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X-Filers Assemble!
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"A while ago I began rewatching the original X Files episodes. Some shows feel as if they really surfed the 90s zeitgeist. Friends, This Life and The X Files are usually cited for this. I got into watching The X Files during my first job, working for BT. The woman I was sat with in our little pod, Maureen, was very quiet. She lived with her mum, was aged anywhere between 30 and 50 and could pass an amicable day through only saying a couple of words. However, she would chat about the X Files and so I ended up taking an interest in it. As I changed jobs, went on shifts and then to Uni, I had less time to watch it and as the programme was moved around channels and the schedules a lot, so I had huge gaps in what I saw when it was broadcast. The X Files hasn't aged too badly. You can take some joy in seeing people wearing watches, using manual toothbrushes, the sound of a modem, or a kid with a gameboy in his top pocket without it looking like someone is trying too hard to create retro-chic. The amount of Scully in Peril episodes is a bit jarring, though, and they stand out more than Mulder being in need of rescue. I can understand the show having a low budget to begin with and so filming a lot in the dark to hide this, but quite often I found it hard to see what the heck was actually happening. The anti-government conspiracy theorists seemed harmless in this, but between anti-vaxxers, Covid deniers and 5G wallahs, I can't help but wonder if this is a chicken that has come home to roost. Some of the guest stars were superb, especially Daniel Benzali (the bald lawyer in Murder One) and JT Walsh (the gaffer of Majestic 12 in Dark Skies). These two both raised average plots into something much better. However, not all episodes were so blessed. There were two types of episodes: Monster of the Week and Mythology. The mythology episodes provided a chassis for the rest to be built around, but not seeing all of them was a problem with these, as they were totally incomprehensible when you only saw some of them in isolation. However, having re-watched them all, they still don't feel terribly coherent. I get the impression that Carter didn't plan that far ahead with this arc and the show being renewed so often never gave him a firm timetable to work towards a satisfying conclusion. That having been said, I still found them pretty overblown and tedious. A three parter of mythology episodes bookending the close and opening of series felt a bit like an end of level baddy that needed to be overcome before going onto the fun stuff. And the less said about the ruddy super soldiers, the better. The monster of the week episodes were easily the most enjoyable and you could dip in and out of them, regardless of having missed the last two shows through being on nights. However, these could be patchy, with some truly bizarre episodes where they had two half-baked ideas that never really merged together. The better ones were where they didn't take themselves too seriously and had some fun with the concept. Or where the supporting cast were given a more prominent role, such as the Lone Gunmen or the CSM. This show should have concluded well before it ended, as it was visibly running out of steam by the end of series 6, but when it was good, The X Files could be great. Here are the episodes that stood out. 11, Killswitch s5 This is more of a futuristic episode than a spooky one and has a cyberpunk vibe. It features sentient life that is living online, a Goth with the unimprovable name of Invisigoth and the Lone Gunmen. It's always nice when they appear and rather wisely they aren't overused, making it something of a treat when they do pop up. This one has a lot going on in it, between space based weapon systems, Kung Fu Scully, survival after death and some still great special effects. 10, Unrequited s4 This is the one with the Vietnam vet who can render himself effectively invisible. It features far right gun nuts, assassinations, gruesome calling cards and in total is rather good. Even if there is some repetition between the intro and the finale. Vietnam had one hell of an effect on certain sections of American society. It's hard to see people being so impacted by the Falklands War over here, but then that was shorter and we won and perhaps that makes it easier for people to move on. Teager is played with an eye catching intensity by Peter LaCroix. This isn't an episode that makes your spine tingle, but it is still an excellent one. It does feel a bit like a variation on the earlier Sleepless, where Tony Todd from Candyman was the villain, but as imposing as he was, he didn't feature as centrally as Teager did in Unrequited and that was a mistake. 9, The Goldberg Variation s7 This is from a quite late in the show, when when many episodes were adequate, but little more. This story features a down at heel guy with superb good luck, but which came at something of a price. It features no big name actors, apart from a 13 year old Shia Labeouf, who went on to a few other acting jobs. There isn't really a monster here, but the Mob (supplied by ACME) trying to rub out Mr Luck and the presence of a sick kid provides the tension, whilst the unlucky misadventures of the various hit men provide the laughs. Mulder and Scully are pretty much incidental to this one and it could easily have functioned as a more light-hearted episode of many other shows. As with many of the best episodes it is quite self-aware. 8, DPO s3 This is the one with Giovanni Ribisi who controls electricity and uses it to mess around with a few ne'er do wells and sundry other folk. AND it has a young Jack Black in it, too, so the acting from the extras is a patch above the usual. It's a monster of the week episode that doesn't feel either contrived or from 2 different ideas stitched together. It's set in small town America and works all the better for the parochiality of all involved. Small town problems for local people and no wider worldly impact. 7, Pusher s3 Here we have a guy who has very little going for him, but who has always wanted to be big. However, he can persuade people to do what he wants just through talking to them. A sort of low tech version of Kilgrave from Jessica Jones. It's not as creepy as the monster episodes, but it is very well put together. It is also well lit, so you can see what is occurring and this is a nice change. A simple story, but it works very well. The acting from the main characters is brilliant as they are torn between doing what they have been persuaded to do and what they know they don't want to do. In addition to this, there is the emotion from Scully when Mulder is in the final game, which in itself is a great scene. 6, Detour s5 This episode features invisible entities. This was done in Walk, where a paraplegic was astral walking his way to murder and in Excelsis Dei, where geriatrics were doing much the same. However, this one has much improved dialogue and it somehow feels as if it actually matters. There's a nice contrast between the playfulness of Mulder and Scully avoiding a team building event and the creatures on the hunt. The forest scenes of Detour owe a definite debt to Predator, but without Blaine and that amazing rotary machine gun. Wonderfully only a few parts are shot in the dark and so seeing odd happenings in daylight makes it a lot easier as a viewing experience. Given how basic the storyline is, this one wouldn't have felt out of place in one of the earliest series, but the depth of the chemistry between S&M firmly places it later in the time line. 5, Home s4 This is probably the most disturbing of all episodes. It is the one with the inbreeding. Although this is better lit than many episodes, for once the darkness worked in the programme's favour. During the chilling murder of the Sheriff and his wife it kept the brothers from being seen and this allowed your imagination to do a lot of the work. The upbeat musical accompaniment to these murders made them feel all the more shocking and incongruous. There is a lot of tension in this one, particularly when Scully and Mulder are attempting to raid the Peacock farm. The final scene, with the Cadillac and the music was great and really seemed to cap it off on a high. Owing to the gruesome storyline, I believe that this remains the only episode of the show that Fox have never repeated, even if others have. 4, Triangle s6 This is a very clever little episode, set on a World War 2 liner, boarded by the Germans, but owing to the Bermuda Triangle, makes a fleeting appearance in the present day. What make this so wonderful is less the story, but the way in which it is realised. A lot of the scenes were done in long takes, which gave a feeling of pace and energy, as well as being visually spot on. Where the screen is split between past and present and both groups pass, the double take by Anderson in both is yet another great touch. In another smart move, the present day actors appear on the ship, but as either Nazis, or interested parties, but the idea of them reprising their present day loyalties is a twist that really sparkles. The main villain is the CSM, who is a general of the SS and Skinner has a much more ambiguous role, as both a SS major and a secret aid to Mulder, who rather than being recognised as being from the future is suspected by all of being an enemy. Even the music is great, with some big band Swing making an appearance. 3, Bad Blood s5 This is a fun little episode. It's initially told in flashbacks from both Mulder and Scully's perspective and the differences in viewpoint make for a glorious time. The interplay and little bits of one one-upmanship make this a joy. Despite telling the same (fairly straightforward) story almost twice, it remains totally fresh throughout. The vast difference in the sheriff was very well done. The final part is all about the return to Texas and forms a kind of end piece to the story, ensuring that we are left with the ambiguity created by both accounts. Although this doesn't have the pathos of Clyde Bruckman's Final Repose, it's so bloody entertaining to watch. The later Field Trip (s6) was a less entertaining version of this and unlike Bad Blood is one that once you know the twists, doesn't repay repeated viewing. 2, Jose Chung's it came from outer space s3 This has more in-jokes and Easter Eggs than you can shake a stick at. Everything feels tongue in cheek and whilst too many episodes like this would destroy the show, this is a glorious affair. The writing is champion and just drips creativity. I loved the use of 'bleeping'. It's even got Jesse Ventura in it. This is a rare episode that improves with every viewing. 1, Clyde Bruckman's Final Repose s3 This is the best balanced episode ever created. You have fake psychics being bumped off and a grumpy guy with genuine powers who is resigned to not being able to change fate. Clyde Bruckman is played to perfection by Peter Boyle, who incidentally was The Monster in Young Frankenstein. Every scene he is in, he is absolutely compelling, dominating the screen, without seemingly doing very much. Like Bruckman, the actual killer is played as a low key down to earth guy, too and these provide a great contrast to the more flashy fakes. The scene when Bruckman and the killer come face to face is a joy for just how ordinary it is. There is a great use of humour in this episode, but not at the expense of the story itself. There is just so much to like in this episode. The final fate of Bruckman is particularly moving. " Wow impressive knowledge. I loved the X Files as a kid, but not watched any in the best part of 30 years and barely remember any of what happened in them specifically. | |||
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"A while ago I began rewatching the original X Files episodes. Some shows feel as if they really surfed the 90s zeitgeist. Friends, This Life and The X Files are usually cited for this. I got into watching The X Files during my first job, working for BT. The woman I was sat with in our little pod, Maureen, was very quiet. She lived with her mum, was aged anywhere between 30 and 50 and could pass an amicable day through only saying a couple of words. However, she would chat about the X Files and so I ended up taking an interest in it. As I changed jobs, went on shifts and then to Uni, I had less time to watch it and as the programme was moved around channels and the schedules a lot, so I had huge gaps in what I saw when it was broadcast. The X Files hasn't aged too badly. You can take some joy in seeing people wearing watches, using manual toothbrushes, the sound of a modem, or a kid with a gameboy in his top pocket without it looking like someone is trying too hard to create retro-chic. The amount of Scully in Peril episodes is a bit jarring, though, and they stand out more than Mulder being in need of rescue. I can understand the show having a low budget to begin with and so filming a lot in the dark to hide this, but quite often I found it hard to see what the heck was actually happening. The anti-government conspiracy theorists seemed harmless in this, but between anti-vaxxers, Covid deniers and 5G wallahs, I can't help but wonder if this is a chicken that has come home to roost. Some of the guest stars were superb, especially Daniel Benzali (the bald lawyer in Murder One) and JT Walsh (the gaffer of Majestic 12 in Dark Skies). These two both raised average plots into something much better. However, not all episodes were so blessed. There were two types of episodes: Monster of the Week and Mythology. The mythology episodes provided a chassis for the rest to be built around, but not seeing all of them was a problem with these, as they were totally incomprehensible when you only saw some of them in isolation. However, having re-watched them all, they still don't feel terribly coherent. I get the impression that Carter didn't plan that far ahead with this arc and the show being renewed so often never gave him a firm timetable to work towards a satisfying conclusion. That having been said, I still found them pretty overblown and tedious. A three parter of mythology episodes bookending the close and opening of series felt a bit like an end of level baddy that needed to be overcome before going onto the fun stuff. And the less said about the ruddy super soldiers, the better. The monster of the week episodes were easily the most enjoyable and you could dip in and out of them, regardless of having missed the last two shows through being on nights. However, these could be patchy, with some truly bizarre episodes where they had two half-baked ideas that never really merged together. The better ones were where they didn't take themselves too seriously and had some fun with the concept. Or where the supporting cast were given a more prominent role, such as the Lone Gunmen or the CSM. This show should have concluded well before it ended, as it was visibly running out of steam by the end of series 6, but when it was good, The X Files could be great. Here are the episodes that stood out. 11, Killswitch s5 This is more of a futuristic episode than a spooky one and has a cyberpunk vibe. It features sentient life that is living online, a Goth with the unimprovable name of Invisigoth and the Lone Gunmen. It's always nice when they appear and rather wisely they aren't overused, making it something of a treat when they do pop up. This one has a lot going on in it, between space based weapon systems, Kung Fu Scully, survival after death and some still great special effects. 10, Unrequited s4 This is the one with the Vietnam vet who can render himself effectively invisible. It features far right gun nuts, assassinations, gruesome calling cards and in total is rather good. Even if there is some repetition between the intro and the finale. Vietnam had one hell of an effect on certain sections of American society. It's hard to see people being so impacted by the Falklands War over here, but then that was shorter and we won and perhaps that makes it easier for people to move on. Teager is played with an eye catching intensity by Peter LaCroix. This isn't an episode that makes your spine tingle, but it is still an excellent one. It does feel a bit like a variation on the earlier Sleepless, where Tony Todd from Candyman was the villain, but as imposing as he was, he didn't feature as centrally as Teager did in Unrequited and that was a mistake. 9, The Goldberg Variation s7 This is from a quite late in the show, when when many episodes were adequate, but little more. This story features a down at heel guy with superb good luck, but which came at something of a price. It features no big name actors, apart from a 13 year old Shia Labeouf, who went on to a few other acting jobs. There isn't really a monster here, but the Mob (supplied by ACME) trying to rub out Mr Luck and the presence of a sick kid provides the tension, whilst the unlucky misadventures of the various hit men provide the laughs. Mulder and Scully are pretty much incidental to this one and it could easily have functioned as a more light-hearted episode of many other shows. As with many of the best episodes it is quite self-aware. 8, DPO s3 This is the one with Giovanni Ribisi who controls electricity and uses it to mess around with a few ne'er do wells and sundry other folk. AND it has a young Jack Black in it, too, so the acting from the extras is a patch above the usual. It's a monster of the week episode that doesn't feel either contrived or from 2 different ideas stitched together. It's set in small town America and works all the better for the parochiality of all involved. Small town problems for local people and no wider worldly impact. 7, Pusher s3 Here we have a guy who has very little going for him, but who has always wanted to be big. However, he can persuade people to do what he wants just through talking to them. A sort of low tech version of Kilgrave from Jessica Jones. It's not as creepy as the monster episodes, but it is very well put together. It is also well lit, so you can see what is occurring and this is a nice change. A simple story, but it works very well. The acting from the main characters is brilliant as they are torn between doing what they have been persuaded to do and what they know they don't want to do. In addition to this, there is the emotion from Scully when Mulder is in the final game, which in itself is a great scene. 6, Detour s5 This episode features invisible entities. This was done in Walk, where a paraplegic was astral walking his way to murder and in Excelsis Dei, where geriatrics were doing much the same. However, this one has much improved dialogue and it somehow feels as if it actually matters. There's a nice contrast between the playfulness of Mulder and Scully avoiding a team building event and the creatures on the hunt. The forest scenes of Detour owe a definite debt to Predator, but without Blaine and that amazing rotary machine gun. Wonderfully only a few parts are shot in the dark and so seeing odd happenings in daylight makes it a lot easier as a viewing experience. Given how basic the storyline is, this one wouldn't have felt out of place in one of the earliest series, but the depth of the chemistry between S&M firmly places it later in the time line. 5, Home s4 This is probably the most disturbing of all episodes. It is the one with the inbreeding. Although this is better lit than many episodes, for once the darkness worked in the programme's favour. During the chilling murder of the Sheriff and his wife it kept the brothers from being seen and this allowed your imagination to do a lot of the work. The upbeat musical accompaniment to these murders made them feel all the more shocking and incongruous. There is a lot of tension in this one, particularly when Scully and Mulder are attempting to raid the Peacock farm. The final scene, with the Cadillac and the music was great and really seemed to cap it off on a high. Owing to the gruesome storyline, I believe that this remains the only episode of the show that Fox have never repeated, even if others have. 4, Triangle s6 This is a very clever little episode, set on a World War 2 liner, boarded by the Germans, but owing to the Bermuda Triangle, makes a fleeting appearance in the present day. What make this so wonderful is less the story, but the way in which it is realised. A lot of the scenes were done in long takes, which gave a feeling of pace and energy, as well as being visually spot on. Where the screen is split between past and present and both groups pass, the double take by Anderson in both is yet another great touch. In another smart move, the present day actors appear on the ship, but as either Nazis, or interested parties, but the idea of them reprising their present day loyalties is a twist that really sparkles. The main villain is the CSM, who is a general of the SS and Skinner has a much more ambiguous role, as both a SS major and a secret aid to Mulder, who rather than being recognised as being from the future is suspected by all of being an enemy. Even the music is great, with some big band Swing making an appearance. 3, Bad Blood s5 This is a fun little episode. It's initially told in flashbacks from both Mulder and Scully's perspective and the differences in viewpoint make for a glorious time. The interplay and little bits of one one-upmanship make this a joy. Despite telling the same (fairly straightforward) story almost twice, it remains totally fresh throughout. The vast difference in the sheriff was very well done. The final part is all about the return to Texas and forms a kind of end piece to the story, ensuring that we are left with the ambiguity created by both accounts. Although this doesn't have the pathos of Clyde Bruckman's Final Repose, it's so bloody entertaining to watch. The later Field Trip (s6) was a less entertaining version of this and unlike Bad Blood is one that once you know the twists, doesn't repay repeated viewing. 2, Jose Chung's it came from outer space s3 This has more in-jokes and Easter Eggs than you can shake a stick at. Everything feels tongue in cheek and whilst too many episodes like this would destroy the show, this is a glorious affair. The writing is champion and just drips creativity. I loved the use of 'bleeping'. It's even got Jesse Ventura in it. This is a rare episode that improves with every viewing. 1, Clyde Bruckman's Final Repose s3 This is the best balanced episode ever created. You have fake psychics being bumped off and a grumpy guy with genuine powers who is resigned to not being able to change fate. Clyde Bruckman is played to perfection by Peter Boyle, who incidentally was The Monster in Young Frankenstein. Every scene he is in, he is absolutely compelling, dominating the screen, without seemingly doing very much. Like Bruckman, the actual killer is played as a low key down to earth guy, too and these provide a great contrast to the more flashy fakes. The scene when Bruckman and the killer come face to face is a joy for just how ordinary it is. There is a great use of humour in this episode, but not at the expense of the story itself. There is just so much to like in this episode. The final fate of Bruckman is particularly moving. " A superb post 
At its height, X-Files was almost essential viewing.
It was rather sad to behold season 10 and 11 therefore, which didn’t bode too well with me at least, bar for one or two episodes which harked back to the glory days of the show.
The episodes you’ve listed have brought me back happy memories though | |||
"To answer your question what my favourite X Files episodes were. The Tooms ones always freaked me out and particularly stick in my mind, so those." Eugene Victor Tooms - what a fantastically creepy antagonist he was! | |||
"Sorry but the X files without Mulder and Scully is like Men in Black without J and K...all that remains is the name Seemed like a good idea to keep the franchise going but just isn't the same" Not quite. The show is very easy to continue, so long as you have competent writers and actors. That's the beauty of some reboots when approached correctly. And I expect it will go such as the x-files department reopened with 2 new agents x years later. Doesn't even have to be the same tension dynamic between them. It's all in the writing and the cast, because that's what made. The original work. A reboot opens to a new Generation that won't have had Mulder and Scully. It's a fresh slate and that's fine. The problem is when it's poorly cast, poorly acted, and poorly written - the latter the most important and which they usually do fail on. | |||
"The one that will always stick in my mind, and everyone else's, is Home. Honestly I can't see a reboot doing well, largely because for the most part the weird and freaky is covered already by so many other shows that I can't see how x-files will bring anything new or fresh at this point. The original worked because at the time, largely outside of Twilight Zone this crazy shit and monster of the week hadn't been done in such a way. Now it's all over the place. " I’m admittedly half overjoyed at the prospect and yet simultaneously, very apprehensive and rather cynical as regards what the finished product will materialise as. I hope that at the very least, there will be some links to the original series (even sans our two main protagonists). Walter Skinner would be a great choice for inclusion imo (he was still moving under that car after all) | |||
"Sorry but the X files without Mulder and Scully is like Men in Black without J and K...all that remains is the name Seemed like a good idea to keep the franchise going but just isn't the same Not quite. The show is very easy to continue, so long as you have competent writers and actors. That's the beauty of some reboots when approached correctly. And I expect it will go such as the x-files department reopened with 2 new agents x years later. Doesn't even have to be the same tension dynamic between them. It's all in the writing and the cast, because that's what made. The original work. A reboot opens to a new Generation that won't have had Mulder and Scully. It's a fresh slate and that's fine. The problem is when it's poorly cast, poorly acted, and poorly written - the latter the most important and which they usually do fail on. " I absolutely agree with your statement. I'm just of the opinion that it will be a disappointment to fans through no fault if its just by being compared to the original,something that's bound to happen. It could have been called, say department X...cheesy name I know, I'm just using an example ..then have its cast make reference to the changing attitudes within the establishment and hark back to the original x files premise and characters. A new era of audience are catered for, and a brand new show hits the ground running and have a good chance of drawing the original x files fans in . I would certainly watch it,and think a whole younger generation will. X files was an awakening to the idea a shadow government with its ideas of how the populous could be deceived by by hiding the truth plain site.these past few years have shown how much of a chilling possibility that is | |||
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"Are there any details on timeline for it? I'd watch it without Mulder & Scully, if it had a kind of lineage to their story, maybe a decade or two on. Not so much like the popular trope of throwing easter eggs everywhere and mentioning them, but more characters that are driven to take up the reigns they left, and why, y'know? "Sadly, no details have been released as of yet as regards the time frame in which the new series will be set. I’m betting it will take a form similar to the recent Quantum Leap reboot with a continuation of the project by new blood. Fingers crossed the makers don’t go down a futuristic Highlander 2 style path though!   | |||
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"Reboots tend to be awful or average at best. My opinion is just leave the old classics be, as any reboot will never live up to the originals." What tosh, both Sherlock and Battlestar Galactica to name just two have both been highly regard and critical acclaimed reboots of classic shows. That's without going onto cartoon shows like She Ra and the Princesses of Power, which took an ok cartoon updated it for a new generation into something truly brilliant. | |||
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"Quantum Leap reboot" Absolutely unwatchable tosh. | |||
"A while ago I began rewatching the original X Files episodes. Some shows feel as if they really surfed the 90s zeitgeist. Friends, This Life and The X Files are usually cited for this. I got into watching The X Files during my first job, working for BT. The woman I was sat with in our little pod, Maureen, was very quiet. She lived with her mum, was aged anywhere between 30 and 50 and could pass an amicable day through only saying a couple of words. However, she would chat about the X Files and so I ended up taking an interest in it. As I changed jobs, went on shifts and then to Uni, I had less time to watch it and as the programme was moved around channels and the schedules a lot, so I had huge gaps in what I saw when it was broadcast. The X Files hasn't aged too badly. You can take some joy in seeing people wearing watches, using manual toothbrushes, the sound of a modem, or a kid with a gameboy in his top pocket without it looking like someone is trying too hard to create retro-chic. The amount of Scully in Peril episodes is a bit jarring, though, and they stand out more than Mulder being in need of rescue. I can understand the show having a low budget to begin with and so filming a lot in the dark to hide this, but quite often I found it hard to see what the heck was actually happening. The anti-government conspiracy theorists seemed harmless in this, but between anti-vaxxers, Covid deniers and 5G wallahs, I can't help but wonder if this is a chicken that has come home to roost. Some of the guest stars were superb, especially Daniel Benzali (the bald lawyer in Murder One) and JT Walsh (the gaffer of Majestic 12 in Dark Skies). These two both raised average plots into something much better. However, not all episodes were so blessed. There were two types of episodes: Monster of the Week and Mythology. The mythology episodes provided a chassis for the rest to be built around, but not seeing all of them was a problem with these, as they were totally incomprehensible when you only saw some of them in isolation. However, having re-watched them all, they still don't feel terribly coherent. I get the impression that Carter didn't plan that far ahead with this arc and the show being renewed so often never gave him a firm timetable to work towards a satisfying conclusion. That having been said, I still found them pretty overblown and tedious. A three parter of mythology episodes bookending the close and opening of series felt a bit like an end of level baddy that needed to be overcome before going onto the fun stuff. And the less said about the ruddy super soldiers, the better. The monster of the week episodes were easily the most enjoyable and you could dip in and out of them, regardless of having missed the last two shows through being on nights. However, these could be patchy, with some truly bizarre episodes where they had two half-baked ideas that never really merged together. The better ones were where they didn't take themselves too seriously and had some fun with the concept. Or where the supporting cast were given a more prominent role, such as the Lone Gunmen or the CSM. This show should have concluded well before it ended, as it was visibly running out of steam by the end of series 6, but when it was good, The X Files could be great. Here are the episodes that stood out. 11, Killswitch s5 This is more of a futuristic episode than a spooky one and has a cyberpunk vibe. It features sentient life that is living online, a Goth with the unimprovable name of Invisigoth and the Lone Gunmen. It's always nice when they appear and rather wisely they aren't overused, making it something of a treat when they do pop up. This one has a lot going on in it, between space based weapon systems, Kung Fu Scully, survival after death and some still great special effects. 10, Unrequited s4 This is the one with the Vietnam vet who can render himself effectively invisible. It features far right gun nuts, assassinations, gruesome calling cards and in total is rather good. Even if there is some repetition between the intro and the finale. Vietnam had one hell of an effect on certain sections of American society. It's hard to see people being so impacted by the Falklands War over here, but then that was shorter and we won and perhaps that makes it easier for people to move on. Teager is played with an eye catching intensity by Peter LaCroix. This isn't an episode that makes your spine tingle, but it is still an excellent one. It does feel a bit like a variation on the earlier Sleepless, where Tony Todd from Candyman was the villain, but as imposing as he was, he didn't feature as centrally as Teager did in Unrequited and that was a mistake. 9, The Goldberg Variation s7 This is from a quite late in the show, when when many episodes were adequate, but little more. This story features a down at heel guy with superb good luck, but which came at something of a price. It features no big name actors, apart from a 13 year old Shia Labeouf, who went on to a few other acting jobs. There isn't really a monster here, but the Mob (supplied by ACME) trying to rub out Mr Luck and the presence of a sick kid provides the tension, whilst the unlucky misadventures of the various hit men provide the laughs. Mulder and Scully are pretty much incidental to this one and it could easily have functioned as a more light-hearted episode of many other shows. As with many of the best episodes it is quite self-aware. 8, DPO s3 This is the one with Giovanni Ribisi who controls electricity and uses it to mess around with a few ne'er do wells and sundry other folk. AND it has a young Jack Black in it, too, so the acting from the extras is a patch above the usual. It's a monster of the week episode that doesn't feel either contrived or from 2 different ideas stitched together. It's set in small town America and works all the better for the parochiality of all involved. Small town problems for local people and no wider worldly impact. 7, Pusher s3 Here we have a guy who has very little going for him, but who has always wanted to be big. However, he can persuade people to do what he wants just through talking to them. A sort of low tech version of Kilgrave from Jessica Jones. It's not as creepy as the monster episodes, but it is very well put together. It is also well lit, so you can see what is occurring and this is a nice change. A simple story, but it works very well. The acting from the main characters is brilliant as they are torn between doing what they have been persuaded to do and what they know they don't want to do. In addition to this, there is the emotion from Scully when Mulder is in the final game, which in itself is a great scene. 6, Detour s5 This episode features invisible entities. This was done in Walk, where a paraplegic was astral walking his way to murder and in Excelsis Dei, where geriatrics were doing much the same. However, this one has much improved dialogue and it somehow feels as if it actually matters. There's a nice contrast between the playfulness of Mulder and Scully avoiding a team building event and the creatures on the hunt. The forest scenes of Detour owe a definite debt to Predator, but without Blaine and that amazing rotary machine gun. Wonderfully only a few parts are shot in the dark and so seeing odd happenings in daylight makes it a lot easier as a viewing experience. Given how basic the storyline is, this one wouldn't have felt out of place in one of the earliest series, but the depth of the chemistry between S&M firmly places it later in the time line. 5, Home s4 This is probably the most disturbing of all episodes. It is the one with the inbreeding. Although this is better lit than many episodes, for once the darkness worked in the programme's favour. During the chilling murder of the Sheriff and his wife it kept the brothers from being seen and this allowed your imagination to do a lot of the work. The upbeat musical accompaniment to these murders made them feel all the more shocking and incongruous. There is a lot of tension in this one, particularly when Scully and Mulder are attempting to raid the Peacock farm. The final scene, with the Cadillac and the music was great and really seemed to cap it off on a high. Owing to the gruesome storyline, I believe that this remains the only episode of the show that Fox have never repeated, even if others have. 4, Triangle s6 This is a very clever little episode, set on a World War 2 liner, boarded by the Germans, but owing to the Bermuda Triangle, makes a fleeting appearance in the present day. What make this so wonderful is less the story, but the way in which it is realised. A lot of the scenes were done in long takes, which gave a feeling of pace and energy, as well as being visually spot on. Where the screen is split between past and present and both groups pass, the double take by Anderson in both is yet another great touch. In another smart move, the present day actors appear on the ship, but as either Nazis, or interested parties, but the idea of them reprising their present day loyalties is a twist that really sparkles. The main villain is the CSM, who is a general of the SS and Skinner has a much more ambiguous role, as both a SS major and a secret aid to Mulder, who rather than being recognised as being from the future is suspected by all of being an enemy. Even the music is great, with some big band Swing making an appearance. 3, Bad Blood s5 This is a fun little episode. It's initially told in flashbacks from both Mulder and Scully's perspective and the differences in viewpoint make for a glorious time. The interplay and little bits of one one-upmanship make this a joy. Despite telling the same (fairly straightforward) story almost twice, it remains totally fresh throughout. The vast difference in the sheriff was very well done. The final part is all about the return to Texas and forms a kind of end piece to the story, ensuring that we are left with the ambiguity created by both accounts. Although this doesn't have the pathos of Clyde Bruckman's Final Repose, it's so bloody entertaining to watch. The later Field Trip (s6) was a less entertaining version of this and unlike Bad Blood is one that once you know the twists, doesn't repay repeated viewing. 2, Jose Chung's it came from outer space s3 This has more in-jokes and Easter Eggs than you can shake a stick at. Everything feels tongue in cheek and whilst too many episodes like this would destroy the show, this is a glorious affair. The writing is champion and just drips creativity. I loved the use of 'bleeping'. It's even got Jesse Ventura in it. This is a rare episode that improves with every viewing. 1, Clyde Bruckman's Final Repose s3 This is the best balanced episode ever created. You have fake psychics being bumped off and a grumpy guy with genuine powers who is resigned to not being able to change fate. Clyde Bruckman is played to perfection by Peter Boyle, who incidentally was The Monster in Young Frankenstein. Every scene he is in, he is absolutely compelling, dominating the screen, without seemingly doing very much. Like Bruckman, the actual killer is played as a low key down to earth guy, too and these provide a great contrast to the more flashy fakes. The scene when Bruckman and the killer come face to face is a joy for just how ordinary it is. There is a great use of humour in this episode, but not at the expense of the story itself. There is just so much to like in this episode. The final fate of Bruckman is particularly moving. " Excellent post, and run through of the programme. However, did anything happen with Maureen? | |||
"Reboots tend to be awful or average at best. My opinion is just leave the old classics be, as any reboot will never live up to the originals. What tosh, both Sherlock and Battlestar Galactica to name just two have both been highly regard and critical acclaimed reboots of classic shows. That's without going onto cartoon shows like She Ra and the Princesses of Power, which took an ok cartoon updated it for a new generation into something truly brilliant." Agreed with Battlestar Galactica and I was a huge fan of the original. However this is an exception to the rule. For every good reboot, there's dozens that are "absolute tosh." | |||
"Reboots tend to be awful or average at best. My opinion is just leave the old classics be, as any reboot will never live up to the originals. What tosh, both Sherlock and Battlestar Galactica to name just two have both been highly regard and critical acclaimed reboots of classic shows. That's without going onto cartoon shows like She Ra and the Princesses of Power, which took an ok cartoon updated it for a new generation into something truly brilliant. Agreed with Battlestar Galactica and I was a huge fan of the original. However this is an exception to the rule. For every good reboot, there's dozens that are "absolute tosh." " Can anyone here say ghostbusters,or The Italian Job | |||
" Excellent post, and run through of the programme. However, did anything happen with Maureen? " No, she kept herself to herself, other than being happy to chat about this programme. I can believe she's still quite happily a virgin. | |||
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