David Duchovny

The X-Files, Ep. 10.04: “Home Again” is memorably terrifying

“Home Again” doesn’t exactly hit all the notes it’s aiming for, but it at least attempts to do two important things that The X-Files is capable of doing on a good day: 1) establish an emotional connection between the audience and the central characters and 2) scare the hell out of people.

Gillian Anderson & David Duchovny in The X-Files Ep 1.01 'Pilot'

Greatest TV Pilots: The X-Files

Billed as a character driven crime procedural that happened to deal in the paranormal, The X-Files was a show that became iconic and defined 1990s television. Though it may look and sound different to later episodes, its Pilot sets the tone for the series.

Twin Peaks, Ep. 2.11: “Masked Ball”: Off the board, off the wall

The long-awaited revival of Twin Peaks returned from its own horrific limbo in the Black Lodge earlier this month, when David Lynch announced on Twitter that he’d worked out a deal with Showtime to honor his original commitment to direct the third season—only six weeks after he’d walked away from the project in a similarly public fashion. The news was met with universal acclaim and relief, because after being told this unique show was coming back, it felt wrong that the auteur from whose mind it sprang had to be involved to usher his creation into its next stage of life. They wanted to see it so much, in fact, that the show’s original actors even took to social media to offer character-specific similes on what losing him would mean to the show.

Promo pic for The Larry Sanders Show

Greatest Series Finales: The Larry Sanders Show’s “Flip” embraces and critiques finale excess

For TV series following a show-within-a-show, one of the most popular ways to structure the finale is during the production of the final episode of the fictional series, and a great example of that is The Larry Sanders Show’s “Flip”. From the opening behind-the-scenes prep for main character Larry’s (Garry Shandling) goodbye show to the show itself to the final moments in the calm of the deserted studio, “Flip” works wonderfully, both as a satisfying finale itself and as an entertaining and incisive commentary on farewell episodes in general.

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