Existence

Having reached this point in the show, it's not surprising to anyone that it feels like the show has seen its best days pass. Even though there are certainly still things to enjoy, "The X-Files" doesn't have the same spark as it did during its earlier seasons, and the overarching storylines are starting to feel withered and confusing. This season was definitely a transition period into the new era of "The X-Files," which ironically, also marked the coming of the end of the show. And this finale is a clear sign of the show's descending quality, and why it probably should have ended earlier.

On a positive note, the culmination of Scully's arc, especially with her long-awaited pregnancy and the impending birth of her child, provides an emotional center to the episode. Gillian Anderson brings gravitas to every scene, effectively conveying the weight of Scully's journey over the years. David Duchovny's Mulder, though less central than in earlier seasons, still retains his charm and intensity in the moments he's on screen, and their dynamic remains one of the episode's highlights, especially during its very touching final moments. However, the episode falters when it comes to the larger narrative surrounding the show's mythology. By this point in the show, the convoluted alien conspiracy and the question of Scully's pregnancy had become almost indecipherable. The episode attempts to provide answers but instead only deepens the confusion. The vague references to super-soldiers and the unclear motivations behind the threats to Scully's child feel like a hollow echo of the once-thrilling conspiracy arc that had captivated viewers in earlier seasons. Rather than bringing resolution, the episode adds more layers of ambiguity, leaving fans scratching their heads instead of feeling satisfied. Another major issue is the awkward transition away from Mulder and Scully as the central characters. The focus on John Doggett and Monica Reyes, while well-acted by Robert Patrick and Annabeth Gish, never quite fits. These characters feel like pale imitations of Mulder and Scully, lacking the chemistry and depth that made the original duo so compelling. The show's attempt to reframe the narrative around them comes off as forced, especially since Mulder and Scully's unresolved storylines still dominate the emotional core of the overall show.

"Existence" is a frustrating conclusion to this eighth season, offering some emotional closure for long-term fans but largely failing to deliver satisfying answers to the show's increasingly muddled mythology. While Anderson and Duchovny continue to shine, the episode's confusing plot and uneven character dynamics ultimately leave it feeling like a missed opportunity.

"Existence," the twenty-first episode of the eighth season of The X-Files, directed by Kim Manners and written by Chris Carter and Frank Spotnitz, serves as a climactic finale that ties together several story arcs while introducing new elements to the series' mythology. This episode is particularly significant as it addresses the consequences of Scully's pregnancy and the implications of her unborn child, William, in the ongoing battle against alien forces. The narrative is filled with tension and emotional depth, culminating in a dramatic confrontation that leaves viewers questioning the nature of humanity and sacrifice.

The plot centers around Dana Scully (Gillian Anderson), who is in hiding as she prepares to give birth to her child, while Fox Mulder (David Duchovny) and John Doggett (Robert Patrick) work to protect her from a new breed of alien threats known as "Super Soldiers." These beings are designed to eliminate any evidence of alien involvement on Earth, and their emergence raises the stakes for Scully and her baby. As Mulder, Doggett, and Assistant Director Skinner (Mitch Pileggi) race against time to thwart the Super Soldiers' plans, they must also confront their own fears and uncertainties regarding Scully's child. The episode effectively weaves together personal stakes with broader themes of conspiracy and survival.

Visually, "Existence" employs a dark and foreboding aesthetic that enhances its suspenseful narrative. The cinematography captures the tension of both the abandoned settings where Scully hides and the chaotic confrontations with the Super Soldiers.

Manners' direction maintains a brisk pace, ensuring that tension remains high throughout the episode while allowing for moments of character reflection amidst the chaos. The special effects used to depict the Super Soldiers are particularly striking, showcasing both their menacing presence and their capabilities.

The performances in "Existence" are commendable, with Anderson delivering a powerful portrayal of Scully as she navigates her impending motherhood amid external threats. Duchovny's Mulder exhibits both determination and vulnerability as he fights to protect Scully and their child. Patrick's Doggett adds depth to the narrative; his character's evolution is evident as he learns to work alongside Mulder while confronting his own fears about the supernatural elements at play. The guest cast, including Nicholas Lea as Alex Krycek, adds complexity to the story as alliances shift in unexpected ways.

Thematically, "Existence" explores issues of trust, sacrifice, and the nature of evil. The episode critiques how individuals can become pawns in larger conspiracies and how personal relationships can be strained by external pressures. It raises questions about what it means to protect loved ones in a world filled with deception and danger. The notion that Scully's child may hold extraordinary significance invites viewers to ponder the implications of parenthood in a tumultuous world.

In conclusion, "Existence" stands out as a compelling entry in The X-Files canon that successfully blends suspenseful storytelling with emotional depth. While it may not reach the heights of some earlier episodes due to its reliance on established mythology, it effectively engages viewers with its mix of horror and character exploration. Ultimately, "Existence" invites audiences to reflect on their own beliefs about protection, sacrifice, and the complexities of human relationships in an increasingly uncertain world. As it sets up significant stakes for future narratives, it leaves viewers contemplating the implications of Scully's child within the broader context of alien colonization.

With the 3 Wise Lone Gunmen.

This has some freaky things, it wasn't just Knowle Rohrer as a super soldier... Somehow Agent Crane had become one. Was he one the whole season, or was he absorbed between the last 2 eps? Remember, at the beginning of "Essence", Crane had no bump on his neck! But he did after Billy Miles got squished by the Dump-Truck. And we never learned how quickly the alien replacement process took.

And... why DID they drop Billy Miles into a trash compacting garbage truck?

But the Supersoldiers really weren't the problem, at least not the ones who came to Williams birth.

They never really defined the difference between Alien Replacements and Super Soldiers, or was there any?

But we knew Knowle Rohrer and the toothpick chewing man were bad, toothpickman scared Gibson Praise. But we hadn't met toothpickman yet...

But the Replacements became a threat that Mulder had to hide from, and they were just putting that arc into place at this point.

There was even a relationship between the God-Ship, William and the Superdupersoldiers. But to see all that, you gotta get into season 9...

Agent Reyes is tasked with taking Scully to a place of safety, leaving Mulder, Skinner and Doggett to deal with a seemingly unstoppable Billy Miles.

This was a fantastic end to the series, I'd put it up there with thr best of them. I've been frustrated in the past by overly complex stories, where they've intimated at tying loose ends, but haven't. Here it felt like we got some answers, Scully's baby and Krycek being two cases in point.

A breathless episode, this is one that had me on the edge of my seat, the momentum built and grew. Once again I got more than a vibe of Terminator 2, felt like a real thumbs up to Robert Patrick.

I go into series 9 with high hopes, series I 8 started well and concluded in remarkable fashion, I have to be honest, it's up there with my favourites, and for me was a big improvement over series 7.

That final scene was quite telling, it looks like we have a slightly different setup for the next episode.

Classic, 10/10.

I really would have been pleased if Season 7's "Requiem" was the series finale for The X-Files, but only because season 8 was surplus and led to the disappointing season 9. Season 8, however, despite lacking Mulder for a significant number of episodes and containing some lesser episodes, is really one of my favorite seasons of The X-Files, with a lot to recommend.

First off, the 'old' mytharc effectively finished with "Requiem". Say hello to the new mytharc. Fans, including me, have been guilty of generalizing when speaking of the later mythology episodes, because as evidenced by ratings from this site and others and many reviews that have been written on them, all but the last two mythology episodes from season 8 are very, very well-liked. The last two have more critics because they were the real beginning for the deservedly hated 'super soldiers' storyline. It's refreshing to see such a significant focus on the mythology arc again (nine of the 21 episodes are mythology episodes), and within the context of the season, these mythology episodes are really quite excellent, some of them being absolute favorites for me, such as "This is Not Happening", "Deadalive", and especially what I consider a real classic and something of a MOTW meets mythology type episode, "Vienen", which features Mulder and Doggett's only investigative partnership, which is really too bad, considering their effortless chemistry.

With the excellent mythology episodes lifting the average score for the season, the standalones do suffer a bit, although it's nice to make a clean break from the sunny, humorous season 6 and 7 episodes and return to the gloomy feel of earlier seasons (kudos to the directors and cinematographer Bill Roe for making this aesthetic work). Most of them are good, some truly outstanding ("Roadrunners", "Alone", and especially "Redrum", which is one of the best standalone episodes for the entire series), and some significantly weaker ("Badlaa", "Surekill").

I didn't mind Mulder being gone for the first part of the season as much as I did when initially watching the season on TV as part of its original transmission. I find that every time I see Season 8 on DVD it improves. Watching the episodes closer together, one gets a sense of how much the creative team was aware of the need to revitalize the series and not play it safe ala Season 7.

Season 8 is a season that continues to grow in my estimation and currently stands as my third favorite season, not a commonly shared sentiment, but one that I think will continue to grow in popularity as more casual X-Philes continue buying the DVD sets and watching this season this way. I think Robert Patrick made for a truly great addition to the cast and John Doggett an excellent character. Season 8 is a thrilling, dark, action-packed season of television which seems just a little unsure in places but quickly makes up for it. The excellence of this season makes Season 9's relative mediocrity seem even more disappointing in retrospect.

Season average based on ratings for all episodes: 7.95/10