Written by Vince Gilligan
Directed by Cliff Bole
Yee-ha!
Perhaps looking at things with the
benefit of hindsight, Bad Blood isn't exactly what you expect from a vampire
story. After decades of sexualizing and post-modernizing the vampire story in
series like Buffy and True Blood, this episode probably plays like something of
a, ahem, pale imitation. But this probably was far from Gilligan's intention
when he wrote this episode; he probably just wanted to continue what he began
working on in last season's Small Potatoes, and that is to continue to
self-examination of Mulder and Scully from within the framework of the series,
and while doing so, satirize the versions we have become familiar with. To say
he succeeds would probably be a spectacular understatement; this is, without
question, the highpoint of Season 5.
Admittedly, this is as much a
change to the format as Darin Morgan's were earlier, and the same way that
Post-Modern Prometheus tried to do earlier in the season. But the reason there
may still be some residual fans who don't get what Gilligan was trying to do is
perhaps because we've seen it done before--- mostly unintentionally, as a
result of bad writing. This is a more subtle shock to the format; in fact, if
you were late tuning in, you might not be able to easily tell the difference
between this and your average episode.
This is a look at how Mulder and
Scully see each other, and more interestingly, how they each see themselves as
a result. If one were just to see Scully's version of Mulder, one could see
certain similarities to versions that we saw in earlier seasons---- his
propensity for slide shows, his exuberance when it comes to making minor
discoveries mean more than actually do, how a lot of the time, that he tends to
take his partner for granted. Mulder's version of Scully is a lot less
realistic---- she seems shrill at times, very unwilling to take his perception
for what is going on---- but then again, one could make the argument that
Mulder has been being second guess by her for going on five years now.
What makes the episode far more
interesting is how each one views themselves,
which is far closer to the real version of each one that we have gotten
to know over the past five years. What has become clear is that after years of
being in service of the other, they have become increasingly willing to do what
the other wants without change. Scully either goes off to do an autopsy calmly
and patiently without so much as shrug, even though the man who gave the order
is taking her bed and eating her dinner--- or she goes off bitching and
moaning, explaining that she does everything out of service to her beaten-down
partner. It really doesn't matter much, either way, off she goes. It is
symbolic of how Gilligan does things that even when he is blatantly teasing our
heroes he continues to make them true to themselves.
And of course, even by narrating
this, the analysis probably makes it sound pedantic and overcomplicated. When
naturally, it's hysterically funny. The truth of the matter is the episode
could go without half of the jokes it makes at Mulder and Scully's expense and
it still would be one of the funniest shows the series would ever do. From the
wonderful teaser where the theme music comes in just in time to block out an admittedly
well-deserved obscenity on Mulder's part, from Scully going through the
autopsies so repetitive, even she can't go through the motions, to the point
where she finds the stomach contents mouth watering, to the hysterical
different ways each of them view Sheriff Hartwell (a wonderful performance by
Luke Wilson). There are also wonderful throwaway gags describing Scully and
Mulder's respective aim when it comes to shooting, to the absolutely wonderful
moment when the coroner doing an autopsy on Ronnie Strickland cause of death
("Gee. That's a tough one.") All and all, Gilligan manages to master
comic timing even when he isn't doing the flashbacks, which is another reason
he's so good as this series.
Perhaps the only obvious weakness
with this episode is the fact that the vampire story is relatively traditional
and almost mundane when it comes down to it. But again, I suspect that this may
be part of the point. This is again working on what was a common trope of
Gilligan's last season--- the idea of making Ronnie Strickland an ordinary
villain. The idea that Strickland is, at the end of the day, somebody who
happens to see 'too many Bela Lugosi movies'---- he's just a real vampire, may
be one of the best jokes of the episode. It therefore makes the final
revelation that Hartwell makes that "Ronnie is something of a moron, but
he's still one of our own", not only all the more amusing, but a fitting
capper for how Mulder and Scully ultimately view each other. They may
fundamentally disagree on, at this point, just about everything, but at the end
of the day, they need each other, and will back each other up all the same. The
final scene where they sit in Skinner's office, each looking hangdog and a
little embarrassed, may be the ultimate crowning gag, but it also tells a
bigger truth that, perhaps, neither of them are willing to admit. Yet.
By every consideration, this
episode is a triumph. Whole seasons will later be developed comparing and
contrasting the differences between our two agents. Some of the best will be
written by Gilligan himself. But Bad Blood is very like the best of all of them,
an episode that details just how good comedies are at revealing the biggest
truths.
My score: 5 stars.
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