Going for the kill
Note: Spoilers follow for the X-Files episode “Home Again.”
One of the unexpected but undeniable pleasures of the tenth season of The X-Files is the chance it provides to reflect on how television itself has changed over the last twenty years. The original series was so influential in terms of storytelling and tone that it’s easy to forget how compelling its visuals were, too: it managed to tell brooding, cinematic stories on a tiny budget, with the setting and supporting cast changing entirely from one episode to the next, and it mined a tremendous amount of atmosphere from those Vancouver locations. When it pushed itself, it could come up with installments like “Triangle”—one of the first television episodes ever to air in widescreen—or “The Post-Modern Prometheus,” none of which looked like anything you’d ever seen before, but it could be equally impressive in its moody procedural mode. Yet after a couple of decades, even the most innovative shows start to look a little dated. Its blocking and camera style can seem static compared to many contemporary dramas, and one of the most intriguing qualities of the ongoing reboot has been its commitment to maintaining the feel of the initial run of the series while upgrading its technical aspects when necessary. (Sometimes the best choice is to do nothing at all: the decision to keep the classic title sequence bought it tremendous amounts of goodwill, at least with me, and the slightly chintzy digital transformation effects in “Mulder and Scully Meet the Were-Monster” come off as just right.)
This week’s episode, Glen Morgan’s “Home Again,” is interesting mostly as an illustration of the revival’s strengths and limitations. It’s basically a supernatural slasher movie, with a ghostly killer called the Band-Aid Nose Man stalking and tearing apart a string of unsympathetic victims who have exploited the homeless in Philadelphia. And the casefile element here is even more perfunctory than usual. All we get in the way of an explanation is some handwaving about the Tibetan tulpa, which the show undermines at once, and the killer turns out to be hilariously ineffective: he slaughters a bunch of people without doing anything to change the underlying situation. But there’s also a clear implication that the case isn’t meant to be taken seriously, except as a counterpoint to the real story about the death of Scully’s mother. Even there, though, the parallels are strained, and if the implicit point is that the case could have been about anything, literally anything would have been more interesting than this. (There’s another point to be made, which I don’t feel like exploring at length here, about how the show constantly falls back on using Scully’s family—when it isn’t using her body—to put her through the wringer. Scully has lost her father, her sister, and now her mother, and it feels even lazier here than usual, as if the writers thought she’d had too much fun last week, which meant that she had to suffer.)
What we have, then, are a series of scenes—four, to be exact—in which an unstoppable killer goes after his quarry. There’s nothing wrong with this, and if the resulting sequences were genuinely scary, the episode wouldn’t need to work so hard to justify its existence. Yet none of it is particularly memorable or frightening. As I watched it, I was struck by the extent to which the bar has been raised for this kind of televised suspense, particularly in shows like Breaking Bad and Fargo, which expertly blend the comedic and the terrifying. Fargo isn’t even billed as a suspense show, but it has given us scenes and whole episodes over the last two seasons that built the pressure so expertly that they were almost painful to watch: I’ve rarely had a show keep me in a state of dread for so long. And this doesn’t require graphic violence, or even any violence at all. Despite its title, Fargo takes its most important stylistic cue from another Coen brothers movie entirely, and particularly from the sequence in No Country For Old Men in which Llewelyn Moss awaits Anton Chigurh in his motel room. It’s the most brilliantly sustained sequence of tension in recent memory, and it’s built from little more than our knowledge of the two characters, the physical layout of the space, and a shadow under the door. Fargo has given us a version of this scene in every season, and it does it so well that it makes it all the less forgivable when an episode like “Home Again” falls short.
And the funny thing, of course, is that both Fargo and Breaking Bad lie in a direct line of descent from The X-Files. Breaking Bad, obviously, is the handiwork of Vince Gilligan, who learned much of what he knows in his stint on the earlier show, and who revealed himself in “Pusher” to be a master of constructing a tight suspense sequence from a handful of well-chosen elements. And Fargo constantly winks at The X-Files, most notably in the spaceship that darted in and out of sight during the second season, but also in its range and juxtaposition of tones and its sense of stoicism in the face of an incomprehensible universe. If an episode like “Home Again” starts to look a little lame, it’s only because the show’s descendants have done such a good job of expanding upon the basic set of tools that the original series provided. (It also points to a flaw in the show’s decision to allow all the writers to direct their own episodes. It’s a nice gesture, but it also makes me wonder how an episode like this would have played in the hands of a director like, say, Michelle McLaren, who is an expert at extending tension to the breaking point.) Not every Monster of the Week needs to be a masterpiece, but when we’re talking about six episodes after so many years, there’s greater pressure on each installment to give us something special—aside from killing off another member of the Scully family. Because if the show were just a little smarter about dispatching its other victims, it might have decided to let Margaret Scully live.