X-Files 6.8: "The Rain King"
Written by Jeffrey Bell
Directed by Kim Manners
In which Mulder and Scully investigate the bizarre weather conditions in a small town in Kansas…
Status Report
As noted in many of the previous sixth season episodes, there was mandate from Chris Carter and the network to push the series into lighter territory, given the success of the humorous efforts from earlier seasons and the likelihood of new viewers after “Fight the Future”. The first third of the sixth season is replete with what would become known as “XF Lite”; episodes that were largely self-contained, treated Mulder and Scully as characters with only the most basic history and context, and attempted to mix the unusual with humor.
Episodes like “Triangle” and “Terms of Endearment” fell into the trap of the first two categories, exploring different ground but losing much in the process. Other episodes, like “Dreamland”, allowed for character and context, but focused too strongly on humor at the expense of the potential for more. In each case, the writers managed to give the audience something more than just vaguely recognizable characters stumbling into the unknown.
For many fans, this was the unfortunate example of all three flaws. While some fans with an emphasis on romantic elements of the show were pleased by the constant references to the underlying emotions between the two agents, many were left wondering whether or not the writers were even paying attention. New writer Jeff Bell took a lot of the heat for the episode, but ultimately, this was the end result of the changes mandated from the front office.
Almost immediately, the audience is left to wonder where this episode is supposed to fit into the overall continuity. Two episodes earlier, the setting was Christmas; now, for the second episode in a row, the setting is more appropriate to late fall. That was partially the effect of the decision to shift when the episodes would air, thanks to Major League Baseball. But even without that mess, there’s the small problem of context.
Even the previous episode made it clear that Mulder and Scully were still on a tight leash, and many threats had been leveled against them for exploring X-Files and related sundry. So how does this episode fit into that “big picture”? Not one moment in the episode is the current crisis for the agents incorporated. On the basis of this episode, that “big picture” might as well not exist. After all, how did Mulder get a phone call from the mayor, if any such calls would go directly to Spender?
Thus this episode is completely self-contained from the point of view of the ongoing story arcs. Overall, it’s not entirely clear how the events fit into the series’ mythology. One could suspect some form of poltergeist activity, the subconscious application of psycho-kinesis to affect one’s environment, usually centering against the individual with the psychological stress in question. Loosen the rules a little bit, center that subconscious outlet of energy into the weather, add in the possibility that Holman has the genetic markers for some kind of “sentinel” ability (see the review for “Fight the Future” for more on that, specifically the mythology section), and it might make a kind of sense. Just never mind the problems created by the prospect of a drought covering half a state for months, supposedly unnoticed by anyone else in the world.
So the concept at the heart of the episode has a tenuous connection to the spiritual and psychic universe of the X-Files, but the more immediate aspects of the conspiracy and the effect of it on the agents is completely missing. Another source of continuity, however, could be easily accomplished if character development and the relationship between Mulder and Scully is given proper context.
Oddly, this episode focuses entirely upon the possibility of romantic feelings held by Mulder and Scully for each other, despite the fact that such an obvious expression of such emotions had been a long-standing prohibition. In this case, nearly everyone else involved in the episode notes how obvious the love and affection must be, referring to them as a couple whenever it remotely makes sense in the context of a scene. In other words, while many of those emotions have been part of the complex nature of their relationship, in this episode, it’s far more open than it has been in earlier seasons.
This plays less upon the established character histories and more upon the “iconic” versions of the characters. The “iconic” Mulder and Scully show up in many of the stand-alone episodes of the sixth and seventh seasons, designed to allow new viewers to recognize them in very general terms. Mulder is the believer, leaping to the paranormal on any shred of evidence, and Scully is the skeptic, even in the face of a situation that cannot be explained by science. (Never mind that earlier seasons typically left the nature of a phenomenon to question, rather than providing an exact cause.) The “iconic” Mulder and Scully secretly love each other, and that’s all there is to it.
Looking at the series from the long view, Mulder and Scully would be coming to terms with certain personal realizations. At his point, Mulder is still unsure about his sister’s fate and where the conspiracy is going. While he clearly has feelings for Scully, to the point of placing her on equal footing with Samantha in his life, Scully is still not the center of his universe. Resolving the mystery of Samantha’s fate still comes first.
Scully, on the other hand, is dealing with a more complex set of emotions. Mulder already fills a psychological void for Scully, playing the role of the authoritative figure that she finds utterly desirable. Yet that same psychology typically leaves her with a means of escape, whether it be family or otherwise. Being with Mulder has cost her in many ways: her health, her career, her family. Scully was ready to walk away, and that should be something dealt with in the sixth season.
Instead of these complex characters with warring desires and fears, the writers offer the “X-Files” version of a romantic comedy. While Mulder and Scully would ultimately choose each other by the end of the seventh season, each must have a moment of epiphany before that time comes, allowing them to overcome the internal barriers to such a relationship. They also must come to the point where any other option, based on their shared psychological issues, would be impossible to imagine. At the end of the seventh season, that point is reached, but early in the sixth season, it was premature.
Many point to Scully’s conversation with Shiela as an admission of love for Mulder, and perhaps to some degree, that’s what it is. But given how ridiculous the situation is, why would Scully air such feelings to a stranger, especially since her character would not be willing to admit such things to herself at this point in the series? While it was cause for celebration for those yearning for overt signs of a Mulder/Scully romance, it was another sign of writing issues for those looking for character consistency.
Having effectively failed to give these events a context within the conspiracy, with slight connection to the series’ mythology, the writers also failed to place these events in a consistent context for the characters themselves, except in the most general sense. The final and most lethal element of the episode, however, was the horrible brand of “humor” employed.
Many of the gags fall completely flat, especially the guest characters themselves. Instead of offering a compelling set of individuals, the writers chose to populate Kroner with wacky characters that don’t seem like they act in any rational manner at all. It’s the inclusion of the bizarre for no other purpose than to be weird, and it’s fairly transparent. The audience is given very little reason to care about the residents of Kroner.
Given that this was effectively the fifth episode in a row with cute or humorous elements, it should be no surprise why the audience was tired of the new direction chosen for the sixth season. It certainly doesn’t help that the episode was written to appeal to a subset of the audience, effectively to the exclusion of anyone with other interests and preferences. Given all of that, it’s not hard to see why this is often cited as one of the worst episodes of the series.
Memorable Quotes
SHEILA: “I murdered that poor cow!”
MULDER: “He wants advice. Dating advice.”
SCULLY: “Dating advice? From whom?”
MULDER: “Yours truly! Hello? Scully…Scully, you there?”
MULDER: “Just tell her how you feel. And Holman…I do not gaze at Scully!”
SCULLY: “Well, it seems to me that the best relationships, the ones that last, are frequently the ones that are rooted in friendship. You know, one day you look at the person and you see something more than you did the night before. Like a switch has been flicked somewhere. And the person who was just a friend is…suddenly the only person you can ever imagine yourself with.”
Final Analysis
Overall, this episode is often considered one of the worst of the series, and on a number of levels, there are specific reasons for that reputation. With little or no connection to character development thus far, or the specific circumstances of the agents themselves, this is an episode designed to appeal to those with a desire for Mulder and Scully to admit their feelings. The result is an episode that brings very little to the table.
Writing: 1/2
Acting: 1/2
Direction: 2/2
Style: 0/4
Final Rating: 4/10
Directed by Kim Manners
In which Mulder and Scully investigate the bizarre weather conditions in a small town in Kansas…
Status Report
As noted in many of the previous sixth season episodes, there was mandate from Chris Carter and the network to push the series into lighter territory, given the success of the humorous efforts from earlier seasons and the likelihood of new viewers after “Fight the Future”. The first third of the sixth season is replete with what would become known as “XF Lite”; episodes that were largely self-contained, treated Mulder and Scully as characters with only the most basic history and context, and attempted to mix the unusual with humor.
Episodes like “Triangle” and “Terms of Endearment” fell into the trap of the first two categories, exploring different ground but losing much in the process. Other episodes, like “Dreamland”, allowed for character and context, but focused too strongly on humor at the expense of the potential for more. In each case, the writers managed to give the audience something more than just vaguely recognizable characters stumbling into the unknown.
For many fans, this was the unfortunate example of all three flaws. While some fans with an emphasis on romantic elements of the show were pleased by the constant references to the underlying emotions between the two agents, many were left wondering whether or not the writers were even paying attention. New writer Jeff Bell took a lot of the heat for the episode, but ultimately, this was the end result of the changes mandated from the front office.
Almost immediately, the audience is left to wonder where this episode is supposed to fit into the overall continuity. Two episodes earlier, the setting was Christmas; now, for the second episode in a row, the setting is more appropriate to late fall. That was partially the effect of the decision to shift when the episodes would air, thanks to Major League Baseball. But even without that mess, there’s the small problem of context.
Even the previous episode made it clear that Mulder and Scully were still on a tight leash, and many threats had been leveled against them for exploring X-Files and related sundry. So how does this episode fit into that “big picture”? Not one moment in the episode is the current crisis for the agents incorporated. On the basis of this episode, that “big picture” might as well not exist. After all, how did Mulder get a phone call from the mayor, if any such calls would go directly to Spender?
Thus this episode is completely self-contained from the point of view of the ongoing story arcs. Overall, it’s not entirely clear how the events fit into the series’ mythology. One could suspect some form of poltergeist activity, the subconscious application of psycho-kinesis to affect one’s environment, usually centering against the individual with the psychological stress in question. Loosen the rules a little bit, center that subconscious outlet of energy into the weather, add in the possibility that Holman has the genetic markers for some kind of “sentinel” ability (see the review for “Fight the Future” for more on that, specifically the mythology section), and it might make a kind of sense. Just never mind the problems created by the prospect of a drought covering half a state for months, supposedly unnoticed by anyone else in the world.
So the concept at the heart of the episode has a tenuous connection to the spiritual and psychic universe of the X-Files, but the more immediate aspects of the conspiracy and the effect of it on the agents is completely missing. Another source of continuity, however, could be easily accomplished if character development and the relationship between Mulder and Scully is given proper context.
Oddly, this episode focuses entirely upon the possibility of romantic feelings held by Mulder and Scully for each other, despite the fact that such an obvious expression of such emotions had been a long-standing prohibition. In this case, nearly everyone else involved in the episode notes how obvious the love and affection must be, referring to them as a couple whenever it remotely makes sense in the context of a scene. In other words, while many of those emotions have been part of the complex nature of their relationship, in this episode, it’s far more open than it has been in earlier seasons.
This plays less upon the established character histories and more upon the “iconic” versions of the characters. The “iconic” Mulder and Scully show up in many of the stand-alone episodes of the sixth and seventh seasons, designed to allow new viewers to recognize them in very general terms. Mulder is the believer, leaping to the paranormal on any shred of evidence, and Scully is the skeptic, even in the face of a situation that cannot be explained by science. (Never mind that earlier seasons typically left the nature of a phenomenon to question, rather than providing an exact cause.) The “iconic” Mulder and Scully secretly love each other, and that’s all there is to it.
Looking at the series from the long view, Mulder and Scully would be coming to terms with certain personal realizations. At his point, Mulder is still unsure about his sister’s fate and where the conspiracy is going. While he clearly has feelings for Scully, to the point of placing her on equal footing with Samantha in his life, Scully is still not the center of his universe. Resolving the mystery of Samantha’s fate still comes first.
Scully, on the other hand, is dealing with a more complex set of emotions. Mulder already fills a psychological void for Scully, playing the role of the authoritative figure that she finds utterly desirable. Yet that same psychology typically leaves her with a means of escape, whether it be family or otherwise. Being with Mulder has cost her in many ways: her health, her career, her family. Scully was ready to walk away, and that should be something dealt with in the sixth season.
Instead of these complex characters with warring desires and fears, the writers offer the “X-Files” version of a romantic comedy. While Mulder and Scully would ultimately choose each other by the end of the seventh season, each must have a moment of epiphany before that time comes, allowing them to overcome the internal barriers to such a relationship. They also must come to the point where any other option, based on their shared psychological issues, would be impossible to imagine. At the end of the seventh season, that point is reached, but early in the sixth season, it was premature.
Many point to Scully’s conversation with Shiela as an admission of love for Mulder, and perhaps to some degree, that’s what it is. But given how ridiculous the situation is, why would Scully air such feelings to a stranger, especially since her character would not be willing to admit such things to herself at this point in the series? While it was cause for celebration for those yearning for overt signs of a Mulder/Scully romance, it was another sign of writing issues for those looking for character consistency.
Having effectively failed to give these events a context within the conspiracy, with slight connection to the series’ mythology, the writers also failed to place these events in a consistent context for the characters themselves, except in the most general sense. The final and most lethal element of the episode, however, was the horrible brand of “humor” employed.
Many of the gags fall completely flat, especially the guest characters themselves. Instead of offering a compelling set of individuals, the writers chose to populate Kroner with wacky characters that don’t seem like they act in any rational manner at all. It’s the inclusion of the bizarre for no other purpose than to be weird, and it’s fairly transparent. The audience is given very little reason to care about the residents of Kroner.
Given that this was effectively the fifth episode in a row with cute or humorous elements, it should be no surprise why the audience was tired of the new direction chosen for the sixth season. It certainly doesn’t help that the episode was written to appeal to a subset of the audience, effectively to the exclusion of anyone with other interests and preferences. Given all of that, it’s not hard to see why this is often cited as one of the worst episodes of the series.
Memorable Quotes
SHEILA: “I murdered that poor cow!”
MULDER: “He wants advice. Dating advice.”
SCULLY: “Dating advice? From whom?”
MULDER: “Yours truly! Hello? Scully…Scully, you there?”
MULDER: “Just tell her how you feel. And Holman…I do not gaze at Scully!”
SCULLY: “Well, it seems to me that the best relationships, the ones that last, are frequently the ones that are rooted in friendship. You know, one day you look at the person and you see something more than you did the night before. Like a switch has been flicked somewhere. And the person who was just a friend is…suddenly the only person you can ever imagine yourself with.”
Final Analysis
Overall, this episode is often considered one of the worst of the series, and on a number of levels, there are specific reasons for that reputation. With little or no connection to character development thus far, or the specific circumstances of the agents themselves, this is an episode designed to appeal to those with a desire for Mulder and Scully to admit their feelings. The result is an episode that brings very little to the table.
Writing: 1/2
Acting: 1/2
Direction: 2/2
Style: 0/4
Final Rating: 4/10
posted by John Keegan | 17:08
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