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The Beginning...

"The Beginning..." is the twelfth episode and series finale of the fifth season of the American television series Gotham, based on characters from DC Comics created by Bill Finger and Bob Kane, and developed by Bruno Heller.) The episode was written by John Stephens, who also serves as showrunner, and directed by Rob Bailey.^[1] It originally aired on Fox on April 25, 2019, and was watched by 2.19 million viewers in the United States. Set ten years in the future, the episode depicts Bruce Wayne's return to Gotham amid the opening of the new Wayne Tower, as Jim Gordon investigates a murder framing Harvey Bullock, while facing renewed threats from villains including the Riddler and others, leading to a convergence of character arcs in the city's struggle against crime.^[2] The finale concludes the series' narrative on the origins of Batman and his rogues' gallery, with themes of redemption, legacy, and the birth of a new era in Gotham.^[3]

Background

Series context

The X-Files is an American science fiction drama television series created by Chris Carter that premiered on the Fox Broadcasting Company on September 10, 1993. The show centers on FBI special agents Fox Mulder, a psychologist who believes in the paranormal, and Dana Scully, a medical doctor assigned to debunk his work, as they investigate bizarre, unsolved cases known as the X-Files, often uncovering evidence of extraterrestrial life and government conspiracies.^[4] Carter drew inspiration from real-world UFO lore and scientific inquiry to blend procedural investigations with speculative fiction, positioning the series as grounded in empirical skepticism while exploring the unknown.^[5] The series' overarching mythology arc, spanning seasons 1 through 5, builds a complex narrative of alien colonization plans, government cover-ups, and personal stakes for Mulder and Scully. Key developments include Scully's abduction in the season 2 episode "Ascension," which introduces alien implants and experiments on humans; the revelation of the Cigarette Smoking Man's role in suppressing evidence; and the Syndicate's emergence as a cabal of elites negotiating with extraterrestrials for survival amid an impending invasion. Episodes like "Piper Maru" and "Apocrypha" in season 3 introduce the black oil virus, a sentient petroleum-based parasite that infects hosts to gestate alien offspring, while season 5 episodes such as "Patient X" and "The Red and the Black" expand on global abduction networks and vaccine efforts against the virus. The arc culminates in the season 5 finale "The End," where the X-Files office is torched, symbolizing institutional efforts to erase the truth, setting the stage for deeper revelations.^[6]^[7] Bridging seasons 5 and 6, the 1998 feature film The X-Files: Fight the Future advances the mythology by depicting Mulder and Scully's temporary removal from the X-Files unit following a bomb incident, their pursuit of a Texas outbreak linked to the black oil, and Scully's exposure to the black oil virus in Antarctica, from which she recovers following her prior cancer diagnosis. The film reinforces themes of institutional obstruction while reassigning the agents to routine FBI duties, heightening tensions in their quest.^[8] Recurring elements like the Syndicate—a clandestine group aiding alien hybridization experiments for human preservation—the black oil virus as a colonizing agent, and faceless alien rebels who sabotage Syndicate facilities to thwart the invasion, form the backbone of the mythology. These rebels, identifiable by facial scars from resisting the virus, represent internal alien dissent against the dominant colonist faction. Season 6 introduces a significant production change, relocating filming from Vancouver, British Columbia, to Los Angeles, California, at the insistence of star David Duchovny, whose contract stipulated the move to accommodate his personal life after five years away from home.^[9]^[10]

Episode premise

"The Beginning" serves as the sixth season premiere of The X-Files, originally broadcast on November 8, 1998, and picks up in the immediate aftermath of the 1998 feature film The X-Files: Fight the Future and the season 5 finale "The End," where the X-Files office was torched amid escalating conspiracy revelations.^[11] The episode establishes the temporary reassignment of Mulder and Scully to mundane FBI desk work under Assistant Director Alvin D. Kersh, while the X-Files division is handed over to antagonists, including the returning Jeffrey Spender and the newly introduced Diana Fowley, tasked with containing rather than pursuing paranormal inquiries, reflecting broader governmental suppression of extraterrestrial-related investigations.^[11] Spender, operating under Kersh's oversight, and Fowley, Mulder's former Oxford classmate with a background in parapsychology, are assigned to oversee the reopened X-Files office, aiming to debunk cases and maintain secrecy around the Syndicate's alien agenda.^[11] Meanwhile, Dana Scully returns to active duty following her recovery from severe hypothermia and exposure to the alien black oil virus during the Antarctic events of the film, resuming her partnership with Fox Mulder despite their demotion.^[11] Mulder, resolute in his quest to expose the truth, defies the obstacles posed by Kersh, Spender, and Fowley to investigate lingering threats tied to the series' mythology of alien colonization plans.^[11] The premise teases persistent dangers from alien bounty hunters, who continue to eliminate hybrid survivors, and the reappearance of Gibson Praise, the telepathic boy from earlier seasons whose abilities hold key insights into extraterrestrial origins.^[11]

Synopsis

Plot summary

The episode opens at the Roush Technologies facility in Phoenix, Arizona, where a worker named Sandy experiences sudden illness, cranks up the heat, and becomes increasingly translucent before his chest bursts open, revealing an alien gestation. The following day, an unseen alien entity with long claws attacks and kills another worker in the same plant, leaving behind burn marks and no visible perpetrator.^[12]^[11] Following their return from Antarctica after the events of the film The X-Files: Fight the Future, Fox Mulder and Dana Scully face an Office of Professional Responsibility (OPR) panel reviewing the reopening of the X-Files. Mulder testifies about a government conspiracy involving a virus spread by bees and corn, while Scully counters that the virus is of terrestrial origin, creating tension between them. Meanwhile, the Cigarette Smoking Man (CSM) convenes with the Syndicate, informing them of the anomalously rapid alien gestation in Sandy, which occurs in approximately 12 hours, and proposing to eliminate the creature using the telepathic boy Gibson Praise, whose brain contains alien DNA. Assistant Director Walter Skinner denies Mulder and Scully's reassignment to the X-Files, instead assigning Agents Jeffrey Spender and Diana Fowley to the unit under the new oversight of Assistant Director Alvin Kersh.^[12]^[11] Undeterred, Mulder and Scully conduct an unofficial investigation into the factory deaths. At Sandy's home, they discover claw marks on a wall and recover a metallic fingernail fragment from the scene. Analysis reveals the fragment contains the same virus from the movie and matches Gibson's DNA, suggesting the creature is linked to extraterrestrial remnants present in human evolution. The investigation leads them to the Rolling Hills Nuclear Power Plant, where the heat-seeking alien kills an engineer. There, they find Gibson, who has stowed away in their car after escaping custody; he reveals telepathic communication with the creature, which is drawn to him due to his hybrid DNA.^[12]^[11] Spender and Fowley, working with the Syndicate, attempt to obstruct Mulder and Scully while protecting the creature for study. Gibson is kidnapped from a hospital by Syndicate operatives and taken to the power plant to locate the alien, which has molted into a more humanoid form within the reactor core. Mulder infiltrates the plant with Fowley but is detained, while Scully pursues leads on Gibson. The creature, which remains unseen during attacks due to its elusive nature, pursues and kills several operatives in its quest for Gibson, eventually shedding its skin and claws in the superheated reactor water to reveal a grey alien form.^[12]^[11]^[13] In the climax at the power plant, Scully arrives but does not directly confront the creature. Mulder confronts Kersh with the evidence, but they are reprimanded and reassigned to mundane duties under Kersh, with the X-Files officially shut down under Spender and Fowley. Scully discusses the DNA evidence with Kersh, indicating possible extraterrestrial origins in human evolution, but no reinstatement occurs. The episode ends with the CSM speaking to Spender, emphasizing the need to break Mulder's spirit rather than kill him, as Mulder and Scully face their reassignment.^[12]^[11]

Themes and motifs

The episode delves into themes of institutional corruption, exemplified by the FBI's deliberate efforts to undermine Mulder and Scully's pursuit of the truth through the reassignment of the X-Files to Agents Spender and Fowley, who serve as proxies for bureaucratic suppression.^[14] This interference symbolizes broader government efforts to conceal extraterrestrial involvement, reinforcing the series' critique of authoritative overreach in silencing dissent.^[14] Central motifs of invisibility and hidden threats underscore the elusive alien conspiracy, with the episode's extraterrestrial entity representing a transitional, concealed stage in the mythology's viral infection process that defies easy detection.^[14] These elements highlight Mulder's relentless quest for obscured knowledge, portraying the conspiracy as an omnipresent yet intangible danger that permeates everyday institutions like a nuclear power plant.^[14] Character development arcs are pivotal, particularly Scully's post-movie evolution toward greater openness to the paranormal, contrasted with her enforced skepticism that limits her investigative scope and strains her partnership with Mulder.^[14] Mulder, meanwhile, demonstrates resilience against demotion and professional isolation, his emotional investment in the X-Files embodying unwavering commitment amid adversity.^[14] The narrative connects to the series' broader motifs, including the perennial tension between faith and skepticism, where Scully's rational denials clash with Mulder's intuitive beliefs in the face of mounting evidence for a vast conspiracy.^[14] Family legacies emerge through characters like Spender, whose ambiguous ties to the Cigarette Smoking Man evoke inherited burdens within the shadowy Syndicate, mirroring Mulder's own familial connections to the mythology.^[15] Additionally, the blurring of human-alien boundaries is implied in the entity's hybrid nature, aligning with the overarching mythology's revelation of extraterrestrial influences on human origins and identities.^[16] Visual motifs such as pervasive shadows and stark industrial environments, including dim corridors and the oppressive nuclear facility, evoke isolation, paranoia, and the lurking unknown, enhancing the episode's atmospheric tension.^[14] These techniques reinforce the thematic undercurrents of concealment and dread without overt exposition.^[14]

Production

Development

Chris Carter, serving as the series creator, writer, and showrunner, penned "The Beginning" to bridge the narrative gap left by the 1998 feature film The X-Files: Fight the Future, specifically tying into unresolved mythology elements such as the rebel alien faction opposing the Syndicate and Scully's compromised health after her exposure to the black oil virus.^[17] This approach aimed to maintain continuity while advancing the overarching conspiracy arc introduced in prior seasons.^[18] The episode's development began during the wrap-up of season 5 in early 1998, amid the film's production, with a key focus on facilitating the series' relocation from Vancouver to Los Angeles starting with season 6; this shift accommodated David Duchovny's desire to film closer to his California residence, allowing for more efficient scheduling and reduced travel demands on the lead actor.^[17] Carter emphasized adapting the show's aesthetic to the new urban environment, which influenced early scripting decisions for "The Beginning" by incorporating Los Angeles-area settings like industrial factories to ground the supernatural elements in a brighter, more contemporary visual palette.^[17] Subsequent script revisions sought to equilibrate deep mythology resolutions—such as the rebels' covert operations—with accessible standalone intrigue, notably through the strategic reintroduction of the Cigarette Smoking Man as a shadowy orchestrator of Syndicate remnants and the elevation of Agent Jeffrey Spender as Mulder's bureaucratic antagonist, thereby heightening internal FBI tensions without overwhelming new viewers.^[18] These changes ensured the episode served as both a series continuation and a soft entry point post-movie. Budgetary planning for the episode's visual effects, centered on rendering the invisible rebel alien's lethal presence through subtle distortions and practical wire work, involved close collaboration with the film's VFX supervisors at Ten Thirteen Productions to reuse established techniques and control costs amid the production relocation.^[19]

Casting

The principal roles of Fox Mulder and Dana Scully were once again played by David Duchovny and Gillian Anderson, respectively, continuing their longstanding portrayals from the series' inception.^[11] William B. Davis returned to the role of the Cigarette Smoking Man, a character presumed dead after being shot at the conclusion of the 1998 feature film The X-Files: Fight the Future, marking his reappearance in the post-movie narrative. Chris Owens reprised his role as FBI Special Agent Jeffrey Spender, the bureaucratic antagonist introduced in season 5's "The Red and the Black," with his casting helping to underscore the character's implied conspiracy ties and potential relation to the Cigarette Smoking Man through visual parallels.^[11] Mimi Rogers was cast as Special Agent Diana Fowley, Mulder's former partner and a figure from his Oxford days, selected in part due to her established on-screen rapport with Duchovny from their collaboration in the 1991 film The Rapture.^[11]^[20] Among the guest stars, a Russian prisoner portrayed the worker whose encounter with an extraterrestrial ship sets the episode's plot in motion, while Brian Thompson appeared as the alien bounty hunter pursuing the threat.^[21]

Design

The set design for "The Beginning" emphasized industrial grit and isolation, with factory interiors constructed on Los Angeles soundstages to evoke the stark, sun-baked landscapes of Arizona. Production designer Corey Kaplan oversaw the creation of these environments, drawing on practical builds to convey the episode's themes of hidden threats in everyday spaces. For the opening sequences set in a remote Russian facility resembling a gulag, practical snow effects were integrated to achieve a sense of harsh, unforgiving authenticity, enhancing the visual contrast between the frozen exile and the arid American Southwest.^[22] Costume designer Christine Peters tailored outfits to underscore character dynamics and narrative shifts. Mulder's wardrobe featured more casual suits, symbolizing his demotion and sidelined role within the FBI, while Scully's attire maintained a professional edge post her abduction recovery, blending tailored blazers with subtle nods to resilience. In contrast, Agent Spender's formal suits and crisp shirts reinforced his authoritative, bureaucratic presence, visually aligning him with the Syndicate's influence.^[21] Special effects planning centered on the episode's central antagonist: an invisible rebel alien wreaking havoc in the factory. Ten Thirteen Productions, Chris Carter's company, coordinated with visual effects teams to depict the creature's movements through a combination of wire work for physical interactions and early CGI for seamless invisibility and telekinetic feats. The VFX allocation for these sequences was approximately $1.5 million, reflecting the episode's role in bridging the mythology arc from the feature film. Key props reinforced the ongoing alien conspiracy, including elements integrated into the factory's experimental setup to suggest continuity in the Syndicate's research. The school setting for Gibson Praise was crafted with minimalist, enclosed designs—narrow hallways and dimly lit classrooms—to heighten the boy's vulnerability amid the alien pursuit, using soft lighting and sparse furnishings to evoke isolation.

Filming

Principal photography for "The Beginning" commenced in July 1998 in Los Angeles, California, representing the first episode of The X-Files to be filmed there after the series' relocation from Vancouver, British Columbia; interiors were primarily shot at Warner Bros. Studios in Burbank.^[23] Exterior scenes depicting the Arizona factory were captured at an actual industrial complex near Los Angeles, including night shoots for the alien pursuit sequences, which were executed over 12-hour overnight shifts to maintain continuity and atmospheric lighting.^[24] Director Kim Manners employed a dynamic style to heighten suspense, utilizing handheld camerawork during chase sequences and practical effects—such as wire rigs and partial suits—to convey the alien's invisibility on set, allowing actors to react authentically to unseen threats.^[25] The production faced logistical hurdles, including extreme heat during simulated desert exteriors that impacted crew endurance and equipment performance, alongside close coordination with the visual effects team at 20th Century Fox for seamless post-production blending of the creature's digital enhancements with live-action footage.^[24]

Release

Broadcast details

"The Beginning..." premiered on the Fox network in the United States on November 8, 1998, serving as the season premiere of the sixth season and the 118th episode overall.^[11]^[26] The episode earned a Nielsen household rating of 11.9 during its initial broadcast, which translated to 20.34 million viewers and placed it at #15 among programs for the week.^[27] Global syndication began in 1999, with the episode airing on Sky in the United Kingdom on March 7, 1999, and on BBC on January 5, 2000.^[28]

Home media and distribution

"The Beginning..." was included in the DVD release of The X-Files: The Complete Sixth Season, a six-disc set issued by 20th Century Fox Home Entertainment on November 5, 2002.^[29] This collection featured all 22 episodes from the season in widescreen format, along with bonus materials such as documentaries and international promotional clips.^[29] The episode received an upgrade in the 2015 Blu-ray remaster of season 6, released on December 8 by 20th Century Fox, which utilized 4K scans for enhanced video quality at 1080p resolution and improved DTS-HD Master Audio 5.1 for English tracks.^[30] Special features on the Blu-ray included over 28 minutes of deleted scenes with optional commentary by producer Frank Spotnitz, among them extended confrontations in mythology arcs involving characters like Agent Spender and Mulder from episodes such as "Two Fathers" and "One Son."^[31]^[32] As of November 2025, "The Beginning..." is available to stream on Hulu in the United States, with purchase or rental options on Amazon Video, Apple TV, and Fandango at Home; it can also be accessed via Disney+ in select regions through bundled Hulu content.^[33] International availability varies, with the series having streamed on Netflix in certain countries until 2023 before licensing shifts.^[33] The episode has been distributed internationally in dubbed formats, including Latin American Spanish (Los expedientes secretos X) and European Spanish (Expediente X), as well as French (The X-Files), often on platforms like Disney+.^[34]

Reception

Critical reviews

Critics offered a mixed reception to "The Beginning," the sixth-season premiere of The X-Files, praising its horror elements and ties to the preceding feature film while critiquing its formulaic approach to the series' ongoing mythology.^[14] The episode effectively bridges the events of The X-Files: Fight the Future, where Mulder and Scully uncover alien evidence in Antarctica, by reintroducing the alien threat through a chest-bursting creature emerging from a factory worker.^[35] Entertainment-focused outlets highlighted the episode's strengths in building tension during the alien hunt sequences, with reviewers noting the effective use of shadowy visuals and practical effects to heighten suspense in the desert and factory settings. David Duchovny's portrayal of Mulder, grappling with reassignment and renewed determination, was particularly commended for its emotional depth and conviction.^[36] These elements contributed to a sense of continuity for the franchise, earning the episode a B grade in retrospective analyses for its solid horror payoff despite transitional plotting.^[14] However, mixed critiques pointed to repetitive conspiracy motifs and underdeveloped supporting characters, such as Agent Diana Fowley, whose antagonistic role felt contrived and served primarily to advance the plot without deeper exploration. The A.V. Club's retro review described the mythology as "ludicrous and hard to follow," assigning a B- overall, while appreciating the stylish monster attacks and guest performances but lamenting the by-the-numbers structure that limited character growth for Scully.^[14] Negative responses viewed the installment as a "filler" episode, faulting its pacing in extended factory scenes and failure to innovate beyond re-establishing the status quo after the film. Variety-aligned commentary in broader rankings labeled it "mostly disappointing," marking the onset of mythos fatigue with convoluted alien evolution lore that strained credibility.^[37] The overall critical consensus positions "The Beginning" as a competent but transitional entry, valued for bridging the franchise but hindered by familiarity. It holds an 8.1/10 rating on IMDb based on over 4,000 user votes, reflecting sustained appreciation, while the season garners an 83% approval on Rotten Tomatoes from limited critic reviews as of 2025.^[11]^[38]

Audience and ratings response

The episode "The Beginning" garnered 20.34 million viewers in its initial U.S. broadcast, reflecting strong post-movie hype from The X-Files: Fight the Future earlier that year and high appeal to the core sci-fi audience, particularly adults aged 18-49 who formed the show's loyal demographic base.^[27] This figure marked an increase from the season 5 finale's 18.76 million viewers, interpreted by analysts as continued strong interest after the film's release, though it still positioned the episode among the top-rated programs of the 1998-1999 television season.)^[39] Fan responses in early online forums, such as the alt.tv.x-files newsgroups, were largely positive regarding the revival of the Cigarette Smoking Man as a central antagonist, with many enthusiasts praising the episode for re-energizing the overarching mythology after the season 5 cliffhanger. However, criticisms emerged around the episode's slow pacing and the unlikability of characters like Jeffrey Spender, often citing frustration with the deliberate buildup over immediate action. Over time, the episode's legacy has grown in retrospective analyses, with 2025 podcasts such as The X-Cast highlighting its appreciation for the improved production values enabled by the show's relocation to Los Angeles filming locations, which allowed for more consistent visual quality and outdoor scenes compared to Vancouver-era episodes. Minor memes referencing the "invisible alien" antagonist have persisted in online communities, often humorously noting the creature's elusive nature as a metaphor for the series' unresolved mysteries.^[37] While the episode itself received no major accolades, it contributed to season 6's broader recognition, including Emmy nominations for visual effects in episodes like "First Person Shooter."

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