The X-Files Season 1 – Episode List & Guide

Below you will find an overview of each episode’s review.

Click on the links to read the Full Reviews:

1.79 – Pilot: B

The X-Files pilot episode is, in a word, quaint. Hard to believe, isn’t it? But I certainly mean no disparagement when I use the word “quaint” — rather, I am referring to the fact that so many of the thing it did well have been somehow forgotten in the past 15 years. But the strengths of The X-Files are unmistakable: interesting characters, compelling mysteries, wonderfully crafted moods, and a realism that seems to have been thoroughly rejected by recent television.

1.01 – Deep Throat: B+

The first “official” episode of The X-Files, Deep Throat, confronts one of its central mysteries head on: are there extra-terrestrials on Earth, and how long have they been here? This mystery is the subtex behind a more concrete mystery, the disappearance of an Air Force test pilot in Idaho, as reported by his wife. As Scully and Mulder investigate the disappearance, they are faced with information and events that neither of them can completely reconcile with their preconceptions.

1.02 – Squeeze: B

Squeeze marks the first official “monster of the week” episode for The X-Files. This episode is certainly spooky enough, but there is an approach to these episodes that is distinctly different from the alien/conspiracy stories. Whereas Deep Throat strove (successfully) to find a balance between skeptics and believers, Squeeze is quite explicit about the veracity of its paranormal subject matter. What makes it work, however, are two the explanations behind how the “monster” came to be. Squeeze offers both a scientific and a philosophical (or moral) rationale. And while each rationale requires a suspension of disbelief, there is an element of plausibility to both of them.

1.03 – Conduit: C+

Conduit begins with a family on a campout near Lake Okobogee, near Sioux City, Iowa. With the brother (Kevin) and older sister (Ruby) sleeping under the stars, the mother (Darlene) is inside the camper. In a classic abduction sequence, viewed from the mother’s perspective, the entire are outside the camper is flooded with bright light. She hears screaming, heads to open the door, and scalds her hand because the handle has been superheated. Outside, she sees her young son — but not her daughter. And the mystery is afoot.

1.04 – The Jersey Devil: A-

The Jersey Devil is another “monster-of-the-week” episode. And what I liked best about this episode was its thematic interrelationships. The episode is much more subtle than one might think. And, as such, it’s actually a very well-crafted installment. The interactions between Mulder and Scully remain a high point. However, the strength of The Jersey Devil is in how it provides a commentary on the differences (and similarities) between the earliest humans and our own modern civilization.

1.05 – Shadows: B-

Shadows is a successfully eerie episode. The subject matter (ghosts) as well as some well-timed, and well-placed, paranormal incidents help create a tangible element of suspense – regardless of whether or not you really believe in ghosts. And this episode believes.

1.06 – Ghost In The Machine: C

Ghost In The Machine is a small step backward for the X-Files. Of course, that doesn’t mean that the episode is a failure. It simply means that the X-Files has experienced uncanny success thus far in its initial season. And this episode is merely average, showing the usual rough edges associated with the first season of a series. The story, the writing, the acting … they’re all merely average and, just occasionally, a little below average.

1.07 – Ice: B-

Ice isn’t perfect, and I can’t say that it’s going to rank as one of my favorite X-Files episodes, but to give credit where it’s due: this is an episode that is relentless in its suspense. In fact, the mystery of the episode (essentially of the “monster of the week variety”) is secondary. The mood and tension take center stage and, as such, this episode can be riveting.

1.08 – Space: C-

“Space” is an episode that, by it’s very subject matter, interested me a great deal. In fact, I rather identified with Mulder’s enthusiasm about the space program. So on that level, I very much enjoyed the episode — particularly with respect to its connection to the “face” on Mars. But truth be told, it wasn’t an exceptional episode. Some of the acting (overacting, really) was a bit cringe worthy. And, too, there simply isn’t much else to this episode beyond its “what if …” premise.

1.09 – Fallen Angel: C+

“Fallen Angel” is another X-Files “alien mythology” story. It certainly doesn’t make a whole lot of mistakes. And it includes some intriguing ideas. But the episode simply doesn’t do a whole lot to elevate it to the next level. It’s as if you can watch it, enjoy it, and then never think about it ever again. There’s nothing inherently wrong with this idea. It’s just that, from my perspective, what makes any story exceptional is not only its craft, but also its ability to convey a deeper meaning about an interesting issue, idea or theme. This episode has aliens, which is interesting, but the aliens themselves are given broad brushstrokes and are never allowed to develop into anything beyond what we see at the beginning of the episode.

1.10 – Eve: B

“Eve” is a successful episode which, despite a slow start, ends up being a legitimately suspenseful and story with enough plot twists to keep the audience guessing until the very end. Of course, the episode at times stretches the plausibility of the story and these moments are the ones which keep it from being truly excellent. Still, “Eve” is a classic installment, presenting the best of the ability of X-Files to create stories which are equal parts mystery, conspiracy, and spooky.

1.11 – Fire: C

“Fire” is the kind of procedural episode that makes for some entertaining moments but is, otherwise, unremarkable. On the one hand, there’s a great deal of suspense about how and when Agents Mulder and Scully will track down their quarry. But it’s not likely that, somehow, the villain will be able to fulfill his mission. And with his identity revealed in the episode’s opening scene, there’s little real mystery left for the episode to uncover. It tries to compensate by bringing in one of Mulder’s former girlfriends – but even that plotline ends up lacking any real heat. Perhaps the only real notable element of the film is the fact that the villain is portrayed by a young Mark Sheppard (Firefly, Battlestar Galactica) in one of his earliest roles.

1.12 – Beyond the Sea: A-

“Beyond The Sea” is a cunningly scripted and acted episode which, by all accounts, is one of the most successful of the series thus far. The notions of what might exist beyond death are explored in a haunting, gripping story which manages to build solid character development. The performances are nearly all top-notch, particularly that of guest-star Brad Dourif (Lord of the Rings, Deadwood). There’s really only one misstep – the episode simply takes things a bit too far for Scully’s character – but really, it’s the only major point of criticism in the entire installment.

1.13 – GenderBender: C-

“Gender Bender” is certainly an … interesting episode. The whole notion that an Amish-like town in Massachusetts is harboring some dark, mysterious power is certainly a fascinating angle. And the episode does a solid job in establishing the almost surreal eeriness to the whole town. Coupled with the bizarre murders that trigger the investigation from Scully and Mulder, there are plenty of elements to provide a captivating installment. And yet, the episode becomes bogged down in procedure, making it drag, substantially, through its middle paces. The result is that by the time we get to the big twist of the episode’s final shot, it’s quite possible to have nearly lost interest.

1.14 – Lazarus: C-

“Lazarus” is the kind of status quo episode which does little to advance the series or its characters and, in fact, manages to be far too derivative to be enjoyable, even as a mindless distraction. To be fair, it does present an interesting paranormal concept – that of changing personalities during a near-death experience. But everything around the idea is carelessly woven into place, leaving too many loose threads and holes to make the entire canvas worth viewing.

1.15 – Young at Heart: B-

“Young At Heart” is an inconsistent episode. At times it can be thoroughly riveting and, at others, a complete and utter bore. It’s the classic case of high-risk, high-reward –in terms of both character and plot – and, fortunately for the episode, the rewards outweigh the pitfalls. What that means, though, is that viewers need to be able to overlook the episode’s flaws to truly enjoy it. Still, there’s little doubt that this is a classic installment.

1.16 – EBE: B+

“E.B.E.” is an effective and arresting tale about extra-terrestrials visiting Earth and, more importantly, about the government conspiracies in place to keep such information from reaching the general populace. The episode trots out some fairly familiar and common “close-encounter” tropes such as radios going haywire, blinding lights, and UFOs. But what sets the episode apart, aside from the quality of the familiar sequences, is how it uses them to explore the depths to which the truth is often couched in misinformation. As Scully says, “The truth is out there. But so are the lies.”

1.17 – Miracle Man: C-

“Miracle Man” is a kind of aimless, middling episode whose central twist manages to be thoroughly unconvincing and altogether too conventional to really drive home the central conflict of the story: namely, is “faith healing” legitimate? This is a case where the attempt by the X-Files to walk the line between mysticism and skepticism leads to a watered-down, shallow tale which never piques any real interest, drama, or mystery.

1.18 – Shapes: B

“Shapes” is an example of why the X-Files is such a classic series. Even when the plot of an episode isn’t especially innovative or unpredictable, there’s a palpable sense of mystery and spookiness that makes even the most pedestrian of concepts engaging. And this particular episode goes to great lengths to convey an atmosphere that allows for an “anything is possible” vibe to flourish. This unabashed openness to the bizarre makes this installment all the more intriguing. The events *could* be explained by a reasonable and rational argument. But it’s just as likely that something very dangerous, very lethal, very creepy is stalking the night in the middle of Montana’s most remote lands.

1.19 – Darkness Falls: B-

“Darkness Falls” is a silly-yet-entertaining episode of the X-Files. It does a decent job of creating and establishing a foreboding mood, and capturing a palpable sense of danger — even if we know everything will turn out alright for our heroes, Mulder and Scully, the circumstances make the means for their rescue enough of question mark to allow the episode to maintain a sense of tension right up until the very end. The result is an above-average, if not quite classic, installment of the series.

1.20 – Tooms: B

“Tooms” is a return to the character and story first introduced in the episode, “Squeeze.” The explicit continuity is a nice development for the series. But the episode has a couple of other important elements going for it as well. First, there’s the appearance of the Smoking Man and Skinner, and their threats against the X-Files division. More importantly, there’s a nice thematic element involving the natural tension between a going “by the book” and working on little more than a hunch. The result is a solid, classic, if somewhat imperfect episode.

1.21 – Born Again: C+

“Born Again” is an example of how the X-Files can weave a compelling mystery story out of, almost, thin air. This is entirely a “freak of the weak” kind of episode, but it manages to find cohesion thanks to a thoroughly captivating and engrossing mystery. That’s not to say that this is an outright classic, merely that this installment proves that even the most pedestrian of X-Files episodes contain a story that is told with skill and craft.

1.22 – Roland: C-

“Roland” is a fascinating, if ultimately empty episode of The X-Files. Certainly, it isn’t a terrible installment. And yet, it doesn’t manage to accomplish a whole lot beyond a moderately entertaining mystery. In fact, not even the cinematography and mood of the episode manage to conform the usual standards established in the first season of the series. Add in the fact that the mystery itself isn’t quite unusual enough to generate its own interest and you end up with an episode that is, surprisingly, pedestrian.

1.23 – The Erlenmeyer Flask: B

“The Erlenmeyer Flask” is a crucial episode of the X-Files. Structurally, it’s little more than a surface mystery designed to develop the already shadowy “mythology” that the series has been slowly introducing throughout its first season. And, as a season finale, it certainly contains more than enough revelations and questions to keep viewers intrigued by what could happen in future seasons. But as an episode, it doesn’t do very much to rise above its own material and present a truly exceptional installment. Without question, this it’s a classic … but it isn’t exemplary.