The
X-Files goes
big and deep with its second season premiere, “Little Green Men,” which aired
on Fox television September 16, 1994.
The
story, by James Wong and Glen Morgan, concerns an existential crisis for
Mulder. Without the X-Files as an overriding
purpose, he has difficulty holding on to and maintaining his belief system.
Mulder’s
crisis of faith is played out in “Little Green Men” on a much bigger scale than
many season one episodes of The X-Files, suggesting a budgetary
boost, perhaps.
Whereas
many X-Files
episodes of the first season were contained in terms of setting and action (“Ice,”
“Beyond the Sea,”) “Little Green Men” opens with a trip through the universe
itself, proceeds to a foreign location (to Arecibo) and culminates with a
dangerous car chase in the jungle.
The
story also fills in the blanks regarding Mulder’s sister, Samantha. To wit, “Little Green Men” features a
flashback of her abduction, which happens to occur right in the middle of news
coverage regarding the Watergate Scandal, a formative event in creator Chris
Carter’s youth.
Although
aliens appear briefly -- and opaquely
-- in “Little Green Men,” the episode nonetheless impresses because it involves
the particularities of Mulder’s heroic quest, and a very low-point on that
journey.
Also,
as one might expect, the episode’s opening montage -- a kind of “cosmic trip” through the stars -- features a healthy
dose of social commentary regarding an America in the 1990s that has lost the
will, the faith, and the “tools” to
achieve the big things of the decades previous.
The
X-Files have been shut down by the F.B.I., and Agents Scully (Gillian Anderson)
and Mulder (David Duchovny) are reassigned to teaching duties at Quantico and
wiretap surveillance, respectively.
Mulder
experiences a crisis of faith regarding his lack of evidence concerning alien
life, even as he recalls the fateful night in 1973 when his sister, Samantha
(Vanessa Morley) was apparently abducted by extra-terrestrial visitors.
Mulder’s
enthusiasm for the cause is rekindled, however, when Senator Richard Matheson
(Raymond J. Barry) reports that there may be an opportunity to make contact
with aliens at the satellite installation in Arecibo, in Puerto Rico. That automated installation has apparently
received a transmission from an extra-planetary source.
Meanwhile,
Scully tracks Mulder down to that location…but she is not alone. Agents of the conspiracy are concerned over
her whereabouts, and a heavily-armed UFO retrieval team is en route to Arecibo
to intercept Mulder before he determines the truth.
“Little
Green Men” opens with a spectacular and emotionally moving montage regarding
man’s first attempts to visit other worlds, and contact other life forms. A Voyager spacecraft moves through the loneliness
of our solar system, and Mulder’s sad-sack voice recounts the program’s hopeful
expeditions to the final frontier.
This
extended montage reveals the human achievements (mathematics, music, art…)
recorded for posterity on a golden record aboard Voyager, and remembers the
human drive and ambition to always seek the next horizon.
But
then, the optimism stops, even as Voyager leaves our solar system for the Great
Unknown.
“We wanted to
believe,” Mulder
notes, but “the tools were taken away.”
It
isn’t difficult to discern the critique here, one concerning the smallness of
modern politics. Why was America able to
put aside partisanship and do big things in the 1960s and 1970s, big things like
the Apollo program? Why, in the 1990s,
did we stop looking outward? Why did we
stop seeking answers?
One
answer, of course, rests with another image of modern technology featured in “Little
Green Men”: the Watergate tapes as seen
on television in the 1970s flashback with young Mulder and Samantha. Watergate is thus -- at least implicitly – positioned by The X-Files as the event
that poisoned American politics, and made a generation see government not as a
vehicle for going where none have gone before or other great achievements, but
as a secretive impediment to freedom and liberty.
Mulder
feels frustration and anger in “Little Green Men” because he understands that “the
tools” to prove the existence of alien life have been taken away by bean
counters. One such tool, of course, is
The X-Files.
But
the other and perhaps more important one is
trust and faith in government, the trust and faith that would give rise to
increased NASA budgets, and a new focus on the stars instead of more earthbound
concerns.
Somewhere
along the lines, a lot Americans stopped believing…
Like
many episodes of The X-Files I have written about here lately (particularly “Darkness
Falls” and “The Erlenmeyer Flask”), there is a strong basis in fact for the
plot point that powers much of “Little Green Men, particularly an alien signal
emanating from space.
Specifically,
a scientist featured in the episode name-checks with Scully the famous “Wow
Signal” of August 15, 1977.
That signal was so named by Jerry Ehman who,
while working on a SETI project at Ohio State University, wrote “Wow!” in the
margins of a report that described a 72-second narrowband radio signal of
non-terrestrial origin. The signal was
believed to originate somewhere in the constellation Sagittarius. It was not the end-all, be-all of evidence
regarding alien life in the universe.
But it was the beginning of
evidence about it.
Notation
of this 1977 signal is sort of the “other shoe dropping” in terms of “Little
Green Men’s” overall social critique.
Right here -- in the Wow Signal -- is real-life evidence that the search
for extraterrestrial life is not a hopeless endeavor or a waste of time and
resources. And yet, the U.S. Government
withdrew funding for SETI in the mid-1990s choosing once more to focus on
earthbound matters rather than to keep watching the skies.
In
other words, the tool that gave us the “Wow Signal” has been taken away.
In
terms of the series’ story arc, almost nothing significant happens in “Little
Green Men.” The X-Files remains closed,
and Mulder finds no hard evidence of alien life.
Yet
the story is absolutely vital in terms of character growth because it depicts
Mulder at his weakest ebb, and reveals the character -- even without the tools he
needs -- picking himself up, dusting himself off, and renewing the well of faith within.
Mulder’s
example may very well be a message to audiences in the 1990s, and beyond as
well.
If
we want a U.S. that can go to Mars, build a moon-base, mine the asteroid belt, or
achieve other big things, we’re the ones
who must renew our faith, and renew the call to such action.
We
can either be the cowering nation of terrified people who believe that we need our
automatic weapons for the day the government descends on us with drones and
black helicopters, or the nation that casts its eyes firmly, hopefully, and
irrevocably on the stars…and prepares for the hard work of building a better
future and a better planet.
In
comparison with many first season X-Files entries, which often play
like brilliant one-location, low-budget horror movies, “Little Green Men”
looks, feels, and plays more like an epic, big-budget motion picture. The season premiere plays on a larger scale,
features intense action, and increases the playing field for our favorite
agents. “Little Green Men” is basically
a test run of The X-Files format on a bigger canvas, and the experiment is a
pretty resounding success.
Next
week, one of the best episodes of the series: Chris Carter’s “The Host.”
I needed a reaction tick box headed "inspiring" for this post, John! (Hence I went with both "interesting" and "cool"!)
ReplyDeleteI vividly recall watching this episode—with much expectation—when it first aired in the UK, and it made quite an impact upon me. This in spite of a fairly low-key plot, but probably due to my long-held love of character-driven drama and for where it places Mulder on his journey.
I've fallen behind in matching my viewing with your whistle stop retrospective of the series for now, but mostly as I've determined to watch the series over again in its entirety. The context and commentary for "Little Gren Men" here has certainly made me want to pick up the pace and get to Season Two, though!
Hi Adam,
ReplyDeleteThanks for the words of support. I'm glad you found the review inspiring (but I'll taking interesting and cool, too.) There's not much plot development in "Little Green Men, but indeed so much character development. It makes for a unique but really strong show. I also love the social critique about the state of the American space program.
I like how you term the retrospective a "whistle stop" tour, and indeed, that's what it is. I'm enjoying The X-Files so much, however, that I regret not watching and blogging each and every episode. I hope to include fifty episode retrospectives by the end of the year to celebrate the 20th anniversary, and then I may have to go back and fill in the gaps with a Critical Analysis type book. Such a great show...
best,
John
Interesting perspective on this one John. I see where you're coming from.... but... (you saw that one coming didn't you)
ReplyDeleteI couldn't remember a thing about this episode when we started it. I thought that was a little odd, considering the way season one ended, it seemed like the perfect set up for a memorable season opener. But when it was all done I sat back and said, "That's it?"
Yes, from the character point of view Mulder does grow and survive the devastating blow that he was delivered. On paper that works just fine. But this episode really felt limp to me. The pacing was off, never really driving forward, but seemed to meander around. Scully felt underutilized. The climax of the episode just didn't click for me (as impressive as the stunt driving was).
This wasn't a bad episode, but more like a middle of the road one. As you mention, this feels like a warm up to the type of episodes that would be classic in the series. But this one just didn't quite work for me, especially as a season opener.