Buy X Files on iTunes

In the first season of The X-Files, creator Chris Carter was uncertain of the series’ future, so each of the episodes is a self-contained suspense story; they do not delve deep into the ongoing X-Files mythology or turn to self-parody and humor as do episodes in later seasons. Yet, these episodes display the elements for which the show would become famous: the cinematic production values and top-notch special effects, the stark lighting of the Vancouver sets, the atmospheric halo of Mark Snow’s score, and the clever plots dealing with subjects ranging from the occult, religion, and monsters to urban legends, conspiracy theories, and science fiction. Most importantly, season 1 introduces FBI agents Dana Scully (Gillian Anderson) and Fox “Spooky” Mulder (David Duchovny), two of the most attractive government officials around. Scully is the serious-minded medical scientist assigned to join Mulder on the X-Files, a division of the FBI dealing with the paranormal. Mulder is the intuitive thinker with a dry wit, a passionate believer in the existence of paranormal phenomena and one of the few characters on television smart enough to figure out who the bad guy is before the audience does. Their muddled relationship, a deep friendship laced with sexual tension, provides the human heart in a world where the bizarre and horrible lurk in everyday society.

While the first season of The X-Files introduced us to Scully and Mulder, the second season finds the show confidently hitting its stride. Building on its earlier success, the show evolves, and in these 25 episodes, a glimpse is shown of a longer-running story line (which will continue through subsequent seasons) that is woven into the usual stand-alone episodes of the paranormal. These so-called mythology episodes hint at a global conspiracy involving sinister government agents, UFOs, alien abductions, genetic engineering, the ever-lurking Cigarette Smoking Man, and Fox Mulder’s father. Season 2 fleshes out Mulder’s family history, including the childhood abduction of his sister Samantha, an event that would shape him for life. Actress Gillian Anderson (Scully) became unexpectedly pregnant during season 2, but series creator Chris Carter managed to dance nimbly around her absence and even integrate it into the show. As in season 1, Mulder and Scully are surrounded by a strong supporting cast, which adds a suspicious new agent named Alex Krycek, an informant named X, and a seemingly indestructible alien bounty hunter.

By its third season, The X-Files had grown from a cult hit to a global phenomenon, becoming the most popular show in many countries outside the U.S. Armed with the knowledge that the show was here to stay, series creator Chris Carter expanded its mythology, and the 24 episodes in this boxed set represent arguably the strongest of all the X-Files seasons. As usual, stand-alone episodes explored the paranormal and sometimes terrifying possibilities in mythology, pop culture, and religion. Darin Morgan helps the show to mature by expanding its use of humor, directing classic episodes such as “Clyde Bruckman’s Final Repose” (featuring a fabulous performance from Peter Boyle) and “Jose Chung’s ‘From Outer Space.’” Meanwhile, two-part episodes continue to delve into the X-Files’ own mythology, introducing the alien black oil, the implant in Scully’s neck, the mysterious Agent X, and the shape-shifting Jeremiah Smith.

In season four, The X-Files continued to expand the breadth and complexity of the mythology established in the previous two seasons while developing a deeper, romantically ambiguous relationship between its photogenic leads, FBI Special Agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson). New players such as United Nations official Marita Covarrubias and virus-carrying bees joined familiar faces like Cigarette Smoking Man, Alex Krycek, the blockheaded Alien Bounty Hunters, and the Consortium in the growing cast of a global struggle involving multiple factions of alien forces. It was a season in which Mulder and Scully seemed to lose ground to the global forces surrounding them, in which Mulder was infected with the black oil and Scully discovered she had cancer. With even the loyalties of Assistant Director Skinner and Mulder’s mother in doubt, Mulder and Scully learned to trust only each other in their pursuit of the truth.

The midpoint of what would be a nine-season show, the fifth season of The X-Files (the first to be put on DVD in anamorphic widescreen format) gives fans a heavy heaping of what they love. For the mythology buffs, riveting episodes from the season bookends “Redux” and “The End” to several episodes in between tease with new revelations about the vast government conspiracies and alien invasion plot lines sketched in earlier seasons. But enough questions are left unanswered for the theatrical X-Files movie, which was released the subsequent summer, and the seasons that followed. Supporting characters like the Lone Gunmen, Agent Krycek, the Pusher Robert Modell, and Fox’s father and sister Bill and Samantha Mulder are flushed out in more detail in several episodes that occasionally jump back in time to cover the prehistory of the X-files. New chess pieces are introduced, each raising new questions: the clairvoyant child Gibson Praise, Agent Spender, faceless alien resistance fighters with pyromaniacal tendencies, a child who may be Scully’s, and Mulder’s old flame, agent Diana Fowley (Mimi Rogers). All the time, no one knows who will be assassinated next, who is or isn’t dead, just who isn’t potentially a child of the Cigarette Smoking Man, and why the base of the neck is everyone’s vulnerable spot. The creature feature stand-alone episodes vary in quality, but all are redeemed by the outrageously funny self-parody episode “Bad Blood,” a fan favorite that guest stars Luke Wilson as a small-town sheriff who catches Scully’s eye.

Following the X-Files feature film in the summer of 1998, “The Beginning” quickly crowbars an attempt at fitting the film into the TV chronology before it picks up plot points left dangling from the fifth-season finale, “The End” (note the guard asleep at the nuclear power plant console is named Homer!). Between arc threads are several pleasing excursions: time travel to a Bermuda Triangle boatload of Nazis (”Triangle”), further temporal escapades akin to Groundhog Day (”Monday”), a demonic baby case featuring genre stalwart Bruce Campbell (”Terms of Endearment”), and Duchovny being able to play someone else via personality switching (”The Dreamland, Parts 1 and 2″). Back in the real scheme of things, Mulder chases “S.R. 819,” a Senate resolution tying conspiracies together. “Two Fathers” and “One Son” indicate that the abductee experiments are intended to cure the black oil disease. The year finishes with “BioGenesis,” in which we’re asked to ponder, are we from Mars? A beach-buried UFO leaves Scully wondering. –Paul Tonks