Writing Blind: Supernatural S3

Welcome to a feature called "Writing Blind."  In this series, I will be writing about seasons of television that I watched in the past year or so, but failed to write about at the time.  I call it writing blind, because I will be sharing my thoughts months after I have already finished the season.  This is both because I want to write about these seasons, but don't have the time to re-watch them and because it is a challenge to hopefully improve my writing.

The writer's strike could have not come at a worse time creatively for Supernatural.  Normally, I think Supernatural can get by and maybe even benefit from airing less than 22 episodes per season.  But the second season ended as quite the set-up for an amazing third season.  Dean had just sold his soul to bring Sam back to life and over 100 demons escaped from hell.

So a few natural developments occur as a result of this: Sam deals with the fact that he should be dead, Dean prepares for his life to end in one year, and they both try to find a way to get Dean out of his deal.  In addition, they need to try and kill the demons who escaped from hell.  This is a lot to deal with and I'm sure the writers wanted to space it out accordingly.  But then after 12 episodes, the writer's strike happened, interrupting their story.  They were able to finish four more episodes for the third season once the strike happened, but the end result makes this season feel rushed.

This season introduces several new characters, who unfortunately were limited by the budget in how the series could use them.  Sterling K Brown (making a name for himself currently on The People vs. OJ Simpson as Christopher Darden) was supposed to appear in more episodes, but due to another commitment, only appeared in two.  Nonetheless, he features a darker side of what Sam and Dean do.  He kills at any cost anything that is not human.  Thus, he is dedicated to killing Sam, because he is supposed to be dead.

I really liked Sterling K Brown in this role and am very much not surprised at how he's killing it for American Crime Story.  It's disappointing that he couldn't be in more episodes, as he provides a moral counterpart to what the two brothers do.  Ultimately, he's clearly set up as a season-long adversary in his first appearance, it just didn't work out.  It adds to the rushed feeling of this season when he dies in his second appearance.  He would have been an interesting villain and turning him into a vampire was sort of an easy out for the brothers to kill him.

It also introduces another character who I think the writers wanted to keep, but again budget reasons meant they needed to drop her character for the next season.  Lauren Cohen plays a thief who steals supernatural elements for a profit.  She's basically like a spy who will sell anything to the highest bidder, no matter what the bidder will do.  This presents a natural problem for the brothers, as the item in question is usually evil.  I guess the writers were really interested in making characters who present big problems for Sam and Dean, but who they couldn't really kill because they weren't demons or explicitly evil.

Apparently, the studio was interested in Supernatural making their stakes more epic for the third season, which creator Eric Kripke warned would mean they'd need a bigger budget.  The studio allowed it, but the first episode went way over budget, so the studio backed down.  Thus, they were forced to make an epic story, but were extremely limited on the budget.  This leads to the writers still figuring out what to do in the first few episodes as they needed to deal with those two conflicting things.

Nonetheless, Kripke believes that the season started hitting its stride on its eighth episode and I think I'd have to agree with him.  The eight episode is "A Very Supernatural Christmas" which is an unusually sweet episode as the brothers decide whether to celebrate Christmas, with Sam decorating the motel room at the end, wanting to celebrate it.  Of course, it also features a creepy demonic couple so it's not all sweet.

"Dream a Little Dream of Me" puts Bobby (the great Jim Beaver) in peril as he's in a dream that he can't get out of and will eventually kill him.  The dream puts you in your worst nightmare and makes you face your worst fear.  This leads to Dean confronting the fact that he is not ready to die yet, even as his time appears to approaching.  "Mystery Spot" is maybe one the greatest Supernatural episodes ever as Sam has to constantly watch Dean die in a Groundhog Day type episode.

The midseason finale - the last episode before the strike - "Jus in Bello" has the brothers searching for the Colt that Bela (Cohen) stole from them in the last episode.  But she tips off recurring character FBI agent Victor Henrikson, who is determined to catch them.  But they got bigger issues as they are locked in a cell, with a demon running around killing people and possessing them, and no weapons.  So they need to convince Henrikson they are really demon hunters and then try and save everyone in the police station.  It's a great setup for an episode.

This season also introduces the bumbling idiots who make "Ghostfacers," an endless source of comedy from Ben Edlund.   The last two episodes feature Sam and Dean trying to find the Colt that can kill anything and trying to save Dean before his time runs out.  Since this is a television show, we suspect Dean isn't going to hell, but woe and behold, the season ends with him in hell for a lifetime of misery.  It's a hell of a cliffhanger, one that the show would have to necessarily back down from.

I didn't find a way to add in Ruby, the demon who reveals that demons are simply humans who have lost their soul in hell.  But Ruby still remembers being a human so she's not quite the same as most demons - who you can kill free of conscience because they are pure evil.  She is wonderfully acted by Katie Cassidy.  I don't know why they couldn't get Cassidy back for the fourth season, but I sure wish they had because her replacement is dreadful.  Alas, a conversation for the next season.

Everything about this season felt rushed to me even though it didn't necessarily hamper my enjoyment of it.  I spent most of the first few episodes wondering how they were going to wrap up so much plot in less episodes and the later episodes thinking they could have done more with the premise they had set up.  But they were stuck by a limited budget, a grand idea, and a strike-shortened season, so they did the best they could.

Grade - B+

Writing Blind: Oz S3

Welcome to a feature called "Writing Blind."  In this series, I will be writing about seasons of television that I watched in the past year or so, but failed to write about at the time.  I call it writing blind, because I will be sharing my thoughts months after I have already finished the season.  This is both because I want to write about these seasons, but don't have the time to re-watch them and because it is a challenge to hopefully improve my writing.

Oz was a revolutionary show for its time.  I'm not sure there's a better example of a show whose impact vastly exceeds its quality.  This was the first HBO drama.  This set the stage for every other prestige HBO drama.  I don't want to heap too much credit on Oz, because it's likely that the HBO brass were very dedicated to having a brand of making quality television early on in their process, but it's one thing for that to be a goal and it's another thing to make it happen. 

Oz is a show reliant on shocks.  It's not very character-based.  It's schizophrenic, impatient, constantly trying to keep your attention.  Season three is a case of diminishing returns.  It's essentially a soap opera, except people stay dead when they are killed.  It's an entertaining soap opera and about ten times more violent than any soap opera I've ever heard of, but the more I think about it, the more the comparison makes sense to me.

Oz must have been ridiculously well-praised at its time.  First off, there weren't many options for good television in 1997-1998.  There were some shows, but if you just compare it to now, well... it doesn't compare at all.  Anyway, I bring that up because I noticed three directors that piqued my interest: Chazz Palmenteri, Steve Buscemi, and Matt Dillon.  That's right, those three directed three of the eight episodes.  This show must have had some serious critical buzz for those three guys to want to work on the show.

Anyway, on to the meat of the season, I'm having trouble actually getting to the plot and the characters, because essentially, if you've seen season one, you've seen season three.  I don't know if I'd necessarily recommend for you to skip seasons two and three, but if you're interested in the history of television and don't really want to commit yourself to a bunch of episodes, you'll get the general vibe of Oz just from the first season.

Anyway, this season features Miguel Alvarez mostly locked up in solitary.  Long-term this wasn't a very good idea.  He's one of the more interesting and better acted people on the show (You've probably seen Kirk Acevedo in Band of Brothers).  And he is seemingly stuck in solitary forever.  You can't really do much with characters in solitary.  For season three, it's not as much of an issue.  He struggles with depression, not being fond of solitary, and this allows Oz to reveal that prisoners aren't really properly treated if they have depression.  I'm sure most people do not give a single shit if prisoners with mental illness aren't treated for it, but the theoretical goal of prison is rehabilitation so you'd think that'd be a top priority.  Gloria Nathan represents the best version of a doctor, fully committed to the patient's well-being, and her fight with cost-cutting measures is shown throughout the season.

Adebisi, while well-played by Adewale Akkinuoye-Agbaje, is a pretty good example of diminishing returns.  I don't know if its the writing or what, but it truly seems like they have nowhere else to go for this character.  He's manipulative, devious, and predictable at this point.  Same thing with the rivalry between Schillinger and Beecher.  At this point, it's implausible neither of these guys are dead yet.  So they start killing each other's family members and we don't know them, so we don't really feel the impact.  There's no real threat in these stories - which is an odd thing to say when family members of two of the most prominent characters are threatened - but since we do not care about them, we do not care when they are killed.

This season marks the introduction of Claire Howell, one of my least favorite characters on this show.  She's poorly acted, she's abrasive, she coerces inmates into sex, and she's just not redeemable in any way.  There's a way to make this character work, but I just don't think the actress is good enough to pull it off.  Edie Falco is much better as the representative C.O. character.  Speaking of guards, the new head of the C.O.s is Sean Murphy, which is a welcome addition if for nothing else than for the fact I like Robert Clohessy as an actor.  He doesn't really get much to do, but again Clohessy does good work.

Also introduced in this season is Clayton Hughes, played by future Wire regular Seth Gillam.  Gillam is great in The Wire.  He's not great in this.  He didn't stand a chance as his character SUCKS.  He gives Adebisi a gun at the end of the season and this is completely at odds with how his character originally acted in the first episode.  That's nothing new to Oz though.

As for the last two characters I'll talk about, Kareem Said goes through a crisis of faith this season.  He "falls in love" with Patricia Ross, a defendant in his case against the state.  As you can see, I am not buying that they fell in love, but Eamonn Walker tries to sell the hell out of it.  It also features the unusual partnership of Said and Beecher by the end of the season.  It's pretty natural too for this show, although I wish it last longer.  (That's a complaint for next season).  Lastly, I still don't really like Tim McManus, and I think the show wants me to like him.  He has a sexual harassment thing against him and I kind of rooted for him to get fired so he could leave the show.

I could break down every character and every stupid storyline, but I overall enjoyed this season. JK Simmons, Lee Tergesen, Christopher Meloni and Dean Winters are just plain fun to watch.  Oh yeah I forgot to mention that Sister Peter Marie questions her faith based off her attraction and the manipulation by Keller.  This shouldn't work but the two actors are Meloni and Rita Moreno and the could successfully make a drama about paint drying entertaining.  

This show has the oddest mix of great actors and godawful actors that it's jarring.  It's basically a show designed to be judged on a scene by scene basis, not on an episode basis or even a season basis.  Oz is still pretty good in season three, something that clearly changes by the next season so obviously they did something better and different in this season.  I couldn't tell you what though.  So if you have the time, I'd still give this season a watch.

Grade - B

Writing Blind: Oz S2

Welcome to a feature called "Writing Blind."  In this series, I will be writing about seasons of television that I watched in the past year or so, but failed to write about at the time.  I call it writing blind, because I will be sharing my thoughts months after I have already finished the season.  This is both because I want to write about these seasons, but don't have the time to re-watch them and because it is a challenge to hopefully improve my writing.

Oz is probably the best show in existence with characters who have flexible characteristics and motivations.  That's not really a compliment.  Oz is primarily focused on plot more than character.  The strength of the actors add character to places where there isn't.  The show seems a little less concerned with getting inside the head space of individual characters than it does in making sure the plot is interesting.  If it does attempt to do that, it does so bluntly.

The reason why I think this is the case is in its introduction to new inmates.  It shows them in present day, and through a different camera filter, shows what they did to get in prison.  This isn't a show particularly interested in delving into the complexities of man.  These people are defined by what they did.  This strategy helps with creator Tom Fontana's impatience with storytelling.  He can consistently shift character motivations in order to do what he wants to do.

In this season, Nazi supporter Vernon Schillinger and formerly sane and normal person Tobias Beecher continue their feud.  The smartest thing the show ever did was making Beecher crazy, in my opinion.  It's more entertaining, it's different than what you'd expect, and there's not a lot of places to go by placing a normal person in Oz.  So you get a cat-and-mouse game between the two that might not ever end.

The casting on this show is sometimes so goddamn good it's unbelievable.  Schillinger has tried the direct approach, but being a good villain that he is, he decides he wants to hurt Beecher in the most painful way imaginable.  So he sets Chris Keller in Oz to make Beecher fall in love with him.  And it works.  And it only works because Christopher Meloni is fantastic.  Seriously, he makes the entire thing believable.  It's cruel at the end when they break Beecher's arms and legs, and while that is the show's pulpy side, it's still affecting because Beecher was starting to gain some of his humanity back.

The other extremely disturbing storyline is undoubtedly Ryan O'Reilly, who begins the season in a power struggle for control of Oz with Adebisi.  That changes quickly when he has cancer, which Dean Winters of course excels at playing.  This is right up his wheelhouse.  Acting tough while showing you are actually vulnerable on the inside because you are scared to death.  Blink and that's sort of Dennis Duffy on 30 Rock.  But then it takes a very dark turn.

Like I said, this show has no interest in making its characters in any way redeemable.  You get the sense that they pretty much all deserve to be in prison for the rest of their lives and it's kind of a bold decision.  The fact that the show was able to pull that off while still condemning the prison system successfully is something I'm not sure how they did.  Because in theory, seeing that these are all evil sons of bitches would in some way prove the prison system works.  These are bad guys.  They are getting what they deserve.  And yet, the show doesn't hold punches in the flaws of the system.  Somehow it doesn't come across as hypocritical.  This is actually the first time I'm noticing the contradictory nature of it in fact.

Anyway, O'Reilly ends up falling in love with Dr. Gloria Nathan.  This seems innocent at first although he very quickly starts showing stalker tendencies.  Stalker tendencies is one thing, but nothing prepared for me for when he has his mentally disabled brother Cyrus, kill her husband.  (I have LOADS of problems with that character, but I'll get into that in season 3 when he's more prominent.)  He does end up sacrificing himself for his brother so that his brother will get sent to Oz, which well that's like the bare minimum of having human decency.  I mean he had his own brother, incapable of making decisions for himself or at the very least not in a position to say no to his brother, kill someone.  So yeah he deserves it.

Said continues to be a compelling character, but looking over the season, he doesn't get a lot to do.  That's a strange thing to say where I'm pretty sure he had something to do in each of the episodes, but he's still seeing what his purpose is after he orchestrated the riots.  He provides legal counsel to multiple inmates, including Schillinger, and helps Poet get out of prison.  The one false note to me was that Poet immediately got sent back to prison.  As we've known him, I just don't really buy how quickly he got sent back.

Miguel Alvarez at first is clearly the leader of his gang, but he's threatened when Raoul Hernandez comes to prison and immediately takes control.  Hernandez, played by the great Luis Guzman, challenges Alvarez and doesn't think he's tough enough for the gang.  So he basically gives him an ultimatum where he has to rip out the eyes of a former gang member to guard or he himself will be out of the gang.  So he does it.  The ramifications of this are explored in the third season, but needless to say between that and when he withholds information about who raped Glynn's daughter, he was a pretty shitty person.  (Side bar: Don't really like how they handled the rape.  It's not shown, but it's clearly used as a plot device and it feels icky throughout)

Lastly, Oz's least interesting character, Scott McManus, who the show unfortunately finds interesting apparently has a bunch of "White Male Problems."  God I hate McManus.  Am I supposed to hate him?  Terry Kinney is just a really shitty actor so I feel like that's where most of my hate is directed, but he just comes across as whiny and entitled.  I think I was supposed to care when he lied for Diane, but yeah I didn't give a shit.  He's such a boring character, no doubt to Kinney's performance.

In all, I don't think the quality diverged greatly from the first season and it managed to still remain mostly original.  The storylines aren't stale and that remains true of just about every character.  None of the characters feel the same and they haven't repeated anything yet.  The only recurring elements of the first season - the Beecher-Schillinger feud and the power struggle for the prison - still don't feel repetitive or boring.

Still it's a bit of a case of diminishing returns.  The show isn't exactly predictable, but you know what to expect at this point.  I think originality and wow factor of the first season is lessened here.  So while I don't think I liked the first a ton more than the second season, for whatever reason, I do think this season is marginally worse.

Grade - B

Writing Blind: Oz S1

Welcome to a feature called "Writing Blind."  In this series, I will be writing about seasons of television that I watched in the past year or so, but failed to write about at the time.  I call it writing blind, because I will be sharing my thoughts months after I have already finished the season.  This is both because I want to write about these seasons, but don't have the time to re-watch them and because it is a challenge to hopefully improve my writing.

Did you know there was a television show called Oz?  You might have, but you probably didn't know it was the first scripted HBO drama television series.  Here's a show that set the stage to allow The Sopranos to happen and become a hit.  If Oz wasn't successful, critically speaking and to a lesser extent in viewership, who knows what HBO becomes?  But because Oz was a critical favorite - if not necessarily raking in the viewers - HBO continued its strategy to making amazing television.  It worked out well.

Oz was created by Tom Fontana.  Fontana more than earned his chance in his nearly two decade career writing for other television shows previous to Oz.  He earned his bonafides writing for St. Elsewhere and later Homicide: Life on the Street.  Though I've seen neither, both are considered among the very best among their time.  He didn't only write for them though.  He was prolific.  For St. Elswhere he was the credited writer in 27 episodes, credited for the story in 61 episodes, and wrote the teleplay in 9 episodes in six seasons.  For Homicide, he was credited with the story for 57 episodes and wrote 10 episodes.  I don't know how generous either show was with crediting their writers, but he helped write the series finales for both shows so he was obviously important.

Oz is his baby.  Barely anybody else writes for that show.  In fact, he's the only writer in the first season.  I can't think of an example of a show that sustained quality over multiple seasons with only one person writing it (Downton Abbey quickly became awful, True Detective's second season wasn't good, and Vikings is a pretty mediocre show though consistent).

The pilot episode is bold.  The majority of the running time is contributed to Dino Ortolani, played by the very capable Jon Seda (The Pacific, Homicide:, and Chicago Fire/P.D.)  Well, majority of the time by Oz standards.  Anyway, he's one of only two characters who gets any character development and they kill him off by the end of the episode.  This is the show announcing it's different than any other show that came before.  He and Ryan O'Reilly (played by the wonderful Dean Winters) are so at odds it's clear one of them will have to die before the episode is over.  Well, most TV shows - probably ALL TV shows in 1997 - would find a way for both to live and if one of them had to die, it certainly wouldn't be the one whose perspective we've been watching for the whole episode.  While Winters makes his impact, he still appears to be nothing better than your average great guest star.  So having him kill off what is at this point basically the main character is incredibly bold.

The other character who gets development is Vernon Schillinger, played by the currently in-demand J.K. Simmons.  He's a Neo Nazi who doesn't immediately reveal he is a Neo Nazi to the audience or the audience surrogate, Tobias Beecher.  Beecher is so much of an audience surrogate, he isn't a character at this point.  (That's not a complaint; most shows will introduce you to a setting through fresh eyes and the fresh eyes are basically there to observe.)  Anyway, Simmons being cast is actually a benefit in 2015 since it's really hard to imagine him playing an awful character.  So when Beecher falls under his command, it's not hard to imagine how.  Simmons though is such a good actor that he portrays just enough menace to make you know he'll reveal his dark side.

Beecher gets abused in the most horrific ways imaginable.  He's ostracized from his family, he feels enormous guilt over killing a little girl, and Schillinger gets off on humiliating him on every turn.  This isn't just for shock value.  It's revealing the atrocities of how hard living in life is in Oz.  Most people are in gangs so when they get to Oz, they have a group of people protecting them, but Beecher has nobody and it was just a matter of time before someone took advantage.

Fontana is an impatient writer though.  He wasn't content to just let Beecher get dominated.  So with the blank space allotted to his character - since he was less a character than simply an everyman - his turn to crazy is unexpected.  Watching him get tortured constantly would have been boring and awful.  Beecher going crazy was much more entertaining.  Before he goes crazy, he goes to drugs.  Basically with Beecher, Fontana presented every possible avenue with how you adjust to life on Oz: get controlled, go to drugs, or go crazy.

Oh yeah and die, which Beecher doesn't do, but enough characters do in this season that we understand that's one of the possibilities.  Ortaloni's death sparks a gang war in the prison, which leads to deaths from both gangs almost every episode in this season.  By episode four, one of the other major characters, Jefferson Keane dies.  Keane was played by Leon, and he's honestly not a good actor so his death both added the sense that anybody could die and removed a weak character.

One of the big weaknesses of Oz is that it churns up story so fast, we barely have any time to register why the characters are doing it.  Most of the cast is strong so when they randomly change heart, they sell it.  Leon does not and he's not the only weak actor on the show.  A lot of the time, the show seems to skip past the part of where the character decides to do something.  It never explains why, though usually that's not a problem as it's either self-evident (Beecher going to drugs) or it's easy to imagine happening (most of Said's plotlines)

Like I said before, this is one hell of a cast.  Lee Tergesen is an effective audience surrogate, but he really shines when he's batshit insane.  I already praised Dean Winters above and he kind of does the Dean Winters shtick (see: his Mayhem commercials) but it's hard not to love the Dean Winters shtick.  He hasn't quite mastered it in this season and he looks surprisingly young, but he finds his character sometime in the middle of this season.  Harold Perrineau (Lost) was apparently hired for his oratory skills, but he seems to love narrating the episodes and he's good enough to make me wish he was better used on Lost (WAAAAAAAALT!)

The biggest revelation from Oz though - because most of the good actors I've seen in other things ala Simmons or Winters - is Eamonn Walker as Kareem Said.  He's pretty fantastic.  He's good in a way where I imagine that this specific role is so perfectly cast to his talents that I imagine I won't find him that good of an actor in anything else he's in, but he's truly an amazing actor if I'm wrong.  B.D Wong gets his audition for his long-running role in Law and Order: SVU and he's pretty much the same character, except that he's a priest.  Rita Moreno is another actor who is really good in this role as Sister Peter Marie.  It doesn't seem like she gets that much to do honestly - not like there's much to give her since she counsels the inmates - but she certainly makes the most of it.

There's also Adewale Akinnuoye-Agbaje as Adebisi and he's appropriately sick and twisted and enthralling.  Edie Falco gets her audition for Sopranos (though she's nothing like Carmela, but it's hard to think this role didn't get her an audition at least), and J.D. Williams as Kenny Wrangler is literally his audition tape for his role on The Wire (essentially the same character, though oddly enough he's older in 1997 here than he is in the beginning of The Wire in 2002.  The man didn't age).  Lastly, Lauren Velez is effective here and is just straight up depressing if you've ever seen Dexter and what they gave her to do.

Oz's first season is not exactly an experiment, but a test.  A test to see what viewers would watch and a test on the sensibilities of your average viewer.  It turns out that viewers could stomach the painful, the hard-to-watch, and most importantly, could watch awful people doing awful things.  This is certainly not the first show to have as horrific of people as Oz does, but it might be the first to feature as many of them on the same show.  I can't possibly put myself back in 1997 when this first aired, but this aired two years before The Sopranos.  Oz most likely let Sopranos happened, which arguably influenced nearly every great television show that came after it.

With that said, this is not an A show.  I don't think I'll be giving any of the seasons an A.  There's either too many weak actors, too many weak storylines, or too frenetic of pacing.  This doesn't make it a bad show by any means, it just means it never can quite become a truly great show.  It's mostly great for what it did for television more than as an actual show.  That's ok.  I'd still recommend people watch this show, but after first making sure they don't have any problems with violence of course.

Grade - B+

Writing Blind: The X-Files S4

Welcome to a feature called "Writing Blind."  In this series, I will be writing about seasons of television that I watched in the past year or so, but failed to write about at the time.  I call it writing blind, because I will be sharing my thoughts months after I have already finished the season.  This is both because I want to write about these seasons, but don't have the time to re-watch them and because it is a challenge to hopefully improve my writing.

I'm about to finish season five of The X-Files and I really hope I can write a review soon after finishing it, because I am tired of trying to recollect episodes I haven't seen in months.  There is however one thing I am certain about with the fourth season of The X-Files: it's the best season.  I guess a better way to put it is that it's the most cohesive one.  Season four is the first season to really feel like continuity matters.  

I appreciate that in the first three seasons, the show would have enough continuity to make it worth watching in order, but it's not really vital to watch it in order.  (Except for mythology episodes I guess, but I've never been that invested in them, mostly due to the incredibly widespread reputation the show has for shitting the bed with the mythology.  It's kind of hard to care when you know it's leading you nowhere.  And really here's every mythology episode: you learn something, but nothing actually changes.)

That changes in this season, starting with the last five minutes of "Leonard Betts," when we find out Scully has cancer.  It's a pretty bold move, a move the show would need to back out of one way or the other.  The rest of the season either addresses it directly or knowing she has cancer changes how you might perceive certain scenes.

There's also the fact that Gillian Anderson is a fantastic actor and nailed every emotional beat.  David Duchovny has grown on me the more I've watched the show, but I have zero doubt he would not be able to do what Anderson did in this season.  In fact, I don't think I've praised her enough in these reviews.  She makes this show.  This is pretty impressive considering the writers frequently write her as a wet blanket who gets in they way of Mulder's theories or simply don't give her anything to do at all.  So keep that in mind when I say that the smartest thing the writers ever did, besides maybe picking Vince Gilligan's spec script in season two, was giving Scully cancer so Anderson could finally play something up to her talent.

Duchovny isn't left hanging as this is the first time he's confronted with the possibility that the government is behind everything.  The writers wrote themselves into a corner here.  There are two possible scenarios on how to deal with the government conspiracy. One is that the aliens are real and the government is hiding it.  It's implied that the world of The X-Files is essentially the same as our world where most people don't believe in aliens or supernatural things.  Of course, presenting it as this version makes it hard to believe people aren't more accepting of things like aliens when there's been at least 100 or more instances (in other words, the episodes) where the impossible is real.  You'd think that bleed into everyday life.  But suspension of disbelief and what have you.  

The other scenario is that the government wants you to believe in aliens so that you ignore the other shit they do.  That's not what this season comes to because the show is far from being over so they can't make any conclusions yet.  But it certainly makes it seem like that's a possibility.  Which makes no sense in a world where we've seen so much evidence of crazy, impossible ghost shit happening.  You can't really say aliens aren't real and then have an episode on this ancient demon who is totally real.  (Relating to a previous point, it's frustrating to have Scully constantly reject Mulder's theories with common sense and science and then he's nearly always right.  Seriously it's not hard to imagine someone not named Gillian Anderson playing Scully and Scully being TERRIBLE to watch.)

Anyway, the fourth season still has good mythology episodes, though much like last time, I couldn't recite to you any plot points.  I read the episode descriptions and synopsis and still barely remember them.  Mythology episodes are exciting at the time (well some of them), but they leave nearly no lasting impression on me.  Am I alone on this?

This season has a ton of great episodes.  There's a lot of episodes that I knew were great before I even watched a minute of it.  "Home" is creepy and maybe one of the most fucked up things the show ever presented on screen, especially when you stop and think about it.  "Musings of a Cigarette Smoking Man" has CSM killing John F. Kennedy, which is awesome.  "Paper Hearts" presents an alternative explanation for the disappearance of Samantha, Fox's long-missing sister.  "Leonard Betts" through "Memento Mori" are great as we discover Scully has cancer (though it came at the end of Leonard Betts and is a great episode before that), she has her own adventure (where cancer isn't mentioned, but certainly colors his actions), and then "Memento Mori" has both Scully and Mulder deal with the news that Scully has cancer.  There's also the awesome "Small Potatoes," meant by Vince Gilligan in the vein of Darin Morgan script, and "Zero Sum" where Walter Skinner gets framed for murder.

Combined, this season is a combination of long-form storytelling, season-long storytelling, and simply standalones.  It succeeds at all three.  Only the first season really has as clear of a season-long arc in my mind before this fourth season came along.  I feel confident in saying that the fourth season of The X-Files will be my favorite and my pick for the best season.

Grade - A

Writing Blind: The X-Files S3

Welcome to a feature called "Writing Blind."  In this series, I will be writing about seasons of television that I watched in the past year or so, but failed to write about at the time.  I call it writing blind, because I will be sharing my thoughts months after I have already finished the season.  This is both because I want to write about these seasons, but don't have the time to re-watch them and because it is a challenge to hopefully improve my writing.

Back in the day - you know as early as 20 years ago - TV shows necessarily created a safe haven for viewers.  You can watch this Thursday, skip next week's, and be none the wiser when you turned back in for the next episode.  They needed to not alienate new viewers in order to gain viewership.  So talking about full seasons of any show that was mostly procedural and you could mostly just drop in on an episode without much issue is difficult.  Because the quality varies week-to-week.

Even on a season as consistent as the third season of The X-Files, they still have possibly one of the worst episodes in the series that I've seen in "Hell Money."  To be honest, I don't remember much about that episode except that it was dreadfully boring and terrible.  (It's either that or "Teso dos Bichos" - I don't remember which, but both were just terrible.)  But that just serves to strengthen my point.  How the hell am I supposed to grade a whole season of a show that is designed to allow you to skip episodes.

Now The X-Files is one of the rare shows that rewards people who watch it in order.  It doesn't reward you THAT much.  But it's clear the writers want to maintain some continuity even if it's just in the subtext.  You can only notice that if you watch it in order and probably only if you watch episodes over the course of days and not say the normal TV schedule of a network show.

If there's anything I take away from this season, it's that this is the season where I will re-watch the most episodes.  If I'm being honest, right now at this date, I'm probably watching the entirety of The X-Files and then not returning to it after I finish watching it.  I'll sometimes come back and re-watch maybe 10-20 episodes that I really, really liked.  More than a few will come from this season.

Because this is the season of Darin Morgan.  I read X-File episode reviews/recaps after I watch each episode and the comments always list their favorite writers of the series.  Morgan is almost unanimously the first name that is mentioned.  Sometimes he's listed second, because his episodes comment on the show itself in a mocking tone and none of them are the essence of X-Files.

I'm not in a position to pick a side of the debate on that yet, but I will tell you I will return to every one of his episodes in this season.  "Clyde Bruckman's Final Repose," "War of the Coprophages," and "Jose Chung's From Outer Space" are all classic X-File episodes.  As a Scully fan first and a Mulder fan second, I like how these episodes usually good-naturedly mock Mulder.  (As a side note: Am I the only one totally not shipping Mulder/Scully.  She's too good for him)  They're also cleverly written, entertaining as hell, and they bring the best out of the two leads.'

This season also features Vince Gilligan's first great script.  Remember when I said Morgan was the first name mentioned on top writers.  Gilligan is the second name.  Sometimes, he's first because his episodes represented the typical X-Files while still being original and spooky.  "Pusher" is that episode.

Another challenging thing about writing about a season for a show like the The X-Files months after I've seen it is that I can't really go into detail about specific episodes.  I'll try to write the fourth season soon, because it's relatively fresh in my mind, but most of these episodes I don't remember from just the title.  Anyway, I think that could work to my advantage because I don't want to go just describing each good or bad episode anyway.

I've seen written that the third season is the best mix of the Mythology and the standalone.  The fourth season comes close, so close I'm not willing to make that determination.  But the third season certainly has the best standalones of any season so far, and probably of the whole series judging by what I've heard about the later seasons.  I mean the four episodes I mention are all standalones and not at all required for the mythology.  (The Morgan episodes somewhat need you to be familar with the standard tropes of X-Files and the Mulder/Scully dynamic so they aren't typical)

I'm going to go by memory that I enjoyed the mythology episodes, because wow do I don't remember any details about any of the mythology episodes in this season.  Like the Indian saying mystical stuff in the first episode and... Mulder and Scully on a boat in one of the best scenes.. and uhhhh.... Yeah, in ten years, I won't remember anything about the mythology probably.  Doesn't matter.  I liked them when I watched them.

In conclusion, The X-Files third season is a model of consistency with only one or two duds in it.  The usual price for consistency is that the show will just re-hash the same formula over and over.  The X-Files changes it up enough to keep it interesting.  Not to mention, it's not only consistent, but has some of the best episodes of the entire series.  I'm not sure if I think season three or season four is better, but I can feel reasonably confident that this season is a solid lock for at least the second best season of the entire series.

Grade - A