When good tv shows go bad: "The X-Files", What Went Wrong? (1 Viewer)

[Mike Broadman]

The mention of the "freshness"-factor brings to the foreground the issue of the value the culture places on novelty for its own sake. Correlative to the perception of decline in any creative endeavor is the perceived loss of novelty of any given thing. ("That's yesterday's news!") "Good" though it may be, if it's "old" (or "old-hat"), it's outta here!

I don't know about that. There are plenty of shows, especially sitcoms, that are not very original, but are successful. I never watch it (hate sitcoms), but many have told me that they like Everybody Loves Raymond because it's a high quality "standard" sitcom.

And just because something is new, doesn't mean it will succeed.

 

[Rex Bachmann]

Mike Broadman wrote:

Please note that I use the term novel(ty), not new, not original, on purpose.
I go with Shakespeare about there being nothing (or very little) that's new under the sun. The notion of novelty is as much about perception as about anything else. Something's having a standard format does not necessarily take away from its being perceived as a novel and distinct entity.
And, finally, while I think novelty (that is, perceived distinctness and freshness) is a necessary ingredient to success in the culture, I did not claim, nor would I claim, that novelty alone is sufficient for success. Tests of sufficiency are always more exigent than those for necessity.

 

[Mike St.Louis]

I still can't figure out what this thread is about...

 

[Rex Bachmann]

Mike Graham wrote:

Quote:

Speaking of how isolated episodes can miss out on sometimes crucial (relevant) events in the series, aside from the crappy "Three Dog Night" stuff, this episode is most memorable for a blooper. If memory serves me correctly, Mulder and Scully discuss death when they think they're stranded out in the middle of a lake. He asks her (or does she ask him?) whether she's ever contemplated death, and I think she says, in effect, "no, not seriously". This, of course, goes against the events in an earlier episode where she had to have thought about death, and he too, because they both almost died and Scully kept a medical and personal journal on the matter at the time. That episode was "Dod Kalm" (2nd season).
Again, when the left hand doesn't know what the right is doing . . . . .

 

[Mike Graham]

Rex Bachman wrote:

Quote:

My belief with age is that the players involved with the series were becoming diminished due to the show's age. The buzz died off. The players behind the camera were simply tiring. It was like an old friend overstaying its welcome.
As you were saying about Seinfeld syndrome, since the series literally came out of nowhere with such quality, everyone enjoyed it immensely because they didn't expect much from a sci-fi series airing during Fridays. However, people's expectations grew completely out of proportion after the buzz died off (due to age )and began to tune out.
I'm actually looking forward to watching some Season 6 and 7 episodes, as I believe I'll enjoy more this time around. I'd like to think I've gained a bit of perspective on the series after all these years. And to anyone who doubts our appreciation of the series since we're discussing its demise, let me say that I consider one of the greatest of television shows ever produced, right up with here Homicide : Life On The Street.
Speaking of Homicide, there was a recent discussion about the show's quality after the character of Frank Pembleton suffered a stroke. Many people consider the series' quality to have taken a nosedive after that point, while I actually consider the show's quality to have gone up after Pembleton's health suffered! Its all in the eye of the beholder.

 

[DaveF]

The death of the X-Files is obvious for me: the gov't/alien conspiracy explicitly acknowledged at the end of, I think, S6 (it ends with the gov't conspirators being encircled by the aliens who then torch them).
When the ultimate basis to the mythology was made explicit, the mystery was greatly lost. And since the allure of the X-Files was about the unknown, having too much known hurt the series immeasurably. My interest weakened there.
Then, the hubbub about Duchovny leaving, staying, leaving, visiting ruined even more of my interest in the show.
The death-knell was the substitution of first one, then I gathered, two new actors for the primary male & female leads. I'm convinced it can't be done: a lead character cannot be replaced one or two seasons before a show concludes. I first saw this when Terry Farrell left DS9 the second-to-last season. It was even worse with X-Files, since it was a two-character show, not an ensemble.
A final problem, for me, was the increasingly convoluted mythology. After a few years, I couldn't keep track of the myriad of details, and secretly suspected that it had become inconsistent.
As it is, I quit watching two years ago. I was hoping for a blockbuster final season where everything would be pulled together in glorious story arc. Oh well.
At least now I've got Alias

 

[Rex Bachmann]

, I could live without.

With regard to "Home" (marvelous), "Squeeze"/"Tooms" (the only "monster two-parter" in the whole series), and even "Ice" (great atmosphere, whimpy pay-off), I'm willing to take my 50 lashes. I didn't finish double-checking to make sure who had written what and, so, neglected them in the considerations that went into my statement. I thought, in fact, I had read somewhere that "Home" had been written by a committee, and had turned out great despite that. The first set you named is, indeed, some of the series' greatest.
The two Scully episodes, "One Breath" and "Beyond the Sea", are also good---we need such episodes---, but, despite their fan popularity, they will never be among my favorites. I simply don't get excited about the personal stories of the characters (protagonists). That's not why I watch science fiction. To each his own.
"E.B.E" is a "mythology" episode (although not necessarily a bad one). I've already said what I think of them, so I won't repeat myself.
The rest you mention are to me exactly as I stated before. I loathe "The Field Where You Died" (and never liked Morgan's girlfriend/fiancee) and "Musings . . ."
And, in fact, the latter is an example of what went wrong. The inner workings of a "monster", even a human one, is never to be revealed! That violates some fundamental writing principle etched somewhere (under a rock, probably). And what did the big bad ol' villain turn out to be? A failed novelist. GOD!!!! "Now, which am I going to be: novelist or interplanetary Quisling? Hmmmmm." Terrrrrible! Terrrrrible! Terrrrrible! That episode totally trivialized the villain. I looked at Babylon 5 (in first run syndication) that week instead. I was doubly appalled when I saw "Musings . . ." in repeats and syndication.
In sum, I like M & W's early monster/supernatural stuff. Nothing else by them (that I know of), including the Space Above and ("It's not really science fiction." Damned right!) Beyond.
As far as your remarks on "aging" etc. I stand by what I originally said. You're confusing "aging" with "fatigue" or ennui (on the parts of both audience and actors/writers/producers). "Fatigue" often comes with age---it's a "correlate"---, but the two are not identical.
Though we disagree in some key places, I thank you for the thoughtful comments. Good exchange.

 

[Mike Graham]

Well Rex, I'll give you this, perhaps it was fatigue that I really was speaking of, and not age. Going back to my earlier statements, I personally found that Deep Space Nine seemed to get better with age . Of course, it was the fact that the producers of the show, like Ira Steven Behr, were left to their own devices to make excellent storylines and character arcs. DS9's finale was fantastic, as every character's resolution was carefully plotted. I hope someone else can jump into the discussion and add their two cents.
Concerning your comments that you didn't enjoy Musings..., I have to say I loved the episode from start to finish, with the entire "...life is like a box of chocolate..." speech (it has to be seen to be believed) and the return of Jerry Hardin as Deep Throat. Chris Owens was superb as the younger version of the character.
While many have stated they don't enjoy the conspiracy arc, I think they should go back and check out any conspiracy episode before Season 4, I think (and hope) they'll actually be pleasantly surprised.
Just being curious Rex, but have you picked yourself up one of the X-Files DVD box sets? Season 3 and 4 are fabulously put together.

 

[Mike Graham]

Dave F :

The death of the X-Files is obvious for me: the gov't/alien conspiracy explicitly acknowledged at the end of, I think, S6 (it ends with the gov't conspirators being encircled by the aliens who then torch them).

You and the majority of fans feel that way Dave .

 

[Rex Bachmann]

Mike Graham wrote:

Quote:

I bought seasons 1, 2, and 4 on release. However, the season-1 set had to be returned, and seasons 2 and 4 have been exchanged multiple times each, and I still have defective copies full of those damned skips in the picture. I am totally dissatisfied with the technical quality of the X-Files boxed sets, and will not be purchasing any more unless and until I get a satisfactory answer from Fox Home Video as to what the company is doing about these defects.

 

[Mike Graham]

Rex:
The only problem I had with the X-Files box set was in Season 4 concerning the episodes; whenever I watch the episodes from start to finish they play perfectly. However, if I start in 4 or 5 chapters deep into an episode, it'll skip ahead by a few minutes. I only noticed this when I went back to the episodes to grab some screen captures. As for the DVD ROM content on Season 3 and 4, I could never get the games to work, but then again I haven't been able to get a lot of the DVD ROM content (like the computer extras of Se7en) to work since last year.
Concerning your "favorite" episode Musings..., I can see why integreting CSM with some of the more troubling aspects of history like the JFK assassination would be disturbing for some. To each his own.
Anywho, I certainly hope you're able to work out any problems in the future with the DVD box sets, because they're some of the best discs I ever picked up.

 

[Todd Stout]

I agree that X-Files should have ended sooner. Perhaps a spinoff with with Doggett and Reyes would have been more successful than just continuing on with the regular show. Maybe an X-Files: Special Victims Unit or X-Files Nights would have worked for people since it would have been a separate show (okay, not using those names but you get the idea). I really do like the the Doggett and Reyes characters but I feel that I (like many others) spent too much time comparing the 8th and 9th seasons to earlier seasons. It just didn't "feel" like the same show any longer.

 

[David Egan]

I think that after some years have gone by people will get more perspective and remember that there were plenty of bad episodes in the early years and plenty of good ones in the later. Where did Darren Morgan go? Not to Hollywood apparently. There's not much chance that him or any of the other X-writers are going to get the opportunity that CC gave them anytime soon. I'm looking forward to future boxes.

 

[Mike Graham]

David Egan

Not to Hollywood apparently. There's not much chance that him [Darin Morgan] or any of the other X-writers are going to get the opportunity that CC gave them anytime soon

Reportedly, brother Glen Morgan brought on Darin while he was preparing to depart for Space: Above And Beyond. Morgan won an Emmy for one of his Season 3 episodes, which I believe was the show's only award for writing. From what I've gathered from interviews, it apparently took quite a bit out of Morgan to get those Season 3 scripts written (along with the usual rewrites he did for other episodes). After his work on Millennium's second season was completed, he dropped out of sight. As I've stated before, I hope he pops up sooner rather then later.
I think X-Files writers will be given a lot of opportunities in Hollywood, mainly because of the creativity and endurance the series demanded.

 

[Dave Barth]

I don't hold with the critics of the show who claim the show "went to hell" after the fourth or fifth year

...fair enough. I do, though I watched it until the end. And, for what it's worth, seasons 8 and 9 were far more watchable IMHO than season 7.

My complaints about the show revolve almost entirely around its writing and creative decisions.

(1) Poorly written retreads of situations already covered.

The two most glaring to me

Squeeze,Tooms -> 2Shy, Teliko, Hungry (people above humans on the food chain)
Ice, Darkness Falls -> Firewalker, Dod Kalm (agents trapped, in danger from a biological threat explained by Scully, science and/or outside aid needed to save them -- Firewalker was a particularly obvious ripoff of Ice IMHO)

If I cared I'd probably list dual nature / Jeckyl & Hyde themes, principally Chimera followed by an ep in S9 that I don't know the name of that involved an inability to admit to sin

(2) Increasingly weak writing for the main characters.

Over time Mulder and Scully came to be cliched versions of themselves. Moreover, their relationship started to become a growing part of the writing's focus; the show was best when this was more in the subtext/background.

(3) A growing emphasis on humor, humanized antagonists, and a disrespect for the audience

Humor: After Darin Morgan's string of classic episodes in the third season, the writers started to try to add more humor to the show. First were Small Potatoes -- terribly flawed but an entertaining change of pace -- and Bad Blood (where the characterization of the characters goes horribly awry, though part of that is the storytelling gimmick). But then we wound up with tripe like all of How the Ghosts Stole Christmas, the faux Mulder and Scully ringing the doorbell in Fight Club, lots of Rain King, etc.

Humanized antagonists: It used to be that the show focused on the investigation and the characters' discovery of someone's motivation was secondary or largely known from the beginning. But then more and more episodes started to give an increasing role to humanizing the antagonists, explaining their plight, e.g. Musings of a Cigarette Smoking Man, Rain King, Hungry.

Audience disrespect: Regular viewing began to be punished rather than rewarded by the failure to pay off certain plotlines in decisive fashion, by decisive payoffs such as the death of Spender turning out to be false or implausible -- and uninvestigated or even mentioned in later episodes, by condecension toward the audience in elements such as "Who is the father of Scully's baby?" where the characters knew but the dialogue and situations were deliberately written to keep the suspense up, and the audience in the dark. "Who is Mulder's father?" and "What happened to Samantha?" also wound up having VERY disappointing resolutions.

The show used to reward regular viewing, but this stopped around season 3's end IMHO. Queequeg, a fantastic relevation about one of Mulder's erstwhile allies in Wetwired, a second revelation about Mulder's mother in Talitha Cumi...

(4) Pitifully bad writing & creative decisions

First Person Shooter -- yes, my computer comes with a device called a kill switch built in. It's called the power button, and when that fails, the power cord.

Fight Club -- there were no better ideas left for the potentially third to last episode? I mean, I can forgive Space, the show was finding its legs, but this is just unwatchably terrible in both concept and execution.

Orison/Kitsunegari -- old antagonists were brought back for this?

Killing X to replace him with a character that didn't work (Marita). Mulder driving to Canada and learning nothing from Jeremiah Smith during the drive. The continued dropping of ongoing story arcs during any self-contained episodes. Teasing the death of major characters only to have them return from the grave several times. Killing characters' relatives pointlessly to "up the dramatic ante", when the stakes were already huge.

(5) Other complaints: exhausted-looking acting in season 5 (due to concurrent filming of the movie). Bill Roe turned the show's wonderful light and dark contrasts into a parody; for the last four or five years every face was in half-shadow, be it in a police station, hospital, etc. Overuse of reset button endings in succession at start of season 6: Triangle (reset), Dreamland I & II (reset), How the Ghosts Stole Christmas (reset). The use of famous actors and actresses when the show moved to LA. Self-referentiality (as mentioned by Rex) -- I'll include the pathetic jab by Carter toward Fox re: Harsh Realm in Sein Und Zeit here. And, in general, just plain BAD BAD WRITING.

I hope I've avoided speculating as to causes (except for the exhausted acting in S5 for clear reasons). I truly have no idea why the writing, to me, went south so quickly. But after season 4 the show reached previous heights intermittently at best...

As for what I loved about the show, it originally was suspenseful, thoughtful, with well-written and inventive plots and interesting characters. When it became about making me laugh rather than squirm or about highlighting the relationship between the characters, it became significantly less appealing. I did stick with it until the end though I was skipping episodes here and there, a prospect that would have been unimaginable until I gave up hope based on what Chris Carter did with The X-Files movie and Millennium in season 3.

I am very interested to see what episodes hold up a few years down the road. I think a lot of the last two years was unfairly maligned compared to seasons 5-7 (7 especially). I mean, was sh*t like "Samantha turned into starlight" and "this spaceship has the Bible written on it!" really better than new, interesting characters and a return to old-school X-Files (away from the humor based X-Files Lite)? The idea of a man-bat hunting Doggett still excites me... Granted, there were still too many crappy episodes, but at least there were some good ones mixed in!

 

[Eric Porter]

There is pretty good website that has discussions of when TV shows made a turn for the worse or as they call it "Jumped the Shark" refering to the old Happy Days episode where Fonzie did just that. Not sure if any of you have seen it before www.jumptheshark.com It can make for some entertaining reading.
Eric

 

[Rex Bachmann]

David Egan wrote:


Quote:



I think that after some years have gone by people will get more perspective and remember that there were plenty of bad episodes in the early years and plenty of
good ones in the later.







I would agree that there were "some" of each in each period of the show. I have seen claims that the program "went to hell" as early as season 4. Some fans don't seem to recall that the much reviled "killer-kitty-cat" episode "Teso dos Bichos" was a third-season episode. "Hell Money", "Space", "Shapes", "Fearful Symmetry", "3", and "Blood", have all, rightly or wrongly, come under fire at one time or another. If I had to pick "good" episodes from the last two seasons of The X-Files, I could name "Patience" and "Roadrunners". "Lord of the Flies" had some good humor amidst the gruesome goings-on. I didn't know what to make of "Hellbound", and need to see repeated viewings to properly evaluate it. Lastly, I want to put in a special word for "Audrey Pauley", which for me evoked the kind of isolated, often unfathomable quiet creep-story that would have been well at home in the first two seasons of the show.

But, in addition to story or script quality, there were also more subtle differences between X-Files V.C. and X-Files C.A.. I've stated elsewhere that I think the music scoring of the program went measurably downhill in the last seasons. I liked the experimental metal-ambient "weird" scoring of the early show. I think it was appropriate for a fiction show about "weird" things. I like, in particular, the undulant, fluty samplings of "Synchrony", whose rhythms, I suspect, are meant to convey to the audience some hint of the rhythms involved in the particle physics of time travel, especially since, as far as I know, that particular piece has not been used again in any other episode. The later scoring, by the same composer, Mark Snow, became more and more conventional as time went on. The Scully theme introduced in year eight (with a female voice doing a sort of doleful vocalese) was okay, but the necessary "weirdness" befitting the series was totally lacking in it. Finally, this past season the music went from determinedly creepy to all-out weepy, at times becoming all too syrupy (and completely standard) string music, a big come-down for a crucial portion of the production that affects audience experience. The X-Files without the weirdness is like Alaska without snow. What gives?

Something even more subtle and perhaps negligible to some was the presentation of "dark lighting" in The X-Files. I stated early on that one of the defining characteristics of the series is its use of darkness. A quick review of episodes will reveal what I mean. There are whole scenes, sometimes almost whole episodes, where literally all the action is taking place in the dark (e.g., "Grotesque"). I can barely ever see, even in repeated viewings, what's going on there. Obviously, it was a conscious and deliberate decision on the part of the producers from the beginning. The (in my view) wise decision lends an air of authenticity, as well as mystery---some crucial thing is always left hidden---, to the proceedings. In X-Files, V.C. the lighting of choice used to illuminate what part of the scene the viewer is allowed to see is almost always blue (see, for example, "Die Hand, die Verletzt"). During the L.A. Captivity someone obviously made the decision to "red-shift" the dark lighting, as red or red-orange became the color of choice (see, e.g., "Terms of Endearment", "Theef", "Alpha" (also?)).

Now, this may be subtle, but significant, if the ultraviolet end of the light spectrum has a different effect of mood and affect on the experiencer's brain than the infrared. I could be imagining it, but I think there were some subtle mood differences for me between the two, and that may have influenced my overall evaluation of relevant episodes. Lighting and mood do interact, as is well known. Color and mood, too?

 

[Rex Bachmann]

Quote:

Excites you and me both. Too bad much of the audience is not into true supernatural horror and horror-tinged sf, but most aren't apparently, and the producers, ever chasing the largest ratings they think they can get, found it easier to write to the lowest common denominator: car chases, explosions, gun play, fisticuffs, weepy hospital scenes, etc. (i.e., standard tv). It's easier and it makes more money for them. End of point.

 

[Rex Bachmann]

Dave Barth wrote:

I don't remember off-hand for sure, and I'm hardly one to defend this episode, but do they not try cutting off the power during the episode and then have the Lone Gunmen enter the darkened game hall only to find no evidence of Mulder there? (That's the way I remember it, anyway.) I thought the point of the episode is that Mulder and then Mulder and Scully become trapped in a cyberspace environment. Once you're located in cyberspace the power source that's gotten you there is irrelevant; you're there.

 

[Debbie E]

I'd like to resuscitate this thread
I have watched many eps out of order. I'm now starting to watch the Seasons 1-6 boxsets in order (I'm up to E.B.E. now). Once I finish with 7 I will post here my opinions so far.
Something I've noticed is that, no matter what the show, its viewership declines over time. Buffy has been lambasted left and right about declining these last few seasons. Yes, the show most probably had bad episodes, but they've been there all along. So I'd say once the novelty wears off, the errors become more apparent.
I'm still enjoying thoroughly my box sets