With Clyde Bruckmann, this is the goofiest, funnest, most inventive storytelling in the show.
It takes a new and unusual approach like this to illustrate what an absurdly narrow experience it has all been so far. By this point, we've had about 45 hours of the same thing: our pair enter a sci-fi movie, have a few strange encounters and leave with some generally unambiguous glimpse of more cosmic machinations. Then we cleanly start anew in the next one swapping say the werewolf with a telepathic killer or mysterious virus, except of course in the sporadic myth arch which features a different set of laws.
Adolescently conceived and targeted, we have precious little about the overall world, the time and urges of these people outside a case, because apparently that would be boring whereas sewage monsters and vampire cults 'thrill'. Put that aside a second and imagine: Mulder and Scully come and go daily from their office, and the only person that we know is onedimensional Skipper doing the same disapproving frown.
Anyway, this isn't great but it registers because it bends the norm. Every story element is memorable, that's for sure. The overall thrust is silly, deliberately so: killer roaches. This branches off in several directions, all skewering the sexlessness, seriousness, and paranoia of previous stuff.
The house with 'flowing' walls and sexy (almost a bimbo) entomologist in shorts who Mulder hits on. The suspicion of a secret government experiment shrugged off for practical reasons. The on and off talks with Scully on the phone. The sense of a weary acceptance in Mulder as he runs from one incredulous death to the other. The sedentary crippled scientist and his robots. Scully finally entering the case to find a small town gripped in mass hysteria. The roaches tied (of course!) to alien space travel. It ends with our pair covered in dung and Mulder telling Scully that she smells.
It takes a new and unusual approach like this to illustrate what an absurdly narrow experience it has all been so far. By this point, we've had about 45 hours of the same thing: our pair enter a sci-fi movie, have a few strange encounters and leave with some generally unambiguous glimpse of more cosmic machinations. Then we cleanly start anew in the next one swapping say the werewolf with a telepathic killer or mysterious virus, except of course in the sporadic myth arch which features a different set of laws.
Adolescently conceived and targeted, we have precious little about the overall world, the time and urges of these people outside a case, because apparently that would be boring whereas sewage monsters and vampire cults 'thrill'. Put that aside a second and imagine: Mulder and Scully come and go daily from their office, and the only person that we know is onedimensional Skipper doing the same disapproving frown.
Anyway, this isn't great but it registers because it bends the norm. Every story element is memorable, that's for sure. The overall thrust is silly, deliberately so: killer roaches. This branches off in several directions, all skewering the sexlessness, seriousness, and paranoia of previous stuff.
The house with 'flowing' walls and sexy (almost a bimbo) entomologist in shorts who Mulder hits on. The suspicion of a secret government experiment shrugged off for practical reasons. The on and off talks with Scully on the phone. The sense of a weary acceptance in Mulder as he runs from one incredulous death to the other. The sedentary crippled scientist and his robots. Scully finally entering the case to find a small town gripped in mass hysteria. The roaches tied (of course!) to alien space travel. It ends with our pair covered in dung and Mulder telling Scully that she smells.