#IGN X FILES HOME AGAIN SERIAL#
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In the end itвЂ™s Mulder and Scully together, searching for closure they know deep down theyвЂ™ll never find вЂ“ at least not in this life (have we seen this before?). Trash Man, because god forbid they close two cases in a row, essentially becomes a conduit for Scully to reflect on mother and womanhood, something Morgan says he and James Wong started in вЂњHome,вЂќ picked up with in season 4вЂ™s вЂњNever Again,вЂќ and finish here as she mourns the loss of her mother and crushing guilty of giving up the responsibility of William all at once. Even for Scully, or any other rational human, that seems out of place. Scully has to get back to work, just moments after she watches her mother pass away. The Trash Man is no Luther Lee Boggs, but his case is an escape route.

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We can go all the way back to season 1вЂ™s вЂњBeyond the Sea,вЂќ where Scully attempts to reconnect with her recently deceased father through a psychic serial killer, which begins the toxic mixing of her work and personal life. In an episode where I donвЂ™t recall David Duchovny doing anything more than holding a flashlight, the show travels back in time on the Scully Feels Machineв„ў. You put it out of sight so itвЂ™s not your problem, but youвЂ™re just as bad as the people you hate.вЂќ Some good camera work and suspense all builds to a letdown, however, and the episode turns on-the-nose political and self-reflective for Scully within one line of dialogue: вЂњYouвЂ™re responsible. Juxtaposing the вЂњThanksgiving Day volunteer,вЂќ helping the cityвЂ™s homeless from afar in the suburbs, while Petula ClarkвЂ™s вЂњDowntownвЂќ plays, is the classic way the X-Files uses a cheery tune to make a moment of terror just a notch creepier. The idea of an underground artist willing his work into a physical manifestation gone rogue is wonderful, but it comes fairly late in the episode. If you like your X-Files gooey and gory and void of sentimentality, вЂњHome AgainвЂќ likely split you right down the middle. It can be the вЂshipping between Mother and Daughter or Mother and Lost Son or Mother and Lost Son Number 2. And вЂshipping doesnвЂ™t have to be Mulder and Scully getting it on, you sick bastards. However, the real divide amongst X-Files in regards to this episode will be where you stand on the вЂshipping debate. At times, as we saw tonight, it has slowed down the storytelling and telegraphed the coming moves. For the most part, theyвЂ™ve succeeded in paying homage to the past, even when itвЂ™s less than subtle. In a lot of respects, The X-Files revival has done many things right in the nostalgia department returning to its original shooting home in Vancouver (re: the scenic final shot of this episode), last weekвЂ™s ode to Kim Manners, and bringing back important вЂњactors of a certain ageвЂќ as the Smoking Man William B.

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for going above and beyond to replicate some of the magic of the X-FilesвЂ™ early years and honor those who helped make the series what we can fondly look back on today. I have to give credit to Chris Carter and Co. Trash Man is a genuinely terrifying monster, the best weвЂ™ve seen in the revival thus far, but heвЂ™s secondary to the William arc that claims its first casualty and what Morgan told EW was the third in a trilogy of episodes that explores ScullyвЂ™s relationship with motherhood. The foul-smelling vigilante bares no relation to Spoonman, but nonetheless provides looks that are equally as sinister. Here itвЂ™s a murderous sanitation creature, вЂњTrash Man,вЂќ who is the Batman of PhiladelphiaвЂ™s homeless population. Following up his brotherвЂ™s already beloved Monster-of-the-Week comedy episode, Morgan sticks to a similar formula that long-time writing partner James Wong used in вЂњFounderвЂ™s Mutation.вЂќ Take a noble cause, find a bad guy that goes way beyond the job description, and add a pinch of William.

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