Cover to “Batman: the Long Halloween” #5, Tim Sale, 1997

DC Comics.

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A review of “The X-Files” Season 10

I breaks my heart to say this, but 2016’s long-awaited return of “The X-Files” was not a triumphant one.  (Indeed, I am writing this review nearly two years after its conclusion because I only recently got around to watching the last of its six episodes.)  I’d rate the brief season a 4 out of 10 — the lowest rating I’ve ever given to a season of the show.

I hope this year’s Season 11 proves me wrong, but I’m finally starting to wonder of “The X-Files'” time has come and gone.  (This is coming from someone who was a lifetime fan.  I even thoroughly enjoyed seasons 7 through 9, which was when much of the show’s loyal fan-base began truly eroding between 1999 and 2002.)

So many of the show’s core elements seem outdated now.  The character arcs of its two heroes and their relationship were resolved seasons ago.  Its central overriding story arc — an elite cabal’s conspiracy about (and with) aliens — appears to have been milked for most or all all of its entertainment value.  And the show’s format of mixing a handful of “conspiracy episodes” with standalone “monster-of-the-week” episodes feels awkward compared with contemporary programs that better integrate multiple plot lines.  (Consider HBO’s “Game of Thrones,” for example, or even the various Netflix and television series that are part of the Marvel Cinematic Universe.)

The truly fatal blow to “The X Files'” staying power, though, runs a bit deeper — network television just isn’t as positioned as it used to be to tell the scariest stories to a wide audience.  There is too much competition from sources less beholden to censorship or to the milquetoast sensibilities of mainstream appeal.  The first is easily accessible cable channels like HBO and AMC, which can shock viewers with visceral violence.  The second is subscription services like Netflix.

And third is simply the Internet at large, with its endless cornucopia of morbid or bizarre content.  “The X-Files” was created before the Internet was a common household utility.  Part of the show’s appeal was that it offered people the creepiest stories they’d watch anywhere anywhere outside of a movie theater.  And those stories at least seemed well researched by the program’s writers, who did a tremendous job for most of the show’s run.

Today’s Internet-connected entertainment marketplace is different.  No matter how much weirdness “The X Files” can pack into a 43-minute episode, the average consumer can find material online that is darker or more frightening in less time than that.  Compare the average “X-Files” episode, for example, to the array of material devoted to real-life “paranormal” subjects, like “Slender Man,” alleged UFO footage, or tragedies like the mysterious death of Elisa Lam.  (That last one is truly shudder-inducing.  Google it at your own peril.)

The only way a show like “The X-Files” can hope to compete is with excellent attention to tone, tension and character — something I thought that seasons 7 through 9 did pretty well with, despite a gradual fan exodus after David Duchovny’s awkward departure from the series.  Season 10 just didn’t follow suit.  It really was as though a range of previous “X-Files” episodes has been thrown in a blender, so that their component parts could be served yet again.  The conspiracy stuff, in particular, was poorly executed, too hastily paced, and just a bit too campy for my taste.  Mulder and Scully’s return was also too self-conscious — as though Duchovny and Gillian Anderson were reunited for a tongue-in-cheek reunion special.

It wasn’t all bad.  These two leads are always fun to watch.  The fourth episode was superb — “Home Again” served up both a creepy, macabre story and a meaningful character arc for Dana Scully.

Episode 3, “Mulder and Scully Meet the Were-Monster,” was also fun enough.  But while a lot of other fans absolutely loved this humorous entry, I personally didn’t feel its central joke merited a full episode.  Besides, this particular twist has been done before, in a 1989 book by a well known speculative fiction author.  (I won’t name the book or the author here, in order to avoid spoilers.)

The rest of the episodes were … fair, I suppose.  Oh, well.

I’m thrilled that we’re currently being given Season 11 of “The X-Files.”  As someone who was a longtime fan, I never envisioned the show lasting this long, even after a hiatus of many years.  I just hope the show matures and grows in quality after this disappointing rebirth.

 

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Dennis Villelmi interviews the Woman in Room 237!

If you are a horror fan, you’re in for a rare treat.  Stop over at The Bees Are Dead to read Dennis Villelmi’s interview with Lia Beldam, who portrayed the woman in Room 237 in Stanley Kubrick’s 1980 adaptation of Stephen King’s “The Shining.”  (Fans of the 1977 novel and its 2013 sequel, “Doctor Sleep,” may recognize the character as the ghost of Lorraine Massey.)

Dennis chatted with Ms. Beldam about a few different aspects of filming — including her experiences with Kubrick and Jack Nicholson.  It’s great stuff.

 

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“Odin und Fenriswolf, Freyr und Surt,” Emil Doepler, 1905

A scene from Ragnarök, the final battle between Odin and Fenrir and Freyr and Surtr.

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“In the time of your life — live!”

In the time of your life — live! That time is short and it doesn’t return again. It is slipping away while I write this and while you read it, the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opposition.”

—  Tennessee Williams

 

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A short review of the pilot for “Night Gallery” (1969)

In some ways, I’m a poor excuse for a horror fan.  I haven’t seen any episodes of some of the classic anthology series that my friends regard as biblically important.  Such was the case with “Night Gallery” — at least until a couple of nights ago.  (You can find it online, if you look hard enough.)

I checked out the 1969 feature-length pilot for the series, and I’m glad I did.  It was good stuff, despite the now lamentable 1960’s music and camera effects that were occasionally distracting.  I’d rate it an 8 out of 10.

There were three half-hour tales comprising the made-for-television movie: “The Cemetery,” “Eyes,” and “The Escape Route.”  “Eyes” was by far and away the best written and performed, but they were all quite good.  The twists for all three tales were quite satisfactory, and the tone was nice and macabre.  And the cast was terrific — Roddy McDowall and Ossie Davis starred in the first segment; Joan Crawford and Tom Bosley appeared in the second.  It was weird seeing such youthful versions of actors that were familiar to me in the 1980’s and 1990’s.

The format, along with Rod Serling’s unique narration, was engaging, if a little quaint.  It’s easy to see how this went on to become such a popular television show.

Here’s an odd trivium -in the establishing shots for the second segment, which takes place in New York City, the Twin Towers are missing.  That’s because construction had only just begun on the first tower in 1969, when this pilot was released.  The entire World Trade Center was completed three years later.

 

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“Calla Lillies,” George Cochran Lambdin, late 19th century

Print.

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“Boss Tweed,” by Thomas Nast, 1871

“The “Brains” Boss Tweed, depicted by Thomas Nast in a wood engraving published in Harper’s Weekly, October 21, 1871

 

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“I an old man,/ A dull head among windy spaces.”

Excerpts from “Gerontion,” by T.S. Eliot:

 

I an old man,
A dull head among windy spaces …

 

After such knowledge, what forgiveness? Think now
History has many cunning passages, contrived corridors
And issues, deceives with whispering ambitions,
Guides us by vanities. Think now
She gives when our attention is distracted
And what she gives, gives with such supple confusions
That the giving famishes the craving. Gives too late
What’s not believed in, or if still believed,
In memory only, reconsidered passion. Gives too soon
Into weak hands, what’s thought can be dispensed with
Till the refusal propagates a fear. Think
Neither fear nor courage saves us. Unnatural vices
Are fathered by our heroism. Virtues
Are forced upon us by our impudent crimes.
These tears are shaken from the wrath-bearing tree.

The tiger springs in the new year. Us he devours. Think at last
We have not reached conclusion, when I
Stiffen in a rented house. Think at last
I have not made this show purposelessly
And it is not by any concitation
Of the backward devils
I would meet you upon this honestly.
I that was near your heart was removed therefrom
To lose beauty in terror, terror in inquisition.
I have lost my passion: why should I need to keep it
Since what is kept must be adulterated?
I have lost my sight, smell, hearing, taste and touch:
How should I use it for your closer contact?

 

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Photo credit: By W.carter (Own work) [CC0], via Wikimedia Commons

Pay no attention to this blog post.

It’s only a red herring.

 

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Nurse Your Favorite Heresies in Whispers