In 1994, James Wolcott reviewed television’s first otherworldly procedural, which would become a cult classic: “The X-Files.” NewYorkerArchive
Certain responses are guaranteed. In biology class, there was always some jokester who would try to gross out his lab partner by hiding dissected frog parts in his or her desk—usually hers. The girl would open a candy wrapper only to find a frog’s eye staring back at her. Advances in special effects have enabled filmmakers to elevate silly pranks into schlock horror.
The cardboard construction of “The Twilight Zone” didn’t cheapen its sense of dread; it functioned as thin insulation against the abyss. The show’s very lack of production values promoted a stark-bare allegorical staging. I remember having nightmares over an episode in which doll-like characters were trapped in a barrel, verbally abusing one another for what seemed like eternity—a pocket version of Sartre’s “No Exit.” That toy barrel, like the show’s bomb shelters, reflected a bunker mentality.
What’s distinctive about “The X-Files,” apart from its ingenious story lines and gun-swivel camerawork, is its suffused atmosphere. Shot in Vancouver, the show’s exteriors seem familiar yet anonymous—muted. David Lynch wrecked the trance of “Twin Peaks” when he abandoned all interest in even a quaint semblance of normality and began to strobe the screen in a fit of expressionism. “The X-Files” doesn’t make the mistake of elevating its sensibility at the expense of its subjects.
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