Written by John Shiban
Directed by Rob Bowman
Technically speaking, this episode
is barely as X-File at all, at least until it's almost over. There's no aliens,
no mutants, no men in rooms plotting. Yet this episode plays into a far darker
world of paranoia and suspense that, for the most part, the series has danced
around, and plays much like a blueprint, not only for future series, but for
haunting precursors to come.
At first, the episode plays in the tradition
that has been going forth since Anasazi-- every season around this time, there
comes an episode where it appears that either Mulder or Scully can not trust
the other. This seems particularly pertinent in Season 5, where are heroes have spent much of the
year at loggerheads for their shifting beliefs. This time, however, the
behavior isn't due to brainwashing or drilling holes in your head; it's about a
conspiracy that cuts far closer to Mulder's belief system than usual, and looks
far more like treason than anything else. (It's telling, though, even after all
the disagreements this season, Scully's first reaction is to protect her
partner.) Wisely, the episode reveals that Mulder's out of character behavior
is, for a change, being used by the government in a joint FBI-CIA operation
What makes the episode play much
better than this is the fact that, for once, we are seeing the consequences of
the shift in Mulder's belief. The terrorist organization that tries to use
Mulder as a double agent first gets in touch with him because of his
anti-government rant that we witnessed in Patient X. Now we see that, for all Mulder's general
belief in government conspiracy, he believes more in justice than anything else.
He may think that the government is conspiring with aliens to take over the
world, but the idea of using the methods that organizations like the New
Spartans try is anathema to him.
It's also interesting that we are
trying to figure out where, exactly, this show stands when it comes to this
kind of activity. Half of the time Mulder and Scully are trying to trap
criminals- albeit supernatural ones that test the limits of what law
enforcement can do- for the federal government. And the other half, they are
trying to bring to justice conspirators who use our government as a shadow to
manipulate the people. Where exactly does this series draw the line?
It's worth remembering, of course,
that the majority of the series was filmed before 9-11, and the government approaches to threats was
very different. The Pine Bluff Variant, by contrast, seems like a precursor for
24- a series that would borrow several members of its writing staff from Ten
Thirteen. Admittedly, the threat is domestic rather than foreign, but the basic
ideas are the same. The Consortium may do many things to destroy and undermine
Mulder and Scully, but they never do anything as real as break one of his fingers in order to determine what side
he's on. And the idea of the ends justifying the means comes out very clearly
on more than one occasion. One of the more suspenseful sequences in the series
comes when Mulder, in order to maintain his cover at a bank robbery, is order
to kill an innocent man. The out that the show gives him, by having another
terrorist do it, doesn't answer the question. The civilian is still dead, and
Mulder could do nothing to save him.
The episode then comes a little
more back into conspiracy territory when it is revealed that the bioweapon that
the New Spartans have access too was in fact designed by the United
States . Whether or not this is a
complication brought on by the plot is never made clear, but it does a little
more to put the episode in the grey area rather than the black and whites
X-Files can occasionally traffic in. What makes the episode far more
frightening is the revelation of CIA
Director Leamus (played by Sam Anderson when he was still operating in his
villainous phase) as having the same kind of ends justifying the means ideals
that the New Spartans themselves have. This elements helps raise the episode
above the usual conspiracy mish-mash and adds a level of grittiness than the
show doesn't demonstrate that often.
There may be far too many
revelations in the episodes final act (just whose side was August Bremer on in
the end) . But overall Pine Bluff Variant is one of the more involving episodes
of the shows, and definitely a high water mark for John Shiban, not known for
being one of the series best writers. It
also has one of Duchovny's better performances for the fifth season, especially
given that in one of the episodes more intense scenes, his face is covered by a
Halloween mask. One almost wonders if this episode served as a precursor for
later stories that Jack Bauer would have to work through. But it demonstrates
that you don't always need a ticking clock or 21st century technology to deal
with those kinds of issues---- in fact, the primitive setting reminds us that
some themes are universal.
My score: 4.25 stars.
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