling someone they’re not going to die is one of the nicest things you can say. That’s why he says it to her. It had nothing to do with whether she was immortal or was going to be hurt in the show.”

http://web.archive.org/web/20020220130917/http://www.morganandwongonline.com/darin2.html

Though I admit that if it were true it’d be some kind of poetic justice considering everything Scully’s been through in recent years. And that’s why it makes emotional sense that this X-File was handed to Scully and not to Mulder. Scully and Felig’s interaction is all the more poignant because Scully is very aware of her own mortality, because she’s someone who wants to live and not too long ago fought desperately against the violating evil of her own cancer. Only someone who has fought so hard for life would be a fitting foil for someone fighting just as hard for death.

Verdict:

I won’t lie to you. For all that philosophizing, my favorite part of this episode is watching Mulder pout with envy. But it’s his own fault – he created a monster.

Scully, while she will ever be Scully, is far more open than she used to be. No, she’s not the instant believer that Mulder is, but after considering all the evidence she’s surprisingly willing to admit that something supernatural is at work here.  She already proved she could handle an X-File on her own back in “Chinga” (5×10), but she’s less unsure of herself in “Tithonus”. She’s so sure of herself that it’s a joy, I repeat, a joy to watch her stand up to Agent Ritter, the Anti-Mulder.

Mulder needn’t have worried. If anything, pairing Scully with Ritter only highlights the weaknesses of any other partnership but Scully and Mulder. When Scully trades places in the car with a by-the-book Ritter, I can’t help but take my mind back to “Tooms” (1×20) when her less orthodox stakeout with Mulder was far more entertaining. I also can’t help but think back to “Squeeze” (1×2) when Mulder and Scully first discover a man who has lived way beyond his years and how they similarly trace his history through low-tech means. Ritter is smart enough to realize there’s a case here, but not as brilliant… or as accepting… as Mulder and so can’t get past the surface of Felig’s situation to the real truth. Even his haircut is square. He’s like vanilla ice cream to Mulder’s Rocky Road. I mean, good grief, his name is Payton.

This is one of the rare Scully-centric episodes that I actually love. In fact, it might be the only one. Yeah, I’ll say it – This is a more well-rounded episode than “Never Again” (4×13).

A

P.S. I can’t leave without mentioning Mulder’s not so veiled threat to Ritter, ‘cause y’all know Mulder would’ve literally killed him if Scully had died, right? He says it so calmly, he’s like Michael Corleone in The Godfather. That’s how you know he means it. Ritter knows it too.

P.P.S. Mulder and Scully and the thumb war. That is all.

Background Checks:

From Cherish the Past: Undoubtedly, the biggest line item for visual effects producer Bill Millar was the postproduction transformation into black-and-white instead of color of the individuals, including Scully, whom Felig sees as doomed. “We used a technique very similar to the one used to wreck all those old movies by colorizing them,” said Millar. “In fact, it’s basically the same, only in reverse.” …Millar, who first used this method on an episode of the short-lived NBC series, Nightmare Cafe in 1992, noted that the hit movie Pleasantville, released within a week or two of the night “Tithonus” first aired, was much praised for its innovative use of decolorization, while its employment on “Tithonus” passed virtually without notice. “Interesting, don’t you think?” Millar said wryly.

If you have the DVDs, this is one of those rare episodes with deleted scenes to watch to help you extend the magic. Go ahead. Live a little.

Did you see that scene where Scully saves the hooker? Did you see it? I’m going to start thinking of her as “Slap-a-Pimp Scully” from now on.

The way the room is lit during the interrogation of Alfred Felig is absolutely stunning. It’s like something out of a Film Noir handbook.

What does Agent Ritter shoot an unarmed Felig for anyway? It’s not like you could mistake that bulky camera for a gun when the light is behind you.

Scully has a rather sentimental look in her eye when she asks Felig about love and her disappointment at his answer is obvious – don’t make me say it.

Between this and “Unruhe”, methinks Vince Gilligan has a not so secret fascination with photography.

Best Quotes:

Scully: [Answers cell] Scully.
Mulder: [In affected voice] Hi, my name is Fox Mulder. We used to sit next to each other at the F.B.I.

——————–

Agent Ritter: You know, Kersh warned me about you.
Scully: Uh, he did?
Agent Ritter: Yeah, you and your partner. God knows his reputation precedes him so I guess I should have seen this coming. You muck up my case, and Kersh’ll hear about it. Are we clear, Dana?
Scully: Scully. And we’re done with this conversation. {Editor’s Note: Bam! My girl.}

——————–

Mulder: Now we’re talking about a guy for whom the phrase “life in prison” carries some seriously weighty connotations.

Folie à Deux 5×19: See, if you’re not smiling, they can hear it.


The Natural Look

Vince Gilligan is a television genius and this episode has his sense of humor written all over it, rendering it unnecessary to even check the credits for his name. Telemarketing Zombie Grasshoppers? C’mon. We all know who’s responsible for this.

These… insects… are like something out of a 1950’s B sci-fi movie. It’s only one halting step away from the anonymous office worker who took off his hat one day and revealed an over-large pair of red compound eyes. Maybe the charm of that is lost on you, maybe it isn’t, but the zombies aren’t actually the focus of this episode anyway. They’re just a vehicle to showcase the current depth of Mulder and Scully’s partnership – I say “partnership” but it’s more like an “unbreakable psychic bond.”

Think about the way the events of the episode unfold: Mulder bewails his fate. Scully attempts to share Mulder’s fate. Mulder spares her his burden. Scully insinuates herself anyway. Mulder admits he needs Scully. Scully saves Mulder. Scully bewails her fate.

Yes, actually, I have pretty much described the entire series, I Want to Believe included.

One thing I especially love about Vince Gilligan’s episodes of The X-Files, or one person I should say, is Scully. Underneath the comedic icing of episodes like “Small Potatoes” (4×20) and “Bad Blood” (5×12) are subtly nuanced views of her character. This episode, even though the focus is ostensibly on Mulder, is no different. Where Mulder’s character falls into a foreseeable and highly anticipated decline consistent with everything he’s always been, it’s Scully who takes another imperceptible and yet vital step forward in a progression that will be significant in not only the immediately following season finale, but in the movie and the next season to come.

I bet you think this is where I explain how important and gratifying it is that Scully has come to trust Mulder, how she’s almost substituted his instincts for her own. But what’s more significant for Scully’s character is how far Mulder is now able to trust her. If Mulder’s computer-induced daydream of a roundhouse kicking Scully comes to save the day in “Kill Switch” (5×11) was just that, a daydream. Here’s the real thing.

Scully believes in Mulder so strongly that she can see what he sees. Similarly to the events of this episode but with less humor, Scully was worried about Mulder’s sanity in “Grotesque” (3×14), but she didn’t fall down the rabbit hole with him back then. Now their simpatico is such that she can’t help but adopt his psychosis. Surely, it’s not the phenomenon itself she comes to believe in, even if she does see it with her own eyes. Afterward she falters in her explanation of it before Skinner like a guilty schoolgirl. No, rather, Scully has reached the point where it doesn’t matter if what she sees is real or not, what matters is that she and Mulder are seeing the same thing.

“Folie à Deux” is a partnership-focused episode and in it The X-Files firmly establishes just how far Mulder and Scully have come in their relationship since the beginning, a not so subtle reminder right before “The End” (5×20). It’s especially significant in light of the emotional upheaval Scully’s about to experience with the advent of She-Who-Must-Not-Be-Named. Mulder just affirmed Scully’s place in his life in the most explicit terms he ever has. Does she believe him? I don’t see why she wouldn’t. Will she continue to? That’s complicated.

Scully questions why she follows Mulder back in “Quagmire” (3×22), she pouts over it in “Never Again” (4×13), she’ll complain the fruitlessness of it all innumerable times in the future, and yet she stays. Bottom Line: Scully doesn’t believe in the mission, she believes in the man.

Verdict:

If there’s one complaint, one reason why this episode doesn’t garner as many accolades as it could, it’s that those silly insects, the villains of the story, are so cheesy it’s distracting. But then, after all, how scary can a giant bug be? A spider the size of your hand, that’s scary. Once a pest passes the size of a soccer ball, it crosses the Rubicon into comical. The whole thing would have been more of a fright fest if Pincus had been a straight zombie or vampire and they had bypassed the insect angle altogether, but I don’t think that was ever Gillligan’s intent. The comedic undertones are intentional. And considering our arch-villain Pincus is a man-sized grasshopper, I think the visual effects team did an impressive job.

Dial and smile, Gary.

A-

Zombieland:

Telemarketers or zombies, what’s scarier? Their monotone scripts sound like zombie-speak anyway.

How in the round world did Scully get to Chicago so fast?? She hung up with Mulder just before he was taken hostage yet she arrives in front of the building while the SWAT team is still organizing itself. Just once, couldn’t someone write some actual time into the timeline?

Shirley Temple and Bo Jangles are on the television in one scene. Way to combine classic moments in pop culture.

Nice bit of continuity – Mulder’s finger is still broken from the last episode. Vince Gilligan was always a master of continuity nods.

It’s an episode that starts off seemingly about a crazy man holding people hostage and then turns into another thing altogether. Echoes of “Duane Barry” (2×5), anyone?

This is another classic case of Mulder manipulating Scully into an autopsy.

Why is it that every episode where Mulder “frees” Scully from having to jump into the fray with him, she ultimately refuses to stay away? “Tooms” (1×20), “Little Green Men” (2×1), “End Game” (2×17).

Best Quotes:

Mulder: Monsters? I’m your boy.

———————

Mulder: I must have done something to piss him off.
Scully: What do you mean?
Mulder: Get stuck with this jerk-off assignment. Or have I finally reached that magic point in my career where every time somebody sees Bigfoot or the Virgin Mary on a tortilla, I get called out of my basement ward to offer my special insight on the matter.
Scully: You’re saying “I” a lot. I heard “we.” Nor do I assume that this case is just a waste of our time.
Mulder: Well, not yours anyways. There’s no reason both of us should go to Chicago. I’ll take care of it. [Walks away]
Scully: Mulder?
Mulder: I’m Monster Boy, right?

———————

Mulder: Scully at the risk of you telling me “I told you so”, I think it’s time for you to get down here and help me.
Scully: I told you so.

———————

Mulder: Scully, you have to believe me. Nobody else on this whole damn planet does or ever will. You’re my one in five billion.

All Souls 5×17: I’m immune to your mockery.


All the captions I think of feel somehow sacreligious…

Ah, the Enigmatic Dr. Scully. It turns out that on the sly, or in between commercial breaks, however you choose to see it, the formerly lapsed Catholic has been attending church almost on the regular since the events of “Redux II” (5×3).

Why do I suspect Mulder knows nothing about this development?

But why doth our lovely doctor look so solemn on Easter Sunday of all days? Could it be there’s a little Catholic Guilt weighing her down.

More than it is a spiritual follow up to “Revelations” (3×11), “All Souls” is an emotional follow up to “Emily” (5×7). Scully is questioning the decision she made at the end of “Emily” not to fight to save her own daughter, but to allow her to die a relatively peaceful death rather than live in potential agony only to have certain death to look forward to. Scully feels very sure at that moment of a decision that I on the other side of the television screen still have qualms about, but now it seems that her conviction has grown thin. I wonder how she’d feel if she knew about that little green vial Mulder kept hidden from her…

Scully now wonders whether it was really God’s will that she allow Emily or the young disabled girl to die, whether she was working as His instrument or not. And more than that, she’s having a Job moment; Scully can’t understand why God has allowed these girls and herself to be in such a painful position in the first place, why the innocent sometimes reap the reward of the guilty.

It’s a question older than the Book of Psalms and one that writers Spotnitz and Shiban wisely don’t attempt to answer. Instead, they choose to reaffirm Scully’s faith that reasons exist even if she doesn’t know what they are.

Yet despite it’s worthy motives, “All Souls” falls somewhat flat. Maybe if more time had been spent elaborating on the implications, spiritual and otherwise, of the apocryphal legend of the Nephilim. Or maybe if there weren’t quite so many red herrings leaving the viewer even more unsure of what just happened than Scully herself. It’s not that it’s bad, it’s just that it’s a little boring and a tad confusing. Even Gillian Anderson’s valiantly acted angst fails to completely pull me in to the story.

Speaking of which, I think I’ve officially had my quota of Sad-Eyed Scully for one season.

I always thought that up until Season 8, Season 4 was Scully’s angstiest season but it appears I always thought wrong. I can think of 3 episodes in Season 4 where Scully faced some sort of emotional crossroad: “Never Again” (4×13), “Memento Mori” (4×15) and “Elegy” (4×22). Season 5 is already at 4: “Redux II”, “Christmas Carol” (5×5), “Emily” and “All Souls”. This isn’t even counting the emotional slap in the face she’ll receive in “The End” (5×20)…

I realize that Scully’s lovely when she’s somber but would it have been possible to have an episode centered around her faith that left her cheerful rather than crying in a confessional booth?

Maybe because I have a tendency to skip both “Revelations” and “All Souls” on my usual rewatches, I never appreciated how exactly the director referenced the previous episode’s shots of Scully in the confessional – just in case we missed the fact that both episodes center around Scully’s Catholicism. “All Souls” even ends exactly like “Revelations” with Scully beautifully lit in a confessional booth giving us a pithy statement about faith. It’s not quite as compelling the second time around, but the continuity is noted and appreciated.

And the Verdict is…

Amazing how Mulder flat out refuses to believe there’s anything spiritual going on when it comes to Christianity. Vampires? Sure. Werewolves? Why not. Jesus? You must be kidding.

I’m sorry, but Mulder, my dearest Mulder, is a right and proper jerk this episode. Didn’t he learn anything from the ending of “Revelations” when he realized that he’d been wrong to write off those involved in the case as religious wackos and that he’d alienated his partner through his insensitivity?

Judging between the two episodes, and a couple of earlier ones, I think Mulder’s problem is that when he’s skeptical, which isn’t often, he has the undiplomatic habit of scoffing at other people’s credulity. It’s not pretty. Scully, for all she may raise an eyebrow at Mulder’s theories, usually respects the man if not the idea. Mulder has a way of dismissing both the message and the messenger.

He doesn’t say, “Willikers, Scully, we both know that stranger things have happened but I just don’t think this is the case here and here’s why.” Oh no. Instead he makes quips about psychotic believers convinced they’re hearing from a non-existent God – a category that Scully is uncomfortably forced to conclude she falls into.

No doubt about it, Mulder has a chip on his shoulder when it comes to the church. Praise be, he’ll later redeem himself (no pun intended) in “Signs & Wonders” (7×9) after “Orison” (7×7) softens him up a bit.

B

Apocrypha

I’ve seen “All Souls” probably 6 or 7 times but I only just figured out that the Seraphim is a separate entity from the demon caseworker – a clear reflection of my level of interest in this episode.

I’m not Catholic so I’m no expert, but why were Dara’s parents having her baptized on a dark and stormy night 6 years down the road rather than immediately or thereabouts after she was adopted? Like baptizing an infant, wouldn’t they have wanted some insurance for her soul sooner instead of later?

Scully goes to church on Easter Sunday, stops at the family’s house and learns about their daughter, then goes to the pathologist’s office on the same day. That’s one busy little bee.

Mulder doesn’t even show up until 14 minutes into the episode not counting commercial interference. And once he shows up I’d rather he weren’t there.

Best Quotes:

Scully: As much as I have my faith, Father, I am a scientist, trained to weigh evidence. But science only teaches us how… not why…

——————

Mulder: Look, Scully, I know you don’t… really want my help on this, but can I offer my… professional opinion? You got a bona fide super-crazy religious wacko on your hands.

——————

Mulder: I know people in glass houses shouldn’t throw stones blah blah blah, but that guy is paranoid!

Memento Mori 4×15: You think a lot more of me than you let on.


The hug heard 'round the world.

This episode opens with something I’m generally not too fond of: An X-Files voiceover.

You can always tell when Chris Carter has written one and they’re always slightly overwrought and self-consciously poeticized. In this one, Scully sounds marvelously unlike an investigator and even less like a scientist. Who knew she majored in Physics but minored in English Literature? Snarkiness aside though, much of this episode is spent establishing that Scully is Scully no matter what her circumstances are. Sickness doesn’t cause her to call up her mother sobbing because that’s not who she is. She doesn’t run to Mulder in frantic desperation because that would be a betrayal of herself. Why her words would become flowery when her mind is not is beyond me. On the plus side, the monologue does get the point across quickly that Scully is dying and there’s nothing she can do about it.

What kind of reaction will this produce in Scully? Will there be any deathbed confessions? Probably not. Based on their track record, we all know that Mulder and Scully aren’t about to embarrass themselves with any alarming declarations, however we as the audience might hope. The foundation of their relationship is unspoken, like an iceberg, the most important parts remaining invisible but assumed and understood based solely on what we can see. One of the reasons “Memento Mori” is so special is that it does allow us some concrete but still subtle proof of how Mulder and Scully really feel about each other. No more guessing.

To suddenly force Mulder and Scully’s relationship out into the wide open would undermine it at the risk of its losing it’s effectiveness. So what happens? Scully writes a diary that lays her thoughts bare, only for Mulder to read it outside of her presence. This gives loyal fans an incredible payoff but also a reason to keep watching since Mulder and Scully are still fundamentally silent. Everything’s understood, nothing has to be said, our assumptions are confirmed and validated, the status quo is maintained.

Gillian Anderson won the Emmy for Outstanding Lead Actress in a Drama series for this one. It’s not too hard to see why since she takes Scully to a place of both vulnerability and strength that we’ve never seen from her before. But really, the glories of this episode are almost equally shared between 3 leads, the other two being David Duchovny and Mitch Pileggi who also give us some complicated and incredibly nuanced performances.

Mulder, despite his disavowal of Scully’s fate, I believe is actually less in denial than she is. Scully admits there’s no hope then flatly refuses to face her death or admit that she’s anything other than “fine.” Mulder, on the other hand, recognizes that Scully is dying; it’s just that he refuses to believe there’s nothing he can do about it. Like his relationship to the larger conspiracy, he believes it exists but also believes that he somehow has the power to change it. (In fact, it isn’t until he believes that he’s helpless to affect the outcome of events that he momentarily gives up, but that will be a long time in the future). He doesn’t cry and he doesn’t rant, instead he hunts, throwing himself even deeper to the conspiracy that did this to Scully, into the danger that he brought Scully into, in hopes that he can save her from this threat that he’s partially responsible for. This episode avoids losing itself in sentimentality by forcing its characters into action.

Skinner doesn’t sit idly by either. After refusing to set up a meeting between Mulder and CSM, he wastes no time in making his own Faustian bargain with the chain smoking Grinch. I know there’s a lot of talk about there among Skinner/Scully Shippers as to what this means about Skinner’s feelings for Scully that he would sacrifice himself on the altar of CSM to find a cure for her disease. But as much as Skinner cares for Scully and wants to see her healed, I actually think that this transaction has more to do with his relationship with Mulder who, despite a relatively minor difference in age, seems to be a pseudo-son to him. Rather than allow Mulder to be corrupted, he takes up that cross himself and suffers in silence. It’s really one of Skinner’s most heroic moments on the show. He loses his soul yet somehow keeps his integrity.

Then there are 3 other… bonus heroes. I’m glad that the Lone Gunmen show up in this one because they give the episode that bit of fun that it needs to avoid taking itself too seriously. True, this is a story about the devastation of cancer, but it takes place in a show about alien conspiracies and paranormal activity. The writers can only wax so poetic without risk of losing their audience.

Speaking of the overarching conspiracy, this is the first “mythology” episode since Season 2’s “Red Museum” (2×10), a time when the mythology was still largely unformed, that doesn’t actually present any new mythology information. The underlying plot isn’t advanced, only reaffirmed, which is why I would hesitate to categorize this as a mythology episode at all but really a stand-alone episode with mythology elements. Actually, I should clarify, as there is one new bit of information: some of the human genetic material used to create clones and drones comes from the embryos of abductees, Scully included. But it will take a good 4 years… that’s right, 4 years… before Mulder will reveal this secret to Scully in the episode “Per Manum” (8×8). Although, it happens in flashback so really it took him 3 years, but still.

Verdict:

By the opening of this episode it’s like the events of “Never Again” (4×13) never happened. To be sure, when death arrives petty disputes have a way of disappearing. But I suppose we’ll never know if Mulder and Scully worked through their issues or just forgot about them when a much larger monster came along that required all their powers of concentration.

It doesn’t really matter. As much as this episode involved a love letter of sorts from Scully to Mulder, it feels like a love letter to the fans. Scully’s cancer, like her abduction that caused it, gives a human face to the conspiracy and reminds us that this whole show really is about 2 people, their trials, tribulations and adventures. We wanted more insight into their characters and now we have it.

But I still could’ve done without that purple prose.

A

Comments:

Grey-Haired Man makes a return. He was last seen in “Apocrypha” (3×16).

The clones are back! Not to be confused with the drones we were introduced to in “Herrenvolk” (4×1) despite the fact that the same DNA created both.

Carter and Spotnitz were working on Fight the Future at the same time as this script. I wonder what that knowledge will reveal when the movie finally comes up.

“It’s part of what makes these such Romantic, heroic characters is that they always put their personal lives on the back seat. In fact they, they really don’t have much in the way of a personal life whatsoever. Um, they’re people on a quest. They’re, they’re really both united and separated by their quest.” – Spotnitz

I feel so justified in my assessments now. See above.

Nice tie in to the visuals of both “The Erlenmeyer Flask” (1×23) and “End Game” (2×17).

Scully really deserved to be chewed out by her mother. I love that this show represents death and dying in a realistic way. People still get mad at each other.

Speaking of people getting mad, it’s still too bad that the scene between Scully and her brother Bill had to be cut. Thankfully, we’ll get another chance to hate him real soon.

Is it Shipper suicide if I admit I’m glad they cut the kiss?

Best Quotes:

Mulder: [Handing Scully flowers] I… stole these from some guy with a broken leg down the hall. He won’t be able to catch me.

———————–

Skinner: So you want to set up a meeting. With whom?
Mulder: Cigarette man. I have no doubt in my mind he’s behind this.
Skinner: You’ve come to be before like this, Mulder.
Mulder: Yeah, well, this is different. This is different, I’m willing to deal now.
Skinner: Find another way.
Mulder: No! I need that meeting.
Skinner: You deal with this man, you offer him anything and he will own you forever.
Mulder: He knows what they did to Agent Scully! He may very well know how to save her!
Skinner: If he knows, you can know too but you can’t ask the truth of a man who trades in lies! I won’t let you.

———————–

Smoking Man: It’s funny. I always thought of you as Fox Mulder’s patron. You’d think under your aegis that he wouldn’t be consigned to a corner of the basement.
Skinner: At least he doesn’t take an elevator up to get to work.
Smoking Man: You think I’m the devil, Mr. Skinner?

————————

Mulder: Pick out something black and sexy and prepare to do some funky poaching.

Never Again 4×13: You’d break my heart over a cheap redhead?


Walking in Memphis.

Before we start, let’s take a moment to consider what could have been:

“They had long wanted to write a story about Lincoln’s ghost haunting the White House, and thought this would work splendidly on The X-Files; finally, Mulder and Scully go to the White House! But their disappointment over the changes they were forced to make ‘Musings of Cigarette Smoking Man’ caused them to withhold the ghost story and look for something else. ‘I had done a lot of research and I had always wanted to write a feature about Lincoln’s ghost,’ Morgan said, ‘But I felt they didn’t want my heart and soul anymore, so I wouldn’t give this one to them.’

Why cast pearls before swine? Instead of Lincoln’s ghost, we got Jodie Foster’s disembodied voice. It’s a pretty even trade.

I don’t like this episode. And I know that just as much as it was hated when it first aired it’s become something of a critic’s darling over the years. Even so, I still can’t see it. I think most of this praise stems from the fact that the episode and the content thereof is admittedly daring for The X-Files. But showing us a new side of Scully’s character, while a worthy goal, isn’t merit enough for me considering the side the side of Scully they decided to show.

I think the fairest way to look at this episode is the way that writers Morgan and Wong intended it, outside of the shadow of “Leonard Betts” (4×14). These two episodes were shown out of broadcast order because The Powers That Be felt that “Leonard Betts” would be a better episode to air directly after the Super Bowl. I have to say they were right. “Leonard Betts” is a better representation of what the show is all about. “Never Again” not only could potentially alienate a large segment of fans (the Shippers), but it could leave the new audience that Fox was trying to recruit a little confused. After all, unless you know the history of Mulder and Scully’s day-to-day relationship this episode loses a lot of its power.

So for the majority of this review, I’m going to consider the episode as written: Scully has no idea that she may have cancer. Her actions have no impetus or inspiration outside of her own psyche.

There’s an interesting assumption subtly put forth here in the beginning of the episode that Mulder and Scully have a lot more cases, most of them mundane and unfruitful, than we as the audience get to see. It’s actually a great idea and would explain why Scully’s skepticism still holds sway even in the face of all that she’s seen if she’s actually seen more that can be dismissed than that can be proved. The problem is, as late as “Teliko” (4×4) Scully is typing up case report #74, which is the same as the episode number give or take a combined abduction arc or two. That would mean that up to this point in the series, what we’ve seen is all there is to see. And if Scully’s seen exactly what we’ve seen, her petulant ennui seems rather misplaced. At the very least, she shouldn’t dismiss Mulder and his informant so easily. What was that she said to Mulder way back in “The Erlenmeyer Flask” (1×23)? “I should know by now to trust your instincts.”

Sometimes I think Morgan and Wong were reading from a completely new playbook.

Not that their unfortunate characterization of Mulder is completely out of left field. He is rather self-righteous and self-absorbed. But he’s certainly proven that he can be selfless when it comes to Scully. Episodes such as “End Game” (2×17) and “Paper Clip” (3×2) are evidence enough of this. Sure, when he says obnoxiously obtuse things like, “You don’t want it to be?,” in response to Scully’s complaint that his work has become her life, he’s rather asking for a slap. But then again, hasn’t she already affirmed in episodes like “Herrenvolk” (4×1) that they’re in this thing together? Hasn’t he given her escape routes that she refuses to take in episodes like “Tooms” (1×21) and “End Game”? If Mulder is presumptuous when it comes to Scully, it’s only because she’s set herself up for it by being so faithful.

What’s more, this line always raises my eyebrow:

Scully: Refusing an assignment? It makes it sound like you’re my superior.

Reality check, Scully. I believe he is.

Oh, I don’t know if he’s technically her superior, but he’s certainly the Senior Agent having graduated from Quantico 4 years before Scully even began at the Academy. Not to mention that he’s way ahead of her in this whole paranormal gig. And as far as her holding down the fort while Mulder’s on vacation, isn’t that her job? Is she even allowed to refuse an assignment except that her close relationship with Mulder gives her leave to do so?

Considering the nature of their working relationship and the precedents she herself has set, Mulder’s annoyance at Scully’s sudden shift in behavior is somewhat justified.

“I thought Scully gets jerked around a lot by Mulder, and this is time for her to stand up for herself,” Morgan said… Sometimes friends suddenly seem troubled and you don’t know why and they won’t tell you. I think he is concerned, even though they get into a little fight… Scully doesn’t do a good job at telling him what’s wrong. She’s inarticulate about it, and I don’t think he understands what she’s trying to say. Mulder should have said, ‘Well, what’s making you feel this way?’ or ‘I don’t understand.’ But in the case of a lot of friends, he just gets frustrated, and sort of blows out. He’s a psychologist, but when it comes to his own life, it’s a forest for the trees type situation. It’s just too close to him.”

Ah, yes. The fight.

The fact that Scully doesn’t have a desk makes Mulder look like a jackass. But frankly, “Why don’t I have a desk?” is a silly question. “Why haven’t I asked for a desk?” is a better one. I’m sure she can requisition one without Mulder’s assistance. (In Morgan and Wong’s defense, this argument was inspired by internet fans whose hawk-like eyes had noticed that Scully still hadn’t earned a place to sit in 4 years).

This sudden wedge between them feels slightly artificial, especially since we know that Scully takes over the desk any old time she pleases. Without the context that “Leonard Betts” gives, it seems as though the writers are looking for an excuse to drive a wedge between our two leads.

“My understanding at the beginning of the year was that we were going to drive to a point where Mulder and Scully didn’t trust each other,” Morgan said. His own scenario for plotting out the season was somewhat different from what Carter and the other writers came up with this year, but the fundamental issue was the same: trust. “I would have slowly split Mulder and Scully up over the course of the season, then in the last episode have Scully put Mulder away for his own good, which he would perceive as the ultimate betrayal,” Morgan said. “And then the next season, they would have had an entire year’s healing to go through.”

And there it is. Yet another example of why it was so important that Chris Carter hold tightly to the reigns of his own creation. It’s not that Morgan’s plan wouldn’t have made for a good drama. And certainly, the 1013 crew did create some tension between Mulder and Scully to keep the audience on their toes. But I dare say that if such a plan had come to fruition, The X-Files would have been The X-Files no longer but some kind of sci-fi soap opera (a fate that it wouldn’t teeter close to till much later in the series).

What if Morgan and Wong’s other plans had gone through? What if Melissa Scully had become Mulder’s love interest? What if CSM had killed Frohike? What if Scully had had sex with Ed Jerse, not just permanently altering her characterization but forever changing the tone of the series? Objectively, I can see why stories like that would be more fun to write. But as a fan, they potentially would have killed my love for the show.

Speaking of sex…

I’ve said before that Mulder and Scully are heroes in the Romantic literary tradition. Humanizing them is one thing. Even Odysseus had his faults. But there’s only so, well, “gritty” you can make a hero before they lose their status altogether. If we had witnessed the same Scully who once famously said, “Hard to imagine in this day and age someone having sex with a perfect stranger,” do the deed with a perfect stranger after only a few drinks to numb her inhibitions, she would have lost her dignity.

Look at the reaction the Detectives have to finding her in Ed Jerse’s apartment the morning after. Do they take her seriously in that disheveled condition? Hardly. And as a woman in the F.B.I., Scully would have had to work hard for her reputation and for respect. A woman with so much to lose would be more cautious. To not do so could put her career at risk.

“As to why it was cut, Morgan said that Carter and the other writers felt that every other woman on television was jumping into bed, and they had worked very hard to differentiate Scully from other female television characters. Morgan’s response: ‘She’s different, but the way she is now, she’s not human.’”

It’s not human to be celibate? Or to at least hold out for a while? Scully doesn’t have to be realistic a la The Sopranos to be believable. Besides, Scully is a sentimentalized vision, as is Mulder in his own way. Scully represents an ideal of intelligent, unexploited womanhood. Taint that at your own peril.

Scully: Sometimes I wish I were that impulsive.

Ed Jerse isn’t even Scully’s type. Judging by her past and future track record in episodes like “Lazarus” (1×14) and “all things” (7×17) she’s more into the intellectual sort as a rule. This is rebellion. Pure and simple. That said, unlike Mulder and Melissa in “The Field Where I Died” (4×5), their chemistry is believable, even if it’s not of the life long sort. Besides, he doesn’t seem to be bothered when he essentially tells him that he’s nothing more than a proverbial giant pack of cigarettes to her.

But, why Ed Jerse and why now? She sees the picture in his apartment with his face burned out. She knows this man is troubled. Such reckless behavior is unlike Scully who here-to-fore has been rational to a fault.

“My gut feeling is that Scully does see Mulder as a father figure,” Morgan said… “In ‘Never Again,’ I don’t know if she’s rejecting the message, but she’s rejecting the father. At times their relationship becomes so oppressive. When I was married and unhappy, I would just go through these things where things would build up, and then I would just do something stupid. And I’d go, ‘What the hell is that? That’s not even me.’”

I’ve already made an argument for why I don’t think the comparison between Bill Scully and Mulder is on point. The details are in my review for “Quagmire” (3×22), but to summarize, just because Scully called her father “Ahab” does not mean that he was actually an Ahab-like figure the way that Mulder is. Bill Scully was no post-modern Don Quixote, unlike Mulder who wears his hopeful neediness on his sleeve. Rather, I believe that Scully sees Mulder as this tragically heroic figure, one whose quest she’s drawn to at least partially out of her own sense of awe and adventure. Again, this is why stripping Mulder and/or Scully of the Romantic aura that surrounds them would disrupt the whole course of the show.

Scully: I’ve always gone around in this, uh… this circle. It usually starts when an authoritative or a controlling figure comes into my life.

Mulder? Authoritative? Controlling? “All consuming,” I’ll give you. But despite the fact that he has a very effective puppy dog face, Mulder is certainly no puppet master. And as far as authoritative, Scully’s consistently sarcastic remarks in response to his theories would say otherwise. This is hardly a teacher-pupil relationship. Scully brings just as much to the table as Mulder. And yet, here she is painted as that same, stupid little girl sucking poison into her lungs not because she likes cigarettes, but because some perverse part of her wants to piss off the father she loves and that she knows loves her. It’s rebellion at its silliest.

Don’t get me wrong, I understand that Scully wants to be her own person. That’s a natural desire and it can’t be discounted. Mulder’s right, they do need to spend some time apart so that Scully can remember who she is and what she wants. If this episode achieves anything, it forces both Mulder and Scully to recognize just how entrenched their relationship has become, such that both are unsure of their identities without it.

“I feel that Mulder had come to respect that there’s more to this than just him, that Scully is now a part of his life and he’s a part of hers. I think that she learned the danger of exploring the rebellious side, and that it has to be accompanied by responsibility. What she did almost got her killed.”

Their communication skills leave something to be desired. But since the very next episode leaves the events of “Never Again” all but forgotten, I think we can safely say that no permanent damage was done. Not that they didn’t come very, very close what with Mulder making cavalier jokes about Scully’s tattoo and all.

“’I hope we helped Chris out,’ Wong concluded. ‘I think we did a good job. It was a lot of work; we basically did a season’s work in half a season, but I hope that didn’t show in the quality of our X-Files and Millennium episodes. We have very fond thoughts of the people we worked with.’”

Morgan and Wong did do an awesome job, even if much of their work on Season 4 leaves me a little wary and grateful that they decided to move on when they did. Some seasons of life are good while they last, but they shouldn’t be artificially enjoyed past their expiration date. Besides, the quality of their work has never been in doubt. It’s their X-Files philosophy that I sometimes take issue with.

Oh, I know that Mulder and Scully aren’t perfect. And they don’t act perfectly toward each other. But imperfect doesn’t automatically translate to dysfunctional. Why do we have to believe that they’re together because of some twisted and unhealthy psychological need?

There’s a far more simple and compelling, if less melodramatic explanation: They’re friends.

Verdict:

Taking this episode as it was aired, after “Leonard Betts”, everything about it is much easier to accept. Scully doesn’t know how long she has to live, so why not throw off any and all constraints? There’s always a risk of infection and allergic reactions with tattoos, not to mention the risks involved in sex with a stranger, all things that Scully, as a doctor, would be more than aware of. But if she’s dying anyway, what’s the use in being the good girl? In the light of cancer, seeing Scully suddenly question the trajectory of her life makes perfect sense. What was satisfactory a week ago when you thought you had all the time in the world to find the things you want in life suddenly looks bland and meaningless.

Yet even considering that, there’s only so “grounded” these characters can be and still be able to function in a series where the fantastic happens on the regular. Like it or not, Mulder is the Indiana Jones of the F.B.I. We can’t hate Indy and cheer him on.

I confess I still don’t understand sending Scully to the dark side without rhyme, reason or impetus. It’s hard to reconcile this new image of Scully with the fact that her biggest rebellion on record is giving up medicine… to work for the government.

B

P.S. The excerpts are from an interview with Morgan and Wong that can be found here: http://etc1013.wordpress.com/1997/10/01/cinefantastique-4/

Running Commentary:

Scully has a fight scene for the second episode in a row. Rock on, Scully.

It’s always more believable when Mulder and Scully seek and discover an X-File rather than when an X-File stumbles upon them.

Scully pieces together that the blood with the strange toxicology found in the victim’s apartment is most likely Ed’s. Ergo, she must realize there’s a good chance he’s the killer, yet she unloads her suspicions on him without any precautions as though a trip to the doctor’s office is all that’s in order. Is she just taking “innocent until proven guilty” to a ridiculous extreme? Woman, you should have had your gun in hand.

It’s interesting to note that there were some reservations about the script of “Small Potatoes” (4×20) calling for a near kiss between “Mulder” and Scully after he plies her with some alcohol. After all, no one wanted Scully to appear easy…

“In December 1996 someone on the old AOL discussion group posted that they wished Scully would get a love interest. Glen Morgan emailed the person and told her that he was writing just that, and for ‘Shippers to be afraid … be very afraid.’ This caused a heated debate among Shippers/Non-Shippers/Shipper Haters and everyone else. As a result, Morgan posted something on AOL to defend himself: ‘Well, this is almost as embarrassing as the recent Chargers-Patriots game. I swear … I have nothing against either side. Mulder and Scully may love each other, they may not. But, as in any relationship, it should be challenged to see if it is strong. Long live the debate! I love this series. I love the fans. I *HATE* Entertainment Weekly (as long as we’re being honest). Jim and I would never write anything with the sole intention of making anyone angry. If that is a reaction to an episode, however, great! It’s better than being boring. The comment that was posted was a joke. And if it was meant to be a public joke, then it would have been. My apologies if anyone was upset. Never again — Glen.’” Source: http://cleigh6.tripod.com/CTP/CTP-neveragain.html

Best Quotes:

Scully: Your contact, while interesting in the context of science fiction was… at least in my memory, recounting a poorly veiled synopsis of an episode of Rocky & Bullwinkle.
Mulder: “Eenie Weenie Chili Beanie, the spirits are about to speak?”
Scully: Rocky and Bullwinkle are looking for an Upsidasian mine. Boris Badenov alters the road signs, which causes them to walk onto a secret military base, where they are picked up by a car with no windows and no door locks, and there are silent explosions from a compound called Hush-a-boom.
Mulder: So you’re refusing an assignment based on the adventures of… [Boris Badenov voice] “Moose and Squirrel?”

———————

Scully: Sometimes I wish I were more impulsive.
Ed Jerse: Careful what you wish for.

———————

Scully: Look, Mulder, I have to go.
Mulder: What? You got a date or something?
Scully: [Silence]
Mulder: You… you’re kidding.
Scully: I have everything under control. I will talk to you later.

———————-

Mulder: All this because I… because I didn’t get you a desk?
Scully: Not everything is about you, Mulder. This is my life.
Mulder: Yes, but it’s m…

Guest Post – X-Files: A Shipper Guide, Part 4


*Editor’s Note: Nina is a long time X-Phile and shipper extraordinaire. (Seriously. You guys thought I was rabid.) You can find more of her humorous insights into The X-Files, Supernatural, 24 and other fandoms on her tumblr at myspecialhell.tumblr.com. Here’s part 4 of her rundown on Mulder and Scully’s relationship in Season 1. You can check out parts 1, 2 and 3 herehere and here. Agree/disagree with her observations? Duke it out in the comments section. We can’t wait to hear what you guys think!

And with that, take it away, Nina!

Biased, completely personal, with tongue firmly planted in cheek

Chapter two

How things change

Aka The second half of the first season

Beyond the Sea is the episode which made me realize that there was Scully, that she wasn’t just Mulder’s sidekick and his love interest. It was one of the episodes that defined Scully as a character on her own. Beyond the Sea is a wonderful episode, one of the favorite among the Philes, both for the casefile which was brilliant and for the characters. For the first time we saw a reversal of their roles: Scully in this episode was the somewhat reluctant believer and Mulder was the skeptic.

There were reasons behind this twist, which I wish they had kept in latter seasons when Scully point blank became a believer and Mulder turned skeptic.

With the death of Scully’s father, just after Christmas  – and I got to say this: guys what’s the what with Scully and Christmas? I mean, in the first season she loses her father and in the fifth season there’s the whole Emily thing…

For the first time we saw Mulder letting  go of the professionalism and the distance he had put between Scully and he, when he called her by her first name.

We Philes learned very soon that they would never going to call each other by first names, Mulder did it from time to time, and we knew that he didn’t want Scully to call him Fox. To this day I still don’t know why…I mean, ok, his name sucks, but why he didn’t let her call him Fox ?

Even in the train wreck the last season has been, in the fan-fiction episode (trust no one), while she was physically shaking while reading his e-mail she still called him Mulder. She was forever his, but she still called him Mulder. (one could argue that in the last season the writers didn’t even remember Mulder’s first name, but that’s beside the point!)

I have a theory  – I always have theories concerning the X-Files, this doesn’t come as a surprise. –  which I’ll illustrate later in the essay.

Anyway, back to the episode, Mulder called Scully: “Dana” and gently touched her face, which I’m sure is a gesture every FBI agent is trained to do to comfort a grieving peer (insert my snort in here)

Mulder was ready to face a demon from his past, from the days at VICAP: Luther Lee Boggs, terrifically played by Academy Award nominee, Emmy™ nominee Brad Dourif . Boggs was a serial killer Mulder had profiled and sent to jail, where he was waiting for his execution.

It has to be said that Mulder didn’t want Scully to follow that case so soon after her father’s death, but she claimed she needed to work, she needed to focus her mind elsewhere. We have here a first glimpse at Scully’s way of coping with tragedy and things she can’t accept: she doesn’t; she runs away, she goes in full denial.

Throughout the episode Mulder was very concerned about Scully, he was very protective of her. And that was the first time we actually saw a side of Mulder which was going to become prominent from second season on: namely, how Mulder wanted to protect Scully.

And how Scully deeply cared about Mulder.

Scully was surprised by Mulder in this episode. She saw a side of him she had rarely seen since they had been working together: she saw Mulder as the f***ing brilliant interrogator, the f***ing  VICAP/VCS/BSU’s golden boy. She had glimpsed that side of him during the interrogation scene in Conduit  – which, to this day, is still one of my favorites – but in Beyond the Sea she saw that in glorious Technicolor when he interrogated Boggs.

Beyond the Sea dealt a lot with mortality, with frailty…with beliefs and regrets. Scully who had just lost her father, came close to lose Mulder when he was shot. It was the first time in their partnership one of them was really injured, and its effect was devastating on Scully.

The scene where the ER doctors treated Mulder was heartbreaking to watch: Scully was so distraught over what was happening that she couldn’t even move, she couldn’t even get closer to Mulder. The noises around her faded, and the only thing she could do was to close her eyes.

That scene was another glimpse at how Scully reacts to loss: she implodes for a moment.

I’m not a Scullyist, in case you didn’t notice I’m a Mulderist all the way, yet never have I liked Scully more as in the scene where she went to Boggs ..

You set us up. You’re in on this with Lucas Henry. This was a trap for Mulder because he helped put you away. Well, I came here to tell you that if he dies because of what you’ve done, four days from now, no one will be able to stop me from being the one that will throw the switch and gas you out of this life for good, you son of a b****!

I love this scene…love it with a passion! In the script of the episode there is one difference in the scene which, in my opinion spoke volume of Scully’s feelings for Mulder :

I came here to tell you that if I lose him too because of what you’ve done […]

Too bad the scene wasn’t kept this way.

Scully had a complete faith in Mulder’s  nature. She might tell Mulder that he was crazy, she might get frustrated, but she knew, that when all was said and done, Mulder was a decent, honest, good man. Just like his father…

It is a cold, dark place, Scully. Mulder’s looking in on it right now.

SCULLY: It may be a cold dark place for you but it’s not for Mulder and it’s not for my father.

There is something I want to discuss about Morgan and Wong’s episodes. They seemed to think that Scully saw some kind of a father figure in Mulder. They subtly suggested it in this episode and said it aloud in Never Again.

Wrong. On so many levels.

Morgan and Wong were two very gifted writers, they wrote One Breath which is one of my favorite episodes of the whole series, right in the top five, but they weren’t in favor of a Mulder and Scully’s relationship…and it shows!

Scully didn’t see Mulder as a father figure, an authority figure…besides, can you imagine two people more different than Scully’s father and Mulder? C’mon!

Morgan and Wong did a terrific job with this episode, which was a step up in Mulder and Scully’s relationship. In the end, Scully decided not to hear Boggs and the message her father had for her. She chose to sit at Mulder’s bedside.

As I said, in the second half of the first season we saw a shift in Mulder and Scully’s relationship…we saw how Mulder became more and more protective of Scully and how Scully kept Mulder grounded.

So much for Jerk!Mulder! uh?

Gender Bender and Lazarus showed how Mulder’s behavior toward Scully had changed.

On a purely shallow level: I love the way Mulder held Scully at him in Gender Bender after he rescued her from Father Andrew pheromone’s filled paws. He gently closed her shirt, and held her at him.

It was the first time they were so close physically; granted they had examined each other, they walked as if they were glued, he had brushed her cheeks and touched her forearm, but they had never been that close.

I’ve always thought that at the beginning of their partnership they needed to have that kind of distance, not to touch each other. In the pilot episode Mulder saw Scully in her underwear and gently touched the small of her back – which, incidentally, or maybe not, is the spot he always touches – she had touched his neck and shoulders, but they didn’t touch each other…and I think they needed to.

One can poke as many holes in my theory that they have fallen for each other at  first sight, and by all means: knock yourself out! It’s undeniable, though, that the chemistry they had was unmistakable, it was so thick that you had to cut it with a chainsaw!

So when I saw Mulder holding Scully at him, I was overjoyed. I might even have flailed a little. But hey, the first time I saw the scene I was 18, can you blame me?

There is a thing I need to say: I’m writing this essay relying on my memory. I have seen each episode of the X-Files at least three times (and I’m talking about those I didn’t like: *cough*Teso dos Bichos*cough*), but for the most part, I have seen them hundreds of time. I’ve distanced myself from the show, but I have still an excellent memory for the episodes.

I may not remember the specifics of the plots but as far as character’s development and relationship’s development I *do* remember it.

Mulder’s reaction to what had happened in that house cracks me up:

I know what I saw, Scully…and I know that I saw you about to do the wild thing with a stranger…

Wild thing? Who in the hell says wild thing? Sex. Its name is S-E-X!

That said…I have noticed that although there is any kind of innuendo between Mulder and Scully the word sex is rarely mentioned. And something else: did you notice that Mulder never picked up cases which involved S-E-X ? Or sexual abuses for that matter…or anything of remotely sexual nature? I can think of very few episodes: Excelsis Dei, Small Potatoes…and about Excelsis Dei…Scully picked up the case, Mulder was very reluctant about it.

I think that is just one of the signs of Mulder’s respect for Scully.

Since we had had a former lover of Mulder’s, Lazarus showed us a former lover of Scully’s.

Jack Willis. I know I may sound like a rabid shipper…but Jack Willis? He crept me out! How could Scully have fallen for him? I said that Morgan & Wong subtly suggested that Scully saw in Mulder an authority figure she could relate to, a father figure…

Maybe, just maybe, with Mulder, Scully broke the cycle instead. We know of two relationships of Scully – three if you count Minette, four if you take seriously the whole Ed Jerse’s fiasco, five if you count Padgett, which I don’t –

From what we have gathered of Scully’s past relationships, she had indeed unconsciously looked for a father figure, a strong male figure in her life. Both Jack Willis and the guy from All Things were older than her, they were patronizing and they didn’t treat her as an equal. They were indeed authority figures: Jack was one of Scully’s instructors at Quantico, while the guy from All Things was her professor.

As I said, Scully broke the cycle with Mulder.

Mulder was just three years older than her, he might have been the supervisor of the X-Files, an older agent, but as I have previously said, he didn’t care about hierarchy. He treated her as an equal.

He did feel the need to protect her, but without smothering her, without being patronizing and condescending; Mulder felt the need to protect Scully not because he didn’t trust her ability to take care of herself, but because he cared about her. He didn’t want her to be any different from what she was. He valued her for what she was, not for what he wanted her to be.

There was an equal level of trust, need, care. Although there have been times, especially in latter seasons where I have doubted of Scully’s feelings for Mulder (it’s a long and boring story, which, I will tell later, when it comes to the hell also known as the sixth season ) I never doubted this axiom: that they were equal.

Remember?

“You were my constant, my touchstone”

And you are mine

(Amor fati)

And:

“I wouldn’t put myself on the line for anybody but you”

(Tooms)

And:

I feel, Scully… that you believe… you’re not ready to go. And you’ve always had the strength of your beliefs. I don’t know if my being here… will help bring you back. But I’m here.

I had the strength of your beliefs.

(One Breath)

Besides, on a totally shallow level: no offence to the guys who played Scully’s past lovers …but David Duchovny is hot!

It looked like Scully and Jack Willis were still friends, unlike Mulder and Phoebe they had parted on good terms, so much that she went helping him with a robbery case, and of course being the X-Files, things went to hell in a hand basket.

Jack Willis was shot and Scully supervised the ER treatment. I have thought about it a lot, especially considering the similarity to what had happened in Beyond the Sea…and what was going to happen in End Game.

I believe Scully supervised Jack Willis’ treatment on the ER because what had happened didn’t have the same resonance the events of Beyond the Sea had. Scully cared about Jack but she didn’t lose it when he was shot…whereas in End Game she revived Mulder’s heart herself…because she was the only one who could help him.

Mulder was suspicious of Jack Willis even before knowing about the man’s past with Scully. I didn’t see jealousy in him, Mulder has never struck me as the jealous type, except in Bad Blood and Milagro and even then he was surprised more than anything.

I think Mulder learned how to control jealousy with Phoebe. One might argue he was jealous of Doggett in the eighth season, but I don’t think so…he wasn’t jealous of Scully…he was pissed off because he felt like he didn’t fit in any more…and because Doggett had the X-Files.

Did this mean that he didn’t love Scully if he wasn’t jealous or didn’t show it? I really don’t think so. But I will write more about jealousy later.

When Scully revealed that she had dated Jack Willis the case became more personal…to both of them, especially when Scully was kidnapped.

When he realized Willis/Dupré had kidnapped her, he couldn’t help calling her Dana once he heard her voice. It was like, for a moment, he totally forgot about their being partners at the FBI. Mulder the man spoke…and tried to reach her.

We saw Mulder fighting to save Scully in this episode, we saw him being a real G-Man while Scully experienced an X-File first hand. We saw as Mulder realized the importance of Scully in his life. He was the one who solved the case, who spoke with the kidnappers.

I don’t know about FBI rules and protocols, but every time we have seen Mulder treating a hostage situation during the series (Duane Barry, Folie a Deux, Monday) he has always been perfect, totally by the book. Yet, I highly doubt this exchange could be considered part of the rules:

MULDER: (on phone, threatening) You listen to me —- you lay one hand on Scully, and so help me, God ——

It is to be considered that the phone conversation between Mulder and Lula was being recorded. Yet, Mulder didn’t seem to care, so much, that when they got Scully’s whereabouts and planned the operation he concluded saying:

MULDER: And for those of you —-who don’t know already (voice unsteady) this one’s important to me. So, uh, let’s do it right. Thanks.

It’s interesting to note a few things about the episode: originally it had to be Mulder who swapped souls with Warren Dupré, the network decided otherwise, but there were still traces of the original concept in the episode.

Jack Willis was no Mulder, but he was some kind of a profiler, he worked at VCS, and was obsessed with the case. I think, though, that the similarities were just on surface. As I said Jack was no Mulder, and his relationship with Scully was way different.

The ending of the episode offered an insight on Mulder that, in my opinion, deserves to be addressed. Remember the pilot episode? Mulder said he wanted the truth, he said that nothing else mattered to him. Nothing had ever stopped Mulder from looking for answers, for the first time, at the end of this episode, Mulder chose Scully over the truth.

SCULLY: What does that mean?

MULDER: It means … It means whatever you want it to mean. (gently) Good night.

Mulder’s honesty…his absolute faith in the truth, has always been one of his most fascinating traits…yet, time and again, Mulder chose Scully over the truth…to protect her, not to cause her pain.

It happened in Lazarus for the first time, but we saw it happening in One Breath…and don’t forget the last episode of the series: Mulder was ready to die in order to deliver Scully from knowing the truth, a truth he was afraid it could crush her spirit. This alone is proof enough of Mulder’s feelings for Scully.

In Lazarus, Mulder gave Scully the chance to believe in what she wanted to believe…the chance to have closure. The chance to grieve without questions.

E.B.E” was another step up in Mulder and Scully’s relationship. On a totally shallow level: Mulder found remotely plausible that Scully was hot.

You kept me honest[1]

I don’t know why, the first time I watched the movie and I heard Mulder saying those lines, the first scene which came to my mind was the one which had taken place in Scully’s kitchen in EBE, when Mulder and Scully butted heads over the false photograph Deep Throat had given Mulder.

There have been other moments before the movie where Scully had kept Mulder honest, but that scene was the first, which my mind conjured. To me, the scene in Scully’s kitchen is pivotal.

I don’t think Mulder had still doubts about Scully’s loyalty to him and the X-Files by the time the events of EBE took place, but if even shreds of them had remained, they would have vanished.

Mulder realized that it didn’t matter whether she believed or not in aliens…she wanted the truth, just like him, and was determined to find it even if it meant fighting him and the trust he had in Deep Throat.

Mulder realized that Scully was ready and willing to put everything on the line for him.

Mulder and Scully’s interaction in EBE is terrific: there is teasing, trust, sexual tension and care. For the first time we saw Scully visiting Mulder’s apartment, we saw how comfortable Mulder looked at Scully’s place.

Among the episodes written by Morgan & Wong during the first season, EBE is probably the best, as far as Mulder and Scully’s relationship is concerned, even more so than Tooms….and its infamous conversation in the car.


[1]              Fight the future

Lazarus 1×14: The plot thickens.


Time to take a personal day.

If I compare Lazarus to the previous episode, “Gender Bender” (1×13), then the show has improved in quality. So why don’t I enjoy it as much? Even though this is a solid episode with good performances, it somehow remains less than memorable. It’s still a far sight better than most of the episodes in the first half of the season and is a part of the general trend upward in quality that we see during the second half of Season 1. This may mark the first time where we see more of an episode from the guest character’s POV than either Mulder or Scully’s. Not that I’ve counted screen time or anything, but we definitely see a significant portion of the action from Dupre/Willis’ perspective. Does it help or hurt? I’m not sure. At least it adds a new dimension to the show and paves the way for more substantial guest spots later on. Maybe if we had seen some of “Fire“(1×11) from Phoebe Green’s POV…

What was meant to make this episode is part of what keeps its characters at a distance: Dupre/Willis’ love for Lula feels cloying rather than passionate. Desperate love could’ve worked if they had pulled it off. However, for it to work we would have to feel it and understand it rather than just see it. Why is Dupre so connected to Lula? What is it about her that makes him dependent on her? We don’t really get a chance to experience their chemistry. And if this relationship is so deep, why can’t he see that it isn’t co-dependent; that she doesn’t care for him as much as he does her? If we had seen Lula at least feign passion in return, maybe we could have bought it. As it is, she looks reluctant and disengaged even in the teaser. I understand that she’s probably feeling guilty about her betrayal, hence her quiet, but if so then where did the guilt go by the end of the episode? Later on she betrays Dupre/Willis with relish and without an ounce of hesitation.

On to the true dynamic duo, Scully is once again confronted with the paranormal in her personal life, but the conclusion is up to interpretation and Mulder wisely lets her come to that conclusion on her own. At least we know he’s coming to understand her. But then there goes that “Dana” again… I suppose this is meant to be our clue that Scully being missing is personal for Mulder. It’s unnecessary. It’s already touching that Mulder would stand up in front of a group of men who are skeptical of his every thought and give an emotionally vulnerable plea for them to find someone who was already more than a partner to him. And on that note, I can’t be the only one to find it ironic that in later seasons Mulder’s emotional state in regards to Scully bears more than a passing resemblance to Dupre’s desperate dependence on Lula. OK, Mulder doesn’t turn into a homicidal maniac. But there are definitely moments when you feel like he would turn into a homicidal maniac if something were to happen to Scully.

And the Verdict is…

If socially alienated Mulder has an ex-lover, why wouldn’t Scully?

We see them only for the briefest of moments together at the beginning of the episode, after that, Scully never truly sees Jack Willis again. This makes it hard to gauge the merits of their relationship based on interaction. We can only go by what we’ve already seen of Scully’s relationship with her father and by Scully later observes about herself and men in “Never Again” (4×13). I can’t say that Lazarus really delves into Scully’s psychology like “Beyond the Sea“(1×12), but it does build on what “Beyond the Sea” started in that because of her relationship with her father, Scully has a natural attachment to men in authority. Jack Willis, after all, had been her instructor at the academy.

One thing Scully never expressly admits but that we can surmise between her relationships with both Willis and Mulder is that Scully is apparently into guys who are restless and obsessive. So Scully likes authority and at the same time perversely enjoys bending the rules. What was that story Boggs told about a little girl smoking cigarettes?? Reading between the lines, it was probably Willis’ single-minded obsession that destroyed their relationship. (This is where the ominous music comes in.) One day, when Scully writes her autobiography, I’m sure I’ll be proven right.

If I were to pinpoint a weakness, “Lazarus” suffers from a plot that’s dependent on relationships it didn’t have the time to establish. An altogether solid episode, just not one for the books.

B+

Nagging Questions:

Why does Lula even help him steal the medicine in the first place if she only plans to let him die? Talk about a waste of energy.

We’re supposed to believe that this audio expert drags all this heavy equipment down to the basement office rather than Mulder just going to him?

Why is no one concerned about the X-File within an X-File? Willis’ heart stopped beating for 13 minutes yet he bounces back like a jackrabbit with no signs of brain damage or even physical weakness. They should study him for the cure for cancer.

On that note, why would Scully, a doctor who understands the consequences and a woman practical by nature, attempt to bring Willis back after 13 minutes of no oxygen flowing to his brain? Wouldn’t she assume he’d be a vegetable?

I’m not so sure this criminal could step into the role of FBI agent so easily. And just how did he know about Willis’ passion for catching them? How does he know it’s the biggest case of Willis’ career? Had they run up against him before? Had they ever exchanged words? If so, it’s never indicated. Once he escaped, sans clothes, from the hospital, how did he figure out Willis’ name and address?

General Observations:

Did I just hear the words “alien virus”?

Is the Maryland Marine Bank a precursor to the later Craddock Marine Bank in “Monday” (6×15)?

Mulder’s testing of Willis comes off as a bit callous, especially considering he’s aware of Scully’s history with the man at this point.

What’s with Scully being a magnet for dangerous men with tattoos?

The random guest scientist every episode is later replaced by go-to guys. I’m looking forward to Pendrell.

This has nothing to do with anything, but I love the name Lula.

Best Quotes:

Professor Varnes: Well the pilot became increasingly disoriented, schizophrenic his doctor claims. Until one day, he strangled his wife… with an extension cord.
Mulder: [Exchanges a glance with Scully] It’s a nice story.

———-

Agent Bruskin: Mulder says he’s got something.
Agent: What? An alien virus, or new information on the Kennedy assassination?
Agent Bruskin: Hey, Mulder’s all right. Just pay attention, you might learn something from the man.

Fire 1×11: It’s a technique I refined in my relationship with you.


Me? Jealous? In your dreams.

And so, we come to “Fire”, a.k.a. When Mulder Lost His Mojo. What is it Scully writes about the arsonist? “He will often act out of impulse, satisfying sexual urges or insecurities with destructive behavior…” Who else does that remind us of?

Cecil L’Ively isn’t the only character starting fires in this episode. Phoebe Green is little more than his female counterpart, with the same sad lack of character exploration. We see a lot of Phoebe Green but we never see her in depth. She was originally supposed to be a recurring character and I suspect the lack of insight into her character is part of the reason she isn’t a successfully engaging presence in this episode. For an Inspector with Scotland Yard her skills as an investigator are strangely underutilized. Mulder and Scully do all the legwork.

She is naturally clever, though, and perceptive. For instance, she’s half right about Scully’s feelings toward her. Scully doesn’t hate her but she’s certainly not on Scully’s list of favorite people. That’s understandable considering that prank she pulls in the car. Phoebe nearly caused Scully to have a coronary merely to play sex games with Mulder. And Scully is nothing if not perceptive herself. She knows what Phoebe came for.

I’m going to walk the shipper plank here for a moment by saying that I don’t think Scully was jealous of Phoebe Green at all in this episode. Outside of the cassette tape incident, Scully comes off amused at rather than irritated with Mulder’s love life. She shows no signs of anger, hurt, or resentment. Impatience? Well, I’d be impatient too if my partner was making whoopee while I was trying to crack a case. Her reaction, however, remains professional and friendly. If she sometimes looks as though she feels she’s the third-wheel that’s only because she is. But, truthfully, Scully acted more jealous of Jerry in “Ghost in the Machine” (1×6) than she does of this leggy brunette.

I realize I’m most likely entirely alone in the fandom with this line of thought, but I just don’t see Scully pining after Mulder at this point. Not only that, but if Scully had a more selfish motive such as winning Mulder’s affections, the writers couldn’t have played her off against Phoebe in the way that they did. Just like Phoebe’s parallels with L’Ively, the differences between her character and Scully’s are pointedly marked out. Mulder notes it himself with that blink-and-you’ll-miss-it comment about not usually having his theories accepted so readily. Scully challenges Mulder intellectually, Phoebe sexually. Scully investigates the case to be a friend to Mulder while Phoebe brings this case to Mulder only as an excuse to seduce him. Scully comes to Mulder’s side when he’s at his worst, Phoebe ignores Mulder once he fails.

Scully doesn’t have an ulterior motive, her only intentions are to help Mulder and solve the case. This wouldn’t hold true unless she was not interested in him sexually. If we were unsure, there’s always that scene of black silk boxer shorts fame. Mulder doesn’t have to cover himself up until Phoebe walks in the room. Why? Scully isn’t a sexual threat. She’s certainly not out to make Mulder a conquest. Phoebe may be his lover, but Scully is his friend.

Is Mulder aware of the dynamics of the situation? Yes. There is a wonderfully classic Mulder and Scully interchange when Scully admits that she’s still been looking into the case, “For [her] own edification, of course.” Mulder’s slightly ironic nod of acknowledgment lets us know that he knows that she knows what everyone knows…

And the Verdict is…

If later episodes make anything clear it’s that Mulder needs Scully and Scully enjoys being needed. She instinctively knows that Mulder needs her; we see it as early as “Squeeze” (1×2). This is why she doesn’t drop this case when Mulder lets her off the hook/gives himself a chance to mack on Phoebe.

Unlike Phoebe Green and even Diana Fowley later on, Scully has no ulterior motive. Her partner is in over his head emotionally and psychologically and she has to help him. She always has to help Mulder. It’s almost compulsive. Even in “Never Again” (4×13), when she’s in rebellion, she still does exactly what he asks her to do. (By way of an aside, as a general rule, the only time their relationship is ever in serious jeopardy is when Scully feels that Mulder might not need her or trust her, that he doesn’t really rely on her. See “Wetwired” (3×23), FTF, etc.)

It seems like Scully’s efforts throughout the series are focused on keeping Mulder just this side of sanity. She’ll yet at him if she has to, spy on him, investigate behind his back, whatever she has to do to make sure he’s OK. She remains ever aware that he’s a danger to himself.

After all, she’s right and he definitely needs her on this one. Now we know that the brilliant Agent Mulder can’t hold his own when it comes to women. He does indeed unfold before us like a flower. Next, it’ll be Scully’s turn in “Lazarus” (1×14).  Tit for tat and all that.

While this is another episode where the audience more or less knows the answer to the mystery ahead of time, it more or less works. Not, however, because of the plot, but because of the inter-personal dynamics. By George, we may actually be interested in these characters’ personal lives.

Originally, Mulder and Scully were supposed to have an exchange at the end of this episode that went like this:

Scully: Well, never let it be said that you wouldn’t walk through fire for a woman, Mulder.
Mulder: And never let it be said that I wouldn’t do it for you again, Scully.

I feel no hesitation in calling this cut one of Chris Carter’s best editing decisions. First of all, when did Mulder walk through fire for Scully in this episode? Secondly, the growth of their relationship is established without this pretty present wrapped in a red ribbon. After all, if Phoebe is an example of Mulder’s relationships with women, how could he not value Scully’s calm integrity? Moreover, the Ship, which was merely a canoe at this point, would’ve taken on water and sunk from an overabundance of syrupy goodness. No need to spell it out. Scully is Mulder’s Girl Friday. All is right with the world.

B+

Head Scratchers:

Mulder, Scully, and Phoebe all know Cecil L’Ively as “the driver.” Yet, once she takes the Marsdens back to their house, Phoebe (and Mulder too, for that matter) thinks that when Scully refers to “the driver” that she’s talking about the missing man and not Cecil L’Ively. Hmmm.

Is Cecil L’Ively a mutant or a magician? We can’t be sure. Maybe he’s like Clyde Bruckman and obsessed over fire to the point where he could start one. After all, he can only ignite the fire. He still needs an accelerant.

Random Thoughts:

Cassette tapes, remember those?

Phoebe’s feelings aren’t hurt! She’s playing you, G-man!! What a dolt.

L’Ively lusts after the wives, he kills the husbands and then he leaves it at that? There’s no indication that he pursues the women afterward. I suppose it’s enough to get rid of the competition.

Mulder’s office has finally reached its permanent form.

Phoebe and Mulder plan to run the trap all by themselves? I take it back up was overrated in the 90s. It’s not like the guy is dangerous or anything. And I don’t believe for one second she expected the arsonist to show. How would they catch him while kissing, with one eye open? The woman didn’t just book a room, she booked a suite for goodness’ sake.

Best Quotes:

Scully: Mulder, you just keep unfolding like a flower.

—————-

Scully: So, Sherlock, is the game afoot?
Mulder: I’m afraid so Watson.