Written by Chris Carter & Frank Spotnitz
Directed by Rob Bowman
For an episode that was no doubt
intended to serve as the climax of this part of the mythology (one needs only
examine the DVD release of it to confirm as much) , the viewer of the series
can't help but feel a little dissatisfied by the fact that even now, Carter and Co. still couldn't make up their mind about
what was true and what wasn't. One needs only look at the title of the two-parter.
Considering what we would later be told about CSM and Fox Mulder, one couldn't
help but feel a more fitting title would've been 'One Father'- 'Two Sons'.
Then there's the fact that while
Carter no doubt intending this two-parter to wrap up the mythology, it doesn't
change the fact that there are so many part of this story that just don't add
up. The Smoking Man says outright that Samantha Mulder is still alive; less
than a year from now, he'll tell Scully he believes the opposite. Once again,
we get an entirely different explanation as to why Samantha and everybody
connected with the consortium was abducted, and we can't fully say we trust
this method. Having spent nearly two years dealing with the idea of a vaccine
from the black oil, this entire plot line will be completely ignored. And now
that we've brought the ideas of faceless rebels a vital part of the plotline,
this particular story will never be dealt with again. It's as if Mulder and Scully will finally get
back on the X-Files after nearly half a season of being kept off it, and the
fundamental backbone of their story has been whipped away without them being
able to do anything about it. (There is,
however, a delicious irony that the Syndicate's death is the main instrument of
their return to the story)
And yet, despite this frustration,
this episode works very well. Most of it is due to the power of performances,
particularly those of the Spender family. William B. Davis gives another rich
and measured performance that may by far be the most human he's ever been on
the series. The seen where Mulder confronts him in Fowley's apartment is one of
his finest hours. One could say that it's deluded by the fact that yet again,
Mulder is waving a gun in his face, but the fact is, we get the feeling that
for once Smokey is finally telling the truth to his arch nemesis. This is a man
who has truly been beaten, who seems to be willing to sacrifice humanity for a
chance at a future with his family. This is shown best in the only seen that he
and Cassandra share, where he looks his most pathetic, trying to convince the
woman he admits he's never loved that they can have a future. Her other disdain
for him is magnificent - almost good enough for the Emmy nomination she would
receive.
Chris Owens is equally good as
Jeffrey, playing a man, who at the eleventh hour, has realized how thoroughly
and horribly he has been used, and who is determined to make things right with
the man he has spent a year working against. It's a triumphant moment, and one
wishes that Carter hadn't decided to pull the trigger on him in the final
scene. It's a good moment - the weariness in
CSM's eyes as he decides to shoot his son is a great one - but one can't
help but wonder what the show would've been like had he been able to stay on the
series as an ally to Mulder and Scully. (Not even the writers had reached that
point yet, though)
There are other good performances
in the episode as well - of particular note is that of Laurie Holden as
Covarrubias. Never the most well-drawn character, she suffered from the fact
that the writers could not decided whose side she was on. She gives by far her
most riveting performance, as a woman who has been used and cast aside by the
Syndicate, and now that she has nothing left to lose, she has no problem
telling all of their secrets to Mulder and Jeffrey. Again, one wishes Carter
and company would've continued in this direction for her remaining appearances.
Most of the other performances
don't quite measure up as well - Mitch Pileggi is basically wasted as Skinner,
and one still can't figure out whose side Krycek is on. But perhaps the most
irritating is that of Mimi Rogers as Diana Fowley. Considering that we've never
been given any reason to trust her in this episode, and the laundry list
against here that Scully lists with the Lone Gunmen's help, its incredibly
irritating that Mulder chooses to believe her over his own partner. But then, a
lot of Mulder's work in this episode is unsatisfying. He's spent the last five
and a half years trying to expose every element of the Consortium's plans, and
when he finally gets it handed to him, he basically gives up, trying to save
only the people closest to him. For a man who's been trying to get the truth,
in humanity's darkest hour, he's little better than the Syndicate.
Unfortunately, this is a pattern that will come back to bite us in the last
couple of seasons.
As an episode that promised us
"Full Exposure", One Son, is a little unsatisfying. As an episode
that brings us back to where we need to be, and closes doors that, frankly, had
been weighing the series down the last two years, it is far more enjoyable.
Considering that's it's supposed to be telling a story of global scale, it's in
the smaller moments that the series works. Watching Cassandra give a bitter
smile as she is about to be burned along with the men who had destroyed her, to
the way Jeffrey gently touches the shoulder of Mulder as he is about to leave
the FBI for the last time, to William Davis' shaken look as he leaves his son
behind in the X-Files office, these moments provide closure - often in the most
bitter way. The X-Files is finally ready to move forward again, and Scully and
Mulder have been given a new purpose - or so it seems.
My score: 4 stars.
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