External links
Wikiquote has quotations related to TXF Season 5 .
| "Emily" | |
|---|---|
| The X-Files episode | |
| Episode no. | Season 5 Episode 7 |
| Directed by | Kim Manners |
| Written by | Vince Gilligan John Shiban Frank Spotnitz |
| Production code | 5X07 |
| Original air date | December 14, 1997 |
| Running time | 45 minutes |
| Guest appearances | |
| |
"Emily" is the seventh episode of the fifth season of American science fiction television series The X-Files . It was written by Vince Gilligan, John Shiban and Frank Spotnitz and directed by Kim Manners. The episode explores the series' overarching mythology. [2] The episode premiered in the United States on December 14, 1997, on the Fox network, earning a Nielsen household rating of 12.4 and being watched by 20.94 million people in its initial broadcast. It received mixed reviews from television critics.
The show centers on FBI Special Agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) who work on cases linked to the paranormal, called X-Files. Mulder is a believer in the paranormal, while the skeptical Scully has been assigned to debunk his work. In this episode, Scully fights to protect her daughter’s life, while Mulder discovers her true origins. It is eventually discovered that Emily was created during Scully's abduction. Emily suffers from a tumorous infection and subsequently dies.
"Emily" is the second of a two-part story that began with episode six, "Christmas Carol". The young actress who originally played Emily was terrified of the hospital setting in "Emily", and as a result the producers had to recast the role and reshoot all footage featuring her. Filming for the episode was also disrupted when angry demonstrators protested at one of the show's filming sites.
In a dream-like sequence, Dana Scully (Gillian Anderson) walks through a desert and picks up a gold cross necklace on the ground.
Continuing from the previous episode, agent Fox Mulder (David Duchovny) arrives at San Diego County Children's Center, where Scully introduces him to Emily. Mulder tells Scully that Emily's surrogate mother is named Anna Fugazzi, but that fugazzi is slang for fake, and there are no true records of how Emily came into the world.
Mulder is interviewed by a judge, regarding Scully adopting Emily. Mulder explains that Emily was conceived from Scully's ova, which were taken from her during her abduction; the judge is skeptical. Later, Scully and Mulder find that Emily has a fever, and they discover a green cyst on the back of her neck. In a hospital, a nurse pierces the cyst with a needle, and green liquid oozes from the wound. The nurse collapses from exposure to the liquid, but Emily appears unaffected. Mulder believes that Emily has the same body chemistry that they have seen before with alien-human hybrids.
At Prangen Pharmaceuticals, Mulder tries to get Dr. Calderon, Emily's doctor, to grant access to Emily's medical records; Calderon refuses. Mulder beats him up and threatens him with a gun. Calderon hurriedly leaves the building; Mulder follows, surreptitiously. Scully has imaging tests conducted on Emily.
Calderon goes to a large house to see the two Dark Suited Men, one of whom kills him by stabbing him in the back of the neck with an alien stiletto. Calderon's wound bleeds the same green liquid. Both men then morph into Calderon look-alikes. Mulder follows one of the look-alikes as he leaves the house. The results of Emily's tests show her to be suffering from a rapidly-growing neoplastic mass in her central nervous system. The second Calderon look-alike injects Emily with an unknown dark green substance, then escapes by changing his appearance again. Scully believes that Calderon is continuing the treatments, and that the Sims were murdered because they were trying to stop him. Mulder returns to the large house, which turns out to be a nursing home. There, he stumbles upon the real Anna Fugazzi, an innocent elderly lady.
The hospital doctor tells Scully that Emily is getting worse. A woman from the adoption agency wants to stop Scully from making decisions for Emily. Mulder connects the names of the women in the nursing home to recent births and finds that Dr. Calderon was treating them. Emily reacts badly to being placed in a hyperbaric oxygen chamber. Mulder finds medical records with Scully's name on them at the nursing home, along with a live fetus in a refrigerated chamber. Mulder finds Calderon entering soon after, and Detective Kresge arrives as well. Mulder and Kresge confront Calderon, who attacks Kresge. Despite Mulder's warning, Kresge shoots Calderon, whose wounds cause him to spew green blood which incapacitates Kresge. Mulder quickly leaves the building to avoid being affected by the blood. Calderon morphs into Kresge, deceives Mulder, and escapes.
Mulder returns to the hospital, where Emily has gone into a coma. Days later Emily dies. Mulder visits Scully at the funeral chapel, telling her that Kresge is recovering and all evidence at the nursing home and Prangen is gone. The only evidence left is Emily's body, but the agents instead find sand bags in her coffin along with Scully's cross necklace, which she had previously given to Emily. [1]
The young actress who had originally been cast to play Emily had severe nosocomephobia, which necessitated the show's producers recasting the role and reshooting all footage featuring Emily in the previous episode "Christmas Carol". [3] Director Kim Manners recalls, "I called Bob Goodwin and said, 'We're dead in the water here, pal. This little actress is not cooperating at all'. We recast that role and started up again the next day." [4] The show's casting crew eventually replaced her with Lauren Diewold, who had previously appeared on an episode of Millennium . [5]
The building used for the nursing home in this episode was occupied by squatters "a few days before shooting" in protest, as the building was slated to be converted into a condominium high-rise. While these squatters eventually left, anti-redevelopment protesters soon arrived and began picketing. The producers of The X-Files did not want to let the activists know they were filming, so they kept a "low profile" by removing any information from their clothing that would indicate that they worked on The X-Files. Although the crew hoped that the activists would disperse on their own, a few were still protesting when production on this episode began, resulting in the police getting involved. [3]
"Emily" premiered on the Fox network on December 14, 1997. [6] This episode earned a Nielsen rating of 12.4, with a 19 share, meaning that roughly 12.4 percent of all television-equipped households, and 19 percent of households watching television, were tuned in to the episode. [7] It was viewed by 20.94 million viewers. [7]
The episode received mixed reviews from television critics; many were more critical of the episode than "Christmas Carol". Emily VanDerWerff from The A.V. Club gave the episode a B and wrote that she did not "totally buy “Emily” […] even though I like large portions of" the episode. [8] VanDerWerff wrote positively of "most of the Scully scenes", noting that Anderson "found some of the raw sense of hope and loss" that the shots required. [8] However, she was critical of the episode's plot, arguing that it only "goes through the motions" and "is about everybody getting really worked up over a little girl we’ve just met." [8] She concluded that "two-parter is strongest when it grabs hold of this notion. But it’s at its weakest when it turns into just another episode of The X-Files." [8]
Other reviews were decidedly more mixed to negative. Robert Shearman and Lars Pearson, in their book Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen, rated the episode three stars out of five. The two wrote that "Mulder catches up with the store and immediately this all becomes a little more formulaic." [9] The two praised the episode's teaser, referring to it as "deathless prose", but were more critical of the plot, arguing that the episode "feels too soon to see yet more sequences of people standing around emoting as they watch the dying in the hospital", a reference to the show's earlier arc involving Scully's cancer. [9] Shearman and Pearson, however, did compliment the performance of both Diewold and Anderson, and called the finale scene "wonderful". [9] Paula Vitaris from Cinefantastique , on the other hand, gave the episode a negative review and awarded it one star out of four. [10] She heavily criticized the episode's characterization, noting that the episode's opening sequence was "ludicrous" and its revelations were "out of the blue". [10] Vitaris reasoned that, because Scully had spent time with her mother, remembered fondly her sister, and reconnected her faith in God in "Redux II", "this development just doesn't track." Vitaris also criticized Mulder's antics, calling him a "thug" for beating up "an unarmed man and kicking him while he's down." [10]
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
"Leonard Betts" is the twelfth episode of the fourth season of the American science fiction television series The X-Files. It premiered on the Fox network on January 26, 1997. It was written by Vince Gilligan, John Shiban, and Frank Spotnitz, directed by Kim Manners, and featured a guest appearance by Paul McCrane as Leonard Betts/Albert Tanner. The episode is a "Monster-of-the-Week" story, unconnected to the series' wider mythology. Aired following Super Bowl XXXI, "Leonard Betts" became Fox's debut Super Bowl lead-out program since the network acquired NFL broadcast rights in 1994.
"Max" is the eighteenth episode of the fourth season of the American science fiction television series The X-Files. It premiered on the Fox network on March 23, 1997. It was directed by Kim Manners, and written by Frank Spotnitz and series creator Chris Carter. "Max" featured guest appearances by Joe Spano, Tom O'Brien and Scott Bellis, and saw the final appearance of Brendan Beiser as special agent Pendrell. The episode helped to explore the overarching mythology, or fictional history of The X-Files. "Max" earned a Nielsen household rating of 11.6, being watched by 18.34 million people in its initial broadcast. The episode received mixed to positive reviews from critics.
"Small Potatoes" is the twentieth episode of the fourth season of the American science fiction television series The X-Files. It premiered on the Fox network in the United States appropriately on April 20, 1997. It was written by Vince Gilligan and directed by Cliff Bole. The episode is a "Monster-of-the-Week" story, unconnected to the series' wider mythology. "Small Potatoes" received a Nielsen rating of 13.0 and was viewed by 20.86 million people in its initial broadcast. The episode received positive reviews from critics, with many applauding the entry's humorous tone.
"Zero Sum" is the twenty-first episode of the fourth season of the American science fiction television series The X-Files. It premiered on the Fox network on April 27, 1997. It was directed by Kim Manners, and written by Frank Spotnitz and Howard Gordon. "Zero Sum" included appearances by William B. Davis, Laurie Holden and Morris Panych. The episode helped to explore the overarching mythology, or fictional history of The X-Files. "Zero Sum" earned a Nielsen household rating of 11.7, being watched by 18.6 million people in its initial broadcast. The episode has received mixed to positive responses from critics.
"Elegy" is the twenty-second episode of the fourth season of the American science fiction television series The X-Files. It was written by John Shiban and directed by James Charleston. The episode aired in the United States on May 4, 1997, on the Fox network. It is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the series' wider mythology, although Scully's battle with cancer is an important plot point. "Elegy" earned a Nielsen rating of 10.6 and was seen by 17.1 million viewers upon its initial broadcast. The episode received mostly positive reviews from televisions critics; the performance of lead actress Gillian Anderson was especially praised.
"Redux" is the two-part fifth season premiere of the science fiction television series The X-Files. "Redux" first aired on November 2, 1997, on Fox in the United States, with "Redux II" airing on November 9. Both episodes subsequently aired in the United Kingdom and Ireland. Both episodes were written by series creator Chris Carter, with "Redux" directed by R. W. Goodwin and "Redux II" helmed by Kim Manners. "Redux" became the second-most-watched episode ever broadcast, earning more than 27 million viewers in the United States alone. The first part of the episode received mixed to negative reviews, whereas the second part received mixed to positive reviews from critics.
"Detour" is the fourth episode of the fifth season of the American science fiction television series The X-Files. It was written by executive producer Frank Spotnitz and directed by Brett Dowler. The episode aired in the United States on November 23, 1997, on the Fox network. The episode is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the series' wider mythology. "Detour" received a Nielsen rating of 13.2, being watched by 22.8 million viewers, and received mixed reviews from television critics.
"Christmas Carol" is the sixth episode of the fifth season of American science fiction television series The X-Files. It was written by Vince Gilligan, John Shiban and Frank Spotnitz and directed by Peter Markle. The episode explores the series' overarching mythology. The episode premiered in the United States on December 7, 1997 on the Fox network, earning a Nielsen household rating of 12.8 and being watched by 20.91 million people in its initial broadcast. It received moderately positive reviews from television critics, with many complimenting Gillian Anderson's performance.
"Kitsunegari" is the eighth episode of the fifth season of American science fiction television series The X-Files. It was written by Vince Gilligan and Tim Minear, and directed by Daniel Sackheim. It aired in the United States on January 4, 1998 on the Fox network. "Kitsunegari" earned a Nielsen household rating of 11.6, being watched by 19.75 million people in its initial broadcast. The episode received mixed reviews from television critics.
"Field Trip" is the twenty-first episode of the sixth season of the science fiction television series The X-Files. It premiered on the Fox network on May 9, 1999, in the United States and Canada, and subsequently aired in the United Kingdom on Sky1 on July 18. The episode was written by John Shiban and Vince Gilligan, from a story by Frank Spotnitz, and was directed by Kim Manners. The episode is a "Monster-of-the-Week" story, unconnected to the series' wider mythology. "Field Trip" earned a Nielsen household rating of 9.5, being watched by 15.40 million people in its initial broadcast. The episode received largely positive reviews from television critics.
"Patient X" is the thirteenth episode of the fifth season of American science fiction television series The X-Files. It was written by series creator Chris Carter and Frank Spotnitz, directed by Kim Manners and aired in the United States on March 1, 1998, on the Fox network. The episode earned a Nielsen household rating of 12.6, being watched by 20.21 million people in its initial broadcast. The episode received moderately positive reviews from critics.
"All Souls" is the seventeenth episode of the fifth season of the American science fiction television series The X-Files. The episode originally aired on the Fox network on April 26, 1998. The episode's teleplay was written by Frank Spotnitz and John Shiban, from a story by Dan Angel and Billy Brown; it was directed by Allen Coulter. The episode is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the mythology, or overarching fictional history, of The X-Files. "All Souls" received a Nielsen household rating of 8.5 and was watched by 13.44 million viewers in its initial broadcast. It received mixed reviews from television critics.
"Folie à Deux" is the nineteenth episode of the fifth season of American science fiction television series The X-Files. It was written by Vince Gilligan and directed by Kim Manners. The episode originally aired on May 10, 1998, in the United States on the Fox network. The episode is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the series' wider mythology, or fictional history. The episode earned a Nielsen household rating of 11.0, being watched by 17.63 million viewers upon its initial broadcast. It received largely positive reviews from critics.
"The Beginning" is the first episode of the sixth season of the science fiction television series The X-Files. It premiered on the Fox network in the United States on November 8, 1998. The episode was written by Chris Carter, and directed by Kim Manners. It helps explore the series' overarching mythology. "The Beginning" earned a Nielsen household rating of 11.9, being watched by 20.34 million people in its initial broadcast. The episode received mixed reviews from television critics.
"Kill Switch" is the eleventh episode of the fifth season of the science fiction television series The X-Files. It premiered in the United States on the Fox network on February 15, 1998. It was written by William Gibson and Tom Maddox and directed by Rob Bowman. The episode is a "Monster-of-the-Week" story, unconnected to the series' wider mythology. "Kill Switch" earned a Nielsen household rating of 11.1, being watched by 18.04 million people in its initial broadcast. The episode received mostly positive reviews from television critics, with several complimenting Fox Mulder's virtual experience. The episode's name has also been said to inspire the name for the American metalcore band Killswitch Engage.
"S.R. 819" is the ninth episode of the sixth season of the science fiction television series The X-Files. It premiered on the Fox network on January 17, 1999, in the United States. The episode was written by John Shiban, and directed by Daniel Sackheim. The episode helps to explore the series' overarching mythology. "S.R. 819" earned a Nielsen household rating of 9.1, being watched by 15.7 million people in its initial broadcast. The episode received mixed to positive reviews from critics.
"The Sixth Extinction" is the first episode of the seventh season of the science fiction television series The X-Files. It was first shown on the Fox network on November 7, 1999, in the United States. The episode was written by Chris Carter and directed by Kim Manners. "The Sixth Extinction" earned a Nielsen household rating of 10.6, being watched by 17.82 million people in its initial broadcast. The episode received mixed to positive reviews from critics.
"Theef" is the fourteenth episode of the seventh season of the science fiction television series The X-Files. It premiered on the Fox network in the United States on March 12, 2000. It was written by Vince Gilligan, John Shiban, and Frank Spotnitz and directed by Kim Manners. The episode is a Monster-of-the-Week" story, unconnected to the series' wider mythology. "Theef" earned a Nielsen household rating of 7.4, being watched by 11.91 million people in its initial broadcast. The episode received mixed to positive reviews from critics.
"Per Manum" is the thirteenth episode of the eighth season of the American science fiction television series The X-Files. It premiered on the Fox network on February 18, 2001. Written by Frank Spotnitz and series creator Chris Carter, and directed by Kim Manners, the episode helps to explore the series' overarching mythology. "Per Manum" received a Nielsen rating of 9.4 and was watched by 9.61 million households. Overall, the episode received mostly positive reviews from critics.
"This Is Not Happening" is the fourteenth episode of the eighth season and the 175th episode overall of the science fiction television series The X-Files. The episode first aired in the United States on February 25, 2001, on the Fox Network, and subsequently aired in the United Kingdom. It was written by executive producers Chris Carter and Frank Spotnitz, and directed by Kim Manners, and forms part of the series' overarching mythology. The episode received a Nielsen household rating of 9.7 and was watched by 16.9 million viewers, making it the highest-rated episode of the season. "This Is Not Happening" was received positively by television critics.
