In Apocrypha, the black oil just wants to go home. In Nisei, Mulder is trapped in a traincar with a ticking time bomb and a dangerous assassin as he digs away at the conspiracy. In End Game, Mulder is racing to recover his lost sister as details about secret cloning experiments spill out around him. Similarly, in keeping with the style and tone of many of the best mythology two-parters, the basic plot is relatively straightforward even as complications appear at the edge of the frame. The first half of Pilgrims unfolds in Saudi Arabia, with Mulder and Scully dispatched to investigate what initially appears to be a terrorist attack on an oil operation but is promptly revealed to be something far more sinister. There is an international scope, as seen in the trip to the Arctic in End Game or to Hong Kong in Piper Maru or to Russia in Terma. There are a lot of obvious markers and touches that help Pilgrims to feel like a classic mid-season mythology episode. It is in many ways a testament to writer Joe Harris’ desire to emulate the basic structure and framework of The X-Files, right down to the manner in which he structures The X-Files: Season 10. Pilgrims is essentially an attempt to do a mid-season mythology episode in the style of Colony and End Game or Tunguska and Terma, a big sprawling epic populated by familiar faces and impossible scale that is driven more by questions and mysteries than by answers or revelations. This June, we’re going to be taking a look at the current run of The X-Files, beginning with the IDW comic book revival and perhaps taking some detours along the way.
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