REVIEWED BY: Jennifer J. Chen ON: May 3, 1999
ORIGINAL AIR DATE: May 2, 1999
"What do you mean you didn't call me?"
There were, unfortunately, too many obstacles that this episode had to overcome before it could win me over, and it didn't really rise above the many expectations put upon it. First of all, it was written by Vince Gilligan and John Shiban (and let's give it a break for a moment and forget what we know and expect Gilligan capable of), the writers whose last efforts brought us Monday--an outstanding episode. Three Of A Kind certainly was not as enjoyable as Monday, but they were two different kinds of episodes, so I can forgive it that. But second, it had chronological location working against it. It aired after last week's wonderful The Unnatural, where we got to see Mulder and Scully enact some of the shippiest moments to date. That, and because The Unnatural was a carefully crafted, many-layered episode. It just did not compare in either respect. Third, as a sequel to the fantastic Unusual Suspects, Three Of A Kind simply did not hold up, and paled considerably in comparison. Unlike its ingenius, cleverly-crafted, tightly written predecessor, Three Of A Kind was as shallow as they come. I don't mean that in a malicious way--I'm just trying to be matter-of-fact. I looked for layers. I looked for them even as I started my outline for this review. But I couldn't find them, and I've finally concluded that this is because there weren't any to be found. Arguments? Email me. But here are mine.
The plot line was much too simplistic--I'm sure that many other Philes out there were looking for some deeper meaning to the episode, as I was. But it was all for naught--it was a superficial episode, and I can accept it as such. Many factors contributed to this conclusion. First, the fact that they were able to accommodate David Duchovny's absence (due to his director's duties for The Unnatural) tells me that it wasn't even written until they realized that DD would be unavailable to appear in the episode, or that they had to do a quick rewrite to accommodate the absence of a major character. Second, they were able to compute viewer response to the Dreamlands and contrive the cameo appearance by Michael McKean. I know that each episode can't always be a work of art. My disappointment comes from the fact that the sequel to Unusual Suspects should have warranted more time and effort on the part of the series. It could have been crafted into something that made it worthy of its predecessor; instead, it became a filler episode.
What was with Byers' soliloquy at the beginning? It was stilted, though beautifully delievered by Bruce Harwood. It was supposed to touch something in me. But it didn't, not to the extent that the writers wanted. Why? I think the answer lies in the fact that Byers, like every other character that isn't Mulder or Scully, is a peripheral character. We like him that way. We have fun with the peripherals, but we don't truly relate to them--we can't. The soliloquy doesn't resonate, but then, if we are true X-Philes, it shouldn't; it's not supposed to. We can't be expected to be touched by it as we were with Scully's soliloquy in Emily, or Mulder's in Redux.
I loved carefree Scully. But I didn't like the fact that she was merely a plot device. I can't really get around that. I'd like to give the writers more credit, yet the scripted events don't give much leeway. It's Byers' idea to contact Scully, yet he spends the least amount of time with her. There seems to be no good reason for her to be there at all (his excuse exposed to be weak), except perhaps to conduct the autopsy of a person they didn't know when they contacted her was going to die, and to exhibit the effects of the A.H. Speaking of the A.H., we know why it's good for the bad guys, but we aren't even given a good reason as to why Suzanne Modeski would develop such a substance on her own, other than to bask in her own genius.
But thank goodness that in such a weak script we did get to enjoy cute Scully moments, no matter how unessential to the plot line. My favorite moment has got to be when Scully is trying to push the autopsy table and can't. Gillian is so precious! And what a great laugh she has. Too bad Mulder's never heard it--at least, not the way she was laughing in this ep. Methinks that he'd step over that last line (metaphorical; he's already been all over her personal space) if he could hear his Scully laugh like that. So Scully without the use of "higher brain power" becomes a flirtatious party girl? Why can't Mulder ever be around for these things? What I'd like to know is how she's going to explain her plane ticket to Vegas on her expense report. Let's hope that The Lone Gunmen have long memories and can tease her about this in the future...in front of Mulder.
As for Michael McKean, I was delighted to see his smarmy, chauvanistic self. Perhaps just an emotional resonance from my association of him with some excellent episodes, but I was grinning nonetheless. I almost felt like I knew him. And what with all the tedious Suzanne Modeski angst, it was so refreshing to see a character that I had some emotional connection with, if only because for a couple of erased days, he lived the life of my favorite alien-chasing F.B.I. agent. And how great was Scully's payback? True, it wasn't a true payback since he was likely delighted with her action, but she believed she was treating him like a sex object, and that's what matters.
I also felt that they made bad use of a great location--other than a couple of shots, they might as well have been on a set instead of shooting on location. Also, how did Suzanne Modeski know to prepare three packets of blood? It all depended on Langly being able to articulate everything that had happened to him after being injected with the cure, yet how did he remember the events that happened during his drugged period, when it appears as though Scully has absolutely no recollection of her drugged moments? If they discovered his puncture before his meeting with Timmy, how would he have remembered that he even had a meeting set up? If they discovered it after his meeting, how did he remember what was said? A little too convenient.
The "twist" that we were eventually presented with was predictable, and disappointing. So Grant really was a bad guy. Suzanne plays the hurt, wronged woman. Ho hum. So what's next week's episode about?
As for Byers' and Suzanne's supposed attachment to each other, I found it extremely hard to swallow. Their attraction and the development of something possibly more that we were left with in Unusual Suspects was tastefully and believably done. However, the idea that they should be pining for each other (especially on Suzanne's part) ten years down the road...it's bothersome. And if Byers felt for Suzanne even half what we were supposed to believe he felt, he would have left with her at the end. His soliloquy, his words and actions throughout the rest of the episode all lead the viewer to believe that they are a pair of star-crossed lovers, in love, thwarted by society. And yet he refuses her offer of what he's supposedly been wanting for so long? He was more in love with the idea of her than he was with her. And let's bring home the X-Files trademark of unresolved endings glaringly home, shall we? Suzanne's "Someday..." was so obvious as to be vulgar.
So how did I get through this episode? Well...a series of Shipper fantasies. They're completely irrelevant in a review, and I didn't think I was going to post them, but they got me through the more tedious moments, so I think they deserve some recognition.
First, let's deal with the moments that definitely happened, that provided the breeding ground for my fertile imagination. Scully capitulating to Mulder's request to meet him in Vegas was classic. She doesn't even make him work that hard--"Okay, okay, okay...okay." We see Scully lie with admirable aplomb; after lying for Mulder about his "death," other lies comes a lot more easily, don't they? Then, Scully's end of their cell phone conversation was short, but sweet. Much like a wife calling her husband (honey, where are you?)...and we cut away before we see her hang up. So perhaps they had a long, lovely conversation together after...I mean, she has to explain to Mulder what's happened, doesn't she? (All right, we'll mark that as Fantasy #1.)
Now, let's get to the (other) fantasy moments...
Fantasy Moment #2: What if, while being tricked by The Lone Gunmen into hearing Mulder's voice, Scully said, "This isn't Mulder. Who is this?" and then we see why she's so certain of this...that the object under discussion is sleeping peacefully in bed next to her...
Fantasy Moment #3: When "rescuing" Scully from the crowd of men, what if instead of "This is Special Agent Dana Scully with the F.B.I. If you so much as touch her, you may be committing a federal offense," Frohike had said, "If you so much as touch her, her partner'll kick your ass."
Fantasy Moment #4: Actually, this should be moments. I just tried to imagine a shippy Mulder reaction to everything Scully was doing.
Ah, well. No one promised that what I fantasize about in my head is sophisticated. It got me through it. Here's to hoping that Gilligan and Shiban's next outing provides more food for thought.
"I am gonna kick those guys' asses."
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1999 by Jennifer J. Chen