Redrum

I caught a rerun of this episode by chance and decided to evaluate it, especially since it had three existing reviews already. Reviews that lack objectivity. Two of the reviewers admit they have a soft spot for time-anomaly stories. Well, unfortunately that throws their objectivity right out of the window. As an aside, I see that two reviewers make a spelling mistake when typing "The X Files" - but I can't blame them; they must have been conditioned as the error is so commonly forced upon us that most of the world doesn't seem to even realize that there is *no* hyphen in "The X Files".

With that out of the way, I can say that this one has withstood time better than most of the episodes. It takes a really non-objective fan to claim that at this point the show was more than a shadow of its past glories. Unlike most episodes that lack Mulder, this turns that handicap to its strength by starting with the idea of the writer deciding to make a Format Breaker. Since the classic format of "The X Files" is "Mulder and Scully investigate strange goings-on", most of the "Scully and Doggett (who came up with that silly name?) investigate strange goings-on" era episodes were never able to rise to the same level. Breaking the format by making Scully and Doggett minor characters is a stroke of genius. This is not to say that there is anything wrong with Robert Patrick - over the years he's proved that he is not just a T-1000 but an actor with wide range. It's just that anything else than Mulder & Scully *feels* wrong. Of course, had Fox not been so eager to flog a dead horse, The X Files could have ended with dignity instead of becoming an unintentional parody of itself.

Just doing a Format Breaker doesn't make anything automatically 10/10 or even 9/10. I give this one a more realistic 8/10 because it really doesn't break any new ground - time anomaly stories being a staple of practically most of fantasy and science fiction. Sure, the episode is well made and Joe Morton is excellent, proving he also is more than just a character from Terminator 2, but that isn't enough to make this episode pitch perfect. Achieving a 9/10, or even 10/10 requires something *exceptional*, like "Jose Chung's 'From Outer Space'", the best X Files episode ever made. Sure, it was a Weird One episode, which allowed it freedom that Stand-Alone or even Format Breakers can only dream of, but it was the way that freedom was used to its fullest potential that makes it the crown jewel of "The X Files" episodes. The more times you watch "Redrum" the more it loses its shine because its main power is in not knowing the outcome whereas "Jose Chung..." is practically impossible to fully absorb on the first viewing and only improves the more you watch it - even the director famously had to read the script multiple times before he understood it.

Scully and Doggett have relatively little screentime, as we see the story unfold (in reverse) from the (alleged) antagonist's perspective, but what little dialog the agents do have is really well-written and delivered perfectly. Anderson is great, as usual, and her scenes with Morton are really compelling. But even the most serious episodes of the X Files have to have a few funny moments, usually quips and one-liners from one of the agents, and Doggett wins this round.

I love stories like this, not-quite-time-travel stories; stories told in reverse. This episode feels like a precursor to Memento, which was apparently in production at the same time, but wasn't released until early the following year. So, The X Files did it first. Although, if the writers for the X Files are traveling backwards in time then it's likely they got the idea for this episode from Memento and then just made it before Nolan had a chance. Regardless, even if you don't care for the Doggett years, I recommend this episode. It's one of my favorites from seasons 8 and 9. 9/10.

The sixth episode of The X-Files Season 8, titled "Redrum," takes a bold and unconventional approach to storytelling, diving into the psychological thriller genre with a time-bending narrative. Directed by Peter Markle and written by Steven Maeda and Daniel Arkin, the episode follows the harrowing experience of Martin Wells, a high-profile prosecutor portrayed by Joe Morton. Convicted of murdering his wife, Wells mysteriously finds himself reliving the days leading up to the crime in reverse, offering him a unique chance to uncover the truth and prevent the tragedy from occurring. This compelling premise lends itself to an engaging exploration of fate, justice, and redemption.

Markle's direction is notably confident and well-crafted, seamlessly navigating the nonlinear structure of the episode. The reverse chronology is handled with clarity, and Markle's meticulous attention to detail ensures that the audience remains oriented despite the temporal disjunctions. The cinematography by Robert McLachlan enhances the eerie, dreamlike atmosphere with clever use of lighting and visual cues to distinguish time shifts. The editing plays a crucial role in maintaining the narrative coherence, with expertly timed cuts that emphasize the disorienting yet gripping progression of events.

Joe Morton's performance anchors the episode, delivering a deeply emotional and multifaceted portrayal of a man grappling with guilt, confusion, and desperation. His journey from disbelief to determination is compelling and authentic, making his character's arc resonate with viewers. Gillian Anderson and Robert Patrick take a secondary role as Scully and Doggett, lending subtle but effective support without overshadowing the primary narrative. Their presence adds continuity to the season while reinforcing the investigative framework of the series.

The script cleverly explores themes of predestination and accountability. The reversal of time allows Wells to witness the consequences of his past actions and gain a new perspective on his relationships and choices. The moral undertones of the narrative are thought-provoking, as the story challenges viewers to reflect on the nature of guilt and the possibility of redemption. The pacing is generally well-balanced, though some moments in the middle act could have been tightened for greater tension.

"Redrum" stands out as a unique and memorable entry in the eighth season of The X-Files. Its ambitious narrative structure, strong central performance, and thoughtful exploration of existential themes make it a standout episode that demonstrates the series' continued ability to innovate. By blending psychological tension with philosophical inquiry, the episode offers a rewarding viewing experience that lingers in the mind. While it deviates from the series' traditional format, it succeeds in crafting a compelling and introspective story that remains true to the spirit of the show.

Martin Wells is in prison, waiting to be charged for killing his wife, the trouble for him, is that time is moving backwards, his only chance is to convince Scully and Doggett that he's sincere.

Once again, I find myself impressed by another high quality episode from Series 8.

Spider's webs galore, when I initially saw the spider at work in the opening credits, I had a feeling if it was there, to quite literally explain to viewers that a complex web was being spun...

Very much the case, Redrum is a twisted, complex and imaginative episode. It's a plot device that has been used on other shows, but here it's well executed, and it's done in a way that keeps you glued to the screen, for fear of missing a vital piece of evidence.

Joe Morton is excellent here as Wells, he truly does lead the episode, with Scully and Doggett almost incidental. Morton is a well known actor, one who's made some excellent performances over the years, this one is particularly memorable.

My only issue, why did Doggett not remember his conversations with Wells?

Very good episode, 8/10.

And the most incredible (in a literal sense) part is that a prosecutor would be up for a hearing in front of a judge with whom he's on a first name basis (and that they would address each other by first name in court), or that this prosecutor would be held in a general population with prisoners he had prosecuted. Those are the most fantastic elements of this episode.