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Triangle (The X-Files)

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"Triangle (The X-Files)"

"Triangle" is the third episode of the sixth season of the television series The X-Files. It premiered on the Fox network in the United States on November 22, 1998. The episode was written and directed by series creator Chris Carter. "Triangle" is a "monster-of-the-week" episode of The X-Files, a stand-alone plot which is unconnected to the overarching mythology, or fictional history, of the series. "Triangle" earned a Nielsen household rating of 10.8, being watched by 18.20 million people in its initial broadcast. The episode has received positive reviews, with many critics commenting on the episode's unique directing style.

The show centers on FBI special agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson), who work on cases linked to the paranormal, called X-Files. Mulder is a believer in the paranormal, and the skeptical Scully has been assigned to debunk his work. However, the two have developed a close friendship. In this episode, Mulder races to a luxury passenger liner on the edge of the Bermuda Triangle which has mysteriously appeared. Once there, he realizes he has traveled back in time to September 3, 1939—the outbreak of World War II. Nazi soldiers have boarded the ship in search of "Thor's Hammer", something that could ensure victory in the coming conflict. Meanwhile, Scully, after being informed of Mulder's disappearance by The Lone Gunmen, rushes through the J. Edgar Hoover Building, looking for someone who can help her find her missing partner.

"Triangle" is notable due to the unique style in which it was filmed. Inspired by the Alfred Hitchcock film Rope, the episode was filmed in real time and edited to appear as one single take. In addition, "Triangle" features the main and recurring cast members such as Anderson, William B. Davis, Chris Owens, James Pickens Jr. and Mitch Pileggi, who played their contemporary characters as well as distinctly different characters from 1939 on board the luxury liner. Furthermore, several of the themes of the episode have been critically examined, most notably, the concept of "dream-nazis", the appearance of modern characters portraying characters from the past, and the ramification that the entire episode was a dream.

Plot

Fox Mulder (David Duchovny) is laying unconscious in the sea. He is taken aboard a British passenger ship, the Queen Anne, by its crew members. When he is sent to meet the captain, Mulder tries to explain that the Queen Anne vanished in the Bermuda Triangle in 1939, and claims that it has reappeared in 1998. The crew do not believe Mulder's story and suspect he is a Nazi spy. At that moment, the Queen Anne is commandeered by SS troops under the control of a figure reminiscent of the The Smoking Man (William B. Davis), who sets the ship's course for Nazi Germany. The crew of the Queen Anne lock Mulder in the captain's quarters, where he listens to a radio broadcast announcing the start of World War II. Mulder suddenly realizes that the Queen Anne did not travel to 1998: he has traveled back to 1939.

Meanwhile, in the present, The Lone Gunmen inform Dana Scully (Gillian Anderson) that they have lost contact with Mulder, who had set out in search of the Queen Anne. After confronting Assistant Director Alvin Kersh (James Pickens, Jr.) and Agent Jeffrey Spender (Chris Owens), Walter Skinner (Mitch Pileggi) provides Scully with information from the Pentagon and Scully leaves with the Gunmen to find Mulder. On the Queen Anne, a British sailor tells Mulder that the Germans are looking for what they believe is a weapon called "Thor's Hammer". Mulder tells him that Thor's Hammer is not a weapon, but a scientist whom will build a weapon. The sailor, however, turns out to be a German spy, and a man strongly resembling Kersh takes control of the ship and steers it back towards Jamaica. Mulder tells them to turn around and go back to where they came from, but is taken down to the ballroom by Nazis.

Once there, Mulder is ordered to identify the scientist; otherwise the Nazis will begin shooting passengers. After they have killed two men, a woman who looks strikingly like Scully tells the Nazis that they are killing innocent people for nothing, and that Mulder knows nothing. Mulder tells the Nazis that one of the men they shot was the scientist, but the scientist steps forward. The Nazis prepare to execute Mulder and "Scully", but before they are able, the engine is shut down. British sailors descend upon the ballroom and begin fighting the Nazis. In the midst of the chaos, Mulder and "Scully" escape. Meanwhile, Scully and the Lone Gunmen find the Queen Anne and board it, only to find that it is an empty ghost ship.

Back in 1939, as the British sailors fight the Nazis in the ballroom, Mulder tells "Scully" that she has to turn the ship around and return to the Bermuda Triangle in order to get the ship out of the rift in space. Mulder grabs "Scully" and kisses her, "in case they never meet again". "Scully" punches him, and he jumps overboard. Mulder subsequently wakes up in 1998 in a hospital after being rescued, surrounded by Scully, the Lone Gunmen and Skinner. Mulder attempts to tell them that he traveled to 1939, and of his encounter with Nazis, and tells Scully that she was there with him, but they all think he is delirious. After Skinner and the Gunmen leave, Mulder calls Scully back and tells her that he loves her. Scully thinks his confession is an effect of the drugs he has been given, rolls her eyes and leaves. As he lies down, Mulder winces as his cheek touches the pillow; the spot where "Scully" punched him in 1939 is still sore.[1]

Production

The scenes aboard the Queen Anne were actually filmed on board the RMS Queen Mary.

Conception, writing, and filming

Series creator Chris Carter developed the idea for "Triangle" while working on the fifth season episode "The Red and the Black."[2] During filming of "The Red and the Black," Carter used more film than any other director but Kim Manners. The cast and crew made Carter a mock trophy, which inspired Carter to write an episode that featured continuous action as a way to minimize film usage.[3] Carted designed the episode in a style similar to Alfred Hitchcock’s film Rope.[4][5][6] Initially, the executives at Fox Broadcasting Company were hesitant about green-lighting production for "Triangle" because the cost of episode was expected to exceed the $2.5 million episode budget. In order to persuade the Fox executives otherwise, Carter told them that the episode would feature elements of Alfred Hitchcock's directing style, a move Carter later called "an easy hook."[6] Carter also cited an episode of The Twilight Zone called "An Occurrence at Owl Creek Bridge", a short film based on the story of the same name, as the inspiration for the episode.[6]

The scenes on board the Queen Anne were filmed aboard the famous passenger liner the RMS Queen Mary. The liner was, and is currently, used as a hotel.[5][6][7] The X-Files staff spent a total of eleven days filming on the Queen Mary, and had to erect wrap-around scaffolding on the bridge in order to block out the lights of nearby Long Beach, California.[3] In order to make it look like it was raining during the scenes on the bridge, large sprinkler systems were installed to provide a constant supply of water.[8] Carter was unhappy with the remodeled style of the ship's corridors and ballroom, so he had portions of the ship recarpeted and redecorated to give the finished episode a late-1930s style.[3][9]

In an interview before the episode was finished, Gillian Anderson said she was most looking forward to the scene in which Scully works her way through FBI headquarters in her quest to locate Mulder.[7] She later compared the episode to live theater,[9] which she had worked in before she was cast as Scully.[10] The episode was filmed in one continuous shot, so that when the actors entered the stage elevator, the set that they would move onto had to be constructed behind the closed doors. Several times during filming, these doors would open before the set behind had been completed, which ruined the shot.[3]

Much of the Nazi soldiers' dialogue was in German. In order to make the episode more authentic, several British and German actors portrayed the British sailors and Nazi soldiers. However, Trevor Goodard, who portrayed the First British Crewman, is Australian. Madison Mason, who played Captain Yip Harburg, is American; he affected an English accent for the part.[4] William B. Davis' dialogue was entirely in German, which he did not speak. He later explained, "I certainly didn't realize I was going to be speaking a lot of German until I got the script, which just said 'CSM (in German)'."[11] In order to successfully learn his lines, one of the German cast members recorded all of Davis' lines onto a cassette. Davis was given the cassette two weeks before schedule; he noted that the method "seemed to work pretty well—at least to non-German-speaking people! It was a little more challenging because there were some real German speakers on the show, which I thought was a little unfair."[11] The only main cast member of The X-Files who already spoke German was Mitch Pileggi.[9] Pileggi had studied in Germany; he re-wrote several of his lines himself because the realized that they made no sense in the context of the scenes.[12] The tagline that usually appeared at the end of the opening credits of the episode, "The Truth is Out There", was translated into German: "Die Wahrheit ist Irgendwo Da Draußen".[9]

Directing style

Agent Dana Scully (Gillian Anderson) crossing paths with Fox Mulder (David Duchovny) and the 1939 version of Scully (Anderson). The sophisticated split-screen mise en scène was inspired by the music video for Semisonic's hit 1998 single "Closing Time."

The editing of this episode uses very specific and thought-out choices. It was filmed in real time and is designed to look like it was filmed in four uninterrupted eleven-minute takes.[4] Carter explained, "I said [to the cast and crew] 'Wouldn't it be great since we have 44 minutes of programming time if we just did an episode where we did four 11-minute takes and put it all together?' And everyone looked at me like I was nuts."[13] To film the episode, camera operator Dave Luckenbach wore a steadicam. However, the steadicam used could only hold a maximum of four minutes of film, so discrete edits and cuts were necessary.[6] Luckenbach later likened the physical aftermath of filming to playing football, musing, "You'd have a game on Friday, and you'd wake up Saturday and really feel it."[6] The cuts were usually made during whip pans or in scenes when the screen would go dark.[4][6] With the exception of Mulder jumping off the Queen Anne, the only noticeable editing occurs between scenes, when a side swipe shifts between the two different time periods.[4] Many of the takes needed to be nearly perfect, but on the eighth day of filming only two of ten takes were deemed satisfactory.[6]

The final two acts of the episode feature a sophisticated split-screen mise en scène. However, rather than displaying two different events, each side of the screen shows the same event from almost identical angles. When Scully runs around the corner in the present day, she does so at the same time as Mulder and the 1939 version of Scully. This was filmed in such a way that as the actors pass each other in the hallway, they also pass into the opposite frame of the split screen.[4] This effect was inspired by the music video for Semisonic's hit 1998 single "Closing Time."[6]

Both the cast and crew admitted that filming an episode of The X-Files in real time was physically and mentally exhausting. David Duchovny later joked that, after filming for the episode concluded, he "could win an Emmy for most bruises."[6] Gillian Anderson described the real time directing style as "challenging."[7] She said, "I'm realizing how comfortable and connected I am to the rhythm we're used to."[7] Tom Braidwood, who played Lone Gunman Melvin Frohike and was an assistant director on the show, called Davis' role "brutal" and noted that "It was really tough for William because he had to learn all this German."[12] Davis later joked that "Maybe we shouldn't try to do two clever things at once. I think it worked fine, but it was a struggle to do it."[12] Editor Louise Innes, whose first episode for the series was "Triangle," said the post-production editing process was "not as easy as it sounds."[6] Innes was tasked with connecting roughly forty shots and creating the illusion of one, uniform scene.[6]

After the film of the episode was combined, several issues that remained had to be tweaked in post-production. For instance, during the scene in which Scully runs into an elevator, two shots were spliced together; however, the color did not completely match. Nevertheless, the images and their colors were later corrected by the series "postproduction troubleshooters" using digital manipulation.[6] In addition, when the episode aired on television, it was originally shown letterboxed, making it the first episode of The X-Files to receive this treatment.[14] Carter reasoned that this method would allow for more action to be viewable in each frame.[9]

Music and cultural references

The X-Files composer Mark Snow listened to big band albums, such as albums by Gene Krupa, Glenn Miller, Tommy Dorsey, and Harry James, to get a feel for the era. The "bouncy instrumental" that plays during the fight scene in the ballroom was inspired by a similar swing tune that was composed by John Williams for the 1979 Steven Spielberg film 1941. Snow later joked that his composition was, "the third generation of the same inspiration."[9] Chris Carter had significant musical input when it came to scene transitions, saying, "I got a chance to use some of my favorite 40s music here, too, or 30s and 40s music to transition scenes."[4] The song that is heard near the end of the ballroom fight and in the scene featuring Scully and the Lone Gunmen searching for the Queen Anne is a piece of stock music called "Hot Liquorice", composed by Dick Walters.[15][16] Producer Paul Rabwin oversaw a special arrangement of the 1938 jazz standard "Jeepers Creepers", which was included in the ballroom scene.[9]

The episode contains many intentional references to the musical film The Wizard of Oz.[5] The ship's captain is named Yip Harburg. E.Y. Harburg, who also used the name Yip Harburg, was the lyricist for The Wizard of Oz. The name of the ballroom singer is Almira Gulch, after The Wizard of Oz character who is also the Wicked Witch of the West, and the name of her band is The Lollipop Guild, a reference to a section of the song "Ding-Dong! The Witch Is Dead". Mulder's wrecked ship is called the Lady Garland, after Judy Garland.[9] The final scene, which features Mulder in bed telling his friends and co-workers that he saw them in his reverie, bears a striking resemblance to the closing scene from the 1939 movie. Because of this, the scene was later called "obviously derivative" by one reviewer.[17] Furthermore, during this scene, when Mulder mentions that Skinner was with him in 1939, also the year in which The Wizard of Oz was released, Skinner replies, "with my dog Toto" and Scully tells him "there's no place like home".[8][9][16] The episode takes place in 1939, the year The Wizard of Oz was released.[9]

The episode features several historical errors. Anderson’s 1939 character is said to work for the OSS—which was not established until 1942. In addition, the code name "Thor's Hammer" is an invention of the writers. Lee Smith, the official researcher for the show, was tasked with finding the name for the secret pre-WWII atomic research project. Unfortunately for the show, the actual code name, Development of Substitute Materials, was considered "uninspiring," so the name "Thor's Hammer" was created instead.[9]

Themes

Robert Shearman and Lars Pearson, in their book Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen, examined the characterization of the villains in the episode and the meta-references to the series. Shearman and Pearson note that the episode makes a distinct difference when portraying the Nazis on-screen. Instead of showing them as "real Nazis"—as portrayed in third season episodes like "Paper Clip"—this episode portrays them as "dream-nazis".[18] The two argue that the villains are played as "comic book nasties" and are similar in style to the villains from the Indiana Jones movie franchise.[18]

In addition, Shearman and Pearson analyzed the portrayals of several of the series' regular characters as 1930s villains, noting several meta-references to the wider series. The two noted that, in his portrayal of a Nazi, Jeffrey Spender was allowed to "cut loose and rant like a proper villain rather than a sulky boy hiding in the basement."[18] In contrast, Walter Skinner's 1939 character behaved more like his character in the wider series, his role "charmingly parodying the ambiguity he's been playing all these years and turning out to be an American-loving ally who tells our heroes to get their 'asses out of here'."[18]

Tom Kessenich, in his book Examinations: An Unauthorized Look at Season 6–9 of The X-Files, critically examined the ideas that the entire episode was either a dream or existed in some sort of "parallel universe".[19][20] Kessenich reasons that, because the episode contains several overt references to The Wizard of Oz and the fact that Chris Carter noted that the episode was based on the idea of Mulder's subconscious mind at work, much of "Triangle" was simply a dream.[19] Furthermore, Kessenich backs up his argument by pointing out that many of the characters on the ship were played by familiar faces—The Smoking Man as the Nazi leader, Spender as a Nazi "lap dog", Skinner as a double agent, Kersh as an "unfamiliar friend or foe", and Scully as Mulder's ultimate ally.[20] This would suggest, according to Kessenich, that the entire episode was acted out in Mulder's mind while he was unconscious in the Bermuda Triangle.[20]

Broadcast and reception

Ratings and accolades

"Triangle" first aired in the United States on November 22, 1998.[21] This episode earned a Nielsen rating of 10.8, with a 16 share, meaning that roughly 10.8 percent of all television-equipped households and 16 percent of households watching television were tuned in to the episode. It was viewed by 18.20 million viewers.[22] "Triangle" was the 18th most watched television program that aired during the week ending November 22.[23] The episode aired in the United Kingdom and Ireland on Sky1 on March 21, 1999 and received 0.74 million viewers, making it the fourth most watched program that week.[24] The episode received a 1999 Emmy Award nomination for Outstanding Sound Editing for a Series.[8][nb 1]

Initial reception

When the finished program was shown to the cast and crew their response was largely positive. Gillian Anderson said, "I never quite understood whether it was going to work or not. When we finally saw 'Triangle' after this new way of filming everything, a style that we'd never attempted before, as well as trying new scenes … trying this, trying that ...  that was terrific."[12] Chris Owens, who portrayed the Agent Spender Nazi lookalike, said, "One thing I really like about The X-Files was that they were always challenging themselves. Chris [Carter] would write an episode in which we're going to do Rope without any cuts, seemingly. A great challenge for a cast and crew."[12][13]

The episode initially received mostly positive critical reviews, with one exception. A review by Matt Zoller Seitz from The Star-Ledger gave an overwhelmingly positive review of "Triangle". Seitz applauded Carter's risky and audacious directing, noting that, "there has never been an hour of TV that looks or moves like 'Triangle'."[26] He argued that the 1939 scene wherein Mulder and "Scully" cross paths on the screen with Scully in the present was, "the greatest minute of TV this year".[26] Seitz also compared the episode to 3-D video games, like Doom, Quake, and Castle Wolfenstein, citing the episode's "gloomy corridors" and "nightmarish cartoon Nazis".[26] Michael Liedtke and George Avalos, from The Charlotte Observer, proclaimed that "'Triangle' seems destined to take its rightful place in the pantheon of greatest 'X-Files' episodes".[17] The two noted—and enjoyed—the plethora of Wizard of Oz references, and re-wrote a portion of "Over the Rainbow" in a joking manner for their column.[17][nb 2] Not all reviews were so positive; Alan Sepinwall, noting it as the episode "that turned out to be a dream", called "Triangle", "technically impressive but dramatically murky".[27]

Later reception

Several years after the episode aired, "Triangle" continued to receive positive reviews, with many reviewers calling it one of the show's best episodes. Jessica Morgan from Television Without Pity gave the episode an A–.[28] Kathleen Diehl from Culture Cartel called the episode "one of the show's best ever."[14] DVD.net called "Triangle" a classic standalone episode.[29] Earl Cressey from DVD Talk called the episode one of the highlights of season six.[30] Kerry Fall from DVD Journal wrote positively of the episode in a review of the sixth season, noting that "Triangle" was famous for the Mulder-Scully kiss.[31] Shearman and Pearson rated the episode five stars out of five and called it a "shining gem of an episode."[18] The two praised the directing of the episode, especially the scene wherein Scully dashes through the FBI building, calling it "the best scene of all".[18] Tom Kessenich praised the episode, calling it "60 minutes of The X-Files at its finest".[32] Kessenich noted that, despite the "gloom and doom" talk that the show was heading in the wrong direction, stylistically, the episode proved "just how exciting this show can be".[32] Kessenich later named the episode one of the "Top 25 Episode of All Time" of The X-Files, and ranked it in second place.[33] Todd VanDerWerff of The A.V. Club gave the episode a largely positive review, awarding it a grade of an A. He called the episode "terrific episode of television", noting that "[n]othing else had ever been this skillfully done on television before".[34] VanDerWerff praised the unique style of the episode, and wrote that the long scenes give "the whole thing a sense of urgency that propels scenes that shouldn’t work".[34] Furthermore, he opined that "[e]verything comes together in the episode’s fantastically entertaining final act", due to the presence of the fight scene and the "darn near perfect" split-screen shot; VanDerWerff later called the latter "one of my favorite moments in the whole show".[34] He did, however, slightly critique the depth of the episode, saying that the entry was "more fun than it is thoughtful".[34]

Since its airing, the episode has been included on various lists of the best The X-Files episodes. Timothy Sexton from Yahoo! Voices named the episode one of the "Top Ten X-Files Episodes", ranking it at number seven. He reasoned that, despite some flaws in the story’s logic, the strength of the directing lifts it into the top ten.[35] Sexton praised the split-screen scene and the scene featuring Scully running through the FBI building, comparing it favorably to Orson Welles' 1958 film Touch of Evil.[35] Aidan Morgan from MamaPop named the episode the sixth best time travel episode. Morgan praised the episode's plot, citing, "Nazis, time travel, [and the] Bermuda Triangle" as reasons why the episode was a success.[36] David Boston from Made Man named "Triangle" the third best X-Files episode, writing that "we know whenever [Chris Carter] directs an episode it is always among the best."[37] Andrew Payne from Starpulse named it the fourth best X-Files episode, praising the acting and directing, saying, "Chris Carter rarely directed his creation, leaving that mostly to Kim Manners, but when he did he showed a brilliant eye not usually seen on broadcast TV. This is the best example—a breathlessly-paced episode in which each act appears as one continuous shot. ... This episode is a lot of fun, particularly in the act that finds Scully blitzing through the FBI building in order to get some information on Mulder's whereabouts. The acting is superb and nothing can beat those no-cut acts."[38]

Not all reviews were as glowing; Paula Vitaris from Cinefantastique gave the episode a largely negative review and awarded it one-and-a-half stars out of four.[39] Although Vitaris called the episode ambitious and noted that "everyone certainly deserves an A for effort", she was unimpressed by the "vertiginous camerawork" and "endless, monotonous tracking shots up and down hallways".[39] Furthermore, Vitaris was frustrated by the Mulder and Scully kiss, writing, "When are these kisses that are not kisses going to end?"[39]

Notes

  1. ^ Jeff Charbonneau (Music Editor); Thierry J. Couturier (Supervising Sound Editor); Stuart Calderon, Michael Goodman, Jay Levine, Maciek Malish M.P.S.E., George Nemzer, Cecilia Perna, Chris Reeves, and Gabrielle Reeves (Sound Editors); and Gary Marullo and Mike Salvetta (Foley Artists) were nominated for the award.[25]
  2. ^ The parody included he lines: "Somewhere beneath the conspiracy, romantic hopes soar / Mulder and Scully often hug beneath the conspiracy, why, oh why, can't they do more?"[17]

Footnotes

  1. ^ a b Meisler (2000), pp. 30–39
  2. ^ Meisler (2000), p. 39
  3. ^ a b c d Meisler (2000), p. 40
  4. ^ a b c d e f g Carter, Chris (1999). The Truth About Season Six (DVD). Fox Home Entertainment.
  5. ^ a b c Strachan, Alex (21 November 1998). "X-Files producer can't let go of Vancouver". The Vancouver Sun. Retrieved 26 December 2011.
  6. ^ a b c d e f g h i j k l m Russo, Tom (20 November 1998). "Past Perfect". Entertainment Weekly. 459. Retrieved 28 December 2011.
  7. ^ a b c d Anderson, Gillian (1998). "Electronic Press Kit for "Triangle"" (Interview). Fox Broadcasting Company. {{cite interview}}: More than one of |subject= and |last= specified (help); Unknown parameter |subjectlink= ignored (|subject-link= suggested) (help)
  8. ^ a b c Chris Carter (Writer, Director) (5 November 2002). Triangle: Episode Commentary (DVD). The X-Files: The Complete Sixth Season: 20th Century Fox Home Entertainment.{{cite AV media}}: CS1 maint: location (link)
  9. ^ a b c d e f g h i j k Meisler (2000), p. 41
  10. ^ Lowry (1995), pp.15–16
  11. ^ a b Hughes, Davis (October 1999). "William B. Davis: TV's Best Bad Guy, Cigarette-Smoking Man, Still Smolders as he Reveals New Dimensions". Cinefantastique. 31 (8): 32–35.
  12. ^ a b c d e Hurwitz and Knowles (2008), p. 158
  13. ^ a b Hurwitz and Knowles (2008), p. 157
  14. ^ a b Diehl, Kathleen (11 November 2002). "X-Files, The: Season Six". Culture Cartel. Toxic Universe. {{cite web}}: |access-date= requires |url= (help); Missing or empty |url= (help)
  15. ^ "KPM 227 - Pure Big Band - Part 1". Play Production Music. Retrieved 28 March 2012.
  16. ^ a b Chris Carter (Writer and Director) (22 November 1998). "Triangle". The X-Files. Season 6. Episode 3. Fox. {{cite episode}}: |access-date= requires |url= (help); Unknown parameter |serieslink= ignored (|series-link= suggested) (help)
  17. ^ a b c d Liedtke, Michael; George Avalos (2 December 1998). "Ace 'X-Files' Episode Takes Mulder Beyond Kansas, Toto". Charlotte Observer. Knight Ridder. Retrieved 20 March 2012. (subscription required)
  18. ^ a b c d e f Shearman and Pearson (2009), pp. 169–170
  19. ^ a b Kessenich (2002), p. 18
  20. ^ a b c Kessenich (2002), p. 19
  21. ^ The X-Files: The Complete Sixth Season (Media notes). Fox. {{cite AV media notes}}: |format= requires |url= (help); Unknown parameter |director= ignored (help); Unknown parameter |titlelink= ignored (|title-link= suggested) (help); Unknown parameter |titleyear= ignored (help)
  22. ^ Meisler (2000), p. 294
  23. ^ "Here Are the Prime-Time Ratings as Compiles". St. Paul Pioneer Press. 26 November 1998. Retrieved 20 March 2012. (subscription required)
  24. ^ "BARB's multichannel top 10 programmes". barb.co.uk. Retrieved 1 January 2012. Note: Information is in the section titled "w/e March 15–21, 1999", listed under Sky 1
  25. ^ "Primetime Emmy® Award Database - The X-Files". Emmys.com. Academy of Television Arts & Sciences. Retrieved 26 January 2012.
  26. ^ a b c Seitz, Matt Zoller (22 November 1998). "Just Watch It - 'X-Files' Episode Sails Into Bermuda Triangle , But Instead of Sinking, Soars with Brilliance". The Star-Ledger. Retrieved 20 March 2012. (subscription required)
  27. ^ Sepinwall, Alan (11 December 1998). "All TV - 'X-Files' Creator Breaks His Vows". The Star-Ledger. Retrieved 20 March 2012. (subscription required)
  28. ^ Morgan, Jessica. "X-Files TV Show - Triangle - X-Files Recaps, X-Files Reviews, X-Files Episodes". Television Without Pity. NBCUniversal. Retrieved 25 December 2011.
  29. ^ "The X-Files Season 6 Box Set". DVD.net. Retrieved 11 January 2012.
  30. ^ Cressey, Earl (5 November 2002). "X-Files: Season Six". DVD Talk. Internet Brands Inc. Retrieved 14 March 2012.
  31. ^ Fall, Kerry. "The X-Files: Season Six". DVD Journal. Retrieved 11 January 2012.
  32. ^ a b Kessenich (2002), p. 17
  33. ^ Kessenich (2002), p. 219
  34. ^ a b c d VanDerWerff, Todd (16 June 2012). "'Triangle'/'TEOTWAWKI'". The A.V. Club. Retrieved 17 June 2012. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  35. ^ a b Sexton, Timothy (26 June 2006). "Top Ten X-Files Episodes". Yahoo! Voices. Yahoo! Inc. Retrieved 20 March 2012.
  36. ^ Morgan, Aidan (7 March 2011). "Top 10 Time Travel Television Episodes". MamaPop. Retrieved 20 March 2012.
  37. ^ Boston, David (11 December 2010). "5 Best 'X Files' Episodes". Made Man. Break Media. Retrieved 20 March 2012.
  38. ^ Payne, Andrew (25 July 2008). "'X-Files' 10 Best Episodes". Starpulse. Media Holdings LLC. Retrieved 16 November 2011.
  39. ^ a b c Vitaris, Paula (October 1999). "Sixth Season Episode Guide". Cinefantastique. 31 (8): 26–42.
References
  • Hurwitz, Matt; Knowles, Chris (2008). The Complete X-Files. Insight Editions. ISBN 1-933784-80-6.
  • Kessenich, Tom (2002). Examination: An Unauthorized Look at Seasons 6–9 of the X-Files. Trafford Publishing. ISBN 1-55369-812-6.
  • Lowry, Brian (1995). The Truth is Out There: The Official Guide to the X-Files. Harper Prism. ISBN 0-06-105330-9.
  • Meisler, Andy (2000). The End and the Beginning: The Official Guide to the X-Files Season 6. HarperCollins. ISBN 0-06-107595-7.
  • Shearman, Robert; Pearson, Lars (2009). Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen. Mad Norwegian Press. ISBN 0-9759446-9-X.
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