Tag Archives: Tithonus

John Doe 9×7: I’ll take the bad as long as I can remember the good.


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Every time I try to walk away…

Here’s the thing about “John Doe”. It’s a beautifully crafted hour of television. Writer Vince Gilligan and his soon to be collaborator on Breaking Bad, first time director Michelle MacLaren, present us with an episode that looks like it’s ready for the big screen. Robert Patrick outdoes himself now that Doggett is finally given something interesting to do again, and he’s flanked by a motley crew of impressively convincing supporting actors.

The thing is, I’m incurably bored by “John Doe” and like the Eagles said, I can’t tell you why.

Is it the slow pace? Is it the token nature of the supernatural element slipped perfunctorily in at the end of the episode? Is it the atmosphere of heat and exhaustion?

Whatever it is, it puzzles me. But try though I might, by the ten minute mark I always tune out. I can never watch this episode in a single sitting. I get distracted and then rewind, distracted and then rewind. It’s a sad cycle.

It’s sad because there’s a lot of good going on here. First of all, as only the second time a woman has directed an episode of The X-Files since Gillian Anderson’s “all things” (7×17), it’s somewhat historic. Visually, it’s also an obvious homage to the film Traffic with all of its washed out outdoor scenes.

Speaking of film, I’ve always thought Vince Gilligan’s work on the show had a cinematic edge. That is to say, his X-Files often came across as stories that could easily be adapted for the big screen. His episodes are uniquely suited to Mulder and Scully, made more impactful by Mulder and Scully, but quite a few of them could be reworked without Mulder and Scully and still stand as independent stories. For example, “Unruhe” (4×2), “Pusher” (3×17), “Tithonus” (6×9), “Drive” (6×2), “Roadrunners” (8×5), etc.

“John Doe” feels even more like a mini movie, especially since unlike the days when the X-Files were run by Mulder and Scully, there’s no need to follow the show’s standard storytelling format. There’s nothing perfunctory about it like, say, a Scully autopsy. This isn’t familiar. And not only does our lead not know who he himself is, neither do we, really. We’re still getting to know John Doggett.

It is nice to see more of Doggett, to see more of his relationship with his son. Now we know he also had a wife. Whatever happened to Mrs. Doggett I wonder? I assume that one day she woke up and got out of their marital bed. I’m also assuming we’ll find out before the season wraps up, along with more of the details of Luke Doggett’s kidnapping. Meanwhile, more than anything, we learn a lot about Doggett’s character. Even without his memory and without his bearings, he keeps his integrity… and his skillset. And he’s not afraid of pain, not even the pain of the loss of his son, because he knows that his experiences have shaped him and he can’t lose that pain without losing himself.

All that sounds great, doesn’t it? They’re still doing new and different things on The X-Files, aren’t they? So what’s wrong with me, then?

I’m starting to think these kinds of amnesia tales just don’t interest me, personally. I LOVE “Demons” (4×23), in which Mulder has a limited amnesia. But when someone forgets how they wound up in hell and the audience watches them find out, that’s an interesting mystery. When someone forgets who they are and the audience already knows who they are, that’s not as much of a mystery. That’s a character study. We’re watching John Doggett remember John Doggett.

How he even came to be in no man’s land Mexico, while supposedly the big reveal of the story, is almost irrelevant to the story. The villains are obvious early on. The only question is how they did it, and even the how is given only brief screen treatment. A memory vampire? Really? It’s probably better that they didn’t spend too long dwelling on that, now that I think of it.

No, this is all just a showcase for Doggett the man. And maybe, Doggett, she’s just not that into you.

Verdict:

There’s no real X-File here. It could have been a memory vampire. It could have been a mugger who knocked him down so that he hit his head. The result is the same.

Then again, I think this recent crop of episodes is proving that Doggett and Reyes aren’t that suited to traditional X-Files. They needed something new built around them.

And it’s for that reason that I respect “John Doe” even if my attention span refuses to bend to my will. We needed episodes that sought to differentiate Doggett and Reyes from Mulder and Scully and create a unique bond between them and the audience. The X-Files needed to feel different in their hands.

So here’s what I learned about our new leads this episode –

They’re both more worldly than either Mulder or Scully were.
They’re both ready for a firefight.
They’re both built Ford tough.

The end.

I think Reyes is due for her own character episode now, isn’t she?

B+

Factoids:

It was after this episode aired that Chris Carter announced this would be the final season of The X-Files.

He should have done that after “Trust No 1” (9x).

Michelle MacLaren would go on to direct for both Breaking Bad and The Walking Dead among many other shows. Go ‘head, girl.

Mrs. Doggett is played by the real life Mrs. Patrick. Aww.

According to Wikipedia, Mulder’s old apartment set was dressed up and reused as the Mexican hotel set. Symbolic?

Scully is completely useless here. Yes, that counts as a fact.

The actor who plays Domingo, Frank Roman, does an incredible job. Also a fact.

Just One Question:

Why was Doggett investigating without Reyes in the first place?

Best Quotes:

Reyes: Y acerca de las drogas? Están en su inventario también? Usted ya sabe… cocaina, AGCO, John Deere?
Molina’s Lawyer: I’m sorry, I don’t speak Spanish.
Molina: She says I sell drugs.
Molina’s Lawyer: Please don’t speak Spanish anymore.

———————–

Caballero: Why would you want to remember? You can’t tell me you’re happier now, because you recall your life. I saw it all. So much pain. Why would you want to struggle, so long, and hard to get that pain back?
Doggett: Because it’s mine.

Season 8 Wrap Up – Can’t we just go home and start this all over again tomorrow?


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It’s been a hard road. But for all the frustration of David Duchovny being half in, half out all season, and the blasphemy worthy of Beelzebub that is Scully having a partner who’s not Mulder, the bald-faced truth is I actually prefer Season 8 to Season 7.

Stop, stop! Don’t panic! Everybody breathe!

Better?

Okay.

It may not have been the way I would have preferred it to happen, but David Duchovny’s absence woke everybody up. There was passion again and a sense of urgency, from the acting to the writing. For too long, for all of Season 7 – which is ironic since “The Sixth Extinction II: Amor Fati” (7×2) was all about Mulder’s renewed will to fight – there had been nothing driving Mulder and Scully, nothing that you felt like they were fighting for. Come Season 8, Scully’s fighting for Mulder’s life and their future with their child, the latter part of which fight Mulder joins when he graces us with his presence again. Also, Mulder leaving meant we had a reunion to look forward to and, while it may have been rushed, these two characters did not disappoint.

But if I may back it up for a moment to the improved writing again, when it comes to Monster of the Week episodes, Season 8 may be the scariest season of them all. I don’t scare easily and while The X-Files has regularly thrilled me, it’s never actually made me uneasy before. But there were moments this season that I thought were honestly frightening. Moments I wouldn’t watch in a room with the lights off. I’m thinking of you, “Via Negativa” (8×7).

I think the writers lost their crutch and found out they could walk again unassisted, albeit with a limp. They couldn’t rely on the failsafe of that old black magic that was the Mulder and Scully partnership. Together, those two could elevate even the most mundane episodes, make an insignificant finding appear the key to all mysteries. And it was on that foundation that Season 7 leaned a little too heavily, with lackluster plots and performances sneaking through and held afloat by desperate appeals to the characters’ chemistry.

In Season 8, since they couldn’t give us Mulder and Scully, and since Mulder and Scully couldn’t give them a head start off the mark every episode, 1013 pulled out all the stops to remind its audience that The X-Files could be freaky. Period. It’s like they figured if they couldn’t squee us, they’d scare us. I honestly have no idea whether it was in desperation or confidence, but our favorite writing team definitely upped their game.

That praise delightfully and duly given, Season 8 still had its problems. Serious problems.

1. Scully starts to slip.

Now, when I say this, it has nothing to do with Gillian Anderson’s performance as Scully. Season 8 is, without question, Gillian’s best year of acting on The X-Files and that’s saying a lot… a lot, a lot. Probably more than we should get into at this hour.

No, Scully was acted beautifully. Some of her characterization, though…

Scully doesn’t have much to do except miss Mulder and worry about her baby…. Scully will never again have much more to do except miss Mulder and worry about her baby. Oops. Spoilers.

Of course she needs to be upset about Mulder, but I wish she’d been given a more active role in investigating Mulder’s abduction. I realize the abduction plot was stretched out to make room for David Duchovny’s return in the latter half of the season, but the result is that Scully spent long stretches of time not even mentioning Mulder let alone looking for him. Instead, she was working through her mixed feelings about her new partner who was both worthy and unwanted.

Some of that may have been necessary, but not all of it. We’ve seen Scully work with temporary partners before. And she did so while still remaining true to her core characterization. Yep, I’ll see your “Chinga” (5×10) and raise you a “Tithonus” (6×9).

This Scully takes ten standalone episodes to gel with her partner and ten episodes to realize that she can’t solve cases pretending to be Fox Mulder. Why would she need to? *whispers* She’s solved them as a skeptic before.

I get that she’s on an emotional rollercoaster and it makes sense for her to resist liking Doggett and it makes sense for her to try to feel closer to Mulder by thinking like he’d think and doing what he’d do. But Scully is a smart and sensible woman. Having her work through the same issues for so long felt like the series had her caught in an ouroboros… and me stuck on a treadmill.

2. In with the new before we’re out with the old.

I’m a fan of Doggett and I like Reyes too. What I wish for them and for the series is that they’d had time to develop as characters away from the looming spectre that was Mulder and Scully.

The idea was to get the audience interested in and attached to them by the time Season 9, if there was a Season 9, started. Season 9 wasn’t confirmed till after the season finale was shot and not long before it aired. If and when Season 9 did come, it would come without Mulder.

Again, I get it. We needed to bond with Doggett and Reyes in time for us to want to tune in to the premiere of a Mulder-less Season 9. But I submit that this plan backfired. Or maybe it was destined to fail regardless, I don’t know. All I can say is that as much as I kept my mind open to Doggett and Reyes and even appreciated their contributions in Season 8, the new skeptic and the new believer sharing screen space with the old skeptic and the old believer only made me more sure that while the show might be able to survive, the magic would be gone.

Episodes like “Empedolces” (8×17) and “Alone” (8×19) showed a promising dynamic between Doggett and Reyes, but up against the hard earned connection Mulder and Scully showed us in their brief scenes in both those episodes, Doggett and Reyes couldn’t help being less interesting in comparison.

It’s impossible to ever know and I may be wrong, but I suspect Doggett and Reyes as a team would have benefitted from being completely removed from Mulder and Scully and given a fresh start Season 9 or placed in their own spinoff.

3. Is that a mythology or are you just happy to see me?

Season 8’s mythology was a jumbled mess of the old and the new, as if 1013 wanted to change things up but were afraid to flip the switch outright. To be sure, most casual fans were so confused by the mythology as it already stood, both the core mythology of Seasons 2-6 and the brief pitstop into creation theory that was the beginning of Season 7, that springing something totally new on them without any connection to what came before probably would have lost them completely.

I concede that the transition to something new needed to happen, but it was a rough, uncertain transition. The character of Gibson Praise was brought back after a two year absence, Jeremiah Smith after four. Both were again dropped unceremoniously, Gibson when he was on the verge of finding Mulder, Jeremiah when he was on the cusp of saving him. And two things we haven’t heard about since the 1998 movie, the Black Oil that was to be the means of alien invasion and the phrase “Fight the future”, both showed up once more only to just as quickly die in episodes “Vienen” (8×16) and “Three Words” (8×18).

1013 is dropping large hints that old things are passed away and all things are become new. At the same time, they’re making inconsistent connections between the old and the new, basing the new mythology of the Super Soldiers on what came before without giving us a reason for or a logic behind the evolution.

I humbly submit that we needed a clear end to the old mythology, with the loose ends tied up and Mulder and Scully set free from their quest, before we moved into a completely different conspiratorial territory that would be uniquely suited to Doggett and Reyes.

4. That’s just my baby daddy.

Baby William. Sweet little baby William. He, for me, becomes the major headache of both Seasons 8 and 9.

We first found out about Scully’s pregnancy in the heart-wrenching cliffhanger that was “Requiem” (7×22). Then and in the Season 8 premiere, Scully seems to be living with the assumption that, despite being declared barren, she and Mulder are having a baby. She all but admits to Skinner that her drive to find Mulder is fueled by her pregnancy, i.e. I don’t want to have this baby and lose its father at the same time.

But thenPer Manum” (8×8) comes along and with revisionist history comes perplexities of nations. Now we’re told that at some point in Season 7, when we were previously led to believe that Mulder and Scully were having a sexual relationship, Scully either before or after or in the middle of said relationship asked Mulder to donate sperm to her quest for conception. Shocker – the IVF treatments Scully underwent were administered by a fertility specialist who had secretly worked for the Syndicate and was still carrying on experimentation in alien-human hybridization with unsuspecting mothers. Shocker – Scully may have been one of them.

But thenEssence” (8×20) comes along and we’re told that this is a very, very, very special baby. No, it’s not normal. It’s an uber Scully, a super human. And the Super Soldiers want to kill this Super Baby because it carries within itself the potential to resist colonization and possibly save humankind.

But thenExistence” (8×21) comes along and… Psych! Just kidding. Everything’s exactly the way you thought it was at the end of Season 7. We were just messin’ with ya.

Somewhere and at some point, I imagine the conversation went a little like this:

How do we get our audience back? I know! We’ll make them wonder again whether or not Mulder and Scully are a couple. Hey, it’s not like we absolutely said that they were sleeping together, we just showed Mulder splayed out naked in bed. There’s deniability there. And then we’ll tease them with whether or not Scully’s baby is Mulder’s. That’ll work because we know they lurve Mulder and Scully. That’ll get them to stick around all the way to the finale. We’ll make them beg for it, then give the people what they want.

Stop it. Tricks are for kids.

Which brings us to…

5. Lot’s wife syndrome.

Season 8 spent too much time looking backward to Season 7 to spark interest in current events. It should have spent more time making current events interesting.

Everyone knows that Mulder and Scully’s partnership is at the heart of the show, however you may feel about ships and the destinations they sail to. 1013 knows it too and Mulder being gone for half the season only served to intensify the palpable presence of Mulder and Scully’s history, not diminish it.

Since there was bound to be a void due to Mulder and Scully being apart, and since fans were and are ravenous when it comes to the two of them, it seems like the idea was to fill that void by continuing to evolve their relationship… by devolving it.

What I mean by that is that we were retreading old ground. Mulder and Scully are in a romantic relationship… or are they? Mulder and Scully are having a baby together… or are they? Mulder and Scully don’t keep secrets from each other… or do they? Mulder and Scully were having the time of their lives Season 7… or were they?

There’s a real irony here because while Chris Carter once swore that Mulder and Scully would never become a couple, by playing these mind games with the audience, their coupling ended up dominating the series and the search for clear answers about their relationship ended up being the main draw for those loyal enough to tune into the Season 8 finale. This is a tragedy.

All this hemming and hawing and revisionist history also resulted in a crazy pregnancy timeline and, even more irritatingly, Mulder’s magically disappearing brain disease. It’s not even subtle. Mulder was retroactively made to be dying in Season 7 not because the plot would move the characters forward, but to shock the audience. It was shamelessly designed to manufacture tears. Then, that job done, it all goes away like nothing ever happened. Mulder hears the good news of his recovery and couldn’t care less. Scully doesn’t so much as broach the conversation of why Mulder kept her in the dark.

Okay, so I had more to gripe about than I thought.

But I really do prefer Season 8 to Season 7. I’ll take being frustrated over being bored. Though there’s nothing worse than being bored with being frustrated and that point also can and will be reached.

Like I said, Season 8 has momentum. And for all the focus backward, you know that Mulder and Scully are headed toward something: Freedom, if you can believe it.

We needed Mulder to reach this point. We needed him to willingly walk away from the X-Files. If he hadn’t, if things had ended the way they did in “The End” (5×20) and his work was taken away from him, then his era would have ended in tragedy and not in victory. And what a waste of eight years that would have been. No, he had to make a choice.

The Fox Mulder who started the X-Files didn’t have anything more important in his life to rival his work. He lost his family that day when Samantha was taken and his work was all about redeeming that loss and finding Samantha. But now he’s found the truth, more or less and there are two people that now mean more to him than the work that used to give his life purpose. Mulder never said he wanted to spend the rest of his life hunting demons, he said he wanted to find his sister. Well, he found her and he’s found his family.

If he could get the hang of the thing his cry might become: “To live would be an awfully big adventure!”

If our Paranormal Peter Pan is going to grow up, we have to believe that Mulder is leaving behind one great adventure for another, even greater adventure; the adventure of loving and being loved and passing on that love.

And I do. I want to believe.

—————–

So without further ado, the Season 8 awards:

Best Episode You Haven’t Watched Because You Skipped Season 8

Roadrunners

You’re Not Missing Anything

Surekill

AND

Salvage

Work it Doggett

Via Negativa

Gillian Anderson for All the Awards

This is Not Happening

Best Old-School X-File

Invocation

Believe the Banter

Empedolces

 

Roadrunners 8×5: You’re going to be so loved.


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Highway to hell.

Warning: Do not take this episode with food. May cause stomach upset.

I flailed all through this, but not for my usual fangirl reasons. The sheer grossness is mindboggling. I haven’t contorted my face this much since “F. Emasculata” (2×22).

My king, writer Vince Gilligan, is back… boy, is he back… with his first serious X-File since “Tithonus” (6×9). The only solo offerings he gave us in Season 7 were comical so I guess he’s trying to make up for lost time. I don’t know. But I know he’s freaking me out.

One of the things I love most about Gilligan’s writing is his characterization of Scully. Too often Scully is left to look bored and aloof, because we know that all serious scientists are bored and aloof. Gilligan, though, likes to give her new things to do, things that bring out other sides of her. And he gives her back some of the sarcasm she originally had in Season 1. I find it interesting that his last serious X-File was Scully-centric too.

Scully’s in real trouble this time. She’s on a case alone because, while she’s stopped resenting Doggett, as demonstrated by her procuring the desk she promised him, she would still rather not have him around. The X-Files don’t matter to him the way they matter to her and she wants to keep him on the periphery. Besides, there’s no sense in getting attached when Mulder will be back soon. But what Scully’s forgotten is how many times she’s nearly died investigating an X-File.

One of the things I liked about the good but not great “Brand X” (7×19) was that it was the first time in a long time that it felt like there was a very real threat to Mulder. Well, it’s Scully’s turn. I haven’t feared for her life like this since I don’t know when. She’s surrounded by the faithful from hell and she has a giant slug stuck in her back that thinks it’s the second coming of Jesus. I’m pretty sure that’s called a “pickle.”

Right from the teaser, we see a bus full of zombie-like strangers calmly stone a crippled man to death in the desert in the middle of the blackest night. Don’t hold any horror tropes back, Vince. It starts freaky and it only gets freaky-er.

Scully gets trapped in this little village after being sabotaged by Marty Taylor from Home Improvement. Then she’s introduced to this guy with a thing crawling up his spine. He’s got a big hole in his back where it went through, and Dr. Scully seems to think the best medical course of action is to squeeze the hole to see what comes out of it

Here’s where Scully starts to get a little gullible. It could possibly read out of character that the townspeople catch her off her guard, but I think she is on her guard. She knows these people are up to something and she doesn’t trust them. It’s exactly because she doesn’t trust them that she’s inclined to think the guy with the thing up his back is a victim, which really, he is. As a doctor, her heart also naturally goes out to the patient. Why she’d give him her gun though…

The result is a scene in a dark barn that’s deliciously horrible. Scully slowly realizes she’s cornered, she struggles, the crowd is shouting, “Amen!” as yet another crippled man get stoned to death. Oh, the creepiness. I know what happens and I had to watch through my fingers.

The good news is this madness gets Scully riled up. And Scully may be in trouble this episode, but she’s no damsel in distress. Nosirree. This is another moment brought to you by Scully Squared ™. Even tied up and gagged she’s causing trouble and starting fires. That’s my girl.

However, there’s no way she’s getting out of this on her own. Doggett shows off his investigative skills and has a couple of cool moments himself before showing up to help Scully. One character trait he and Mulder do share is that they both trust their instincts. His instincts tell him something’s wrong in this no-name town. I especially like seeing him knock Marty Taylor the gas station attendant out. And then he cuts that thing out of her back. Ugh! Now that’s commitment. I’m sorry. If it were me, Scully would have had to die. There’s no way I would have been within thirty feet of her back. And then he holds it with his bare hands. Kill me.

Verdict:

All hail King Gilligan because this was the perfect way to bring Scully and Doggett together. Not only has he saved her life, he’s saved her baby’s life. Scully can’t hate him now. And a very mature Scully is forced to realize that she can’t keep treating Doggett like he’s sort of her partner. He’s here and she’d better accept him. Or else.

And while I miss the Mulder/Scully dynamic as much as anyone, I don’t think “Roadrunners” suffers from the loss of it. We’ve had episodes without one or both of them before and few of those are quite this memorable.

In summary, “Roadrunners” freaks me the heck out.

A+

Pocket Change:

This guy is stranded in the middle of the night, hails a bus, and then insults the driver after she picks him up? What, does he want to end up stranded back on the road? Then he doesn’t even bother to ask where the bus is going, just puts on his headphones and settles down for the ride.

It’s so dark, I can’t see what Scully finds when she looks at Mr. Milsap’s phone plug.

Danny’s back!

Is Scully going to be in the hospital every other episode this season?

It’s funny, when I thought ahead to this episode I figured it would be Vince Gilligan. These X-Files writers really do distinguish themselves.

“F. Emasculata” also involved buses in its grossness.

I don’t think we’ve seen Scully have a proper freakout since “Wetwired” (3×23).

Mulder wasn’t mentioned at all this episode…

Best Quotes:

Scully: What did you put in me?! I’m going to get every last one of you bastards!

Mr. Milsap: No! You’ll love us. You’ll protect us. You’ll teach us, make us better than we are. We’re taught not to envy, but I do envy you so… that you’ll soon be one with him.

Scully: Him?! That thing in my spine is a “him“?!

————————-

Doggett: [On phone] Just talked to a guy who had a gun in his pocket and I don’t mean he was happy to see me.

Season 6 Wrap Up: Maybe I did want to be out there with you.


This is one of those seasons in terms of its popularity that gets polar opposite responses depending on which faction of the fandom you ask about it. It’s trying too hard to be funny, it’s not funny, it’s hilarious. Too much MSR, not enough MSR, just the right amount. I miss the Syndicate, I was sick of the Syndicate, what’s with this new mythology?

You can’t please all the people all the time, especially if your name is Chris Carter.

Personally, I adore Season 6. But I can understand why some fans don’t. If Season 5 would throw fans a knowing smile every so often, Season 6 is constantly, flirtatiously winking at us. The X-Files has become not only much more self-conscious and self-referential, it also acknowledges its fan base and fan expectations in a more direct way than before.

Previous episodes like “Small Potatoes” (4×20) have toyed with the ever-present subtext of Mulder and Scully’s burgeoning romantic relationship (MSR). But fast-forward to “The Rain King” (6×7) and it’s not a subtext, it’s the only text, and the characters around Mulder and Scully directly confront them with the feelings fans had been harboring for years.

I mean… you spend every day with Agent Scully, a beautiful, enchanting woman. And you two never, uh…? I… confess I find that shocking. I… I’ve seen how you two gaze at one another.

Not even a kiss?

Sorry, my NoRoMo friends. You’ll have to forgive me for indulging in some MSR talk. It’s a major, major component of Season 6 that can’t be ignored. In fact, I don’t think it’s a reach to say it’s the main component. Not only does it drive many stand-alone episodes, the Mulder-Scully-Fowley love triangle becomes such a major issue that it largely drives the mythology this season. You can’t discuss Season 6 without discussing MSR.

Now, if you don’t mind, I’m about to plagiarize myself since I can think of no more effective way to explain my position.

Back in the not so distant day, a Shipper had to hunt for little romantic gems in an episode. A brief hand-hold here, a golden moment of banter there… it was a game looking for these affirmations of the Shipper faith since it wasn’t as though the writers were putting them there on purpose. We had to take what we could get. Now, however, the game has changed completely and after the events of the movie, Chris Carter & Co. could no longer believably ignore either the mounting anticipation of their audience or the romantic tension that they inadvertently created between their two lead characters. So, what to do, what to do? They had no choice, really, but to officially script the MSR subtext into the series. Now Shippers no longer have to hunt for sustenance like wild animals, it’s being fed to us in golden bowls like house pets.

If that sounds like a complaint, please know that it’s not. As I said, I don’t see how the show could have believably evolved any other way. What could Chris Carter have done? Turned back the clock and pretended that millions of people had never seen that scene outside of Mulder’s apartment? Or worse, should he have taken character development back a few seasons in order to halt the progression of this budding romance between his leads? Never. Looking back it was inevitable that the romantic undertone of the series would become more overt. And however people may complain that it made The X-Files look silly, it would have looked a heck of a lot sillier if they had stubbornly ignored the obvious.

And in the profound words of Mr. Gump, “That’s all I have to say about that.”

The only check mark in the negative column against Season 6 is that while the great majority of episodes, as individual episodes, are great, on the whole it may be slightly unbalanced. Particularly in the beginning of the season, the scales are tipped toward the lighter side of things which is a disappointment, I’m sure, to the fans who prefer grittier Monster of the Week and Mythology episodes. Yet, I can’t help but wonder if episodes like “Tithonus” (6×9) had come along sooner rather than later if Season 6 would still have quite as featherweight a reputation. After all, for the shortest season ever (twenty episodes) Season 5 gave us its fair share of less than super serious material: “Unusual Suspects” (5×1), “The Post-Modern Prometheus” (5×6), “Detour” (5×4), “Bad Blood” (5×12), “Folie a Deux” (5×19). And that’s not even counting Mulder’s hilarious phone calls to Scully in “Chinga” (5×10).

I calculate Season 6 at 40% funny vs. Season 5’s 30%, give or take. Perhaps the team at 1013 wanted to leaven the heavy drama of the mythology episodes this season by giving the fans an emotional break during the stand-alone episodes. I still consider “Arcadia” (6×13) a humble apology for forcing us to watch Mulder and Scully nearly split up for good in “One Son” (6×12). That fight was so bad even the Lone Gunmen had to look away. And while we’re at it, maybe Chris Carter meant “Triangle” (6×3) to be a peace offering after he had Mulder nearly take back in “The Beginning” (6×1) everything he said to Scully in the hallway last summer. You bet your cheap weave Mulder owed Scully more than one “I love you” after that.

Speaking of “I love you’s”, somewhere along the way this season, probably without us even noticing, I believe Mulder and Scully passed the point where a love confession was even necessary.

I can safely say that by the events of “Biogenesis” (6×22) Mulder knows that Scully is in love with him and not just because he can conveniently read minds. I don’t know by what work of the Devil I didn’t talk about this in my “One Son” review, but Mulder knows. Even the first time I saw it, I was certain of it. It’s all in the way he says, “No. Actually, you hide your feelings very well.”

Now, I will often, in the heat of my Fangirl passion, yell things at Mulder and at my television screen and “Stupid” is an adjective I use for him regularly. However, Mulder is not actually stupid. He’s a very intuitive, very perceptive character. He couldn’t have helped but read the not so subtle subtext during Scully’s heated interchange with Fowley in the aforementioned episode. That wasn’t purely righteous indignation on Cassandra’s behalf that Scully was acting out there. And even before that, he was in that hallway too. He knew she was about to kiss him just as sure as he was about to kiss her, though judging by his somewhat nervous confession in “Triangle” I’d say he wasn’t confident as to whether she’d be willing to start a relationship or not.

But, I digress. Mulder knows and I believe that’s part of why Padgett’s “Agent Scully is already in love” pronouncement in “Milagro” (6×18) doesn’t elicit a major response from him. It also doesn’t elicit a response from Scully because she knows too. And, at this point, I think she knows that Mulder knows and that he knows that she knows. I think there’s mutual knowing all around. Mulder certainly didn’t wrap his arms around her in “The Unnatural” (6×20) like a man who thought his attentions might not be desirable.

A question less easy to answer is does Scully know how Mulder feels about her? To that I’d give a qualified “Yes.” She knows he loves her dearly; he did go to Antarctica to rescue her after all. She knows he’s attracted to her since he’s not too subtle with his looks in either “Two Fathers” (6×11) or “One Son”. There’s even something about the look on her face when Mulder tells his tall tale in “How the Ghosts Stole Christmas” (6×8) that makes me think she knows she’s supposed to be “Lida”, the brooding yet heroic “Maurice’s” ethereal love. But, ah, that Fowley woman. I don’t think Scully’s going to pick up what Mulder’s puttin’ down as long as Fowley is around. Cue Season 7.

And on a final note, how awesomely amazing is Scully this season? She steals the show pretty much from beginning to end. From being boldly faithful to slapping suspects, from becoming open-minded to learning how to play baseball, my girl has been on fire. If we could say nothing else in favor of having a comedy-heavy season, I’m so glad it affords Scully the opportunity to show us all her different sides.

——————

Assuming your teeth aren’t already aching with sweetness, you tell me:

And the Awards go to….

“How could you do this to me, Chris Carter?”

The Beginning

“You’re forgiven, Chris Carter.”

Triangle

“Most Underrated”

Drive

AND

Trevor

“Most Overrated”

How the Ghosts Stole Christmas

“Not Rated”

Alpha

“Best Use of a Guest Star”

Dreamland/Dreamland II

“Scully for Queen”

Tithonus

“Coulda Been a Contender”

Agua Mala

“Don’t Judge Me”

The Rain King

“David Duchovny, why won’t you love me?”

The Unnatural

Three of a Kind 6×19: It’s the Three Stooges I’m not so sure about.


Michael Bolton and the Band.

Last time writers Gilligan and Shiban came together they gave us “Monday” (6×15), which I don’t hesitate to call a bit of television brilliance; one of the best X-Files episodes that no one ever talks about. I said in that review that we’d have to wait a while for the inspired team of Gilligan and Shiban to disappoint and, well, we’ve waited long enough. Okay, that sounds far more dramatic than I mean it to because “Three of a Kind” isn’t some kind of dismal failure. But while it pains me to say it, it’s not a rousing success either.

This episode picks up emotionally where “Unusual Suspects” (5×1) left off though it takes place many years hence. Femme Fatale Susanne Modeski is as much on Byers’ mind as the day she disappeared and ever since that day he’s been trolling “conventions” (of all kinds, apparently) looking for her. Like Cinderella she left and like Cinderella she shall return. And she does return. Only Cinderella already has a handsome prince and it’s not Byers.

After Byers tries to drown his sorrows… and himself… in a bucket of hotel ice, the Lone Gunmen get about the business of conspiracy hunting and they trick Scully into joining them. Yes, Scully and not Mulder because David Duchovny was off prepping for his directorial debut in “The Unnatural” (6×20), which aired before “Three of a Kind” but was filmed after.

Sadly, I think it’s the conspiracy plot itself that flounders. It doesn’t help that it revolves around Susanne Modeski, a character who was sufficient if not thrilling in “Unusual Suspects” but who’s even less fascinating reheated. She’s only interesting inasmuch as she inspires Byers to play the hero. And this is when the idea starts to shape up of the Lone Gunmen, and Byers in particular, as patriots and not just conspiracy geeks. If you aren’t sure, please re-consult the opening monologue.

But it’s geekiness that makes up the most enjoyable parts of this episode. Jimmy the Geek in particular almost steals the show. His character must have made an impression on Gilligan and Shiban too because they bring him back as his twin brother, “Kimmy the Geek” in the soon to come spin-off The Lone Gunmen. I’m glad they found a way to resurrect him. Now if only they could find a way to resurrect… but I’m getting ahead of myself.

Back to the Gunmen themselves, this is a welcome chance for their characters to be fleshed out even further, though I’m not sure I can say with complete honesty that Langly or Byers move forward much. They’re pretty much the same people we see in “Unusual Suspects” even if Byers’ patriotism shines a little brighter. However, Frohike is established as the sensitive one here, which doesn’t come as a complete surprise. We first learned of Frohike’s less perverted, gentler side in “One Breath” (2×8) when he memorably shows up to pay respects at a comatose Scully’s bedside. Here, not only does he chivalrously come to a drugged Scully’s rescue, removing her from the Pervert Pool before they started groping her outright, but he also proves insightful and sympathetic when it comes to Byers’ broken heart, picking up on his odd behavior and giving him some rather sage advice. But let me not skip over that more interesting topic, Frohike rescuing Scully from the Pervert Pool.

All these years and I’m still not a fan of Bimbo Scully. I much prefer her Slap-A-Pimp persona (see “Tithonus”). However, while this version of Scully may not be my favorite, it’s ultimately a pseudo-check mark in the plus column because it’s another example of how diversified Season 6 allows Scully to be. She confronts, she slaps, she flirts, she tickles… And I will say that watching Scully return Morris Fletcher’s famous butt slap from “Dreamland” (6×4) satisfies the juvenile in me.

Yes, I smile with immediate delight to see Michael McKean back again in a cameo role as Morris Fletcher. Why is it that episodes that Vince Gilligan bears responsibility for always seem to have the strongest sense of continuity? Hmm… food for Fangirl thought.

Anywho, “Three of a Kind” like “Dreamland” before it is a bit of a Saturday Night Live reunion what with Michael McKean and now Charles Rocket guest starring. He’s actually the fourth Saturday Night Live alumnus to guest star this season, which says an awful lot about the overall tone of Season 6.

Not that you’ll hear this Fangirl complaining about “X-Files Light” (not this season, anyway), but “Three of a Kind” isn’t my favorite example of the genre. There are some cute, funny moments, but nothing particularly memorable. Between the two Lone Gunmen-centric episodes (two because I refuse in this moment to acknowledge the third), “Unusual Suspects” is definitely my favorite. Entertainment-wise they’re pretty comparable, but “Unusual Suspects” has the advantage of giving us new information on the history of the characters. “Three of a Kind” is just a diversionary romp, a weekend trip to Vegas, if you will.

And the Verdict is…

I want to like this episode more than I do. And, indeed, it is enjoyable; I looked forward to popping it in the player for the rewatch. But when I ask myself how rewatchable it is, the dirty truth is that outside of a sequential rewatch or a serious Lone Gunmen craving, I probably wouldn’t watch it just to watch it. In fact, I know I don’t.

I think the truth is that as much as I adore the Lone Gunmen, and Gilligan and Shiban, I’m just not invested in this storyline.

B

Chips:

After all these years, why does Susanne Modeski have the same haircut?

And we never hear from Susanne again. Funny, after that “Someday” line and the Lone Gunmen getting their own spin-off I expected her to return. Maybe Spotnitz, Shiban and Gilligan planned it but the series didn’t make it that far?

I really don’t get what “the government” is up to here. I know, I know… mind control. But why was “Timmy” planning to frame Jimmy? For what? And if they already had Susanne’s technology, why continue the expensive ruse? Kill her and get it over with. Maybe they were planning on tricking her into making more for them? I don’t know. But the vagueness of what they were really up to adds to the lack of urgency.

Scully’s a little dismissive of the Lone Gunmen considering last we saw them they were digging up dirt on Diana Fowley for her.

I’m still not sure why a little ole’ injection turned Scully into a ginger Marilyn Monroe.

Best Quotes:

Langly: What if she calls him back?
Byers: I trapped her cell number. If she calls him, it rings here.
Frohike: [Laughs] She’s gonna kick our a**. What do you need Scully for, anyway?
Byers: We’re up against agents of the government. We need our own government agent.
Langly: And that would be Mulder. Why do you want just Scully?
Frohike: [Chuckles] She’s gonna kick our a**.

———————-

Scully: [On Cell] Hello, Mulder? Can you hear me? I’m at the hotel. Where are you? What do you mean, “What hotel?” Las Vegas. I’m in Las Vegas, aren’t you? You called me. What do you mean you didn’t call me? [To self] Aw man! I am gonna kick their a**es.

———————–

Jimmy the Geek: [To Langly] Oh, go brush your hair, Michael Bolton!

———————-

Byers: It’s not her. They’re making her do this somehow.
Frohike: Buddy, now, I know something about the fairer sex. Trust me, you can bring a horse to water, but you can’t make her drink.

Two Fathers 6×11: Word up.


The truth will out.

I remember really, really enjoying this set of episodes the first time around. Probably because they handhold the audience all the way through the history of the mythology and I needed handholding. Unlike actress Aisha Tyler, I didn’t have a conspiracy flow chart above my television set to keep track of the goings on. An oversight I still regret.

The way the story is framed, with Cigarette-Smoking Man filling in the blanks through exposition, works quite well. Though the way the story was originally set up, told through a series of flashbacks, would have been even better. I’ve just read some of the original script that had to be scrapped because the flashback scenes shot with actors who… didn’t look like 1970s versions of themselves any longer, weren’t as effective as they needed to be. But if it could have played out they way it did on paper, it would have been awesome. Now my heart bleeds a little for the episode that could have been.

The thing is, “Two Fathers” lives or dies by exposition. So if you’re like me and you’ve been dying to know what exactly the mythology’s been about all these years, you’re probably a fan. If you’re among the faster minded, or the more diligently obsessed, there’s a good chance you aren’t hearing anything you didn’t already know and I could see how you might be bored. Me, even the things I’ve already figured out don’t bore me. I love that smug feeling of satisfaction confirmation gives you.

Interestingly enough, CSM isn’t the only one dropping knowledge. Cassandra Spender shows up again having ditched the wheelchair and gained its weight in factual information. Why was she able to pick up so much truth during this most recent abduction when for the past twenty something years the conspirators and/or the aliens had her head filled with lies? Now, not all of her information is accurate, but it’s a far sight more informed than what she so cheerfully preached in “Patient X” (5×13). Maybe her new status as a hybrid has opened up her understanding beyond the human.

Too bad her son is still in the dark. I may be the only one, but I feel bad for Agent Spender, so much so that I wish Mulder would go ahead and be nice to the guy. I mean, over the course of this episode he’s rejected by both parents. His father slaps him. Twice. And his mother comes back from the dead only to ask for Fox Mulder, his bitter rival.

While I doubt Mulder would ever see it this way, it’s partially his own fault that Spender has become the enemy. Maybe if Mulder had been a little nicer to him initially, or tried a little harder to avoid the misunderstanding and miscommunication that occurred between them, Spender wouldn’t have been as susceptible to his father’s machinations. Surely a large part of the initial appeal of doing CSM’s dirty work was the chance to take down Mulder, despite the fact that the glory of that is now wearing thin on Spender. It’s not like his newfound relationship with his father is built on sentiment. What’s love got to do with it? CSM doesn’t want a son, he wants a legacy; he wants to see his power continue on into the next generation. His nepotism in regards to Spender is purely selfish in motive but Spender is to naïve to realize that.

It doesn’t help that Krycek has been assigned to Spender as his sort of “big brother” in the Syndicate universe, showing him the ropes as it were. But Krycek wouldn’t be Krycek if he weren’t working toward his own agenda, which brings me to my next topic…

The eponymous two fathers are Cigarette-Smoking Man (aka C.G.B. Spender) and Bill Mulder. On the surface then, their sons, their competing legacies would be Jeffrey Spender and Fox Mulder. However, I believe there’s a third son here and that’s Alex Krycek, the virtual issue of CSM’s loins.

I’ve long thought of Krycek as CSM’s spiritual successor, and apparently that thought wasn’t lost on Krycek himself either. If you have the DVD, there’s a deleted scene you can watch were Krycek boldly comes to CSM requesting to be his heir apparent. CSM coldly tells him the position has already been filled. CSM’s rejection of Krycek and his resentment of it explains his later manipulation of Spender and his efforts to turn him against his father.

It also puts Krycek’s speech before the rest of the Syndicate into context. That overdone performance was for CSM’s sake, so that he could ingratiate himself. With that in mind, it makes more sense that he would abandon his previous position. Last we saw Krycek, he was for resistance, working secretly with Well-Manicured Man to enlist Mulder to their cause. Not that it’s hard to believe Krycek would suddenly turn without warning. He’ll do whatever he needs to in order to survive. That’s what makes him Kryeck.

Now, I realize that deleted scenes aren’t canon, but this subtext is present in this story arc with or without this scene. This moment just makes Krycek’s motivations clearer and so I’m sorry it had to be cut.

In a way, all three men are the sons of CSM. True, there are suspicions regarding whether or not CSM is Mulder’s father, but either way Mulder is the product of CSM’s schemes and manipulations, schemes that likely go back to Mulder’s introduction to the X-Files and his partnership with Diana Fowley.

Yes, the truth is out there now: Diana Fowley is in cahoots with CSM. The way that Carter and Spotnitz choose to reveal that truth is both startling and gratifying. I knew that woman wasn’t to be trusted! There’s just one huge problem left… how do we convince Mulder?

And the Verdict is…

I don’t feel the same sense of urgency I did watching it way back when, but I still think “Two Fathers” works. Its only stumbling block is that it’s so much easier to entertain by raising answers than by providing them. Fortunately, I’ve been waiting so long for some clear answers and am so invested at this point that the satisfaction I get from hearing concrete facts is entertainment enough.

We’re a good ten minutes into the episode before Mulder and Scully even show up, but it’s well worth the wait. Perhaps feeling guilty over what they’re about to do to us Shippers in part two of this episode arc, Carter and Spotnitz write a classic scene of Mulder/Scully flirtation. Who knew such a short woman could walk into a room all made of legs? I may or may not have rewound this scene about ten times just now.

Yep, this is rewatchable television. Great performances all around and a hefty dose of payoff; I love that Chris Carter brings the train cars from “Nisei” (3×9) back. Bringing the story full circle by incorporating the past makes for an easily digestible meal.

Next up, there can only be “One Son” (6×12). Which one will be left standing?

A-

Random Observations:

Skinner’s a bit cold to Spender considering his mother, who he had given up for dead, has just been returned to him and he’s emotionally vulnerable. I know Spender hasn’t exactly endeared himself to Skinner, but still.

Before, the alien rebels looked suspiciously like Brian Thompson’s Alien Bounty Hunter character. Now, they’re somebody entirely new. Same race different face?

I never realized it before, but these two episodes are crucial for understanding how Krycek sees himself in future seasons.

Lingering Questions:

Mulder just hacked into A.D. Kersh’s computer remotely in “Tithonus” (6×9). He couldn’t hack into Spender’s as well? He had to break into his office and risk getting caught?

All the crap Mulder’s pulled this season and walking into Spender’s office without permission is what gets him fired? As it is, the information he accessed on Spender’s computer was for a case Spender asked him to look into.

I didn’t realize Cassandra parted with Mulder and Scully on such affectionate terms. What’s with all the hugging?

Why would the Second Elder open the door for Openshaw after he knows Openshaw’s dead? Why make it easy for the Rebel to kill you?

Best Quotes:

Mulder: Hey, homegirl. Word up.
Scully: Mulder, it’s my distinct impression that you just cheated. And that you’re not coming in again today.
Mulder: Oh, Scully, I got game!
Scully: Yeah, you got so much game I’m wondering if you have any work left in you.
Mulder: No, I’m ready to J-O-B, just not on some jagoff shoeshine tip.
Scully: No “jagoff shoeshine tip?”
Mulder: No background checking, jagoff shoeshine tip.

——————-

Cigarette-Smoking Man: I’ve trusted no one. Treachery is the inevitable result of all affairs. Every man believes he has his own good reason.

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 long time 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.