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Among X-philes, there are some who see Season 6 as the beginning of the end for THE X-FILES. On the urging of star David Duchovny, the crew relocated their base of operations from Vancouver to Los Angeles, and the move did seem to spark a different kind of spirit to subsequent X-FILES episodes. Not only was the look much bolder and brighter than the usual dark lighting of previous episodes; many of the episodes themselves started to veer into lighthearted comedy rather than the creepiness or dark humor of episodes like "Squeeze" or "Clyde Bruckman's Final Repose."
Some, of course, saw it as a sign that the creative minds of THE X-FILES were running out of creative juice. But, having revisited these 22 episodes recently, I believe that that is far from the case. My final impression of this great TV show's Sixth Season is of a wildly inventive series of episodes that was a step up from what I thought was a comparatively lackluster Season 5.
Sure, there are not as many of those memorably freaky monsters of seasons past: certainly, the rather tame tulpa of "Arcadia" is no match for, say, the frightening Flukeman of Season 2's "The Host." But, instead of creeping us out on a consistent basis, Season 6 delights us with its ingenuity. Would THE X-FILES of Season 2 even countenanced an episode like this season's delightful "Triangle," which throws a desperate Mulder (David Duchovny) into a time warp in which he is stuck on a British luxury liner during WWII? Instead of another depressing holiday episode like Season 5's "Christmas Carol," writer-director Chris Carter treats us with the heartwarming (despite the spooks) "How the Ghosts Stole Christmas," with Ed Asner and Lily Tomlin as a husband-and-wife pair of ghosts. And Season 6 comes up with the first comic two-parter, "Dreamland"/"Dreamland II," a funny body-switching romp guest-starring Michael McKean as a loser MIB who switches bodies with Mulder by accident, and loves it.
That's just the tip of the iceberg, though, with the creative treats offered by Season 6. It may not be as creepy as some may prefer, but it is, in many ways, even wilder than anything offered in the first five seasons.
But, of course, those are just the standalone episodes. The alien mythology also sparks back into life, after the lackluster mytharcs of Season 5. The centerpiece, of course, is "Two Fathers"/"One Son," a convoluted and compelling two-parter that the FOX network touted as "Full Disclosure," as the answer to most of the questions posed by these mythological epiosodes. As usual with Chris Carter, it wasn't exactly that. Nevertheless, it did bring all the plot threads about alien colonization and warfare to a reasonable conclusion (or so it seemed at the time).
"Two Fathers"/"One Son" left the door open for a new thread to emerge in the Season 6 finale, "Biogenesis." "Biogenesis" is unusual in that, instead of dabbling in confusing conspiracies or faceless aliens, it takes a more philosophical angle in exploring its new thread: the question of whether life truly originated on this planet or not. In the process, Mulder finds himself hearing things in his head and going slowly insane, and Scully (Gillian Anderson) finds herself in the midst of a biological mystery that has her stunned by the implications of her findings. Of course, most of "Biogenesis" is gripping and fascinating, as most of these big X-FILES mythology episodes are. At this point, though, many X-philes---myself included, started to feel that Carter and co. were running on fumes by this point, trying to stretch out a mythology that had already run its course. So, for all the solemnity of "Biogenesis," the episode felt, to me, a little too much like...I guess, padding of sorts.
Still, those reservations are not enough to mar a strong season of episodes, one that almost consistently surprised and delighted, especially with its standalone episodes. There are so many strong ones in Season 6 that picking a favorite is almost impossible. Still, for my money, the most memorable standalone is not the wacky "Triangle" or David Duchovny's terrific writing-directing debut "The Unnatural." No, my personal favorite is "Tithonus," a moving episode about a weary old man who is simply unable to die, despite his numerous attempts attacting the attention of Death. Written by Vince Gilligan, always one of the show's strongest writers, it has an excellent performance by Geoffrey Lewis to recommend it. Lewis vividly conveys Alfred Fellig's weariness simply through his low, lazy, unemphatic phrasing; he somehow makes the character sympathetic in spite of his cynicism. "Tithonus" is a thoughtful episode about death that, thankfully, never becomes overly religious or preachy; you may not agree with Fellig's assertion that "75 years is enough," but you'll think about how much you value life nevertheless.
Other highlights include "Drive," "S.R. 819," "Monday" (derivative of GROUNDHOG DAY, I know, but entertaining nonetheless), "Milagro," and the fascinating (if overrated) mindbender "Field Trip." And kudos to David Duchovny for coming up with the most delightful Mulder-and-Scully byplay in THE X-FILES since their first meeting in "Pilot"; their priceless first scene together in "The Unnatural" alone is worth the price of this box set.
Thus, Season 6 of THE X-FILES, an inventive, consistently entertaining season that gives lie to those who see the beginning of the end in this set of episodes. It may not recall the creepy glories of earlier seasons; still, taken on its own terms, the Sixth Season is, overall, a terrific achievement. Highly recommended.
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Top reviews from the United States
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- Reviewed in the United States on May 22, 2005
- Reviewed in the United States on July 18, 2003
Top reviews from other countries
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Favreau LouiseReviewed in Canada on September 3, 2024
Coffret bilingue très apprécié de la sixième saison de X Files, sur 6 DVD d’occasion de qualité!
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DominikReviewed in Germany on April 20, 2018
Welcome to Dreamland! Die beste Serie aller Zeiten!
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