Alec Nevala-Lee

Thoughts on art, creativity, and the writing life.

Our struggle, part two

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William B. Davis on The X-Files

Note: Spoilers follow for the X-Files episode “My Struggle II.”

“The writers we absorb when we’re young bind us to them, sometimes lightly, sometimes with iron,” Daniel Mendelsohn once wrote in The New Yorker. “In time, the bonds fall away, but if you look very closely you can sometimes make out the pale white groove of a faded scar, or the telltale chalky red of old rust.” That’s true of movies, television, and other forms of art, too, and it’s particularly powerful when it happens in your early teens. If you want to change somebody’s life forever, just find him when he’s thirteen—and give him a book. I’ve increasingly come to recognize that two-thirds of my inner life was shaped by half a dozen objects that I happened to encounter, almost by accident, during a window of time that opened up when I was twelve and closed about two years later. They included a copy of Isaac Asimov’s Science Fiction Magazine, a movie and a television series by David Lynch, and a pair of novels by Umberto Eco. Take any of these props away, and the whole edifice comes crashing down, or at least reassembles itself into a drastically different form. And of all the nudges I received that put me on the course I’m on today, few have been more dramatic than that of The X-Files, which premiered as I was entering the eighth grade and left a mark, or a scar like that of a smallpox vaccination, that I can still see now.

I’m writing this because I’ve realized that a young person encountering The X-Files today for the first time at age thirteen, as I did, wouldn’t even have been born when the original finale aired. It’s likely, then, that there’s a version of me being exposed to this premise and these characters courtesy of the show’s revival who has never seen the series in any other form. And I honestly have no idea what that kid must be thinking right now. Aside from a miracle of an episode from Darin Morgan, the reboot has been an undeniable letdown even for longtime fans, but to new viewers, it must seem totally inexplicable. It’s easy to picture someone watching this week’s finale—which is devoid of thrills, suspense, or even basic clarity—and wondering what all the fuss was about. I’ve long since resigned myself to the fact that my favorite television series, or at least the one that had the greatest impact on what I’ve ended up doing with my life, was so uneven that I don’t need to watch the majority of its episodes ever again. But to someone who hasn’t made that mental adjustment, or isn’t familiar with the heights the show could reach on those rare occasions when it was firing on all cylinders, the revival raises the question of why anyone was clamoring for its return in the first place. If I were watching it with someone who had never seen it before, and who knew how much I loved it, I’d be utterly humiliated.

Lauren Ambrose and Gillian Anderson on The X-Files

I don’t think anyone, aside perhaps from Chris Carter, believes that this season gained many new fans. But that isn’t the real loss. The X-Files, for all its flaws, was a show that could change lives. I’ve written here before of the Scully effect that led young women to pursue careers in science, medicine, and law enforcement—which would be completely incomprehensible to someone who knows Scully only from her reappearance here. (Gillian Anderson does what she can, as always, but she still sounds as if she’s reading the opening narration to “My Struggle II” at gunpoint. And when she sequences her own genome in what feels like record time, I just wanted her to say that she was sending it to Theranos.) The reboot isn’t likely to spark anyone’s curiosity about anything, aside from the question of why so many people cared. And while it’s a tall order to ask a television show to change lives, it isn’t so unreasonable when you consider how it once pulled it off. The X-Files entered my life and never left it because it was clever, competent, and atmospheric; it featured a pair of attractive leads whom I’d be happy to follow anywhere; and its premise pointed toward a world of possible stories, however little of it was fulfilled in practice. It changed me because it came along at the right time and it did what it was supposed to do. The reboot didn’t even manage that. If anything, it made me retroactively question my own good taste.

I won’t bother picking apart “My Struggle II” in detail, since the episode did a fine job of undermining itself, and there are plenty of postmortems available elsewhere. But I’ve got to point out the fundamental narrative miscalculation of keeping Mulder and Scully apart for the entire episode, which is indefensible, even if it was the result of a scheduling issue. Even at the revival’s low points, the chemistry between the leads was enough to keep us watching, and removing it only highlights how sloppy the rest really was. It doesn’t help that Scully is paired instead with Lauren Ambrose, giving a misdirected interpretation of a character who isn’t that far removed from Scully herself in the show’s early seasons—which just reminds us of how much Anderson brought to that part. The episode falls to pieces as you watch it, packing a contagion storyline that could have filled an entire season into less than fifty minutes, reducing Joel McHale’s right-wing pundit, who was such a promising character on paper, to a device for delivering exposition. (Since the episode ends on a cliffhanger anyway, it could have just moved it to earlier in the story, ending on the outbreak, which would have given it some breathing room. Not that I think it would have mattered.) As the revival slunk to its whimper of a close, my wife said that I’d been smart to keep my expectations low, but as it turns out, they weren’t low enough. If the series comes back, I’ll still watch it, in yet another triumph of hope over experience. Keeping up my hopes will be a struggle. But it wouldn’t be the first time.

Written by nevalalee

February 24, 2016 at 9:48 am

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