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| Promo still from the last time someone dragged The X-Files out of the deep freeze |
This weekend’s illegal American bombing of Iran arrives hand-in-glove with another cultural announcement: Hulu is relaunching The X-Files. Preliminary announcements call it a “reboot,” but deeper reportage suggests it’s more a soft reboot, a continuation with new leads. Simultaneously, reports suggest there might be a long-awaited season five for Veronica Mars. (This is more ambiguous, maybe misreading the series being acquired by Netflix; wording is fuzzy.)
I’ve complained before about the cultural currents behind constant reboots. Pop culture is always behind the times anyway, and the flood of streaming media has made the biggest entertainment conglomerates more timid, not less. But this feels different. The resurrection of two popular franchises, thirty-three and twenty-four years old respectively, amid a “Make America Great Again” culture feels more than timid. It feels like a hasty retreat from reality.
Throughout the Current President’s 2016 campaign, he decried urban violence and burning cities, despite such violence being at near-historic lows. But his rhetoric makes sense in his life context, as the Bronx famously caught fire in the late 1970s, the same time he moved into Manhattan real estate with his purchase of the former Commodore Hotel. The poor future President was simply trapped in the sociopolitical milieu of his thirties, unable to grow.
Similarly, this weekend’s bombing of Iranian civilian targets mirrors the President’s unhealed past. Consider his inability to stop heaving accusations against the Central Park Five, nearly a quarter century after they were exonerated. This President retains grudges and political interpretations molded by a privileged youth and segregated social set. In context, he likely bombed Iran, not really for its nuclear program, but as payback for the 1979 Hostage Crisis.
This has become the default for much American politics. We aren’t facing the past, we’re relitigating the past. In the 1980s, both political discourse and mass media desperately wanted to re-fight the Vietnam War, but correctly this time. Franchises like Iron Eagle, Rambo, and Top Gun promised to purge America’s Vietnam disgrace. More recently, Call of Duty and James Bond try to tweak our memory of the Cold War.
Caught in the interregnum between the Cold War and the Global War on Terror, the Clinton decade offered enforced cheerfulness, a frothy meringue of Empire Records and Ben Stiller’s early career. The X-Files directly countered that, maintaining post-Reagan cynicism toward America’s surface culture. Scully and (especially) Mulder walked through neon-soaked midnight landscapes, uniquely able to see the venality that made that era’s party ethos possible.
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| Kristen Bell in the original network run of Veronica Mars |
Veronica Mars pushed this contrast to the extreme. Read superficially, the series presented a stereotyped Southern California panorama, all hypersaturated colors and loud, jangly indie pop soundscapes. Only Veronica and her father—and, eventually, those trapped in their decaying orbit—understood the vulgar horse-trading and human commodities that subsidized Neptune, California’s skin-deep glamour. Veronica, like Mulder, was ready to expose the lie, damn the consequences.
Both franchises took dim opinions of power structures. Veronica Mars fought plush-bottomed police as often as criminals, while Mulder and sometimes Scully brought official corruption to light despite, not because of, the law. But both presented a morally distinct, binary universe. Neptune’s Sheriff Lamb and the Smoking Man were clearly evil, and needed exposed to a public which their shows depicted as passive and sheep-like, desperate for an underdog hero.
Unfortunately, the political tenor has changed. From the impotent government depicted in the 1970s, to the malignant one of the 1990s, the problem has been presented as siloed at the top. The disclosure of the Epstein documents, like the Panama Papers before them, has revealed a network of politicians, capitalists, entertainers, academics, and scientists colluding to support an otherwise decrepit system. The “secret” isn’t secret anymore.
While politicians and media captains want to refight the battles of their, or our, childhood, rapidly unfolding news reveals their vision of the problem as charmingly naïve. Nary a top-tier capitalist or government insider didn’t share information with Epstein. Public intellectuals like Noam Chomsky and Richard Dawkins had their hands in his pockets. The rot isn’t an isolated, partisan tumor. Everyone, everywhere in the system, has been proved complicit.
Veronica Mars and The X-Files helped define a generation’s idea of acceptable villains. They showed our lawkeepers were complicit with lawbreakers in the anarchy most people felt in their ordinary lives. But reality has overtaken the scope these shows made possible. Bringing back the monsters of my twenties is worse than quaint. It offers audiences my age an excuse to avoid the monsters that have revealed themselves in reality.
