Triangle was a great episode of The X-Files and I liked watching because the story was pretty good, the characters were awesome and the ending reminded me a little of The Wizard of Oz when Dorthy returns home and every one was in her dream. It was interesting to watch Mulder and Scully operating in two different times. I liked how every thing played out but this wasn't one of my favorite episodes and definitely didn't grab my attention or enthusiasm. I look forward to watching what happens next!!!!!
Season 6, according to my friend, found the X-Files doing a lot more experimental stuff with their stories and the way they filmed episodes, and I can certainly see what he means by the last three episodes. The first three episodes have been great episodes overall, but there was just something incredibly fun and ridiculous about this episode, the same type of fun that episodes like "Small Potatoes" and "Bad Blood" gave us.. while I don't think that they're as good as those, "Triangle" gives us one of the show's finest hours and sort of gives us a Mulder/Scully kiss... but not really.
In fact, my only real problem with the episode is that we never exactly figure out how Mulder goes missing and then enters back into our world. The episode doesn't seem too intent on focusing on the logistics or science of the episode.. instead, it's all about style, as Chris Carter lets the camera stretch on for what feels like ten or fifteen minute long takes (even though they're likely split and expertly edited). I think that, despite how clever Carter was with Mulder and the 1939 plot, I liked Scully's attempts to try and figure out how to help Mulder. The use of C.S.M here wasn't even conspiracy related.. instead, he seemed to exist just to make it even funnier watching Scully get more and more frustrated as she tries to help Mulder.
In fact, I'd be hard-pressed, despite how unbelievably dark some of the moments of the episode are, to call this a straight-up comedy. Scully kissing Skinner in happiness for helping her, Mulder kissing the old Scully in 1939 and then getting punched, and the awkward "I love you" he says to the real Scully at the end that just gets an exasperated sarcastic head nod.. it was just a funny episode that found a way to use every single supporting character the show has used in the last five or six years.
Season 6 is definitely off to a great start. I look forward to seeing where else they go from here.
Okay first i have to establish the one thing i dont like about this episode first.... Mulder says scully...i love you which would be GREAT if not for the fact that it was only 2 or 3 episodes ago when he was drooling all over Diana Fowley and choosing to believe her (who we all know is bad)over Scully.
That said I absolutly loved this episode!! I loved the characters being recast as Nazi's and OCC agents. I loved the kiss between Old Scully and Mulder and REALLY loved the punch afterwards. I loved all the Wizard of oz shout outs and the running shots down the halls. I nearly peed myself i was laughing so hard when Scully yelled at Spender and then again when she kissed skinner. Yet at the same time it wasnt just comedy to me. You could really tell that she was freeking out about mulder which was so cute and made every thing funny that much funnier because she was in a tizzy. I really liked the side by side shots of the different times running thru the halls. And when the two scully's passed each other and switched screens I thought that was great and supprising on the directors part.
Over all this is ONE of my fav. episodes if not my fav. I differed from classic X files but after all that myth arc stuff i was wanting something alittle different and lighter. something where i could laugh at the tv instead of yell at it. SO big thumbs UP!!!
Whoa - I just saw this episode for the very first time and I was completely blown away. Best. Episode. Ever. Great action, great humor, cleverly plotted and filmed. I absolutely adored Scully, running around the FBI office, trying desperately to find someone to give her the information she needed. It was nervewracking and very funny.
Also we finally get a much needed kiss between Mulder and... well, the 'alternate reality Scully' I guess you could call her - but it's a kiss nevertheless!
Finally, he gets to declare his love for her. Not that I was surprised. I mean, we have known that for the past 5 seasons, haven't we? Still, it was so unbelievably sweet and her reaction so funny and in character I think I woke my neighbors squealing. And he looked as if he really meant it. Really!
Oh my, this is one episode to rewatch a couple of times!!!
Mulder goes into the Bermuda Triangle searching for Queen Anne, a British luxury liner which disappeared during WWII and reappeared in the present time in the middle of the Atlantic Ocean and finds himself trapped on the ship in 1939 with many familiar faces.
Triangle is not the typical X-Files episode but it's a great surprise proving that the series in its sixth season is still brilliant and original.
Technically this episode is very impressive. I loved Chris Carter's idea to use four very long, continuous shot – one-offs – and the cinematography and the acting are once again amazing. The story is great as well, very funny and full of action and romance. Scully running around the FBI trying to find some help for Mulder is simply hilarious and the moment when Scully and her 1939 self, with the help of spilt-screens, cross paths is brilliant. Triangle is one of the most entertaining episodes of the series and one of my favourites.
One of my all time favorite episodes, Triangle is the most different and unique from any other X-File. The direction and editing alone are enough to make this episode outstanding. Inspired by the movie Rope by Hitchcock, Chris Carter uses four continues shots and a moving camera and the result is spectacular.
The plot is amazing as well. I was always fascinated by the stories about the Bermuda Triangle and, though not fully explored, it was nice to see The X-Files deals with it. The episode is loaded with many unforgettable moments of action and humor: from Mulder trying to escape from the Nazis and convince past Scully that he's not one of them to Scully running from office to office threatening Spender and kissing Skinner in order to take the information she needs (G.A. is phenomenal) every single scene is brilliant. The end leaves us a little confused about what really happened but nevertheless excited.
A great episode. Beautifully shot, exciting, funny and very creative and unique. Loved every minute of it. The long tracking shots were fanastic, its very impressive that they managed to do such long takes without mistakes. I loved Kersh in this episode - he's so funny wanting to go back to Jamica! Haha! There were a lot of funny bits, such as Scully trying to find Mulder, and it was all really well put together. Enjoyed this episode very much, its one of my faves. I love all the Wizard of Oz refrences, and I like Scully being all badass. The kiss and then the punch - great! And the ending is very funny as well.
A quirky fun episode - who would have imagined them doing episodes like this in season 2? 10/10
When Mulder goes in search of the lost World War Two era luxery liner The Queen Anne, he stumbles into a time warp where he sees familar faces. Scully in turn, aided by the Lone Gunman, is trying to find and save Mulder when he seems to have disappeared.
This is a wonderful episode. It has all the classic elements that made The X-files great. The unique style which was present in nearly every episode is clear in this one, with references and homage paid to classic films in both content and unique cinematography. The humor and bizarre aspects are highly intertaining. It also encompasses some romance which so many fans thrived on at this point in the series. The character development through the roles in which the characters are placed in the World War Two setting gives good insight into their actual roles and traits in the show itself.
You've just got to love time warps. They always make for the best episodes in any series. this episode was very funny with all the wizard of oz references. I liked Scully's desperation to find Mulder. You know she must have been desperate if she went to Spender for help. That was also a good scene I liked the big long continuous shot and Scully yelling at Spender. Then she kissed Skinner. Then Mulder is stuck in the past and CSM is a Nazi. I really enjoyed the scene where Mulder kicked the crap out of Nazi Spender. This episode is a must see even if it isn't a mytharc episode it is a really great comedy episode.
WOW this was one awesome episode! I absolutely loved Mulder being trapped in that time loop! I loved seeing him try to tell the Nazis that he didn't speak Nazi! And it was great to see that when they saw his badge they had no idea what the FBI was!
Scully was crazy which I loved!! It was nice to see her like a time bomb ready to explode! Her threatening Spender was brilliant and it was nice seeing her so forceful! And I found it extremely funny when she kissed Skinner!
Past Scully was great too! I loved Mulder kissing her and saying "In case we never meet again." And it was great to see them working together so the Nazis wouldn't kill more people.
And the end when Mulder was in the hospital was great! I loved the guys asking about the drugs he was on and saying they wanted some! That was perfect and of course Mulder telling Scully he loved her was perfect too.
Mulder realizes that he is stuck on a ship--trapped in 1939! He soon meets people from his own life in different forms, as Scully tries to help him in this different, lovely episode of the classic series, "The X-Files"
After seeing Triangle, I nearly wanted to stand up and clap. Although most die-hard X-File fans say that the writing quality took a nosedive after the movie, 'Triangle' is a perfectly good reason to argue that the sixth season was decent. Like the series, it's original, inventive, and clever, different from any X-File I've ever seen. The episode is also worth watching just to catch a glimpse of the stunning cinematography. Mulder is after the secret of the Bermuda Triangle and stumbles upon a ship-only discover that the ship is actually stuck in 1939, as so are the passengers on board. As Mulder tries to get some answers, one of the most entertaining and exciting parts of this episode begins. After hearing news from the Lone Gunmen that Mulder is in danger, Scully starts her quest for information on his whereabouts. Once quoted by Mulder, Scully did "get her little legs moving" as she ran up and down floors, from different people for info. Gillian Anderson perfectly played an exasperated Scully as she furiously demanded help, and how Scully became relieved as Skinner provided her with the scoop that she needed. Besides the funny dialogue and expert performance by Anderson, the way the scene was shot, similar to long shots/ 10 minute long takes (which is a defining characteristic of this episode) also added immensely to its effect. Using a hand-held camera, panning behind Scully, the editors must have had a lot to do, with disguising cuts after "whiplash" camera movements. Back on the ship Mulder, in a "Wizard of Oz"-inspired idea, meets people he knows from his life, in different forms on the ship, which is taken over by Nazis in a just-started WWII landscape (or in this case, seascape). For example, CSM is in the form of a head Nazi, and Skinner as his reported, in a way. After being captured, Mulder dresses as a Nazi, and enters a ballroom, where, gasp!, he meets a stunning redhead who's sassiness is like someone that we all know and love. Yes, Mulder meets "1939 Scully" (like I said before, most of the people that Mulder knows show up in a different form on the ship) and demands that she help him. Although skeptical, "1939 Scully" (who, just out of pointing out, is dressed in a gorgeous maroon gown and her hair is styled in a classy '40s bob) joins his quest and eventually helps him out. A fight begins in the ballroom, and Mulder and "1939 Scully" escape, trying to get Mulder to get off the ship and turn the boat around to avoid war. Another of the gorgeously shot scenes now comes into play, as real Scully comes aboard and is searching for Mulder amongst the narrow hallways. At one point, "1939 Scully" and real Scully nearly brush by each other and both feel something but shrug it off in another impeccably done moment of the episode. Finally, Mulder instructs "1939 Scully" exactly what to do when he leaves, and, as he says, "just in case we never meet again" he plants a kiss right on her, in a swooping, romantic moment. But as "1939 Scully" still holds some aspects of real Scully's personality, she punches him. (Don't worry, it's done out of affection.) By the way, I really liked that "1939 Scully" was very similar to real Scully in terms of personality, as a strong, sassy, smart, and pretty woman. Mulder jumps off the ship, and is discovered floating in the water by his rescuers: real Scully and the Lone Gunmen. Mulder then awakes in a hospital room, with Scully and the Lone Gunmen by his side. In another "Wizard of Oz"-like moment, Mulder points to Scully, the Lone Gunmen, and just-entered-the-room Skinner and says that he saw all of them on board. (Skinner sarcastically replies, "Yeah, me and my little dog Toto.") Scully assures him that it was a ghost ship he was on (when Scully and the three Gunmen came on board, it was entirely deserted.) Skinner and the Lone Gunmen leave and Scully is about to, when Mulder says, "Scully. You saved the world." And our girl responds, "Yeah. You're right. I did." Finally, after years of waiting, Mulder says to Scully THE three words: "I love you." Scully, bemused by this statement, mutters, "Oh, brother," before leaving the room. (Whether Mulder means "I love you" as a romantic gesture, or just something we'd know all along, as that he loves her as a friend and respects her greatly.) And in the last shot of the episode, Mulder wonders if this really all happened, then grins as he gently rubbed the cheek where "1939 Scully" punched him. 'Triangle' proves to be one of the most entertaining episodes of the series, and is one of my favorites. From the witty dialogue, expert acting, hint of romantic future between M&S, awesomely recreated era, and awesomely done cinematography, this is a reason why I love X-Files. It doesn't give any information on to the on-going mythology exactly, but rather provides an entertaining hour of television. And hey, isn't that one of the reasons for TV?
time travel. can't get any better than this. finally, mulder and scully kiss even it it's just in their past life. mulder's in this ship on a different time way past, caught in the bermuda triangle. meanwhile, scully's trying to find him. mulder's at a loss on this time warp where most of the people aboard speak a different language. seeing the cigarette-smoking man, skinner and scully but in their past life. he was mistaken for a spy but he convinced them to return and not change their course so as not to change anything or just leave things as they ought to be in order not to change the future or they couldn't come back and wouldn't exist at all.
As the title to this episode might suggest, it is set in the Bermuda Triangle.
Mulder goes searching for the Queen Anne, a British luxury liner which went missing in 1939, supposedly sunk by a German U-boat. There are many references to the film 'The Wizard of Oz' through out this episode. Mulder initially thinks all the people he meets on the ship have come forward in time, but he soon realises that it is he, in fact, who has gone back in time. During his experiences on board, he "sees" many familiar faces. Cigarette man is the nasty Nazi leader who orders the execution of innocent civilians. He even gets help from Scully who is there as an OSS operative. The Oz similarities continue right to the end when in hospital Mulder wakes up and sees Scully and Skinner and says "you were there...and you.
There was a comic "Spartacus" moment from the film Spartacus, when the Nazis are searching for the scientist, and he comes forward and says "i'm the scientist" and Scully comes forward and says "i'm the scientist". I thought the rest of the people in the room were also going to say it!
This episode has it all!. Romance, action and a little history all in one. The war scenes were shot to look like they were all one take with the camera moving with the characters, this makes you feel like you are running through the bows of the ship with them. The costumes were real to life for that time and were provided in glorious detail. The music and sets designs were made to such I high standard for a television series and it presents a almost movie like feel. There is also plenty of humour on all parts to leave you smiling along the way.
I'm surprised at all the love heaped on this episode by fans. Yes, it is a technical tour-de-force but they forgot to write a compelling story to go with the technical wizardry.
I too have seen "Rope" and I was impressed with the technical conceit of filming in long uninterrupted takes. But technique should be employed to serve the story and here I am convinced that Carter has it reversed. Here, he gives us a half-baked story that exists solely to showcase his crew's ability to create "one-ers." It comes across as a kind of "showing off," as well as a blatant attempt to score another Emmy or two (in the DVD commentary, Carter rather forlornly notes this episode's failure to win him any Emmys).
What is even more damning is that the long takes actually end up hurting this episode in significant ways. Throughout the episode, the acting is remarkably flat. I can imagine that the number of takes were small since each take required enormous effort to set up. Thus, the producers would not have had the luxury of picking and choosing an actor's best takes from amongst several smaller takes. They were stuck with the entire performance of an actor during the best of a very limited number of takes, warts and all. A perfect example of this is Anderson's slip during one of her scenes.
The other major problem is that the lighting is just terrible in most scenes since it is near impossible for each and every actor to hit their precise marks for maximum light coverage when the cameraman is all over the place. A good example of this is the scene where the Nazi Skinner is introduced. His face is so poorly lit that at first it is hard to recognize him, even with his signature eyeglasses (of course, his chrome dome was also covered by a hat, which also made it hard to identify him).
The storyline was a mess. I'm still not sure what was going on. The Nazis actually boarded a British boat in the Gulf of Mexico/Caribbeans? Really? *boggle*
The Wizard of Oz references were gratuitous and silly since the actual plot of this episode (such as it was) bears very little similarity to that of the film. I groaned at the final scene when Skinner comes in to see Mulder, hand in hand with the Lone Gunmen. That moment alone nearly jumped the shark for me.
Throwing in a Sculder kiss and a sheepish "I Love You" from Mulder might be enough to make the shippers swoon and toss out 10.0 ratings but it just seemed like crass fan pandering to me. The X-Files is better than that, isn't it?
An episode of this type takes an enormous amount of time, effort, planning, and strategy. It's a really impressive undertaking for a television episodic show, and they pulled it off so smoothly! The disguised cuts, the rapid scene and costume changes, the carefully choreographed camera-work - it was all so tightly tied together, my eyes were literally glued to the screen. The writing and acting were also so fast-paced that I felt my pulse rising as the action got quicker and quicker, especially during the second act. It was a fun premise as well, traveling back in time and having both versions of Scully walking around the ship. I loved the homage to the Wizard of Oz - one of the most classic stories ever. Really a well done and exciting episode, funny and action-packed, and of course there's some long-awaited lip action between Mulder and "Scully." The significance of that, on a character analysis level, I think is really interesting. First of all, Mulder has known since Scully recovered from her cancer that he loved her and needed her. Scully has some more trouble coming to terms with such knowledge, even as late as the Christmas episode with the haunted house, Scully is reluctant to even admit that she might have wanted to be in the house with Mulder just to be with him. In the movie, which takes place between 5th and 6th season, Mulder is the one who (almost) initiated the kiss, surprising Scully (she seems willing to accept it, but knowing her she probably rationalized it all away later). So here, it is Mulder's one chance to experience a kiss with Scully - something, I guess, he has deemed as doomed to never occur. His line, "In case we never meet again," clearly denotes that there is something he is holding in, wanting to tell Scully that he hasn't. And knowing Mulder, he takes his chances when he sees them without putting much thought into the process. He did put thought into the process at the end of the episode, when he declares his feelings for Scully. For him, it's a big moment - a moment where they can step across the line and finally venture into a place where they can speak their feelings for each other out loud. In voices. A long pause, a deep breath, and he plunges in. And Scully dismisses it. Ooof course.
An excellent and original, though yet not perfect episode.
The episode begins with Mulder in the water, half dead. He’s picked up into a ship filled with men, they think they are in the war and that Mulder is a spy. The germen come on boat. Mulder sees Scully, Cancer Man and Skinner on that boat, or at least, their past-selves. Meanwhile Scully can’t seem to find him but the Lone gunmen tell her that he went to find a ship that disappeared in the war. The best part was when Scully walked through the entire office, very hilarious. Skinner didn’t want to help her at first but then did. The annoying spencer gave her out and the new boss Kersh is a total a-hole. But Skinner eventually gives her the info and she leaves,
Meanwhile Mulder is having the time of his life, he said that there is someone on board, of professor that can stop the war world. They need to have him so Mulder lies and plays along with the Scully in that reality who seemed very strong. Eventually the real scientist gives himself up. Then the lights go off and Mulder and Scully escapes, before he jumps off a ship he gives her a kiss goodbye and she hits him. Then he jumps into the ocean.
Mulder wakes up in the hospital with Scully by his side, she and the Lonegunmen were also in the ship but the didn’t see anything. They thought it was a ghost ship. The best thing about it was that Mulder started to reveal his love for Scully, a lot. He told her that he loved her although she tried to ignore it.
I thought the epoded was great. when Scully was runnin around the fbi. WHen she ask skinner for the info and he told her to save a**, then when she saids save ur own a** and wile ur at it save ur head to.Then when skinner give her the info and she kisses him well that was grosse. I like when he runs into past life Scully and she's runner aound with him. b4 he jumps off the ship he saids just incase we neaver meet and then he kisses he and she hits him that was funny. Then when there in the hospital room and skinners like get better so I can kick ur butt. Then he goes I love u Scully and she think hes outa his mind.
Overall, this episode is an interesting if overdone attempt at another Emmy-chasing twist to the usual production values. Not everything works, and the plot requires a great deal of speculation and hand-waving to make sense in the end.
There’s no doubt that this is a technically impressive episode. In reality (or through use of inventive cuts), these are some of the longest tracking shots in the history of the series, and Carter made quite a bit out of how rare that kind of filming technique is. (There was much discussion of Alfred Hitchcock’s “Rope”, which is indeed quite impressive.) Ignoring the fact that “Babylon 5” routinely filmed extremely long scenes in a single take before and during the same time period, the scale is much bigger than one would expect given the techniques employed.
That doesn’t necessarily give the episode a free pass, however, since the story itself is a bit of a mess. In general, it plays as Mulder’s version of Oz, with familiar faces popping up in the apparent past. From that perspective, it works rather well. Yet other elements lend credence to some aspects of actual time travel. The question becomes: can the episode be placed in a context that will allow the story to be consistent and valid as presented?
It would be easy to dismiss this as another “alternate reality” episode, especially given that some historical details don’t quite mesh. Carter’s previous storytelling experiment, “The Post-Modern Prometheus”, was rendered effective by its self-contained nature. Mulder and Scully were treated as icons, their personalities writ large on a classic horror comic stage.
That’s not quite what happens in this episode. Instead, it’s as if the storytelling conceit is used to amplify the reality of the characters in question. Mulder is more obviously Mulder, but very much as he sees himself. Scully is more acerbically Scully than has been seen in some time, which suggests that her emotional state serves as a source for “amplifying” her personality. In fact, everyone in the story is a bit more emphatic, as if responding to the scope and bombast of the story.
Even so, this is not necessarily a problem. In the latter seasons of the series, there was a movement (acknowledged or otherwise) to move Mulder and Scully into the iconic status that they had achieved in the popular culture. They had a history, and the characters had previous growth, but those details were dismissed as the story demanded it. This wasn’t a great writing choice, since characters should never serve the demands of the plot over their own psychological drives in good writing, but at times it worked. This was Mulder and Scully as “modern myth”.
Taken from that perspective, the presentation of the episode makes a great deal of sense. This is a story about Mulder and Scully as told through the amplified excess of myth-making. Carter takes on the role of the storyteller, the bard weaving the tale of these two heroes. That still doesn’t explain how the plot might work as presented in this fashion, since outside of the convenience of “myth”, there needs to be a truth at the heart of it all.
Mulder’s decision to run off on his own and find the Queen Anne is hard to argue. It’s classic Mulder. It would be more shocking if he didn’t go running off and putting his life in danger. But once he is pulled out of the water, what is he experiencing? There’s some degree of tactile reality to it, but given the fact that familiar faces continue to emerge, how real is this version of “reality”?
In a way, some theories on paranormal activity may explain what happens in the episode. The idea is that events and memories become entangled with the physicality of an object. Normally this leads to the so-called “residual” haunting: the perception of a past event that has become “imprinted” on an object or space. Some believe that there is an actual “scene” played out that is perceived; others believe that the perceived “scene” is all within the mind(s) of those affected by the presence of this information.
To take it a step further, there is the idea that a non-corporeal intelligence can take on a material form if it has enough energy and focus to do so. Various episodes support the application of this theory within the mythology of the series. Logically, there is a scale in play: at one end, the mere presence of a “residual” haunting; on the other, the focused and directed act of a non-corporeal intelligence.
This episode suggests something in the middle of that scale. The events as portrayed are a mixture of the events that took place, resembling “residual” characteristics, and an interactive communication with Mulder himself, resembling a true haunting or time travel experience. Yet it’s possible that the events on the ship are purely residual.
The idea is this: the peculiar electromagnetic properties of the Devil’s Triangle (something more or less confirmed by science but taken into some odd places in urban legend) could add enough energy and structure to the residual haunting that the presence of the right person could, in fact, lead to something more than the usual re-playing of events.
Instead of merely seeing the past, Mulder begins to interact with the residual haunting itself. (This could be considered an early demonstration of the psychic abilities activated by Mulder’s exposure to Purity in “Tunguska” and amplified in “The Sixth Extinction”.) Mulder appears to be an addition to history, at least from his point of view. But the situation, odd as it is, works far better if Mulder slips into the role of someone already on the ship in 1939.
Mulder’s own point of view then begins to “interact” with the residual haunting. The incomplete personalities imprinted on the Queen Anne react to him as though he were really there. The past becomes a tactile experience for him, as it must have been for whatever individual was in his position in the first place. In turn, there is a certain sense of feedback: personalities that are residual take one the appearance of people in Mulder’s world, based on how his mind perceives that past individual. So a strong-willed woman looks a lot like Scully, the Nazi leader looks like Cancer Man, and the American agent in Nazi clothing looks like Skinner.
In other words, those individuals did not necessarily look like that in 1939; Mulder’s perception made them appear as they did. At the same time, appearance is clearly not everything; the core personalities are intact, reflecting the people who were really on the Queen Anne when it was lost to history. The residual haunting draws Mulder into that ephemeral reality, based on the unique characteristics of that moment.
That theory explains 99% of what happens in the episode. Mulder is drawn into this perceptual reality and eventually returns to “normal” perception at the very end. What complicates this interpretation of the episode is the final act, in which Mulder is running around in the “past” through corridors that should send him careening into Scully in the “present”, if he is really just perceiving the world differently.
The only way to explain this with any consistency is to interpret Mulder’s interaction with the “residual past” on a completely non-corporeal (“astral”) level. In essence, Mulder is between life and death, floating in the ocean, which in turn allows his latent psychic ability to intersect and interact with the residual haunting on the Queen Anne. Thus Mulder is not actually there, and since he is operating on the same level of existence as the “residual intelligences”, it seems like reality from his point of view.
This would explain why Scully doesn’t see Mulder on the Queen Anne. Her own psychic ability would recognize that someone with a very similar personality was within the same “space”, however. One scene in particular shows both “versions” of “Scully” reacting to each other. This is a clever way to touch on the idea of psychic ability as independent of time. Whoever Mulder is running around with “resonates” with Scully; they both feel an association, in past or future, that is unseen and unexplained. Just as Mulder recognizes a strong similarity to Scully in this OSS agent, prompting him to see her as Scully, Scully herself feels the association with this imprinted memory of that same person.
As seen from this (admittedly) convoluted context, the episode is viable as a somewhat mythic version of some actual event. It no longer matters that the events in the episode were supposedly taking place at the same time as the events in “Drive”; this is the story as told by someone else with a distinct and subjective point of view. At some point, roughly in late 1998, Mulder ran off and had a very strange experience. He probably reported it in an X-File, and sooner or later, that would get out to the rest of the world (probably through that whole Freedom of Information plot device mentioned in “Fallen Angel”). The story became a legend, as seen in the episode.
The episode cannot be dismissed as a fantasy or “alternate reality” for other reasons. Because of the format and the psychological elements involved, information is provided that pertains directly to the overall status quo in the beginning of the sixth season. In particular, Scully learns a great deal about Cancer Man’s hold over the X-Files and the FBI leadership, while Mulder’s suspicions are reflected in which characters reveal themselves in the “past”. It’s actually rather clever in execution, but it does require the episode to be relevant in terms of the big picture.
From Mulder’s point of view, Spender is a lackey to Cancer Man. Scully is an upfront, strong, and loyal woman. Kersh is a man desperately trying to pave his own way, despite considerable pressure from all sides (which is a rather favorable interpretation, given Kersh’s obvious hostility in “Drive”). It’s also significant that Mulder only sees a handful of people in this “past” incarnation. This implies that Scully, Skinner, Spender, Kersh, and Cancer Man are primary forces in his mental landscape.
This episode gives a rare look at Scully’s world. Scully is stuck in the worst possible office environment (not even a soul-crushing cubicle!). In short order, she determines that Skinner is on a tight leash, Kersh, Spender, and Fowley are in bed with Cancer Man, and even Skinner can be distracted enough to ignore a kiss from Scully. Though how the Gunmen manage to run around the Hoover Building when everyone is trying to intercept Scully is rather hard to fathom.
The final act is a lot of fun, even if it brings up some challenges in the logic department. At that point, though, the “legendary” side of the episode is in full swing. The use of period-appropriate swing music is neatly evocative. The only real complaint is the use of grainy video (intentional, as per Carter) and the terrible lighting, required by the demands of the directing technique. Too many scenes are bathed in shadow and hard to follow.
A number of fans love this episode, but probably not for the daring direction or entertaining themes. There’s also the issue of the kiss and Mulder’s delirious declaration of love. This would become a running theme for the sixth and seventh seasons, as the writers sought to squeeze every last drop of tension out of a relationship that should have reached its pinnacle in “Fight the Future”. Looking back on this moment, it’s a clever yet unnecessary tease to a very specific subset of the audience.
This is the last attempt at an episode designed to win an Emmy. Future episodes would play around with the idea of meta-fiction (“X-Cops”) and “legendary” aspects of the now-iconic characters, but there was never an attempt to win awards through some huge production twist. “Triangle” is therefore the last of its kind, and in many ways, that’s probably a good thing.
At first I thought the episode was a little silly and weird but the more I watched the more I liked it.
At first I was wondering if the whole episode was going to be on the ship, without Scully making an appearance or anyone from the FBI.
The "one-off" scenes with Scully running around the FBI trying to somehow find someone to give her some information about the ship was awesome.
And even better was when Scully and the guys found the Ship but it was totally abandoned. I thought that she might run into Mulder right then & there but they didn't run into each other, that was so cool.
And the best part of all was when Mulder kissed Scully (or should I say past life Scully) on the ship just before he jumped off back into the future. And then the "I love you" in the hospital room, that was romantic, just a pity Scully thought he was loosing it or something.
A very unique episode, both in plotting and in technique. The single shot style aboard the ship is pulled off very well, without being distracting. Fact, it took me a bit to even realize it was happening. A really creative attempt at trying something different to keep the show from getting stale, and a thoroughly successful one at that.
This episode ranks as one of the best and is a must-see episode because it contains the single greatest sequence ever filmed for a TV show.
The sequence is the one in which Scully travels all over the FBI building in a desperate attempt to find out what happened to Mulder.
This sequence is the Touch of Evil of television. It looks as though it was all done in one take, though it probably wasn't. The fact that it's not immediately apparent that it wasn't is enough for me. The camera follows Scully up and down and back and forth and Anderson's performance in this sequence is among the best acting she ever did in the show. Whether this sequence really was filmed continuously or not is not the only great thing about the episode.
The whole story aboard the ship and the multiple characters played by the actors makes this a standout. The writing is superb and the period look is wonderful.
Anyone who has any doubts about the ability of the X-Files to reach beyond aliens needs to watch this show. I've always preferred the standalone shows to the conspiracy ones and especially those that take chances like this one.
O my goodness. I can’t even begin to say what I think about think episode, just that… it was SO cool! =D lol I loved the punch “Scully” gave Mulder after he kissed her. And the kiss was just… wow… just blew my head off! What a kiss.. Scully’s so lucky…
The whole episode seemed like a movie. Was it just on my tv, or was it showing like a movie? Like those black stripes on top and on the bottem of the screen? But I have to admit, it was pretty cool.
I had such a laugh attack when Scully kissed Skinner in the elevator. That was soo funny... lol
At the end, where Mulder was at the hospital, was such an endearing scene. When Mulder and Scully were talking really close together, almost touching each others faces, and then Mulder said that he loved Scully… It just broke my heart! Then Scully thinks it’s the meds talking and “ignores” him but then he remembers the punch “past Scully” gave him and puts the most adorable smile I’ve ever seen.
This episode was silly it made no sense at all to me and as for the Wizard of OZ references well it made no sense either it was just a plain silly episode if you ask me. But Scully and Mulder did kiss so I guess it was not a bad episode.
alright this is the first kiss i think on screen for them, even though it was in her past life, but its still scully so it still counts! and plus man did u see the shot that scully is looking for were the ship is at and she goes all over the fbi, i mean thas hard 2 film. all of the lines, and everything has 2 be on cue! that right there i thought was pretty damn cool! mulder being himself always screws up the things, even in his past life and present life! i liked it alot but some people dont well hell i dont care, that episode has 2 be in one of my faves list, and mulder like always is so attractive yeah! lol i liked him alot in the beginning of Drive though man is he hot?!
MULDER is lying on his side in a hospital bed, unconscious. SCULLY leans over him.)
SCULLY: Mulder? Mulder, it's me. Hmm?
MULDER: (waking) Where am I? (tries to sit up)
SCULLY: You're in a hospital.
SCULLY: Lie still.
MULDER: I feel... Like hell.
SCULLY: I don't blame you. You've been through the wringer, I'd say.
MULDER: What happened to me?
SCULLY: You did something incredibly stupid.
MULDER: What did I do?
SCULLY: You went looking for a ship, Mulder. In the Bermuda Triangle.
MULDER: Say that again?
(GUNMEN enter the room.)
FROHIKE: Gilligan awakes.
MULDER: You were there.
MULDER: You were there, Scully.
LANGLY: (to the others) He's delirious.
MULDER: (referring to SKINNER) And he was there, too.
SKINNER: (dropping a bouquet of flowers on the nightstand) Right-- Me and my dog Toto.
MULDER: No, you were there with the Nazis.
SCULLY: Mulder, will you settle down? It's an order.
SKINNER: Not that he takes orders...
(MULDER rests the back of his hand against SCULLY's waist which is against his bed rail. He is happy, yet very drugged.)
MULDER: You saved the world, Scully.
SCULLY: Yeah... You're right. I did.
FROHIKE: What kind of drugs is he on?
LANGLY: I want some.
MULDER: No, no, no.... The Queen Anne-- I found it. You were there with Thor's Hammer. I told you you had to turn the ship around and then I jumped overboard.
SCULLY: Yeah, I bet you did. The boat that you were on was busted into a million pieces. And as for the Queen Anne it was nothing more than a ghost ship.
MULDER: No, no, no. You and I were on that ship, Scully. In 1939.
SKINNER: Get some rest, Mulder, 'cause when you get out of here I'm going to kick your butt but good.
(SKINNER and the GUNMEN leave the room.)
MULDER: I would've never seen you again. But you believed me.
SCULLY: In your dreams. (as if talking to a child) Mulder, I want you to close your eyes and I want you to think to yourself "there's no place like home."
MULDER: Mmm. ( chuckles )
(SCULLY starts to leave. He calls her back.)
MULDER: Hey, Scully. (leans up on his elbow)
(SCULLY comes back and leans close to his face.)
(Long pause. They look deeply at one another.)
MULDER: I love you.
SCULLY: Oh, brother... (turns away and leaves the room)
(MULDER, perhaps a little hurt, watches her go. He starts to lie down, but as soon as his face touches the pillow he pulls back up in slight pain and rubs his jaw where 1939 SCULLY hit him. He gazes after her and smiles.
The X-Files had increasingly been going downhill until the movie. After the movie, it was worse. The movie should have ended the series, yet they continued to slide until this cheap Titanic-ish knockoff episode.
This is the episode where Mulder and Scully kiss. Wow. Big deal. Did I ever watch the show for that? No.
I quit watching X-Files after this episode and only started to watch again when the advertisements on TV were saying that the show was coming to an end (sometime in season 9).
I was a loyal X-Files fan and I still am, but I just pretent that seasons 6 through 9 never happened.
Please read the following before uploading
Do not upload anything which you do not own or are fully licensed to upload. The images should not contain any sexually explicit content, race hatred material or other offensive symbols or images. Remember: Abuse of the TV.com image system may result in you being banned from uploading images or from the entire site – so, play nice and respect the rules!