Thursday, 8 November 2018

The X-Files Series Eleven


My Struggle III written and directed by Chris Carter 

What’s it about: Fuck knows. I’ve given up with this mythology bullshit.

Brains’n’Beauty: What an absolute waste of Gillian Anderson’s considerable talents. She’s mostly out of it for this episode; spouting portents of doom, lying unconscious or suffering terrible visions. Anderson attempts to give credence to all of this but I could tell her heart wasn’t really in it. When you compare it to her other performances this season, it’s quite clear what she thinks of Carter’s writing.

Trust No-One: I sound ridiculously shallow saying this but age has not been kind to David Duchovny. Don’t me wrong it does not alter his ability to act or hamper his role in the show in any way. It’s just there is one level to my enjoyment of this show that has now been removed due to the ravages of time. I guess that is pretty shallow actually. The reason Mulder was only spoon-fed information about the conspiracy over the first ten seasons of the show is because the Smoking Man (his father) had parcelled them out at his own pace. Mulder slits the throat of a man who is attacking Scully? Is that in any way a reasonable response to the situation? Attack him, sure. Beat him, sure. But to cut his throat? Who are these people anymore?

Dreadful Dialogue: ‘My plans are airtight, and even if they were to get out they would be dismissed as so much fake news. That’s the world we live in, Monica. Every day a new disaster, when the one thing that no one is prepared for will wipe the slate clean. We refuse to imagine our impending extinction, the acceleration of the cataclysms. We’ve thrown science out of the window in favour of scandal and opinion and cant and all manner of ridiculous untruths. Civilisation a joke and my plan merely the punchline.’ Do you think the CSM practices these grandiose speeches or just makes them up on the spot? Is he just very well rehearsed in melodramatic hyperbole? ‘I’ve endured more hatred than you will ever know. My enemies are legion.’ Get over yourself, man.
‘I have to find our son! You need him. And I need you!’

The Good: Even I can’t deny that the image of the Smoking Man at the helm of the faked lunar landing by Neil Armstrong raised a smile. Carter re-writing history is lunacy, but it’s also a lot of fun.

The Bad: Carl Gerhard Busch? All this time the Smoking Man’s name has been Carl Gerhard Busch? If that is the case then I can completely understand why he was quite happy to go under the noxious alias of The Smoking Man for so many years. Had we been seeing the plan of the invasion of the world in the hands of somebody called Carl all this time it may not have had the same sense of ominousness. Thank God they are blink and you’ll miss them because how the Smoking Man is inserted into some of the events that have shaped history is horrifically unconvincing. The idea is sound enough (and it was explored in some depth in the superb season four episode Musings of a Cigarette Smoking Man) but the way he seems to be behind just about every conspiracy and moment of lunacy in human history is absurdly overstated. I’m surprised they didn’t have a shot of him in a limousine with Lady Di. The entirety of the precious episode…or at least the most pertinent parts of it were all a part of some nasty portent of the future courtesy of Scully’s brain? This is the worst kind of retroactive rewriting of events we have already seen. It’s JR in the shower. It’s Crossroads wasn’t real. It’s ‘I really wasn’t sure if the show would come back so I kind of want to forget about where I left things with the great alien spaceship descending on the Earth and take the show in a completely different direction.’ I’m boggled that Carter ever thought that he would get away with such a gross insult to his viewers intelligence. To begin what is a perfectly great season of this show with such a cheat boggles the mind. And Scully’s brain sending out morse code to those who might be watching…that’s equally barking. Why doesn’t a script editor whisper in Carter’s ear ‘erm, are you sure about that?’ Skinner not only manages to uncover the mysterious code flashes of Scully’s brain but he also manages to piece it together for Mulder to go look for his son. How a plot hinges on such absurdities defies description. Not only that but the Doctor that is treating Scully also manages to be clued up on alien conspiracies so she has all the information needed to keep the plot going and pointing Mulder and Scully in the right direction. What an insane co-incidence. This really is plotting as laid out by a three-year-old. Add to that that Scully has further visions that add some further plot detail. Worse than the messianic approach to the CSM is Monica Reyes re-imagined as a villain, pointing guns at Skinner, working against Mulder and Scully and empathising with the monster who is behind this all. Give me a break. It’s like Carter has forgotten all about his reboot of the show in series 8 and 9. Reyes and Doggett were a genuinely engaging team, even if the series was haemorrhaging viewers at the time. To pervert her character like this feels like a punishment for her lack of success at keeping the series on air. Let’s get this straight, Reyes and Gish were never the problem. The inconsistent writing and the fact that the show had simply outlived its natural existence was. I would rather have kept Reyes contained to those two seasons and have fond memories of her. Now when I watch those episodes I have to think of this bullshit. What about the introduction of this arch nemesis of the Smoking Man that we’ve never met before and his plan to transport all 7 billion human beings off into space, or something. What is that bollocks all about? ‘So we just wait…do nothing’ ‘We do our work’ – I feel like we get here at the end of every mythology episode. Big crazy shit about to go down. Oh wait, no it hasn’t happened. Let’s get on with our work.

Pre-Titles Sequence: Ah the joy of a recap where you can cut out all the flabby padding and plot inconsistences and show the best of the previous run in a nutshell. Watching this you might think that the tenth mini season of The X-Files had been the most successful thing ever rather than the baby steps of a show learning once again what it does best and making some heinous mistakes along the way.

The Truth: ‘Not so long-ago mankind’s greatest threats were war, famine and plague. We’ve all but conquered them with hard science, this faith in or technology – our new religion – when a simple pathogen would kill billions and billions. The aliens brought not only technology, they brought the seeds of our destruction.’

Moment to Watch Out For: The Smoking Man is apparently the father of Scully’s baby. HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAH. No really, where’s the punchline?

Result: Words fail me. Chris Carter’s seemingly inability to craft a script without resorting to the most heinous clichés imaginable boggles the mind. How he attempts to justify the end of the world climax at the end of the previous season as a portent of doom on Scully’s part, that’s taking audience liberties to a whole new level. When Mulder’s agonising voiceover begins I thought to myself has this writer learnt NOTHING in the previous ten seasons of this show? Has he such a God complex that he thinks to never seek out professional advice on his previous failings as a writer and simply continue to bash out this show in his own abominable style. Carter’s voiceovers have long been criticised, Redux being the worst example and Trust No-One being a particularly loathsome late offender. My Struggle sags under the weight of expository and soul crushing paranoia and emotional vapidness…usually wrapped up in an agonising voiceover. The narrative hinges on lunatic plot devices, characters having information they couldn’t possibly have obtained, regulars from the past turning up with clues and Scully’s apocalyptic visions. It’s practically every unspoken rule about bad writing. It’s a crying shame because within this retarded scribbling is a director who is trying to kick start the episode, actors giving the unfortunate dialogue some meaning and a musician who seems to think the show is still at its height and raining all the power of his orchestra to give the material some weight. If only you could switch your brain off there is probably a great deal to enjoy about My Struggle III. But ultimately this plays out like the ultimate antithesis of drama, things happening because the writer says they do rather than for a logical reason, things promised that never come to be, things discussed that sound important but are totally irrelevant and things happening that you can no longer trust will have any kind of impact. The series will return to standalone stories until the end of the season and so whilst everything is pitched at an apocalyptic promise of badness, you know that next week it wont matter as Mulder and Scully enjoy eight episodes of high jinks. Anti-drama, it’s the Chris Carter speciality. He should stick to line dancing and terror attacks. My big question is why couldn’t they have taken the risk and had the aliens exposed and changed the landscape of the show forever as the conclusion to the previous episode seemed to indicate? To back step on that seems like a severe lack of courage and the most unfortunate example of playing it safe I have seen in a long time. As a message to the audience at the beginning of the shows (potentially) last season, it’s that The X-Files has lost its balls. The Smoking Man is now the biggest joke of the entire series, apparently the villain in EVERY story, and now with the godawful twist that he was responsible for Scully’s pregnancy. So terrible it practically redefines the word: 1/10

This written and directed by Glen Morgan

What’s it about: Is Langly back from the grave? 

Brains’n’Beauty: Suddenly Scully and Mulder are talking like real people again, taking on the mystery of the ghostly Langly and the attack on Mulder’s house and trying to piece it together like professionals. Who needs Google when you’ve got Scully? She’s a font of useless information that might come handy in a game of Trivial Pursuit.

Trust No-One: Keeping Mulder and Scully together for an entire episode is a wonderful idea, because the precious three have taken great pains to separate them and the result is that lose one of the greatest strengths of the series, the delicious rapport between Duchovny and Anderson. Just enjoying some time between set pieces seeing them relax and crack some jokes is just delightful.

Sparkling Dialogue: ‘Frohike looked 57 the day he was born.’
‘He’s dead because the world was so dangerous and complex then. Who’ have thought we’d look back with nostalgia and say “That was a simpler time” Scully?’
‘What’s in them belongs to everyone. That’s the point of them.’ The truth about The X-Files.
‘Maybe he saw Mulder in his dreams?’ ‘Who hasn’t.’
‘It’s reason for being is to advance life. Not end it.’
‘Why do you work so well with your hands cuffed behind your back?’ ‘As if you didn’t know.’
‘Bye Bye, Ringo.’ 

The Good: There’s just something truly satisfying about Mulder and Scully being in peril. It has been a staple of this series since the very early episodes, the pair of them poking their noses in where they aren’t wanted and everything from kidney eating mutants to satanic faculties to necrophiliac serial killers attempting to kidnap and kill them. This works because Mulder and Scully are in peril for the entire episode and unlike the conspiracy episodes it feels like they could genuinely lose their lives at points. I love the ambiguous nature of the threat, we never quite have a handle on why they are being targeted for a long time because the story sticks close to the pair of them and we never get any answers despite their demands for some. A shoot out in Arlington? That has a ring of the bold X-Files of old about it. I like the idea that The-X-Files have gone viral and with classified access you can read their content. The Information is Out There, so to speak and with any number of intelligence agencies looking for the upper hand in the global conflict there is information about extra-terrestrial and paranormal abilities in the files that might just help them get it. The Scully spankbank? Hahahahahahaha. The White House is not looking on the Bureau with any great respect these days, no they are the Spooky ones. It’s anti-Trump propaganda but very quietly done. 

The Bad: Deep Throat was called Ronald Pakula? It’s no wonder these government officials go by overblown nicknames. If we had known the worlds end was being masterminded by Carl and Ronald rather than the Smoking Man and Deep Throat it might not have had the same ring to it.

Pre-Titles Sequence: And with one brilliantly directed fight sequence The X-Files is brought bang up to date with a sequence that is edited and scored so swiftly it could only come from the reboot version of the show. It’s like the pre-titles sequences of This is the point where the old X-Files departs and the new style kicks into place. It’s really fun and energetic and memorable. Bravo. 

The Truth: ‘When Scully started, it was just us. Dark forces in the US government. There was barely a Russia. Now there’s 17 US intelligence agencies. Homeland Security, Russian FSB, Chinese MSF, Isis, al Queada, Blackwater. Private companies launch to the space station and they are all of them are in bed with one another while trying to exterminate each other.’ This is an essential speech which shows just what a terrifying world The X-Files exists in now. It’s probably the most vital scene yet in the reboot. The world is fucked, and we’ve got to try and navigate its waters. Imagine a simulated afterlife? A copy of yourself and your brain that would kick into life after your physical body and mind have expired. Is that a path that you would want to take? In reality it is a work camp, they are digital slaves. They take uploaded minds to develop science but only the elite will use it to leave this world. The digital world that Langly describes of fake stars, sunlight with no warmth and a wall around reality sounds empty and lifeless. A digital sweatshop of obscurity. Poor Steve Jobs. Erika Price turns out to be behind this whole digital nightmare, and the one element of My Struggle III that deserved further attention and exploration. Barbara Hershey is always worth your time. The idea of a computer revolution to ensure that the human race survives the impending alien apocalypse is actually more exciting than the catastrophe itself. Langly was the only person within the simulation to figure out it wasn’t real and he had seven billion people in the real world that he could have contacted…and he went for Mulder. 

Moment to Watch Out For: ‘What is this? How did we get here?’ Whoopdefreakingdoo! How glorious to have Skinner ask why on Earth they are waving guns at each other for the nine thousandth time. The shows eighth and ninth seasons made the firm decision that Skinner was an ally to The X-Files and turning that around in the reboot is another mistake on Carter’s part. As soon as he can, Morgan gets them back in bed together (oo-er) where they belong and asking the pertinent questions. ‘Do you work for them?’

Result: ‘The world is different, Mulder…’ It’s a brilliant idea to have Mulder and Scully on the run throughout an entire episode and have nobody to turn to. It gives the show a chance to indulge in some awesome action set pieces but to also keep the suspense up for the entire 40-minute running time. I haven’t been this gripped by an episode that has played out in real time since season six’s Drive. Glen Morgan is determined to drag the revised X-Files into the modern day with a furiously paced script and some dynamically directed sequences but he’s not aversed to kisses to the past as well with an intriguing role for Langly, which is well explained by the end. The exposure of the misty Vancouver landscapes is the greatest nostalgia kick this series could offer. The clues that Scully and Mulder follow might be a little tenuous and you do have to strain credulity to follow the plot but no more so than in a similar conspiracy tales like The Da Vinci Code. I like how it is a stroll through X-Files mythology and how it gives the characters the chance to honour the ghosts of the shows past. And Scully at least asks the question of why the hell Langly couldn’t have just pointed them in a specific direction rather than a series of ambiguous clues. Unlike a Chris Carter script where we have to accept a nonsensical plot because he says so, Morgan hangs a lantern on his quirky plotting so the audience knows they are being taken on a fun ride. How the script looks on longingly at the early days of the show when things were so much simpler in the world and exposing just what a mess we have made of things since then and how frightening it is to be alive in today’s globe of violence, terror, paranoia and underhandedness is inspired. Skinner’s speech about the state of play today and how this episode feeds into that to a point where it doesn’t matter who is pursuing Scully and Mulder, because it could be any number of agencies with their own sinister agenda, plays brilliantly into one of the shows greatest strengths. It’s ambiguity. This could only take place now and it’s all the better for it. Powerful, sinister and exciting, The X-Files is bang up to date. It feels relevant again: 9/10

Plus One written by Chris Carter and directed by Kevin Hooks 

What’s it about: In a show that has traded in doppelgangers for years, this is a fresh take on the idea… 

Brains’n’Beauty: I love that at this stage of the game Scully can tell what Mulder’s outrageous theory of the week is just by looking at home. He doesn’t even have to say anything. Talk about telepathically connected. Carter uses this episode to explore how Scully and Mulder have changed over the years, how they have aged and slowed down a little. It’s been two decades since the show began and there are serious physical changes that occur in that time. To ignore them (like they try and do with the title sequence for some bizarre reason) is just absurd. Whilst the dialogue that Scully has dried up over the years hits home, that’s nothing to shot of her staring at herself in the mirror as she gets undressed. Anderson says with a look what Carter could never truly put into words. When she asks if Mulder thinks she is old he responds with the most Mulder like line (‘you’ve still got some scoot in your boot’). Scully asks the question of when they retire, will they spend any time together? What do you think?

Trust No-One: Equally fun as Scully’s psychic connection to Mulder when it comes to his outlandish concepts, Mulder suggests that Scully is flinging dookie when she tries to offer a scientific explanation for the dopplegangers and the Poundstone’s influence. Whenever Mulder turns up at Scully’s bedside it is to deliver news of another death. I’m sure he would like to pay a visit for a very different reason. 

Sparkling Dialogue: The entire sequence where Mulder and Scully talk about having more kids and getting old is just beautiful. When Carter stops pretending he is writing the Second Coming and just lets his characters discuss very real issues his dialogue can be truly excellent. I have no clue why he forgets that so often. Scully’s admission that her first baby was a miracle and that she does have anybody to have a second one with is very touching. More scenes like this please. 

Ugh: Judy’s split personality is pretty damn scary, thanks to Konoval’s intense performance. It’s been a while since the show went for some simply scares like this and how she sits in the dark, threatening Scully and flinging shit at her, really got under my skin. I would put my money on the fact that evil doppelganger Scully would be the scariest thing this show has ever produced and the few glimpses that we get seem to confirm that.

The Good: Am I lacking in ambition to find the opening scenes of Mulder bringing a case to Scully in the X-Files office just the most delightful of things. It feels like I have dialled back 20 years to my childhood. The way it is presenting as though the intervening two decades never happened so unapologetically is just wonderful. Even Mulder says they are back to their bread and butter. I love love love how the most touching moment in the entire episode (Mulder holding Scully in bed to comfort her) is undermined by the uncomfortable notion that she might be her evil twin.

Pre-Titles Sequence: A good old-fashioned X-File sequence…I didn’t think that Carter had it in him anymore. A man is haunted by a copy of himself in a gig and is forced into crashing his car and killing himself. Maybe it is the use of a brand-new director but there is something forceful, angry and energetic about this sequence that feel refreshing. 

The Truth: Is there an evil twin inside each of us just waiting to come out and play? Who hasn’t behaved in an inappropriate way in the past and unleashed that side of them? But the idea of that darker, baser side to your nature being made flesh and acting independently of you…that’s actually pretty terrifying. 

Moment to Watch Out For: How the beautiful scene between Mulder and Scully is prevented from being too twee by being overseen by a dark version of Scully in the corner of the room. It’s an excellent scare.

Result: Plus One is a terrific little X-File of the old school variety that kept my interest throughout, had some impressive set pieces and insane characters. The simple truth is that when Carter isn’t trying to impress with his mythology episodes, he’s actually a pretty good writer of bizarre and twisted pieces of supernatural drama. Think How the Ghosts Stole Christmas. Think Improbable. Think Plus One. By all accounts Kevin Hooks was keen direct the original series of the X-Files and never had the chance. Now he has his opportunity he delivers what is probably the most traditional of episodes since the reboot but in a very stylish, idiosyncratic and angry way. This show rarely touches upon psychological horror in the conventional sense, opting to more often go for gore, action set pieces or more overt paranormal threats. Whilst Carter doesn’t spend too much time offering a convincing portrayal of schizophrenia, he does offer up a wildly entertaining pair of nutters who make this episode a joy to watch. Enormous kudos to Karin Konoval (Mom from Home!) who performs an incredible double turn as both Little Judy and Little Chucky, a performance so convincingly offbeat that I genuinely did not realise it was the same actress playing both parts until my second watch to write this review. There’s very little subtlety in playing such outrageous characters but they are both so packed full of madness and energy that the episode just sings whenever either one of them is on screen. Scully and Mulder are given some much needed exploration too and I really love how they both take a moment to consider how much they have changed over the years. There’s something rather elegiac about the recognition of age over time that touched home for me. Anderson and Duchovny share an effortless chemistry now, and it is really bolstering these stories. The main plot of Plus One could take place in any season of The X-Files, at any point in its history. I mean that as a massive compliment. Carter should let other writers take care of the mythology episodes and just stick to writing these oddball one offs. He’s really rather good at them: 8/10

The Lost Art of Forehead Sweat written and directed by Darin Morgan 

What’s it about: I can’t quite remember. I think it was really good. 

Brains’n’Beauty: Trust Scully to get to the heart of the matter whilst Mulder and Reggie argue over the details: the Mandela/Mengele Effect is simply people mis-remembering stuff. I’m glad she said that because for the first 10 minutes of this episode that was at the forefront of my mind. Anderson plays Scully’s increasing incredulity to the hilt. The last scene is especially cute because the regulars break through the fourth wall and look each other with honest affection and remember the past they have shared so fondly. 

Trust No-One: How very Mulder to dress up in a Bigfoot costume and head out into the wilds to hunt out the real thing. Apparently, it isn’t about seeking out the truth but more about getting away. It’s very sweet how Mulder can flirt outrageously with Scully during their work these days, it is such a difference from their plutonic relationship in the early that it identifies these latter-day episodes immediately. Before had Mulder suggested meeting an informant was a date Scully would have shot his nose off. Now she just smiles knowingly at him. Mulder couldn’t simply accept that people are simply mis-remembering facts, oh no, he has to go to the extreme of suggesting that it is evidence of the existence of parallel universes. No matter how much he tries to solve this thing…he keeps coming back to his outrageous theory of parallel universes. At least he admits that he has lost the plot. The world has now become to crazy for even his conspiratorial powers. 

Sparkling Dialogue: ‘It can’t be that good of an episode!’ How many times have I heard that? 
‘You’re having a Mengele Effect about the Mandela Effect…’ Perhaps the best gag in an episode full of zingers is Mulder and Reggie arguing over the name of the condition when you remember something different from the majority, one of them clearly mis-remembering. The fact that Reggie uses a memory to justify his version of the truth is sublime.
‘It’s not parallel universes!’
‘They want you to think all conspiracies are nutty so you ignore the ones that are true.’

Ugh: Baby Mulder with his adult head watching The Lost Martian is one of the most disturbing things this show has ever dished up. It’s just wrong.

The Good: Such a fascinating concept to build an episode around: memory, and how it can be corrupted, distorted or mis-remembered. The Mandela Effect is when somebody has a memory of something not shared by the majority or the factual record. He who controls the past, controls the future. The ability to manipulate memory creates unlimited power – political, economical, cultural. It’s a fascinating line of thinking because our memory informs every decision we make. By being able to make people remember things in a way that suits their agenda, it could literally change the world. Swing a vote. Sway a jury. Sell a product. Direct hate. It always feels like Morgan is winking at the audience, mocking the tropes of the show that all the other writers take so seriously. So, there’s plenty of underground car park scenes, paranoia and sinister men showing up to perform dastardly acts but there’s the feeling that this show has been on for so long now we can mock them kindly for their overuse. Reggie calling out a big-name company but the episode jumping a few frames so not to name them…inspired. This episode contains the best ever Trump gag – seriously, everybody needs to stop bothering. The story of Doctor They and how he was at the last Presidential Inauguration (in which hundreds of millions attended – fake news!) made me howl with laughter. Imagine real facts being presented in such a phony way that nobody will ever believe any of it. Some could accuse The X-Files of that.

Pre-Titles Sequence: The X-Files has past form at these campy, ridiculous pre-titles sequences. I seem to remember saying during Darin Morgan’s brilliant Jose Chung’s From Outer Space that it would be catastrophic if somebody came to The X-Files for the first time during the pre-titles where a terrible Claymation monster attacks a car in a parody of those ridiculous b movies. People might mistakenly think the show is this bad all the time. Which I guess was rather the idea. The Lost Art of Forehead Sweat is Morgan playing with the same idea again, a particularly trite episode of The Twilight Zone playing out in crisp monochrome replete with ridiculous twists and a hilariously bad alien design (the multiple arms that try and cover its mouth in shock are hilarious). It’s Morgan being clever because this is very relevant to the rest of the episode but taken as a pre-titles in its own right it is one of the oddest the show has ever presented. So, bravo for that. 

The Truth: ‘Where the hell are they taking Reggie?’ Who the fuck knows what the truth is. Best to settle for this episodes moral, and it’s something that is well worth remembering: ‘I want to remember how it was.’ 

Moment to Watch Out For: The glorious moment when Reggie drops the bombshell that he started The X-Files and that he, Mulder and Scully used to be partners and the beautifully conceived and realised series of clips where he is inserted unceremoniously into the classic series. Come on…surely you all remember Reggie Something? It sure makes sense of the mysterious ‘Reggie’ that Mulder used to phone in the first couple of seasons. This sequence just gets funnier and funnier, his reaction to Tooms and Mom from Home are to die for.

Result: ‘It was George Orwell that said that’ ‘For now maybe…’ The wonderful thing about the idea of having erroneous memories is that the more that you think about it, the more paranoid that you get. Can you trust anything? It’s the core concept at the heart of The X-Files and it baffles me that it has never been examined before. What’s so wonderful about The Lost Art of Forehead Sweat is that for the most part it is a very low budget story with an extremely wordy script but it’s proof (once again) that if the words are engaging enough and the performances sing then all you need are those elements to make a magical piece of television. Like This, Forehead Sweat presents an X-Files in a brand-new age and describes it as post-conspiracy, post-cover up. Are the writers trying to tell us that The X-Files unique brand of storytelling isn’t relevant anymore? Or that the show has to adapt and change to survive in the new television landscape? What this episode proves with its post-postmodern approach is that it can still kick the ass of the big hitters in any age as long as it striving to be as smart, funny and surprising as possible. What Forehead Sweat does is allow us to look back on the show with a huge rosy glow of remembrance, even if it wasn’t quite a fabulous as we remember it being…because sometimes how we remember something is more important than how it actually was. This is an episode that throws so many ideas in the air and lets them stew…. it’s an episode that makes you think. And in a television schedule that is rife with brainless synthetic entertainment that is something worth celebrating. The memory of the last X-Files case that Mulder, Scully and Reggie had together has to be the funniest thing ever put under the X-Files banner, partly because of the Trump mockery, partly because it is so profound, partly because it is visually absurd (the segway) and partly because something this bizarre is so much more enjoyable than the ‘real’ X-Files that Carter is trying to write in his mythology episodes. ‘Good luck, and good riddance’ indeed. I’m not sure how I will remember this episode in years to come, I’m not sure if the details will get all mixed up in my brain or my interpretation of its content will be different from somebody else’s. All I can say with some certainty is that right now this is the best X-Files episode since Release in series nine; packed with intelligence, charm, more witty lines than you could imagine squeezing into 45 minutes, a playful use of continuity, gorgeous characterisation and a plot that never stops giving. It’s a series 11 masterpiece: 10/10

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