EBE ('Mythology'): Things Are Getting Serious

I want to start with some complaints. I hardly ever, EVER, complain about the technical aspects of The X-Files. Yes, sometimes a budget is low and visuals can look a little weak. That, for the genre veteran, is inevitable and expected. So I am not complaining about the goofy Iraqi pilot teaser which had some of the worst visuals of the series (I would, if not concerned with something else, complain about the poor use of blue screen in this episode as well. Example: Mulder and Scully in a car towards the end of the episode).



I am complaining about the 'I have been asleep' editing of the beginning of this episode. The X-Files prides itself on being a 'movie a week' kind of program and, except for this episode, that is true. The first five minutes of this episode is so poorly patched together that it ALMOST takes you out of the narrative. A man will be driving at midnight and it is pitch black outside. But then a cop car drives past him and its noon. Then it's dusk in the background when the driver gets out of his truck. The driver puts his gun down looking at something but in the next, split-second shot, he's holding it with both hands and blasting something away.

This is just lazy and thankfully The X-Files did not make a habit of this. This is the only complaint, in years of watching this show, that I can remember from a technical aspect. But let's move on! Let's talk about the meat and bones of the show.

Mythology episodes are always a mixed bag. For one, you get an intriguing storyline that sometimes takes years to resolve. But, because of the density, you lose a little personality. Mulder and Scully are usually on the run or constantly in motion and there isn't much time to reflect on what's going on in their lives. Wisely, the show runners decided that a conspiracy can not be held up on two or three characters alone (at this point, Mulder, Scully and Deep Throat). The wide character range starts to open here thanks to the very welcome intro of the Lone Gunmen. Nothing gives me more glee then these three maroons!

I feel, overall, the episode overshot a bit dramatically. Not a lot is explained to warrant a near death experience for our characters so the sudden shift from broad mystery to life or death situation is a bit much. But the end results end up becoming some of the best of the early myth-arc eps (which replaces revelatory excitement with unexpected sadness and near-tragedy).

For one, Deep Throat becomes an actual character in this episode. He is given some background, some emotional depth and, for the first time, some risk. As Mulder gets deeper we feel Deep Throat is too. . .and both are headed for a dramatic and possibly sad end (I'm pretending I don't know how this story ends *wink*).



I've always loved Deep Throat BUT his appearances have always seemed plot driven, not character driven. . .until 'EBE'. I think, in many ways, he and the Gunmen save this episode from being a dense mess. The story itself is compelling if not completely logical. You kind of have to suspend your disbelief a lot harder in this episode to follow along. Mulder seems far too knowledgeable about things in this episode then he should be. . .and Scully is both annoyingly scientific in the beginning but then about to break her beliefs in a heartbeat towards the end. This was. . .frustrating.

I think. . .and I could be very wrong. . .that we see Mulder's apartment for the first time in this episode. And the office, which was finally put together the way it would stay until season 9, was built a few episodes back. The show. . .both in tone, character and set design, is starting to settle down and make a home on your TV set.

As a myth-arc ep, it isn't exactly top of the line but 'EBE' introduced some great characters, expanded some others and started laying a foundation for better episodes to follow.