The Sixth Extinction II: Amor Fati

So incomprehensibly bad it deserves to be studied. This, folks, is how you ruin a series. Not that X-Files was always cogent or even logical, but this "Extinction" nonsense is a little more than a clip show with a heaping helping of silliness and cliches. This particular trilogy features some of the worst writing of the series layering nonsense upon nonsense so laughable that one might tune out of the first ep on the principle that, well, there's another season so nobody important is going to die. There's no climax here, no progression of story, nothing more than the grinding gears of gaslighting. If it was entertaining, we wouldn't need answers. It's not entertaining. Duchovny knew this and he even co-wrote it. By the end of the season, Mulder would be no more and Scully would be the show's nonsense anchor. Part III wants to pretend like it deepens the Mulder-Scully codependency, as if that is enough. Instead it emphasizes the point that Duchovny wanted out and that Chris Carter never actually had a plan. It's the point in the series where you start praying for the monster-of-the-week episodes and cheerfully boo any hint that the Cigarette Smoking Man might appear. Dreadful, and made moreso by ancient special effects and terrible makeup.

Mulder fights in his hospital bed for his very existence, a powerful adversary seems to hold his fragile life in his hands. Scully fights for her partner, but finds her efforts blocked.

Weird, it is such a weird episode, I've made no secret, I've struggled with this trio of episodes, but I did actually enjoy this third and final installment.

It is far from perfect, but having sat scratching my head throughout three quarters of this trilogy, I finally felt as though the pieces of the puzzle were falling into place.

I think it's fair to say that there is nothing here for a casual viewer, and even longstanding fans are going to have a bit of a job putting some of the pieces together.

I really enjoyed the imagery, and I actually loved the dream sequences. It was very complex, and arguably quite hard to follow, but very watchable, especially the scenes between Mulder and Scully.

Scully was a little frustrating here at the end, she still refuses to believe what's slapping her in the face.

I read a few reviews and summaries after watching it, and they were all as vague as one another, it made no sense, but I enjoyed it, I just hope that storyline is done and dusted.

8/10.

I've always been a huge X-Files fan, but wasn't able to watch episodes from the sixth season on, so I've had to catch up later. I consider this the WORST episode of the X-Files I've ever seen. I'm thinking the writers must have written themselves into a corner with no idea how to get out of it (like what happened to "Lost"). Obviously Sci-Fi requires a certain suspension of disbelief, but the story still has to make sense within the context of the imagined universe it has created. Nothing in this episode--along with the one before it--makes any sense whatsoever. One trivial but obvious example: In the midst of a crisis, Scully goes to see Michael Kritschgau, where she deletes a bunch of files from his computer that she didn't know he'd hacked, then immediately leaves. Uh...why she did she go there in the first place? There are a whole lot of unmotivated actions or ones that contradict everything we've learned about a character. I decided by the first commercial that a lot of this had to be a dream, but even dreams have a certain logic to them. The two "Sixth Extinction" episodes do not.

At this point the overarching story of The X-Files has completely lost me. I have absolutely no interest in following it's endless convoluted twists and repetitive soap-opera conflicts. The show seems to have no interest in evolving its narrative beyond what was established in the first couple of seasons; it's storytelling style has completely stagnated at this point. From here on out I'm sticking with the show for the one off episodes only, which are still pretty consistently good.

The second episode of the seventh season of The X-Files, titled "The Sixth Extinction II: Amor Fati," directed by Kim Manners, continues the gripping narrative established in "Biogenesis." Written by series creator Chris Carter alongside David Duchovny, this episode delves deeper into the mythology of the series, exploring themes of fate, belief, and the struggle for truth. The story picks up with Mulder (David Duchovny) in a precarious state after being exposed to an alien artifact. He is in a coma, experiencing vivid hallucinations and visions that challenge his perception of reality and his role in the ongoing fight against extraterrestrial forces.

As Scully (Gillian Anderson) grapples with the uncertainty of Mulder's condition, she embarks on a desperate quest for answers. Her journey leads her to confront former government employee Michael Kritschgau (John Finn), who provides insights into the alien conspiracy and Mulder's potential role in humanity's survival. The pacing of "Amor Fati" is methodical, allowing for moments of introspection as Scully navigates her emotions regarding Mulder's fate and her own beliefs about their mission. A particularly striking moment occurs when Mulder, in a dreamlike state, is confronted by The Smoking Man (William B. Davis), who offers him an enticing vision of a normal life away from the X-Files. This moment serves as a powerful metaphor for the choices that define one's path.

Visually, "Amor Fati" employs a rich aesthetic that contrasts the sterile environment of the hospital with the vibrant landscapes of Mulder's dreams. Manners's direction captures both the beauty of these dream sequences and the claustrophobic atmosphere of Scully's reality. The cinematography utilizes warm colors during moments of hope and discovery while employing cooler tones during scenes filled with dread and uncertainty. Critics have praised this visual storytelling for its ability to create an immersive experience that resonates with viewers on multiple levels.

The performances in this episode are particularly noteworthy, especially from Anderson as Scully. Her portrayal captures the depth of her character's emotional turmoil as she wrestles with her faith in science and her fear for Mulder's life. Duchovny delivers a strong performance as well, showcasing Mulder's vulnerability during his hallucinations while maintaining his characteristic determination to uncover hidden truths. The chemistry between Duchovny and Anderson continues to shine throughout this episode, adding layers to their partnership as they confront existential challenges.

Thematically, "Amor Fati" raises significant questions about destiny, choice, and the nature of belief. The episode critiques how individuals can become paralyzed by their search for meaning; it examines how personal relationships can be strained by external pressures such as societal expectations and existential crises. Additionally, it highlights societal attitudes toward authority; characters like Mulder represent those who seek to expose hidden truths despite facing ridicule from skeptics. This exploration invites viewers to reflect on their beliefs regarding justice, morality, and the ethical implications surrounding knowledge.

In conclusion, "The Sixth Extinction II: Amor Fati" stands out as a thought-provoking entry within The X-Files canon, successfully weaving elements of science fiction with philosophical inquiry while exploring intricate themes related to identity and existence.

While it may not resonate with all viewers due to its heavy reliance on established mythology from the series, it effectively maintains an engaging pace throughout its runtime. The exploration of these themes within a modern context encourages viewers to consider their perceptions of truth and morality in society while enjoying a richly layered narrative that showcases both character development and thrilling storytelling. "Amor Fati" leaves audiences contemplating their own relationships with belief and choice.