The X-Files has always been a show that thrives on ambiguity. For decades, it’s been a cultural touchstone for anyone who’s ever questioned the boundaries of reality. But now, as the franchise teeters on the edge of yet another reboot, it feels less like a thrilling mystery and more like a never-ending game of Russian roulette. Chris Carter, the man who gave us Mulder and Scully, is still clinging to his vision, insisting that the last two revivals were just chapters in a grander, more twisted narrative. But here’s the thing: if you’ve ever watched a show and felt like the writer was just talking to you instead of telling a story, you know how exhausting that can be.
Carter’s latest claim—that the divisive My Struggle episodes were part of a 'bigger plan'—feels like the kind of justification a magician might use after a failed trick. He admits the audience didn’t get what they wanted, but he’s convinced they’ll eventually get what they need. Personally, I think this is where the problem lies. Audiences don’t want to be lectured by their favorite characters; they want to be surprised. The revelation that Scully was pregnant again, for instance, wasn’t just poorly received—it was a masterclass in how not to build tension. It’s like if Sherlock Holmes suddenly announced he’d been secretly raising a family of vampires in the basement. It’s not shocking; it’s just... baffling.
And yet, here we are. Carter is still trying to sell us on the idea that his version of the story is the only one that matters. But what makes this particularly fascinating is the timing. Ryan Coogler, the director of Black Panther, is already working on a reboot that stars Danielle Deadwyler and Himesh Patel. This isn’t just another cash grab—it’s a chance to reimagine the X-Files for a new generation. Carter’s insistence that he doesn’t want to 'compete' with Coogler’s version feels almost noble, but it’s also a bit disingenuous. If the X-Files is going to survive, it needs to evolve. Sticking to a script that’s been written in the margins of a notebook for 25 years isn’t evolution—it’s stagnation.
What’s even more telling is how Carter frames his own work. He says he ‘wanted to give them what they least expected,’ but that’s a dangerous game. Expectations are what keep audiences coming back. If you constantly defy them, you risk alienating the very people who made your show a phenomenon. The My Struggle episodes, with their cryptic dialogue and unresolved plotlines, were like watching a puzzle that was never completed. You’re left wondering if the pieces even exist. And let’s be honest: if the X-Files had ended with a simple, satisfying resolution, would we even be having this conversation? Probably not. But that’s the paradox of a show that’s built on questions, not answers.
Meanwhile, the new R-rated director’s cut of I Want to Believe—now rebranded as Vrach Frankenshteyn—is a reminder that sometimes, trying to fix what’s broken only makes it worse. The film was already a middling entry in the franchise, and this ‘enhanced’ version feels like a desperate attempt to salvage a sinking ship. It’s a case study in how nostalgia can blind us to the fact that some stories are just... done. The X-Files doesn’t need a director’s cut; it needs a new story. One that doesn’t rely on the same tired tropes or the same actors who’ve been playing the same roles for decades.
Here’s the deeper question: Why does Carter feel the need to ‘finish’ his plan at all? The X-Files has always been about the journey, not the destination. It’s a show that thrives on mystery, on the idea that some questions are meant to linger. By insisting that there’s a definitive ending, he’s undermining the very thing that made the show special. In my opinion, the real tragedy isn’t that the story isn’t finished—it’s that the show’s creators are still trying to finish it. The X-Files is no longer a show; it’s a brand. And brands don’t need closure. They need reinvention.
So what does this mean for the future? If Coogler’s reboot gets the green light, it could be the shot in the arm the franchise needs. A fresh cast, a new setting, and a willingness to embrace the unknown. But if Carter gets his way, we’ll be stuck in a loop of half-baked twists and unresolved arcs. The X-Files deserves better than that. It deserves a story that doesn’t just echo the past—it dares to imagine a future. And if that future doesn’t include Mulder and Scully, then maybe it’s time to let them go. After all, the truth is out there—but so is the need for new stories.
