One Son
"One Son" | |
---|---|
Rob Bowman | |
Written by | Chris Carter Frank Spotnitz |
Production code | 6ABX12[1] |
Original air date | February 14, 1999 |
Running time | 45 minutes[2] |
Guest appearances | |
| |
"One Son" is the twelfth episode from the
story arc.The series centers on
"One Son," a direct continuation of the previous episode "
Plot
Background
For the first five seasons of the series, FBI federal agents
Events
Cassandra demands to be killed by Mulder but, before he can do anything, the group is quarantined by
At Fort Marlene, Mulder runs into the sickly looking
Inside the apartment, Mulder's search for clues is interrupted by the arrival of The Smoking Man, who tells Mulder that he has been betrayed by
Spender goes to the Syndicate's headquarters, only to find Krycek, who tells him that the group's members—with the exception of The Smoking Man, who has gone to retrieve Cassandra—are preparing to give Cassandra to the aliens. Fowley returns to her apartment, where she finds Mulder. Fowley heads to the hangar at El Rico Air Force Base, whereas Scully picked up Mulder, and the two try but fail to stop the train car transporting Cassandra to El Rico. Spender arrives at Fort Marlene, where he runs into Marita; she tells him to go to El Rico Air Force Base to find his mother.
A Syndicate surgeon attempting to procure the alien fetus is killed by one of the alien rebels, who assumes his form. Krycek finds the dead surgeon and the fetus missing, and tells Spender that the rebels are now going to succeed in their goals to halt colonization. The Syndicate and its families gather at El Rico Air Force Base. Shortly after Fowley arrives, a white light appears around one end of the hangar. It is revealed to be the rebels, who surround and immolate the entire Syndicate, except for The Smoking Man and Fowley, who escape by car.
The next day, Mulder, Scully,
Production
Conception and writing
"One Son" concluded not only the story that had begun in the preceding episode, "Two Fathers", but also a large portion of the series' mythology, much of which had been centered around the Syndicate.
Carter also sought to rectify small issues that fans had with the 1998 feature film,
Writers for the series often struggled with writing "mytharc" episodes because there was a need to force as much material into them as possible, given their relative paucity compared to the "Monster of the week" episodes. While the title of the previous episode, "Two Fathers", referred to both Bill Mulder and The Smoking Man, this episode was titled "One Son" to reflect the fact that Mulder was the only remaining son of either of these men, after the presumed death of Jeffrey Spender.[12]
Several of the plot elements self-reference other episodes of the series. Fort Marlene's presence is a reference to the first season finale "The Erlenmeyer Flask," in which the alien fetus was first introduced; the term "purity control" is also a reference to this episode.[13] The references to MUFON were designed to recall the fourth-season story-arc involving Scully's cancer.[14] The episode also references and mirrors elements of popular culture. Fowley's apartment was purposely located in the Watergate complex, a hotel notorious as the location of the 1970s Watergate scandal.[15] The scenes featuring Mulder and Scully being decontaminated were based on a similar scene in the James Bond film Dr. No (1962), according to Spotnitz. He felt that the scene successfully played upon the sexual tension between the two lead characters.[16]
Casting and filming
"One Son" would be the last episode of the series to feature Owens' character, Jeffrey Spender, until the ninth season entry "William".[8][17] Owens learned that he would be killed off when Carter told him, "You're going to go out a hero, of sorts".[18] Owens was slightly disappointed, as he had just been introduced during the conclusion of the previous season.[18] Davis was upset that Owens was leaving the series, and reportedly told Owens during their last scene together, "I don't want to shoot you! I enjoy working with you!"[8] Owens, however, jokingly noted that Davis had no problems slapping him when the script called for it.[8] In the episode, Laurie Holden, who played Marita Covarrubias, returns. Spotnitz crafted the sequence in which she confronts Mulder to be a way of "taking away [her] beauty and making her [look] as horrifying as possible".[19] To accomplish this, she was given "terrible-looking" contact lenses and her hair was disheveled.[20]
While the first five seasons of the series were mainly filmed in Vancouver, British Columbia, production of the show's sixth season was based in Los Angeles, California.[21][22] The scenes taking place in the hangar were filmed at the Marine Corps Air Station Tustin in Tustin, California.[23] The hangar—constructed in 1942 in support of the United States Navy coastal patrol efforts during World War II—is one of the largest all-wooden hangars in the United States. Bill Roe, director of photography, and Rob Bowman were tasked with lighting the entire structure for the episode's teaser and climax, a job that Spotnitz later called "amazing".[24][25] Because the series' move to Los Angeles had caused production costs to rise, the show was forced to cut down on its "astonishing production values". However, Spotnitz highlighted the use of the hangar as "was a way to try and create that cinematic scale and still keep [the show] affordable".[26] Initially, the production staff had hoped to show the alien rebels incinerating the Syndicate on screen. However, because they were filming in an all-wooden hangar, the use of fire was never considered.[27]
The episode also revisits trains as a setting, something that had previously been done in the third season episodes "731" and "Nisei".[28][29] However, for budgetary reasons, the scenes taking place on the trains did not take up much screen time.[28] To give the effect that the train carrying Cassandra Spender is moving at a high speed, Manners utilized "sound effects, music, clever camera angles and quick cutting".[8] In reality, the train was going a little under ten miles an hour.[8]
All of the sets in the episode were created by Corey Kaplan.
The episode required extensive demands from makeup department head Cheri Montesanto-Medcalf. She was tasked with creating the illusion of the lead surgeon's head being frozen in liquid nitrogen, as well as "de-aging" members of the Syndicate for the episode's flashback sequences. To create the former, Montesanta-Medcalf painted the actor's face blue, then attached silicone icicles to his head.[8]
Themes
The episode emphasizes the importance of family. Meghan Deans of Tor.com wrote that the Syndicate handing over their family and loved ones to save the world was evidence of this permeating theme. She also highlighted the duality of fathers and sons. The Smoking Man is both a father to Mulder and Spender, but he favors Mulder. At the same time, both Spender and Krycek vie for the position of "son," with the former falling from The Smoking Man's grace, and the latter playing the role of "prodigal son".[36] However, both Spender and Krycek eventually fail, leaving Mulder as the titular "one son".[36] Neal Justin of the Star Tribune also wrote about the episode's emphasis on family, commenting that "it is interesting to note that the core of the story appears to be the relationship between parents and their children".[37] He compared the episode's thematic mechanism to the same concern of the Star Wars films.[37]
Reception
Ratings and accolades
"One Son" originally aired in the United States on the
Cartwright was nominated for an
Reviews
Because the episode was promoted with the promise of answering questions, it caused increased media speculation.[37][44] With the conclusion of "One Son", many critics applauded the way the series was able to wrap up the Syndicate arc. A.M. Jamison of the Dayton Daily News wrote that "'One Son' ends dramatically, drawing to a close one quest and opening a new set of challenges not only for Mulder but the Earth as well".[45] Noel Holston and Justin of the Star Tribune awarded the episode four stars out of five, noting that it answered even more questions than "Two Fathers". They also applauded the familial bonds that held the episode together.[37] However, some critics felt that the answers were slightly rushed. Manuel Mendoza of The Dallas Morning News wrote that "Mr. Carter and his co-writer Frank Spotnitz have a wonderfully indirect way of setting up dramatic situations and an unbelievably shorthand way of resolving them".[46]
Robert Shearman and Lars Pearson, in their book Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen, rated the episode three-and-a-half stars out of five. The two enjoyed Davis' performance, noting that he gave the role "real power", and that he was "the emotional centre of the episode".[47] Shearman and Pearson were critical of the amount of attention Fowley's allegiance received. However, they felt that the episode "reaches for both significance and closure, and mostly works".[47] Deans wrote that "One Son," along with "Two Fathers," is elevated above a "mytharc infodump" because of "its use of family, a theme woven deep and clear throughout".[36] She largely applauded the episode's exploration of the various characters, and its central motif, noting that "the conspiracy [the Syndicate] is no longer the threat now. It's the rebels and the colonists, fearful and unknown. Just like family".[36] Tom Kessenich, in his book Examination: An Unauthorized Look at Seasons 6–9 of the X-Files wrote positively of the episode, saying "The 'Two Fathers'/'One Son' was extremely powerful stuff. Tightly written, beautifully filmed and filled with more affirmations than revelations, but fascination looks at the characters in the drama".[48]
Zack Handlen of The A.V. Club awarded the episode a "B" rating.[49] He felt that the episode worked extremely well on a visual and character-based level. Handlen felt that, because the show was "often scariest when it's implying, rather than flat out stating," its "mythology only really works as something just out of sight".[49] For this reason, he felt that the episode mixed "the compelling with the absurd" with "mixed results".[49] Handlen concluded that the episode "has its moment," but is ultimately hurt by the fact that it refuses "to come to any serious conclusions," as well as "the inherent limitations of the [episode's] form".[49] Not all reviews were glowing. Paula Vitaris from Cinefantastique gave the episode a negative review and awarded it one-and-a-half stars out of four.[50] Vitaris criticized the death scene of the Syndicate, noting that it was "clumsily contrived, allowing [The Smoking Man] and Fowley to escape, but not because it makes sense, but because the show needs them to return at some point".[50]
Since its airing, "One Son" has been called one of the best episodes of The X-Files. Joyce Millman from
Footnotes
- ^ Fox Home Entertainment. pp. 4, 16.)
{{cite AV media notes}}
: CS1 maint: others in cite AV media (notes) (link - ^ "The X-Files, Season 7". iTunes Store. Apple. Retrieved September 22, 2012.
- ^ a b Meisler (2000), pp. 147–56.
- ^ Kowalski (2009), pp. 243–46.
- ^ Meisler (1999), pp. 173–84.
- ^ Meisler (1999), pp. 187–96.
- ^ Meisler (2000), pp. 135–44.
- ^ a b c d e f g h i Meisler (2000), pp. 156–57.
- ^ Pergament, Alan. (January 18, 1999) Chris Carter Feels 'X-Files' Will End By Spring of 2000. The Buffalo News (Berkshire Hathaway). August 6, 2009.
- ^ Carter, Chris et al. (2001). "The Truth Behind Season 8". The X-Files: The Complete Eighth Season (DVD). Fox Broadcasting Company.
- ^ Spotnitz (2005), 7:25–7:45.
- ^ Spotnitz (2005), 23:40–25:07.
- ^ Spotnitz (2005), 4:20–4:26.
- ^ Spotnitz (2005), 13:22–13:43.
- ^ Spotnitz (2005), 15:25–15:30.
- ^ Spotnitz (2005), 3:13–3:54.
- Fox Home Entertainment. 2002.
- ^ a b Hurwitz and Knowles (2008), p. 160.
- ^ Spotnitz (2005), 9:17–9:31.
- ^ Spotnitz (2005), 9:40–9:45.
- 20th Century Fox Home Entertainment.
- ^ Vitaris, Paula (October 1998). "X-Files: A Mixed Bag of Episodes and a Feature Film Pave the Way for Season Six". Cinefantastique. 30 (7/8): 27.
- ^ Fraga (2010), p. 72.
- ^ a b Spotnitz (2005), 1:55–2:21.
- ^ Spotnitz (2005), 2:46.
- ^ Spotnitz (2005), 2:22–2:54.
- ^ Spotnitz (2005), 40:02–40:22.
- ^ a b Spotnitz (2005), 32:30–33:07.
- ^ Spotnitz (2005), 33:58–34:05.
- ^ Spotnitz (2005), 20:32–20:37.
- ^ Spotnitz (2005), 20:40–21:04.
- ^ Spotnitz (2005), 38:48–38:52.
- ^ Spotnitz (2005), 39:26–39:35.
- ^ Spotnitz (2005), 38:53–39:00.
- ^ Spotnitz (2005), 39:04.
- ^ a b c d Deans, Meghan (November 29, 2012). "Reopening The X-Files: 'Two Fathers'/'One Son'". Tor.com. Tor Books. Retrieved July 24, 2013.
- ^ a b c d Holston, Noel; Justin, Neil (February 7, 1999). "TV Sweeps Offerings Are Less Than Gripping—But At Least We Find out What On—Or Off—Earth 'The X-Files' is About". Star Tribune. The Star Tribune Company. Retrieved July 24, 2013.
- ^ a b Meisler (2000), p. 294.
- ^ "BARB's Multichannel Top 10 Programmes". barb.co.uk. Retrieved January 1, 2012.
- ^ "The X-Files". Emmys.com. Academy of Television Arts & Sciences. Retrieved April 29, 2012.
- ^ Hurwitz and Knowles (2008), p. 241.
- ^ "The X-Files – Season 6 Box Set DVD Information". TVShowsOnDVD.com. Archived from the original on July 30, 2013. Retrieved August 24, 2012.
- ^ Manners, Kim et al. The X-Files Mythology, Volume 3 – Colonization (DVD). Fox.
- ^ Courant, James (February 7, 1999). "Television 'X-Files' Truth Finally Will Be Known". The Journal Gazette. Retrieved July 24, 2013.
- ^ Jamison, A.M. (February 14, 1999). "Conclusion of 'X-Files' 2 Parter Leaves Some Truths Untold". Dayton Daily News. Retrieved July 24, 2013.
- ^ Mendoza, Mauel (February 13, 1999). "Truth Lies Exposed on 'X-Files'". The Dallas Morning News. Retrieved July 24, 2013.
- ^ a b Shearman and Pearson (2009), pp. 178–79.
- ^ Kessenich (September 27, 2005), p. 41.
- ^ a b c d Handlen, Zack (25 August 2012). "'One Son'/'The Sound of Snow' | The X-Files/Millennium | TV Club | TV". The A.V. Club. The Onion. Retrieved 28 August 2012.
- ^ a b Vitaris, Paula (October 1999). "Sixth Season Episode Guide". Cinefantastique. 31 (8): 26–42.
- ^ Salon. Salon Media Group. Archived from the originalon 25 July 2008. Retrieved 1 May 2012.
- ^ Runstrom, Melissa (November 27, 2002). "'X-Files' DVD Showcases Highs, Lows of Season Six". The Michigan Daily. Retrieved August 6, 2009.
- ^ "X-Files: Season Six". DVD Talk. Internet Brands. 5 November 2002. Retrieved 14 March 2012.
References
- Dunn, Timothy; Foy, Joseph (2007). "Moral Musings on a Cigarette Smoking Man". In Kowalski, Dean (ed.). The Philosophy of The X-Files. ISBN 9780813192277.
- Fraga, Erica (2010). LAX-Files: Behind the Scenes with the Los Angeles Cast and Crew. CreateSpace. ISBN 9781451503418.
- Hurwitz, Matt; Knowles, Chris (2008). The Complete X-Files. Insight Editions. ISBN 9781933784809.
- Kessenich, Tom (2002). Examination: An Unauthorized Look at Seasons 6–9 of the X-Files. ISBN 9781553698128.
- Kowalski, Dean, ed. (2007). The Philosophy of The X-Files. University Press of Kentucky. ISBN 978-0813124544.
- Meisler, Andy (2000). The End and the Beginning: The Official Guide to the X-Files Season 6. HarperCollins. ISBN 9780061075957.
- Meisler, Andy (1999). Resist or Serve: The Official Guide to The X-Files, Vol. 4. London: ISBN 9780002571333.
- Shearman, Robert; Pearson, Lars (2009). Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen. Mad Norwegian Press. ISBN 9780975944691.
- Spotnitz, Frank (September 27, 2005), ""One Son": Commentary", Fox Home Entertainment.
External links
- "One Son" at IMDb