Salvage

...plot holes are more difficult to discern. Because nothing in the X-World is ever lit from above.

So we walk by night through poorly-illuminated salvage yards (not that our own offices are lit any better), wearing regular business suits, with no personal protection equipment whatsoever, and, completely unsupervised by personnel who might have some idea what sort of possibly hazardous materials might be involved, we kick over suspicious-looking storage drums...

Oh, and we address each other by title and surname as frequently as possible in every conversation, in a completely unironic and non-sarcastic manner. Because that's how serious people converse.

So remember, viewers, when trying to conceal something from the authorities, be sure to answer or evade their questions in as hostile and snide a tone as you can muster, so as to throw them off the scent.

Man, that's what I call good writing and directing! If only the show runners had hit upon using the jerky, constantly-moving camera effect that made contemporaneous cop shows so edgy...

"Salvage," the ninth episode of The X-Files' eighth season, directed by Rod Hardy and written by Jeffrey Bell, presents a narrative that intertwines themes of body horror and revenge. The story follows Agents Scully and Doggett as they investigate a series of mysterious deaths in Indiana, leading them to Raymond Pearce, a man who, after presumed dead from a toxic exposure, resurfaces with a body transforming into metal. As Pearce seeks vengeance against those he believes are responsible for his condition, the agents grapple with the perplexing nature of his metamorphosis.

The episode's direction by Hardy effectively captures the grim atmosphere of Pearce's transformation. The visual effects, particularly the makeup used to depict Pearce to exact revenge on those he believes are responsible for his condition, the agents race against time to understand the nature of his transformation and prevent further violence. The plot taps into elements of science fiction and horror, reminiscent of earlier episodes involving grotesque mutations, though with a more grounded tone due to Doggett's pragmatic approach.

The episode excels in creating an unsettling atmosphere, largely through its impressive practical effects that depict Pearce's transformation into a metallic entity. The visual depiction of his gradual metamorphosis adds a visceral layer to the narrative, making the threat he poses feel tangible and unnerving. The cinematography by Joel Ransom effectively uses dim lighting and claustrophobic framing to enhance the eerie mood, particularly during the scenes where Pearce confronts his former colleagues.

Robert Patrick continues to bring a no-nonsense demeanor to John Doggett, which contrasts well with Scully's more analytical and empathetic approach. Gillian Anderson's portrayal remains strong, though her character's reduced role in certain investigative scenes diminishes the dynamic interplay between the agents. The supporting cast, particularly Wade Williams as Pearce, delivers a convincing performance, capturing the character's anguish and descent into vengeance.

However, the episode suffers from a somewhat predictable plot structure, and the motivations behind Pearce's vendetta are not fully fleshed out. The script could have benefited from more nuanced character development to make the story's emotional stakes more compelling. Additionally, the pacing feels uneven, with a slow build-up that rushes toward a resolution that leaves several questions unanswered.

In conclusion, "Salvage" succeeds in delivering memorable visuals and an engaging premise but falters in narrative depth and pacing. While the episode does not reach the heights of the series' more iconic installments, it remains a solid entry that showcases the show's continued exploration of science fiction horror. The episode's themes of corporate greed and human experimentation resonate within broader cultural anxieties, maintaining relevance despite some storytelling flaws.

Let me guess. If you push it on a wall you get a very dirty stain; one might assume this is the same result as replacing Mulder by Dodgett or whatever his name is here. Real interesting episodes contents storylines found in the first seasons but no longer now and anybody still watching this letter equality s2b just to be obsessed by the whole series which of course makes sense if you think that people are are perverts with a television sets and that is the real question here what is our relationship with our television set??? Some nice answers following if I might add.

Somehow I was able to tell fairly quickly that this was a Jeffrey Bell episode. Bell's relatively shallow scripts, hackneyed plots, and unfortunate tendency to fall into what has been coined the "cool idea trap" that plagued Chris Carter in his early episodes "Space" and "Fire" all resonate right from the teaser. Last season's "The Goldberg Variation" was the exception that proved the rule.

If you view "Salvage" purely as an homage to the Terminator franchise, perhaps you will see greater value here. Even so, I spent most of these forty-something minutes thinking about how much I'd rather be watching Terminator than this. At least character breadth was to be found there.

Wade Anthony Williams is a talented actor, and I enjoyed his run as Captain Bellick on Prison Break, but his central character here is, quite literally, lifeless. It's hard to sympathize with a character who rarely has any non-tacit responses and murders innocent people. Like "Surekill" before it, this episode allots too much time for the monster-of-the-week and precious little for Scully and Doggett, whose relationship had been the driving force between the first third of this season. Furthermore, Scully's breakneck inclination to jump to paranormal explanations lacks any believability and, even at this point in the series, undermines her scientific sensibilities.

It is also unclear who is really to blame for the metal-man's predicament. If his co-workers can truly be exonerated it is rather silly that one would be so trigger-happy upon his arrival at the salvage yard. His final line doesn't help.

There are enough decent special effects and subtle in-jokes regarding Robert Patrick's role in Terminator 2 that make this worth a view. Like the previous episode, however, there's too much filler and not nearly enough killer to make it worth a second.

Salvage is not that good. This episode just does not do it for me. Did the writers just decide to do some Robert Patrick/Terminator 2 tribute episode? That's what it feels like, complete with Doggett's "Metal Man" line, a heavy-handed reference to T2.

If I was supposed to feel sympathy for Ray Pearce, I didn't. If I wasn't, well, I didn't anyway. I could not stand the actress playing his wife, Nora Pearce. She is way too melodramatic. You'd think she was on a daytime soap opera, not The X-Files. Unfortunately, Ray didn't try to kill her. I did feel sympathy for the chick at the halfway house who was only trying to help him. This guy just goes on a killing spree for people he "feels" are responsible for his condition, without any proof. A scene I did like was how Ray was shaving with nail clippers. Cool effect.

I can't remember how often Agent Doggett busts out his knife in the X-Files, but in this episode he uses it twice. It can't be all that often, since I noticed it. Another thing I noticed with my most recent viewing of Salvage is the music. Even in a bad episode, Mark Snow manages to class up the episode with his music.

The story in Salvage wasn't interesting, the characters weren't sympathetic, and there was some poor acting, most notably by the actress playing Nora. However, the effects and make-up were above average which makes Salvage salvageable.