Scully had to get there to represent her wishes. She was in the hospital - heart attack - and fading fast. He was calling from Germany with news about their mother in Washington D.C. She was mistaken: The name was really “William Scully, Junior,” her big brother. The name that popped on the screen was “William,” her son. Her eyes played a trick on her when she looked at her iPhone. While examining Cutler’s beheaded corpse, Scully got a call. But I’m not sure “Home Again” would’ve made for a great second episode, anyway, at least in terms of scratching the itch of seeing Mulder and Scully back on the job because within minutes of arriving together, the story split them up. Chris Carter says he reshuffled the order to give the miniseries a stronger arc. This image might have had more power if “Home Again” had aired as the revival’s second episode as originally planned it would have represented the first time we saw Mulder and Scully returned to proper X-Files form. Withdrawing their badges, they stand revealed in signature attire. Heroically! We got a low-angle shot of the agents extending their IDs to camera. The cruncher began to crunch, and the mystery machine rolled away…Įnter Mulder and Scully. It threw Cutler’s arms into the back and climbed in after them and nestled into the rubbish. The phantom menace then returned to his phantom garbage truck.
In footage not seen, the monster also ripped off Cutler’s head and dunked it into a garbage can, Darryl Dawkins style. Before Cutler could fire a shot, the hulking intruder had ripped off his arms. Somewhere in exile, Bruce Wayne slow claps, then sips a cappuccino with Anne Hathaway. He was a gestalt being, a symbol made incarnate, indestructible and incorruptible. But the creature stalking him was immune to bullets.
Cutler armed himself with the gun he kept in his drawer. “Home Again” hit the trash motif really hard. This well-shot, increasingly suspenseful sequence continued into Cutler’s office, where this agent of The Man became keenly aware that something wicked was his way coming. The headline: YOU ARE RESPONSIBLE! So began an episode prickly with progressive complaint. They had been warned! A close-up on the flier, illuminated with siren lights, opened the show. From his POV, the homeless people he had hosed into the gutter only had themselves to blame. After finishing his political wetwork, he made like Pilate and literally washed his mitts of it. But Cutler - neither old school Republican or new era liberal - had no heart for the unfortunate. A more optics-savvy politico might have chosen a different day to start hosing the disenfranchised and dispossessed. He was facilitating “a relocation program,” which was part of a larger program of urban renewal driven by big business, represented in the prologue by a heartless suit gulping down soup. Department for Housing and Urban Development, direct the fire department to clear the streets of homeless people* by blasting them with high-pressure water hoses, a loaded image that evoked memories of the Civil Rights movement of the sixties. In the prologue, we watched Joseph Cutler, a rep for the U.S. Morgan’s story took us to Philadelphia and gave us a portrait of an American city where brotherly love is very much not the organizing principal. While not the equal to “Home” (a tough benchmark to match!) or last week’s outing, “Mulder and Scully Meet the Were-Monster” (written and directed by Glen’s brother, Darin), I thought “Home Again” was a strong piece installment and superior to the revival’s first two episodes. “Home Again” - written and directed by Glen Morgan, who co-wrote “Home” and helped pioneer the show’s monster-of-the-week format - also shared “Home’s” mourning for the Americana ideal of places where safety, community, and neighborliness reign. It recalled the scene in the gross-out classic “Home” in which the inbred Peacock brothers murdered to an oldie, “Wonderful! Wonderful!” by Johnny Mathis. It was an episode in which a bogeyman radical murdered and mutilated a political hypocrite and wanton K-Cup abuser in a sequence set to Petula Clark’s “Downtown.” Bravo. I was also impressed by the story’s mordantly articulated interest in culture making and cultural consumption. Still, I was moved, provoked, and spooked by this creepy and overtly political hour. Like other installments in the revival, “Home Again” tried to do too much.
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