The List ('MOW'): Carter's Technical Magnum Opus

I believe it was in my review of 'Shadows' that I said the key to excellent episodic television is to make each world as real as possible. You want the lives of the people you meet only once to be well defined and nuanced so that even though you are only seeing this world for a brief 45 minutes (if that) you have the sense that it existed long before the episode and well after the episode ends. 'Shadows', a very early episode in The X-Files run, manages to do that quite well. 'The List' is probably the best example, thus far anyways (I can think of another very strong one waaaaay down the line), of this phenomenon.



Like most (or all) X-Files teasers, 'The List' introduces the scenery: a prison, death row specifically. It is from this introductory teaser (and a rather long one) that we meet our characters, specifically a man named Neech, who will be put to death but before being fried in the electric chair, says he will return. Director and show creator Chris Carter does such an excellent job of setting up characterization and setting that were you not intentionally turning on something called The X-Files, you may have thought this was a stand-alone horror film. Only the introduction of Mulder and Scully tips you off that this is just another 'MOW' of the show.

But it is so much more then that. I can say right now that while 'The List' doesn't have the iconic figures of classic 'MOW's like 'Squeeze' or 'D.P.O', etc., it has to be one of the most successful 'real life' X-Files eps (where, save the ending, the procedure is far more real then supernatural). The X-Files never threw supernatural at you for the hell of it. . .if it had a good story to tell within the realm of true life, and this case, a prison filled with murderers, it would. . .and would do so incredibly.

The enigma is director/series creator Chris Carter. I'm not sure if this is a huge fan argument but Chris Carter kind of represents the best and the worst of creative control. He directed the legendary 'Duane Barry' before 'The List' and would direct the very solid second X-Files film. But from 'The List' on, he seemed to go in bizarre directions with mixed results: it seemed that as exec producer he didn't really have anyone around him to say 'no, Chris. . .don't do that'. His remaining directorial efforts would be 'The Post Modern Prometheus' (I didn't like. . .but a fan fav), 'The Red and the Black' (good), 'Triangle' (yikes), 'How the Ghost Stole Christmas' (double yikes), 'First Person Shooter' (ARGH!), 'Patience' (excellent), 'Providence' (meh), and 'Improbable' (*slaps head with hand*). Certainly a mixed bag.



But while his history may be back and forth, 'The List' may be his forgotten magnum opus. 'Duane Barry' is no doubt incredible and changed the way the series worked forever BUT 'The List' both technically (from mood to set design to cinematography) and thematically (story choices, characterization, casting, etc) is probable the best work he has done. Did I mention the episode is a lot of fun too! It's got the late, great J.T. Walsh and Ken Foree for God's sake!