Two suited individuals, a man and a woman, are tossing barbs at each other, both with the conviction of the righteous. While Mulder is waiting for the local police to get him access to the roof of the mural building, he walks into an argument that seems ever so slightly inappropriate considering the head in the trashcan upstairs. Are we in the middle of an X-Files/ Don’t Eat The Picturescrossover? Because sign me the fuck up. A review of the building’s security tapes shows that it wasn’t there before Cutler was killed. He takes note of the ominous mural of a tall, bald man on the building opposite Sinclair’s window. Mulder and Scully aren’t welcomed by the local police with open arms (“Wouldn’t be Philadelphia without a certain degree of confrontation.”), but it’s lucky for them that Fox Mulder sees the clues that no one else would notice. Without knowing who the killer is or where he comes from, we know that this is not a random attack but some kind of vigilante justice. When the gargantuan killer rips him in half with his bare hands, it’s almost satisfying. (Prove me wrong.) When he cowers in fear to see the looming shadow outside of his dark office, he’s earned it. Sinclair is a soulless vampire and probably an avid Trump supporter. This is one of those episodes where you can’t tell the bad guys apart without a program. Do these plots inform each other? Is there some symbolism in the Trash Man murders that’s mirrored in Maggie’s death? I don’t think the comparison is direct, but who ever promised that every tragedy of one’s life could be instantly understood and imbued with meaning? (Note: In his EW interview with our girl Kelly, Glen says that he would have liked to have had the room to do Maggie’s death and the Trash Man as separate episodes.) She gets the call from Bill (guess what, STILL A DICK) about her mother’s heart attack while she and Mulder are investigating the scene of the murder of one Joseph Cutler (Allessandro Juliani, also Sinclair from The 100!), the first known victim of the killer soon to be dubbed “The Trash Man.” The two stories play out concurrently: the race to catch the murderer before he kills again runs alongside Scully’s desperate bid to save her mother, and if she can’t, to understand her fully before she goes. I knew Maggie Scully was going to go to the lord this season, but I was not prepared. Margaret Scully is also dying, and that has to be accepted. His episodes run the gamut from tense, locked door thrillers (“Ice”) to some of the show’s most emotional hours so far (“One Breath.”) He does duty in a couple of genres in “Home Again”: A killer is targeting the scumbags behind a controversial homeless relocation program, and that has to be dealt with.
#Philadelphia x files home again places series#
He’s another familiar name for fans, and comes to the revival with a heavy-hitting list of original series credits: “Never Again,” “Squeeze”/”Tooms,” “The Field Where I Died,” and yes, “Home” are among his greatest hits. “Home Again” is a Glen Morgan story, and he directed it too.
The villains in this episode are the opportunists who make use of their plight, even if they’re not aware they’re doing it. The disenfranchised are right there on every corner instead of tucked away in a crumbling farm house, out of sight and mind. This episode brings Special Agents Mulder and Scully to West Philadelphia – thanks to Will Smith, known to all the world as an urban area with a high crime rate and a low average income.
“Home Again” does happen to be set in Pennsylvania like the inbred horror show it shares half its name with, but far from the rural tranquility that murder spree interrupted. With apologies to the Peacock family and Johnny Mathis, the fourth episode of The X-Files revival is not a sequel to “Home,” the season 4 episode that shortened the lifespan of 9 of 10 Fox censors.
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