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Boy, I hope that you guys have already read The X-Files: Season 10, #13… because this one came loaded with quite a few complications. My apologies for the late delivery, but I hope you employed this time reading and re-reading this thrilling adventure.
Written by Joe Harris, Pilgrims, Part 3 continues the storyline carried by its two predecessors. Last time, Scully disappeared from the middle of the desert; now, she has returned, to Arlington… with Alex Krycek in tow.
The former FBI agent and double-crossing rat boy is nothing but confused by his own presence in this world, and seems to have no memory of various moments of his previous existence. The Lone Gunmen do their best to analyze him, detecting abnormal brain activity that seems to hide a code, discoverable thanks to a retired NSA master decryption software.
Meanwhile, back in Saudi Arabia, Mulder hitches a ride in the middle of the desert on a truck driven by a suspicious woman that happens to be infected with the Black Oil virus. She reveals that he’s being followed and is the object of a hunt for what they’ve always wanted. This encounter, well, let’s just say it doesn’t end up well for our favorite hero.
Scully seems quite confused about the reasons behind her own “relocation”, and after getting as far as she can with the Lone Gunmen’s help, she seeks Skinner’s aid. From him, she learns that Mulder is on his way back to the US and Skinner agrees to keep a guard on Krycek, even though he doesn’t quite understand how the man that almost killed him, and that he shot between the eyes himself, is now standing in his own living room.
Back at home, Scully reflects on her own confusing situation; she has many questions without answers about her recent abduction, and William’s and Mulder’s whereabouts. The reasoning behind these events points to frightening possibilities that she’s not scared to delve into in her search for the truth.
Mulder flies back to the US, with CSM’s sinister presence following close, all the while hiding a terrible truth. As he tries to appease Scully’s shock and fear about his sudden disappearance and the unclear circumstances of his return, we learn that he now carries the black oil within.
All in all, more questions are raised on a road filled with twists and turns that are going deeper into the mythology.
Art wise this issue doesn’t disappoint. Matthew Dow Smith continues the dark tone and mood, setting and carrying the story swiftly and enriching the narrative. Jordie Bellaire does a fantastic job as always complementing the work.
The covers this time around include a Scully photo from “The Sixth Extinction” episode for the Subscription cover, and two with original artwork; a cool and classic take on the Lone Gunmen by Francesco Francavilla for the Regular cover and my favorite, the Retailer’s Incentive cover by Mark McHaley, a quite masterful take on a Scully portrait.
This mythology multi-parter has covered a lot of story in three issues, most of it raising questions and promising to expand the scope of the actual threats of the syndicate, and the alien involvement behind it all. It is no longer a localized game, no longer an American, or mostly American issue… the players are diverse, the interests equally complex. The methods used to extend their tendrils have become more intricate and it makes you wonder about the magnitude of the scope of it all. Will there ever be a way to contain and understand the game that’s being played under wraps? Are Mulder and Scully being naive about what can be done when they finally, or if they ever, find the truth? What is the one thing that has proven to be so essential that Mulder continues to be such an important piece in this chess game? And then, with William still missing from the picture, how has Mulder’s quest and the new developments affected the boy’s role in this grand adventure?
I have a couple of comments about the storyline of this issue and of the character details, specifically for Scully. I want to make clear, this doesn’t mean that the story loses any integrity because of it, at least in my opinion, but I need to bring them up.
One of the details that bothered me was Scully’s comment that she wasn’t a Neurologist, only that’s not an accurate statement. In IWTB she treated a case that was highly related to neurological matters, in fact she performed brain surgery. I’m not going to bring up the methods that she used to research in that opportunity, or that perhaps that she wouldn’t necessarily have to be completely familiarized with what they detect in Krycek’s brain examinations, but perhaps this wasn’t the most accurate statement on her part about the scope of her abilities. Maybe I’m being nitpicky about it, but it jumped at me.
I also wished that Scully would have been more active about her reaction to the events surrounding her abduction, Krycek’s reappearance, and Mulder’s return. Even though she has traditionally been level-headed and rational, she seems too passive and cryptic about it all. You could make the argument that it’s because she’s so rattled by the nature of what’s going on, and being coy is her reaction to an unsure footing, but I still feel that she’s too meditative about it. It left me desiring for her to be more proactive, not so cautious; even when finding one truth may lead to another, her first priority in any conversation should have been to find a way to locate Mulder… before any other interest. This was not the case. It was the second order of business in most exchanges. They’ve come a long way about expressing their need to be with each other, the importance each of them hold in this quest, the dangers they face, and the transcendence of their relationship for her to sit tight at home.
But to each writer, I owe the respect of how they want to tell the tale.
Next issue promises to tackle the issue of Mulder’s contagion, and perhaps we’ll see how CSM’s presence plays a role now that he’s following closely. I can’t wait for the next installment.
Sixteen years ago, in June 19th, 1998, The X-Files: Fight The Future premiered to bring the the thrills to the big screen. Mulder and Scully fought and risked their lives to unmask a conspiracy of epic proportions, that would live long after the ending of the movie, extending to the plot of the ongoing X-Files series.
Many of us lined up for hours to watch it first, many X-Philes fell in love with the show all over again, many discovered it that day, and today, after all these years, new fans are still captivated by the universe created by Chris Carter and everyone at Ten Thirteen.
Happy FTF day!
You've probably heard about Kumail Nanjiani, from shows like Portlandia and Silicon Valey. If you haven't checked out these shows, you should, because they're some of the best of Comedy Central. But what makes us talk about Kumail? Simple. He's travelling through all of the current existence of The X-Flles in his very own podcast "The X-Files Files"
A first inagural episode has been released, and please sit down, and enjoy it. He will be examining every episode with a guest, and we are really excited about the potential of this podcast. You can download directly via iTunes or via Feral Audio.
As announced by many outlets this afternoon, Annabeth Gish will be joining the seventh and final season of FX's groundbreaking hit, Sons of Anarchy.
From TV Line:
Gish’s character, Althea Jarry, will call on her years of experience in Stockton’s Organized Crime Unit to pursue the murderers of former Sheriff Eli Roosevelt and Tara Knowles (the latter of whom was butchered to death via meat fork by Katey Sagal’s Gemma). Jarry quickly realizes she’ll have to work with SAMCRO to keep the peace, even if that means playing by their rules. But she has a few of her own that might surprise the club.
The role is said to be "charming and edgy" and Annabeth is quite happy to add this character to her celebrated career. She will simultaneously reprise her role as Charlotte in FX's The Bridge's second season come July, "I'm incredibly thrilled to be a part of the FX family on two such substantial and provocative shows!" she said to us today.
Marilyn Manson is also confirmed for a regular role in Sons of Anarchy, the show comes back during the fall.
In 2011, we reported that composer Mark Snow (The X-Files, Millennium, Blue Bloods) had joined the production team led by our own Avi Quijada. Snow took part as the composer to her short film Just Like Her. Good news is that the acclaimed production has been screened in multiple festivals around the world and awarded quite a few times, including the ARPA award for Best Short in 2012, among many other distictions. Recently, the film has been made available via iTunes for audiences in the US, Canada, Great Britain and Ireland, both on HD & SD.
Just Like Her is a family drama, starring Michael Gross (Family Ties, Last Man Standing, CSI, Tremors), Nicholle Tom (The Nanny, Coldcase, Castle, Masters of Sex), Allyssa Brooke Maurice (All My Children, Castle, Ghosts of Girlfriends Past), Henry Clarke (House, M.D., Lie To Me, Chuck) and Brittany Ganiere (Crossroad) - Produced by Avi Quijada, Directed & Written by Eddie Melikyan, Story by Lauren Lillie, Cinematography by Daniel Lynn, Production Design by Ashley Hasenyager, Edited by Matthew Horn, Music by Mark Snow and Casting Direction by Linda Phillips-Palo C.S.A. & Paul Palo. The movie was shot on location in Encino, CA, in Kodak 35mm film with a Deluxe grant, with collaboration of Panavision and is a joint production between AFI and Just Made Productions.
Check the iTunes link HERE.
Likewise, Europa, also produced by our Editor-In-Chief, and XFN Productions' joint venture with AFI, has iTunes as well. The film is a Science-Fiction short film starring Don Michael Paul (CSI, CSI: Miami, The Island), Kirsten Berman (Million Dollar Baby) and Timothy Guest (The Young & The Restless, Batman Forever, Sanctuary, Cost of Capital)- Produced by Avi Quijada, Directed by David Gidali, Written by Joe Aaron, Cinematography by Itay Gross, Production Design by Gustaf Aspegren and Edited by Greg Goldman. This film was also Casting Directed by Linda Phillips-Palo C.S.A & Paul Palo, with Music by Russ Howard. The movie was shot in Fuji 35mm film, with a Deluxe grant and collaboration by Panavision and Alpha Dogs in Burbank. Filming took place at the former Firefly set in Laurel Canyon, California, extensive VFX work was done by Outpost and sound mix at Sony Pictures in Culver City. The short has been part of numerous festivals, including the San Diego Comic Con International Independent Film Festival.
Check it out HERE.