Reviews
[TV Review] ‘The X-Files’ Season 11 Episode 6: “Kitten”
‘The X-Files’ turns to Skinner and his spotty past in an episode that does justice for both the character and the show, but barely
“Have you ever wondered why after thirty-five years in the Bureau Walter Skinner isn’t sitting on this side of the desk?”
Towards the end of The X-Files’ original run, a number of spinoffs were naturally put under consideration. One idea that gained a little steam was that the season five episode “Travelers” could act as a springboard for a series that focuses on Arthur Dale’s exploits with early X-Files cases. That’s a solid enough premise, but it’s a little surprising that no one was ever like, “Hey, you know, Skinner’s also been with the department forever and the audience actually knows who he is…” A spinoff that looks at a young Skinner’s early X-Files adventures has even more appeal than The X-Files: The Early Years. So in spite of how this idea was never on the table, it’s comforting to see the series finally start to explore that territory now.
Season 11’s “Kitten” is a Skinner-heavy installment and it’s seriously about time. Up until this point there’s really only been one episode in The X-Files’ 200-plus run of episodes that puts Walter Skinner in the spotlight and that’s season three’s regrettable “Avatar.” “Avatar” explores Skinner’s life, but the episode curiously decides to focus on Skinner’s crumbling marriage and the Assistant Director’s disastrous attempt at a one-night stand. “Avatar” isn’t the best episode and it doesn’t make the strongest case that regular visits into Skinner’s past are a good idea, but it doesn’t change the fact that he is a deep, fascinating character that has been apart of this show for as long as Mulder and Scully have and he’s seen just as much as them.
It’s really rather surprising that the show didn’t take advantage of Skinner and flesh out his life outside of the X-Files (or even his time there before Mulder and Scully enter the picture), especially during the show’s eighth and ninth seasons when Mulder’s presence was minimal and the character was in the need of an upgrade. Season eight’s “S.R. 819” certainly puts Skinner front and center too, but that’s more about Krycek turning him into a victim than learning anything about his past. So it’s nice to see Skinner get a showcase episode in the 11th season, and it’s a long overdue one, but it becomes a question of whether this episode delivers or if this is just another messy installment like “Avatar.” “Kitten” is a better episode, but it’s hardly vintage X-Files.
It’s worth to note that enough character assassination has been done to Skinner this season that even if this episode were to be a complete failure, it would still play a little better due to how the character has been portrayed this year. That’s also kind of the point here, as Skinner’s mysterious, questionable behavior this season hits its apex and that’s what prompts this glimpse into his past.
It feels like an episode of this nature that digs into Skinner’s past would be written by someone like James Wong or Chris Carter himself. However, “Kitten” has relative newcomers behind the wheel on this one. Gabe Rotter writes the script and Carol Banker directs and they both do a decent job with this dual storyline that unfolds in both the past and the present.
A “men on a mission” style X-Files where an army platoon has to keep a top-secret crate safe while under enemy fire is a pretty damn good idea for an episode. If Star Wars can reinvent itself in a number of ways, then why can’t The X-Files also take similar cues from various genres? As awesome as an episode that’s set entirely in 1969 during the height of the Vietnam War would be, unfortunately this idea gets reduced to a strong cold open for a commendable installment, but one that still feels like standard X-Files rather than something special or different. “A WAR IS NEVER OVER” is the episode’s “Truth Is Out There” placeholder and even that feels rather lazy in its message. Not only that, but there have been many great X-Files episodes that explore that theme through PTSD. A theme that’s a little more original could get a lot more accomplished with this episode.
“Kitten” marks the return of Deputy Director Alvin Kersh, who’s back for the first time since season nine’s finale, “The Truth!” I’ve never been the biggest fan of Kersh and he’s always just seemed like a more belligerent Skinner who applies pressure on Mulder and Scully when necessary, but it’s still nice to see him again. There are still plenty of other characters I’d rather see before Kersh, but this appearance does justify itself, even if it’s more practical than anything else.
Kersh calls Mulder and Scully in when Skinner goes missing and he does a good job at dressing the two down in the process. He blames Skinner’s allegiance to the two of them for why his career with the FBI has remained stagnant and he figures that they must have something to do with his current disappearance. Mulder and Scully are out of the loop on this one, but it does at least put Skinner’s absence on their radar and they can begin to do their own digging on the matter (although Mulder was probably enjoying the peace and quiet). Kersh basically tells them that it’s their responsibility to find Skinner and get him back to work or he’s officially burned his last bridge with the Bureau. This might be a little ham-fisted, especially when it’s all laid out this way at the top of the episode, but it gets the episode’s gears in motion and Mulder’s juices flowing.
Much of the horror within “Kitten” that’s not of a psychological nature deals with a weaponized fear gas that manifests itself as a freaky cattle skull creature. This beast is at the center of the episode and it’s an appropriately creepy creation (it also is a dead ringer for the titular character in the anime, The Ancient Magus’ Bride, FYI). After this monster pops up a few times, “Kitten” starts to push the idea that perhaps Skinner is this monster. This clearly shouldn’t be taken literally, but the episode wants people to consider that possibility, which is pretty insulting and ludicrous. There’s no way that Skinner has actually been a monster through the course of the show. Even the idea that Skinner’s ultimately the episode’s villain feels like an angle that the episode is just waiting to tug out from under the audience’s feet.
Thankfully, Mulder and Scully are a little savvier than everyone else in this episode, which largely consists of the residents of a small hamlet known as Mud Lick. The two don’t think that Skinner is to blame here. If anything they’re concerned about his mental state and that he might be lost in some sort of PTSD-related stress. Skinner is of course totally fine here, but that’s not the case for one of his former squad members. Skinner was lucky enough to only get exposed to a minimal amount of this fear gas while he was in Vietnam, but others suffered to the point where the gas allegedly “changed” them.
Skinner’s past in Vietnam is put under fire from Haley Joel Osment’s character, Davey, who attacks the Assistant Director for not standing up for his fellow infected teammates when their actions were put under scrutiny. Skinner had the power to potentially save them or at least reduce their sentences, but he remained silent. Now somebody thinks it’s time that he paid the consequences for that. Skinner, of course, stands by his moral actions and “Kitten” tries to rebuild his character as the faithful boy scout that he’s been in the past. He’s given a good reason for everything that he does here. The episode is more interested in having a discussion about the effects of war than it is in vilifying Skinner.
As “Kitten” approaches its final act, Mulder, Scully, and Osment’s Davey all go back and forth in his tiny home and it’s maybe the episode’s most interesting scene. The sequence slowly leaks out tension as Davey’s weird demeanor starts to become more alarming. It’s the most unsettling scene in the entry and it plays into Osment’s strengths where he can apparently channel a creep rather well. The episode’s conclusion offers up a strong companion scene in Davey’s home where Mulder searches for clues and a record blares rock music to create an eerie atmosphere. It’s just a shame that so much of his discussion comes down to government brain manipulation, which is pretty old hat and cliché for conspiracy theories.
As Davey’s plan continues to unravel, at one point it looks like Skinner might die after he gets impaled on some nasty rebar. Make no mistake, if Skinner were to die in some random episode, that would be awful, but it would at least be something interesting and ballsy for the show to do. Instead, The X-Files delivers the most overdone war story possible, but “Kitten” could still be a whole lot worse.
In the end, “Kitten” is really the story of the first time that Skinner becomes disillusioned with the government that he thought was infallible, which is a thread that Mulder and Scully have run with through the course of the show. This message may be a little muddled throughout the episode (even if Skinner explicitly tells it to the audience during the episode’s final moments), but it is a strong note to go out on and the right way to re-center Skinner’s relationship with Mulder and Scully. That being said, this doesn’t reverse Skinner’s recent pact with the Cigarette Smoking Man and I’m sure that when “My Struggle IV” comes along, he’ll inexplicably be evil again because it’s what the story dictates.
“Kitten” deserves points for its message, but there are a number of awkward spots throughout it that are hard not to cringe at. Most of the material between Mulder, Scully, and the Mud Lick police department is awkward to watch. It just doesn’t click. The same can be said for Skinner’s Vietnam flashbacks, which also fall a little flat. There’s also a “mystical homeless man” named Trigger Davis who warns Mulder and Scully about “Kitten” right from the start. Additionally, for a “Skinner-centric” episode there’s still a lot of Mulder and Scully leading the way. About halfway through the entry Skinner’s presence thankfully takes over, but this balance could still be worked out a little better. “Kitten” at least clears his name by the end of all of this, which is still a step in the right direction for the show.
The X-Files’ 11th season is officially past its halfway point now, which seems like a reasonable time to address whether this new year was worth it. “Kitten” amounts to yet another example of mediocre X-Files, which is fine, but why bring a series like this back for just fine? This season has still done more harm to the show’s legacy than it’s done good, but perhaps the final few episodes will manage to turn out some gems that conjure the magic that this show is capable of.
Oh, and don’t forget to floss, guys. Teeth are falling out all over the place.
‘The X-Files’ 11th season will continue Wednesdays at 8pm (ET) on FOX
Reviews
“The Walking Dead: The Ones Who Live” Episode 4 Review – Danai Gurira Writes an Exceptional Hour of TV
“What We,” written by Michonne herself, Danai Gurira, is the fourth episode in AMC’s “The Walking Dead: The Ones Who Live.” Serving as an emotional climax for Michonne and Rick’s journey, the episode unravels much like a play (which makes sense given Gurira’s background as a playwright). Confined to an abandoned apartment building in the wake of Michonne pulling Rick out of a helicopter, the long-lost lovers finally have some alone time to talk things over.
What follows is a beautifully written, dialogue-heavy episode that is heightened by dynamic blocking and set design. Much of the episode finds Rick and Michonne arguing over their next steps, pacing and moving around the small apartment they’ve found themselves in. Despite an exit-plan at their fingertips, Rick seems hesitant to travel with Michonne back to Alexandria. Michonne, rightly frustrated, argues with Rick, spiraling the conversation into circles. Grimes is allegiant to the Civic Republic Military and truly believes he can do some good for not only his community, but for the world.
As the episode progresses, Michonne’s frustration with Rick rings just as true for her as it does for the viewers. Despite Michonne’s constant pleas for the man she once knew to return to his children, Rick keeps circling back to his supposed need to remain at the CRM. It’s clear, even more so this episode, that Rick is a shell of who he used to be. Beaten down by years of failed escapes and separation from his family, “The Brave Man,” as RJ Grimes calls his absent father, is not so brave anymore. In a post online, a fan pointed out that the Rick Grimes we once knew essentially did die on that fateful bridge back in season 9. And they’re not wrong.
While Rick and Michonne’s physical reunion was granted to viewers almost immediately in this series, the emotional reunion between the two iconic characters was only truly achieved in this episode. Preventing Rick Grimes from returning to his former glory with a simple snap has proved to result in a much more dynamic, intriguing, and believable narrative for the long-absent character. Michonne finding Rick was only one step of the battle, with Rick finding himself being the toughest hill to climb. Andrew Lincoln once again showcases a masterclass of acting as Grimes cycles through his damaged psyche, desperately trying to figure out how to connect with Michonne. Gurira matches Lincoln’s emotional performance, evoking Michonne’s desperation and anger with authenticity. Letting Gurira take over writing duties for this specific episode proved extremely beneficial given the emotional legwork the character trudges through in this particular installment. If there’s anyone who can understand Michonne the best, it’s Danai Gurira.
Despite the stellar writing and episode flow, “What We” is not free from a few so-so moments. A chandelier conveniently lands on Michonne, forcing Rick to stay back to rescue her as a shambling horde comes his way. It’s understandable why this sequence occurred, but with so many other ways to place Michonne in peril, the convenient crashing of a chandelier onto her leg comes across on the goofier side. It’s the type of fake-out dangerous moment the flagship series would too often pull on characters we surely knew would not meet their demise. Earlier in the episode, Rick and Michonne’s descent from the helicopter is shown. The visual isn’t super convincing, and the sequencing of shots that follow feels disjointed – clearly meant to hide a restrictive budget. It’s a rare moment of low-quality that sticks out amongst an otherwise polished, elevated looking show.
On the other hand, “What We” is full of incredible stand out moments. As Michonne changes out of her wet clothes, Rick notices her “X” scar for the first time, a mark fans of the flagship series will remember. Michonne and Daryl’s fateful encounter with a community of murderous children proved to be one of Season 10’s darkest episodes. A somber dialogue occurs later in the episode, offering longtime fans another moment of Michonne filling in Rick about one of the many impactful moments he missed during his absence. The real revelation comes when Michonne mentions Rick’s “Children” and a look of subtle shock washes over Grimes’ face. Michonne breaks the news about RJ, their child that Rick never got the chance to meet.
Even after the revelation, Grimes still refuses to just leave with Michonne, forcing her to try even harder to break his spell of delusion. The constant back-and-forth between these apocalyptic lovers plays out against the framing of a beautiful rectangular window. As the episode progresses, the apartment building itself begins to collapse into rubble, a consistent visual motif for a relationship that is on the rocks.
After an elongated sequence of several walker kills, close calls, couple bickering, and some hilarious jabs (Michonne mocking Rick by calling him “Commando”), the duo finally return back to the apartment room and connect on a physical level. The scene is shot like a fantasy, backlit by a warm circular light and serenaded by Sam Ewing’s beautiful original score. Intimate framing showcases the emotional reaction of the characters, emphasizing the importance of this long-awaited moment and the rekindling of their love. “You’re still lying to me, you’re lying to yourself,” Michonne says in the aftermath of their romantic moment. The walls are down, and Michonne is ready to pry the old Rick Grimes out of his decaying shell.
With the building at the brink of collapse, Michonne orders Rick to stay back until they decide exactly what they are doing next. “They’ve taken so much from us, why give them anymore!” Michonne pleads to Grimes. And finally, Rick Grimes spills his guts as Andrew Lincoln puts on an intensely raw performance crying through the following poignant monologue:
“Tell me what is really going on here? What did they take from you?” Michonne asks.
“Carl…They took Carl. I lost him again,” Rick reveals with a tenderness in his voice.
“I’d meet up with Carl in my dreams. And that’s how I survived up here. Kept me alive. And then one day he was just gone. He just left. But then I started dreaming of you. And there you were. You and I fell in love in different ways. And it kept me going. And then you were gone too. I couldn’t see your face anymore just like I couldn’t see Carl’s. I can’t live without you. Without you, I die. And I figured out how to do that. I know how to be dead and live now. You can’t just come back here, make me come alive again if I don’t know if I won’t lose you again. What if I lose you and I can’t figure out how to die all over again? I need to get ahead of it Michonne.”
As Ewing’s somber music swells, nostalgic shots of Rick walking along the fields with Carl play out and the core heart that kept Rick fighting for all of these years becomes emotionally apparent yet again.
In a full circle moment, Michonne hands Rick a broken phone with artwork of Carl on it, a visual reminder of a face Rick longed to remember and a great payoff to Michonne stumbling upon the phone artist in the CRM city. Much like how a broken phone with artwork on it brought Michonne back to Rick, the same has brought Rick back to Michonne. Rick’s monologue also elegantly ties in the entire show’s motif of “The Walking Dead,” as Grimes cries to Michonne about how he has learned to “be dead and live.” The entire sequence is one of the show’s (and possibly the series’) best, featuring Emmy-worthy performances from both Gurira and Lincoln.
The killing of Carl back in Season 8 still remains one of the boldest and somewhat baffling decisions the core show made, but much like how the series turned Carl’s loss into a motivator for Rick to restore a brand new world, the power of Carl’s memory is able to ground Rick back to his emotional center. For a flagship series that can sometimes all too quickly move along after the tragic deaths of its main characters, the overall writing arc for the loss of Carl has proved to be beautifully crafted.
United yet again, Michonne and Rick make a mad dash out of the collapsing building, disposing of walkers and making out along the way. The production design of the decaying hallways call to mind the corridors of the hospital Grimes first woke up in, perhaps a slight nod to this moment being yet another “rebirth” for the character. As the duo drive away from the collapsing building in a nearby truck, it’s evident that the apocalypse’s power couple is finally back, and together no one can stop them.
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