Six Degrees of David Duchovny

Many of the shows mentioned in the X-Files article have multiple strong interconnections, from Twin Peaks all the way up to Lost. The X-Files thus serves as a prominent link in a postmodern web of supernatural television that began in the early 1990s, capping off strange TV in the 20th century, and allowing the form to successfully carry over into the 21st century.

The shows in this web all display traits of postmodernism – stylistically and referentially, they are extremely self-conscious and formally experimental. They deal with conspiracy theories and monsters. They have their own mythological arcs that take us in unexpected new directions. They suggest that there are supernatural forces at work in the world and explore them using both reason and spirituality. But they don't take themselves too seriously - they parody themselves. The paranoia they place on us is ultimately comforting when we realize that everything really is connected, just like that Kevin Bacon game. Let's try it with The X-Files.

Twin Peaks, as we all know, was super awesome and changed the face of television forever. Nine members of the cast of Twin Peaks – including David Duchovny in his unforgettable turn as a transvestite DEA agent – later appeared on The X-Files. Richard Beymer (Tony from West Side Story and Ben Horne from TP) appeared on the show. Don S. Davis (Bobby Briggs’ father on TP) played Scully’s dad. Michael J. Anderson, aka The Man From Another Place (the dancing, reverse-speaking dwarf), appeared in the episode “Humbug” that was mentioned in the article. Anderson was also later on the short-lived but critically acclaimed supernatural HBO show Carnivale.


The Adventures of Brisco County, Jr., which aired the hour
before The X-Files, was co-created by executive producer Carlton Cuse, one of the showrunners for Lost. Like many other shows we have discussed, Brisco County is highly multi-genred, combining buddy comedy, sci-fi, Western, and drama. Brisco was initially seen as more promising than The X-Files, but it was cancelled after 27 episodes. Starring Bruce Campbell of Evil Dead, the show developed a cult following, featuring odd guest stars such as Timothy Leary parodying himself. How postmodern! Brisco’s other co-creator, Jeffrey Boam, worked on HBO’s Tales From the Crypt, a horror anthology series in the vein of The Twilight Zone that ran from 1989-1996 and also featured appearances by cast members from other supernatural shows, like Miguel Ferrer and Kyle McLachlan (who also directed an episode of Crypt) from Twin Peaks.

After the success of X-Files, Chris Carter created a new show, Millennium, which aired from 1996-1999 on Fox. The show was critically acclaimed but did not last long, yet it propelled further the career of Terry O’Quinn, best known for his role as John Locke in ABC’s Lost. Conceived as a more mature companion series to X-Files, Millennium was set in the years approaching the new millennium and was compared to the film Seven. A crossover episode with The X-Files (which was mentioned in the article) occurred after the show ended.

All of these shows connect, influence, and allude to one another, much like the characters on Twin Peaks and Lost all interconnect. In interviews, Carlton Cuse and Damon Lindelof, the executive producers of Lost, compare themselves to Scully and Mulder, Lindelof being the empirically-minded one and Cuse willing to leap beyond logic. This is reflected in the Scully-and-Mulder-like tension (without the sexual part) between Jack Shepard and Locke.

This interconnectivity and allusiveness of this "web" is highly postmodern, on a much larger scale than we see within the individual shows. When you look at it this way, it’s easy to understand the “geek culture” that becomes associated with a lot of these shows. A loyal fan base can be recruited by facilitating a search for clues, connections, and answers. As postmodern subjects, we strive to make sense of the complexities of the world as well as the media we consume. Thus, it's people like us who can provide the cult status shows like these need in order to stay on the air. (Or in my case, if it's too late, to catch them on DVD.)

Zombies and Werewolves and Killers, Oh My! - The Monster of the Week

So I was floating around the internet after reading the X-Files article, reading whatever I could find.  I became obsessed with what appears to be a pronounced divide and unresolvable conflict in the fandom of the show: Which do you prefer, the serial storyline episodes about alien abductions and government conspiracies, or the Monster-of-the-Week episodes with a new baddy to battle in each story?  Personally, when it comes to the X-Files, I prefer the big picture, even though it is the minority of the episodes (according to the article, only 61 out of the 182 episodes followed the mythology arc).  However, as a Cartoon addict, I must profess that I prefer the fresh, adventure feel of the new-creature-each-week type of storytelling that is most often used by animated programs (which I am a professed fanatic).

The concept of the Monster-of-the-week (also known as “freak of the week,” which I prefer because, well, it rhymes) format is relatively straightforward and requires only a few loose conditions.  First, the program in question must have an episodic format (self contained episodes within a larger story matrix).  Second, there generally is a new antagonist each week, usually a one-shot character, appearing to confront the main characters and subsequently defeated, often never to be seen again.

Sometimes, these new creatures are simply tools being utilized as soldiers for the main, recurring adversary/adversaries.  Probably the most notable use of this is in the Power Rangers franchise (known in Japan as the Super Sentai series).  In Mighty Morphin’ Power Rangers, which catapulted the franchise into the lives of American children, the five Power Rangers battle a group of evil space aliens led by the witch Rita Repulsa, who creates a new super monster each week that terrorizes the earth until the Rangers destroy it (and also it’s giant form, where they utilize their giant robot Megazord to re-kill it).  In these stories, even though there is a new threat to Earth every episode, there are still recognizable forces

behind the threat that can be identified.  

Why is this format so popular?  One word: syndication.  Shows that are designed to be episodic with one-shot villains are more inductive to a television practice called “stripping.” 

Let’s say, for example, that Captain Planet just got done stopping Dr. Blight from causing a nuclear reactor meltdown.  After the initial broadcast of that episode, it will be leased to independent stations all over the world to be played whenever they wish to, and in whatever order they desire.  The self-contained episode could easily be broadcast directly before an episode from two years earlier (where, say, Looten Plunder was attempting to hunt and poach an endangered species) without any real continuity or story conflicts. 

So fear not, Batman: The Animated Series fans.  The Joker, Penguin, Riddler, and Catwoman might be locked up in Arkham Asylum, but Clayface, The Scarecrow, The Ventriloquist, and Killer Croc are still out there, waiting for their week to entertain you.  Pick your poison.

Brisco County Jr: Not Only an X-Files Lead In

Growing up my parents were fairly obsessed with the X-files.  So obsessed in fact that they banned me from watching it with them.  It's selfish but in retrospect understandable; they didn't want to deal with my questions or fears while they were trying to enjoy their favorite bit of TV.  

However, I was allowed to watch the show seen before the X-files, that was briefly mentioned in this weeks article, The Adventures of Brisco County Jr.  A western starring the extremely charismatic and handsome Bruce Campbell.  Now, you might think that Joss Whedon was completely revolutionary when he sought to combine the western genre with Sci-Fi Fantasy, but our favorite Lost creator Carlton Cuse was doing this years before.

Brisco's narrative centers around an ex-lawyer turned bounty hunter seeking revenge for the murder of his father the Marshal, Brisco County Sr, by the criminal John Bly.  Along the way Brisco Jr. meets up with the zany inventor Professor Wickwire, a chemist, physicist and experimentalist!  The Professor constantly supplies Brisco with new inventions to aid him on his bounty hunts.  One such invention is the amazing rocket car, which is a rocket converted to run on train track rails. 

Most episodes feature either a new technological inventions (from motorcycles to denim jeans) or references to future fads (Elvis impersonators and sobriety tests).  Brisco also referenced other TV shows on at the time, naming one character Dr. Quintano, medicine woman.  Brisco is not only on the hunt for the the lawless but also "the coming thing."  This "thing" is never named but embodied in these many advancements and discoveries.  The numerous references to future events allows for a great amount of sarcastic and tongue in cheek humor.  

Brisco County Jr. is yet another postmodern, self-referencing, genre crossing show.  Like the X-Files, most weeks feature a new villain but they are all part of the same master story line.  And like Twin Peaks, numerous genres are employed to tell the complete story.  Bruce Campbell himself is a legend for his part in Sam Rami's Evil Dead films, and his cult following and acting style are responsible for the legacy that Brisco leaves.  

Finally, a major plot in Brisco is the hunt for the Orb, which was discovered in a mining cave and gives the possessor superhuman strength and abilities.  In one episode it is used to save Brisco's life and he begins the search for it when he realizes Bly and his gang may use it for evil. We later discover that the Orb is an electromagnetic wave particle net that harnesses energy captured from the space-time grid and it was sent to the old west from the future.  Does this sound like anything else Cuse has had a hand in? 

Basically, what I surmise from this is that Brisco County Jr. will to come to the future and save all the Losties just in the nick of time in true Brisco fashion.  To read more click here!

Postmodernism? Where?!

With Anime Boston just around the corner, it seemed appropriate to discuss anime for this post – it’s just good timing. To be honest, when I was reading the article “It’s the Libidinal Economy, Stupid: The X-Files and the Politics of Postmodern Desire” my mind kept connecting the concepts in the articles to the various Japanese animated programs that I am so fond of. Just for the record – anime is not cartoons.

I’m just going to pull a random anime out of my collection and see how it connects to the article. Ouran High School Host Club – a most interesting title, though not one that would be directly thought of as having supernatural themes, at least, not at the surface level. The only overtly supernatural element of the series is the school’s Black Magic Club, whose members are highly stereotypical. This can be taken as an attempt to parody other animes that are based out of schools that are outlandishly fantasy and out of the ordinary.

For example, the president of the Black Magic Club, Umehito Nekozawa, carries around a puppet that his family has worshipped as an image of a cat god. Nekozawa himself is commentary on the stereotypical vampire – he is allergic to light, sunlight especially is poisonous to him. For these reasons, he wears a long hooded black cloak over his school uniform – he even wears a black wig to cover his blonde hair. Though this is a postmodern look at the vampire, for the most part, vampires in animes don’t behave like Nekozawa (for example, Alucard and Seras Victoria from Hellsing).

Another group parodying another anime genre is the football club. In a school that is for the children of wealthy elitists, the football club seems out of place. Other than the various martial arts clubs, the football club is the only sports club we see in Ouran. They have an immense rivalry with the Host Club (more specifically, neither group understands why the other exists). This is typical of animes that revolve around a sports team – members of the team can never see beyond the boundaries of their own group, and they love to hate other teams (usually belonging to another school).

Ouran, like Twin Peaks and the X-Files has deep elements rooted in postmodernism. So don’t tell me ‘it’s just some cartoon’.

Forget the Aliens and the Supernatural. Its people that scare me

After reading the article in class and seeing the pilot episode on Tuesday, I was reminded of the reasons why I enjoyed the X-files. It was not for the really impressive story lines, or the chracters that made you want to follow there adventures into the unknown. I realized the main reason why I liked the X-files so much was when I was a small child it used to terrify me, and to this day certain epsidoes still give me the creeps.

I also realized that the majority of the shows that frightened me so much had nothing to do with aliens, demons, or general supernatural beings or occurences. What really frightened me was the episodes that revolved around real people doing terrible things, or the graphic realistic gore showed. There are 3 episodes that come to my mind that always gave me the heebie jeebies.

The first one "Fire" way back in season one, where an assassin with pyrokinetic abilites takes out Brittish dignitaries in front of their families, burning them alive. The one scene that frightend me the most was when he was trying to burn the children alive, and Mulder had to save them. So the assassin sets the entire hallway on fire in a amazing use of Special Effects. I remember that scene so graphically with the kids screaming that I had nightmares of killers who would set me on fire.

We talked about in class how one of the reasons why The X-files was so good was its clinical depiction and graphic portrayal of violence and gore which brings me to my next scariest episode "Clyde Bruckman's Final Repose". Mulder and Scully must go to various psychics to try to solve a murder spree. To me the episode itself was not too scary it was one actual moment in one scene. Clyde just trying to help his neighbor looks at her little dog. He then gets a flash and we see a shot of the same little dog graphically eating the womans intestines. The shot is less then 5 seconds but it was so graphic and disturbing, that to this day I can't watch this episode with out getting creeped out.

The last one that freaks me out is one we actually talked about in class, "Home". Home terrified me so much I couldn't watch it all the way through. I remember my brother told me not to watch this episode but I snuck back into his room to watch it anyway. The episode was so scary that when it got to the part where Mulder and Scully unrolls the full amputee mother on the cart she starts to scream, then I started screaming and ran out of the room and could not get to sleep. Besides the gruesome sight, what just terrified me after thinking about it was this was not aliens, or creatures these were people twisted twisted people and I knew that is scarier then any monster that could get me.

X-files is loved for so many reasons, but for me its because that even after all of these years it still sends shivers down my spine.

Do the means justify no end?

I can't for the life of me remember why, but I watched the Series finale of X-Files. Having only ever seen a hand-full of episodes, This seems odd. I recall, however, being attracted to the show at the time. Enjoying it when I did watch it. Being intrigued by the mythology. But, never particularly caring enough to watch it. What I remember of that decision came in part from Fox's marketing. In which the "truth would finally be revealed". In retrospect this seems as if it was probably the only reason I took special care to watch the ending. Now, I Deduced, I will finally understand what's going on. Now, I will be there when the answers come out. Now, I will get to be in on everything, without having to go back to the beginning and watch every episode.

The truth would set me free.

Needless to say, I didn't know what the fuck was going on. I felt silly. I was let down. My master plan had been foiled. The next day at school my best friend (a die hard X-Phile) however, shared my discontent. He didn't know what happened either. I played along of course. It was better to appear as if I had seen every episode and had no idea why the show ended the way it did than admit to my posery. And while I still can't consider myself a true X-file fan, I at least am able to understand those who do geek out over the stuff's discontent with the ending. Unsatisfactory and Anti-climactic (So I have been told) the show resolved nothing.

Now, television seems to be a fickle mistress, and long running shows generally seem to hit their stride a few seasons in. And American television's need to continue a show until it runs out of steam generally leaves little spunk and fire for a finale. However, such things are needed, nay, demanded of in show such as X-Files by its oh-so obsessive fans. Closure is important, indeed.

The trend, unfortunately, just seems to be contrary to this notion. With the X-files and Twin Peaks both ending unsatisfactorily, one must question wither or not it is even possible to end a show, that lives on questions, with answers. These aren't movies after all, dealing with an one-hundred plus episode story arch just can't be easy to conclude.

This brings me, of course, to LOST. I can't tell you how many times I've been asked, "do you think there will be a satisfactory ending?" or "do they even know what they are doing?" and (sometime after a new episode is aired with a sigh and the undeniable sound of defeat in their voice), "They just keep bringing up more mysteries... when will we get answers?" Now, I have seen every episode of Lost, and the thing that just keeps pulling me back is the desperate hope that every one of my questions will be answered, and in a satisfactory and awe-inspiring way. I absolutely must understand four-toed statues and smoke monsters, invisible bearded cabin dwellers and Numbers. If I don't get my answers, the last 5 years of my television watching life will have been in vain.

But, somewhere in the back of my mind, a very quiet voice is preparing me for let down. Because, ending or no, there will be discontent. There will be arguing. There will be discussion and engagement. And you have to ask yourself, if I have invested this much already into the questions, why aren't my answers just as valid. Lynch suggested that having no ending to Twin peaks was a more satisfactory conclusion, the ambiguity and the speculation leave more to the audience. And, wither or not this was truly intentional, mysteries left unsolved do leave a lingering attachment. A story un-concluded just begs to be re-visited and poured over, looking for that little clue that will put you ahead and bring you closer to your answers.

One wonders if inconclusive endings are just secret cover-up marketing campaigns to boost DVD sales.

Nevertheless there is something fun to it, despite its cop out appearance. More importantly it gives us a reason to argue and moan, which, seems to be as good a goal as any for a piece of fiction to exist.

THE DAWN OF THE FANSITE, THANKS POSTMODERNISM

In the beginning, there was Twin Peaks....and it was good. It was a Postmodern show that got people talking. It caused people to take an interest in what they were seeing. It forced them to use their minds. Leaving questions unanswered, endings open marking the dawn of a new age in postmodernist TV programming. It had all the makings of a David “Lynchian” masterpiece, meta references, genre blending, gender bending and confusing plots. Fans of the show couldn't get enough. This spawned the ultimate in fandom....the fanzine. A periodical dedicated to the universe of the show. But it was short lived. The show was canceled and never had the chance to fully develop.

This was not the case for Twin Peaks successor The X-Files, a program heavily influenced by Twin Peaks even using the same themes of the unknown. But how did a show with such little commercial appeal at the start succeed while using many of the same Postmodernist style and ideas. The answer lies in the vast cyberspace of the Internet. (Strange TV)

Sure "the man" would lead you to believe that the internet was created for the sharing of free information, but we all know that in actuality it was created so sci-fi fans could zing each other anonymously behind handles such as Scullyslave62, as well as discuss their favorite shows. The internet and the X-Files arrived on the scene at the perfect time. The X-File’s tech savvy 90’s audience had this new found ability to communicate and blog on what is now known as the Fansite. The internet in general allowed for the pinnacle of postmodern TV. Creators were allowed to extend their universe beyond the fictional small screen. Enacting alternate storylines, interacting with fans themselves, breaking down that fourth wall in essence marking the pinnacle of Postmodern in TV.

In 1993 this was something that was brand new. A common plane where X-Philes could freely mingle with each other from the comfort of their own Lazy-Boys. Perhaps if Twin Peaks had the advantage of such a communal meeting place such as the internet it could have had a better shot.

Today The Fansite has allowed shows that function outside the realm of normal TV to flourish. The most notable fan following is in the realm of Joss Wheadon at his fan site http://whedonesque.com/. Where fans are going beyond the show and now divulging into his life.

Fans of lost have now taken a hold of the the wikipedia software and developed an encyclopedia of fan information on everything from character bio’s all the way to every theory ever thought by the fan base. http://en.wikipedia.org/wiki/Lostpedia

So while it’s my theory that the internet is what allowed the X-Files to truly become the hit it became, what it boils down too is the X-Files was able to set itself apart from failed programs such as Twin Peaks due to the fact that while the material was Post Modern fantastic, it constantly remained buried in the realm of the real. It kept grounded. (Strange TV 123)

Booker, M. Keith. Strange TV Innovative Television Series from The Twilight Zone to The X-Files. December 30, 2002. Greenwood Press.