New X Files Who is watching?

a reply to: zatara

I agree with you. This was a semi fitting end or cliffhanger for a very short season that left us with questions as per. Based on the ratings I have seen on the renewed "X-Files" and they are very good, I find it hard to believe, they could just leave this season with 6 episodes. Will be waiting to hear of any news on this...........

originally posted by: AugustusMasonicus

originally posted by: zatara

Just watched S10E06 and now they are picking up pace... The first episodes I considered lame and below par but this last episode is more like it.

If the writers can continue in this direction I am sure there will be a season 11

You do realize this was the final episode.

WHATTT.!! You must be joking..

If so...what a waste of opportunity to make gems of those other 5 episodes..

a reply to: zatara

Nope, sadly I am serious.

Boy that escalated quickly.

Moulders aging eyes kind of bother me, I think its because they took so long to bring the show back and it makes me worry about myself, we all get old, kinda like Arnold in the Terminator. I have enjoyed the first 5 episodes of season 10 so far for sure. I liked the silly werelizard. I really don't think they should have used muslims to portray the terrorists with bombs, that's racist, I have no clue where they got that idea from ? (sarcasm)

Oh boy, is this ever going to be difficult to review honestly. And indeed, I may fail profoundly in this task, for as a passionate fan of the series since its inception back in 1993, I may be completely incapable of unbiased critique here. That said, I can understand why this “mini-season” has been so critically lambasted, and so warily eyed even by ardent fans. In six episodes, only two (arguably three) touched upon the central “myth arc,” and the other three were sort of meta satirical takes on deeper themes than their actual premises might initially suggest. The result, on first inspection at least, is a story that goes nowhere, solves nothing, and explains little, interspersed with frustratingly “silly” one-offs.

I was ready to share that apparent consensus, and perhaps it is only out of the aforementioned bias that I chose to take a second look with an eye more attuned to metaphor and psychology, but I’m glad I did. Because that’s when this mini-series came to life for me, and transformed into something a lot more satiating, stimulating, and moving than it would otherwise have been. It’s also possible that the series is just horribly written and paced, and that I’m seeing something not intended by its creators to be found. But, like the UFO phenomenon as a whole, the truth - while probably “out there” somewhere - is very much “in here” when it comes to subjective readings of art… and searching for meaning in amorphous, hard to pin down, anomalous phenomena. So, down the rabbit hole we go.

*SPOILERS FOLLOW THIS POINT*

To truly understand what I THINK Chris Carter and company were going for here, one must first truly digest the episode entitled, “Home Again.” Because in this episode we find both a perfect example of the subtle “meta” symbolism - an urging by Carter to look beyond this work of fiction, and at ourselves - as well as the kinds of criticisms the series is unavoidably going to receive if people don’t see it. “Why is the episode called Home Again - other than taking place in the town it does - when it has nothing to do with the original Home episode narrative?” “Thought forms? Really?” and, “It was all wrapped up too quickly!” are common complaints I saw about this episode while the season was playing out. I shared them, until I went back and watched “Home,” and then rewatched “Home Again.”

While narratively detached, there is a symbolic theme running through “Home Again,” and that is, put simply: burial. Putting out of view that which we do not wish to face or contend with. Especially those we regard as “undesirable” enough to, as Scully and the Trash Man’s creator put it, “treat like trash.” In the original “Home Again,” the burial was more literal. Here, it is metaphorical. The Trash Man is an idea - the notion of justice for the indigent and homeless, because no one else in society would secure justice for them. He is the chicken coming home to roost; the idea that society must ultimately bear the consequences of that which it throws away and forgets. And for Scully, this burial was of William. While she did what she felt was best for him, she wonders whether she “treated him like trash.” And in so doing, asks society to look at itself and wonder - who or what are WE treating like trash?

This meta-but-not-entirely-fourth-wall-breaking symbolism is the key to enjoying this mini-season in my opinion, especially as it functions on many levels and to varying degrees depending upon the episode.

In the premiere, the longstanding conspiracy storyline is reshaped, as we learn that it is not ET working with human beings to colonize the Earth, but the human syndicate itself merely exploiting alien technology and genetics on their own, working toward an ultimate goal of depopulation. This theory will not be a new one to online conspiracy theorists and personalities, nor will people like Tad O'Malley (loosely based on Alex Jones) who are more sensational than truthful, but once in a great while, may stumble upon something salient to actual reality. While people like Jones have no credibility with me personally due to their repeated appeals to hype and even outright deception to garner viewership, what if someone like him/them were to one day find a smoking gun? Even Mulder is ready to dismiss O'Malley because of his political ideology… but quickly realizes that he really has something, and that such partisanship must be put aside in pursuit of the Truth.

While fictionally intriguing, the notion that in the ACTUAL fields of UFOlogy and conspiracy inquiry, a combination of looking where we may not feel inclined to, a little more rigor, and less divisiveness along ideological lines, may yield better results? That’s something I completely agree with and find to be quite true. Especially where UFOlogy is concerned. People are very married to the idea that extraterrestrial or interdimensional entities - usually portrayed as wholly benevolent in abduction lore, despite countless examples of that not necessarily being the case (if indeed such events happen at all… I remain open mindedly skeptical) - are responsible for sightings and encounters or claims thereof. But it’s worth taking a hard look at the possibility that such phenomena could be largely man-made… something most who fetishize the field and the weird in general don’t feel amenable to considering. Because it’s not as comforting or, frankly, attractive or titillating.

That dangerous fetishism towards the paranormal is the theme of another heavily criticized episode, the penultimate “Babylon.” Most reviewers, I feel, saw this episode as little more than, “That funny one where Mulder had the acid trip,” before going on to critique the unevenness of its satire when juxtaposed with the more serious moments. Most seem to perceive the real point of the episode to be the race to prevent a terror attack, with the '___' montage as just an amusing interlude. I disagree with that assessment, personally.

Mulder, in many ways, represents us. And by “us,” I mean those who have a certain attraction to the mysterious and unknown. We come in many shapes, sizes, and flavors. Some of us are more skeptical. Others are full-on “believers.” Some of us merely “want to believe,” as the legendary poster says. But all of us share in common some drive to delve deeply and - usually personally - into the realms of the paranormal. Which we all, on some level, desperately hope - or truly believe - exists. Why? I’m certain the reasons are myriad. But there is a danger in this pursuit. When we find some answer to a puzzle, however minor, there is something akin to a “discovery hit” that our brains receive. And that small hit is but a microcosm of the larger satisfaction and comfort conferred by any speculative picture of “what’s going on” some of us construct - and reconstruct - as time goes on and our interests grow.

(continued...)

(Part 2/conclusion)

Having Mulder’s chase of the truth portrayed as a - literal, complete with dominatrix and all - fetishization of the paranormal, and her shouting, “Is this what you wanted Agent Mulder? Your Woo Woo paranormal?” as she flagellates him, is a beautiful and overlooked representation of the tendency for UFOlogists and “seekers” of all varieties to, perhaps without even admitting it to themselves, treat the exploration of the fringe as a form of self-satiation and titillation. In a word, as a form of entertainment. Treating the chase and the exploration as resistance against official secrecy and power, while secretly enjoying it. Much as the submissive must consent to allow the dominant to - however playfully (or not) - strike them. It can be a dishonest, and self-serving dynamic if you aren’t careful. Searching for “the truth” with honesty (honesty with yourself, as much as with others) is much more challenging and uncomfortable than many imagine. Far easier - and more common - to simply enjoy the study of the unexplained, and to savor the “spookiness” of it all.

To that end, Mulder then finds himself aboard a rowboat, helmed by the Cigarette Smoking Man, as he scourges those doing the rowing. “You want the truth Agent Mulder? You’ve come to the right place.” Those who row are wearing death shrouds, and we hear Tom Waits sing, “Misery’s the river of the world.” Apart from its obvious allusion to the River Styx and the veil between life and death (which one supposes is where Mulder would find a dying man he was trying to commune with to obtain intelligence about a forthcoming attack,) I also felt this was an extremely dark and ominous reference to the Truth - the real, uncomfortable, even perhaps terrifying Truth… not the one Mulder hopes is true, and not the one paranormal investigators envision necessarily.

The abrupt transition from the scene representing Mulder’s “woo” fetish, to this stark, abhorrent realm, may well be intended to convey more than merely a literal “vision.” It may be telling us that misery IS the river of the world, and the truth is that men like Old Smokey are steering the ship right over a cliff. As we all enjoy our conspiracy theories and UFO sightings for the faint taste of something beyond this existence they offer, real suffering and real dark deeds play out every day. Are we looking where we need to be to see this Truth? Or are we being whipped and enjoying it on some level? Or being spurred on like mules by those with the power to manipulate thusly?

I will not critique every single episode in this season. Sufficed to say, the entirety of its run seems to hinge on whether one can see the writing between the lines. Is that a good thing? That depends upon who you ask. Does it completely satisfy? No. Does it answer all of our questions? No. I would argue it raises more than it resolves. Are there pacing and tonal missteps? Arguably, yes. I am torn on that point however, as I do suspect much of its tone derives from the emphasis on symbolism its creator(s) hopes we will take on board, more than any mere incompetence or lack of artistry. And the cliffhanger in the finale - and it’s a big one - is either brilliant, or a crass attempt to keep us hooked for more episodes that Carter may hope are to come, but which may never see the light of day. Again, it all depends on who you ask, and your interpretation.

As with UFOlogy, it depends on what you’re looking for: Entertainment? Or an uncomfortably nuanced and difficult to pin down miasma of seemingly contradictory, yet no less real, events? For my money, this season served up enough of both to hold my attention, and leave me pondering long after the credits rolled following its LACK of conclusion. With a heaping side of nostalgia.

Not the best meal I’ve ever had, but… Oh waiter? I’d like some more, please.

Peace.