A reason why I have grown so fond of this show is because of its incredible ability to mix genres, dealing with both sci-fi and horror themes most of the time. However, in a few instances, we're lucky enough to get an episode that goes so far into the obscure that it displays some incredible comedy as well as the usual genres that it likes to play around with. Darin Morgan is a writer who was incredible at crafting these obscure narratives that just gave the show an entirely new identity. And after he left, it does feel like the remaining writers have found it in them to take more chances with their material. Chris Carter certainly took some chances when he came up with this episode, which follows a very classic "Frankenstein"-ish structure, yet mixes it in with some great elements of comedy and levity to still make it fit with its audience. And this may have actually turned into one of the greatest episodes of the show, because amidst all of its wonderful cheesiness and obscure storyline, it also has an incredible visual aesthetic to it, making it feel like an episode of "The Twilight Zone" because of its incredible black-and-white cinematography.
There is a very flamboyant nature to this episode. A lot of it may be because of Cher's presence throughout the episode, although she never appears physically. It adds a certain over-the-top quality to the storyline, and while the idea of a monster impregnating women in itself is out there, it's the added flavor that really pushes it across that line, because if it had not had that, it would just be another episode of "The X-Files," which is good, but not nearly as interesting as others. It's that difference that makes these unique episodes stand out all the more.
It's a brilliantly written episode and proves to be one of Carter's finest hours as well. He leans heavily into the inspirations of "Frankenstein," but he adds more flavor to the story, keeping the themes of loneliness, yet adding the pulp to it. They prove to mix very well together, and it keeps some of the heavier subject matters at an arm's length. This show has already dealt with rape and the workings of it, so he adds a sympathetic nature to the monster's actions that can be categorized as that, but is more nuanced and complex than simply that.
In the midst of all this, Carter adds the excellent flavor of his directorial touches as well, crafting an episode that features some truly excellent visuals and an aesthetic that works flawlessly with the themes. This is not a black-and-white issue, despite the color scheme of the episode, and it adds to the pulp aspect of the episode. It feels like a "Twilight Zone" episode in its execution, but the phenomenal writing and imagery is so synonymous with "The X-Files" that there's no denying that the originality still fits in with the wonderful frames the show has set for itself.
"The Post-Modern Prometheus" works on all cylinders, but it's truly the aesthetics that makes this a unique episode, not just because of its color scheme. The writing is phenomenal and utilizes the usual "X-Files" themes beautifully, mixing in a perfect combination of genres, while also providing some truly gorgeous imagery through Chris Carter's visual eye.
There is a very flamboyant nature to this episode. A lot of it may be because of Cher's presence throughout the episode, although she never appears physically. It adds a certain over-the-top quality to the storyline, and while the idea of a monster impregnating women in itself is out there, it's the added flavor that really pushes it across that line, because if it had not had that, it would just be another episode of "The X-Files," which is good, but not nearly as interesting as others. It's that difference that makes these unique episodes stand out all the more.
It's a brilliantly written episode and proves to be one of Carter's finest hours as well. He leans heavily into the inspirations of "Frankenstein," but he adds more flavor to the story, keeping the themes of loneliness, yet adding the pulp to it. They prove to mix very well together, and it keeps some of the heavier subject matters at an arm's length. This show has already dealt with rape and the workings of it, so he adds a sympathetic nature to the monster's actions that can be categorized as that, but is more nuanced and complex than simply that.
In the midst of all this, Carter adds the excellent flavor of his directorial touches as well, crafting an episode that features some truly excellent visuals and an aesthetic that works flawlessly with the themes. This is not a black-and-white issue, despite the color scheme of the episode, and it adds to the pulp aspect of the episode. It feels like a "Twilight Zone" episode in its execution, but the phenomenal writing and imagery is so synonymous with "The X-Files" that there's no denying that the originality still fits in with the wonderful frames the show has set for itself.
"The Post-Modern Prometheus" works on all cylinders, but it's truly the aesthetics that makes this a unique episode, not just because of its color scheme. The writing is phenomenal and utilizes the usual "X-Files" themes beautifully, mixing in a perfect combination of genres, while also providing some truly gorgeous imagery through Chris Carter's visual eye.
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