The X-Files – ‘This’

MULDER: “How do you like that? The FBI finally found out what it’s like to be looked on as a little spooky!”

‘This’ doesn’t just feel like an episode of The X-Files. It feels as much like a core distillation of not just everything the show says today about the state of global surveillance, conspiracy and government, but rather everything it *used* to say. If ever an episode of the show was designed to remind us we’re no longer watching The X-Files of the 1990’s, it’s, yes, ‘This’.

The X-Files operates in an interesting place today. In my review of ‘My Struggle III’, part of the discussion revolved around how Chris Carter’s seminal series struggled when it was revived in 2016 precisely because it sat between what is now the world of yesterday (Obama’s stable, if divisive administration) and the world of today (Trump’s unstable, chaotic regime). Much like how all six episodes we’re figuring out how to re-conceptualise their storytelling for a new age of television, so Carter’s series attempted to find its place in a rapidly changing America. If the Season 11 premiere felt saddled by continuing mythology beats and was swamped by the narrative twist regarding Scully’s child, which had a mixed reception to say the least, then Glen Morgan’s follow up has the freedom to truly make the most of where The X-Files fits in the current paradigm.

Glen Morgan, and his oft-producing partner James Wong, were always two of the greatest assets The X-Files ever had. When they left firstly midway through the second season and later, following a brief return, midway through the fourth, there is no doubt both were missed. Morgan & Wong, as a duo, are responsible for some of the strongest episode the original series of The X-Files (as I’m now calling Seasons 1-9) ever produced – chiefly among them the peerless ‘One Breath’, which to some degree ‘This’ resembles. Not in story or even in style, but placed in terms of how it frames the characters of Mulder & Scully within a post-Watergate arena of paranoia, with mythological grandmasters operating at the head of the table. Though Morgan goes solo with ‘This’, everything he taps into feels like an extension and evolution of the kind of stories both were telling in the 90’s.

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The Last Jedi: from Space Fantasy to Space Equality

Only a week old and Star Wars: The Last Jedi already feels like it’s been dripped dry of critique and analysis. The much-anticipated follow up to The Force Awakens, 2015’s bombastic revival of the Star Wars saga, has been polarising to say the least. For every fan who loved it, you’ll find another two who feel it has destroyed, in one picture, the entire legacy of the tale long long ago, in a galaxy far, far away.

As well as my initial analysis of the film, I wrote about the toxicity of this level of fandom who seek to target The Last Jedi for daring to experiment with the established tropes and concepts that have existed for forty years, and have made Star Wars what it is. Whether you liked or disliked The Last Jedi no longer seems to be the point – it’s the consequences of Rian Johnson’s film that have stoked the most controversy. Star Wars, surely, will never be quite the same after this movie? That’s the ultimate question cascading across Star Wars fandom as The Last Jedi settles in their mind. Too much has changed. Yet few seem to be talking about what this change directly is, or ultimately what it means.

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