Most everyone knows about
The Lone Gunmen pilot episode in which an airplane is hacked to prevent it from flying into the World Trade Center. But that series' creators may have been inspired by an earlier episode of its parent show
The X-Files.
Perhaps the most paranormal aspect of this low-budget semi-Canadian dark comedy is the mere fact that the FBI characters in it are genuinely warm people who care about the truth and the American public they misguidedly attempt to serve it to. Still, this has to be one of the strangest episodes about the paranormally "normal" FBI agents on
The X-Files (besides a most embarrassingly insipid episode about a "scary" (read: non-scary) space walk out of a NASA shuttle, whose heavy-handed writing alone gives credence to the idea that NASA is an entirely fake organization propped up on hype and artificial drama, and which I cannot bring myself to critique).
The episode I am reviewing has too many 9/11 "oddities" to ignore, regardless of how one feels about the concept of pretty much everyone with any media clout in the 90's having foreknowledge or hunches about the fake "9/11" event before it was aired. Just a simple description of the resulting video should do, to make one raise an eyebrow.
But before I do that, I want to mention that first of all, unlike episodes before it, this episode did not boast about its writers and scripters in the opening (Howard Gordan, Jeff Vlaming, Darin Morgan, et al) so to me that is a clue this one stands out. Also on the subject of credits, it is the first time that the writing/creating credit for Chris Carter (the show's creator) is not shown in a straight "white text on black background" fashion. Instead, Chris Carter's usual credit is seen at a slight angle, behind the reflection of a TV screen, as if to indicate there is some psychological "layering" going on that makes the episode stand out from the usual program.
The story focuses around a super-powered character (the titular initials
D.P.O. or Darren Peter Oswald) who controls lightning. It is the 3rd episode of the 3rd season, or briefly, "3-3", a familiar "signature" of some kind for Masonic types? Already I was grinning at the alliteration of the name "Darren Oswald" which is repeated in the show as if to hint that the character causing havoc in the show would "Dare An Oswald" or dare to be the scapegoat figure in a televised PsyOp (as Oswald represents in the now utterly disproved "JFK assassination"). They also share a homonym with writer Darin Morgan, hinting that the writers of the show are the creators of the PsyOp in question. Surely not having to do with JFK, who to the public is a dead man, it must be some other PsyOp coming.
The first character whom Darren Oswald (played by Scientologist Giovani Ribisi) kills is stalked by Darren from an arcade. He is seen wearing a shirt for the band "Vandals" with an anarchy symbol in it (perhaps a familiar theme for those who have seen the infamous "Coup" CD cover) behind the glass. The glass seems to represent a way for him to hide, even though it is in plain sight. On the glass doors are two vertically-oriented rectangles.
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The song on the victim's radio doesn't change as he tunes it from the 6 to the 9 ... 11. The scene cuts exactly as the red dial is about to reach the 9. The song has lyrics exactly over this sequence, which are
"[...I] got to keep aware of what's happening" as he tunes it.
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Later, when the FBI arrive at the arcade, they notice the character's signature high scores. Many of them are around 11pm, and for many of them, the date is September 11th (implying the episode takes place on September 13th or so).
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They find him and interview him. Darren, seemingly representing the "Anarchistic", hidden, "Vandal" powers behind the "glass" (TV?) leans on two candy towers in the foreground and shakes them seemingly nonsensically.
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In response to an FBI question about where he placed his attention on the night in question, Darren says, "When I'm into my game," then seems to look at the candy towers and say, gradually moving his hand toward the towers, "I'm
there", implying that the "game" (PsyOp) will involve a key moment of a direct action at the towers. His hand moves downward rapidly and leaves his arm indicating a ray of action from his elbow to his pointed fingers.
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They question him again about where his "attention" should be focused, and he creates a hypnotic (or distracting, depending on how you look at it) "nuclear explosion" with the mimic of an opening hand, also before the candy towers. He says, "A nuclear
explosion could go off, and I wouldn't even notice."
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This seems to be a subtle hypnotism and/or mind game with the audience. At this point, the FBI agent's phone is melted in his pocket by Darren's magic powers, seeming to represent a lack of public communication devices or the theorized EMP and/or HERF technology making the public deaf, blind, mute and dumb. One asks, "What happened?" and the other replies, "I don't know" as the camera shows the dead phone before it melts. Is it that they don't know what happened because of the lack of working communication?
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At Darren's house, a relative watches TV. Darren asks, "Why do you want to watch them anyway? They're a bunch of losers."
She replies, "They're on TV. I don't see you on TV."
Perhaps this is another double meaning, implying that the perpetrators of the TV hoax are not seen on TV. Another hint that they are not just behind the glass but behind the
scenes, directing the action.
After this exchange, Darren makes the TV show nothing but snow/static. He has the power to show visuals and the power to take them away.
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When the FBI agents go to his apartment to investigate him, they pass a poster on the wall depicting hubcaps in a product-like grid we would become all too familiar with after 9/11 when "walls of victims" are repeated in a grid format over and over ad nauseum. Above the poster is a team flag or pirate flag depicting a skull and crossbones. This seems to imply both the Yale club and the connection between the grid and the dead. The agent comes out of the closet with a year book, where they see mini year book photos, implying the mini-biographies one typically sees in a year book. This seems to represent the extra details we find about the vicsims. One of the agents places a cut-out picture from the year book back in its place, implying that you only have to think you "know" one person from a year book to validate in your mind the entire thing.
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Darren attacks someone with his lightning powers and then saves them, seemingly having the power over life and death. When he approaches the body of his victim, he says he saw how to perform the rescue "on TV" and then chuckles to himself as he declares the scene "Rescue 9-1-1."
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When he calls himself a "hero" after this, he goes after his friend "Zero" (played by a somewhat young Jack Black) and murders him in cold blood, using his lightning powers. Zero lays on the ground in the fashion of a villainous vicsim who fell to greed or frailty, like the mythos of the "jumpers" on 9/11. His body lays in a very quirky and specific sort of arrangement on the ground, resembling a "hanging man" body flanked by parallel lines.
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The episode ends with Darren in a psychiatric ward with a television set, which he channel surfs on using his mind. It is here that the curious "Chris Carter" credit appears, implying the entire episode wasn't exactly the sole creation of Mr. Carter, but the phenomenon and culture of the television itself that somehow made the monster. However, since Carter seems to be pleased about messing with people's minds in general on the subjects of national intelligence, national secrets and so on, he might also seem to be bragging about the idea that he
is Darren — and/or the power behind the glass which controls him. TV writers and producers.
Because I believe that these sorts of changes to and hints within the show imply collaborative effort, I do not think it would be easy to pin down exactly who is guilty and who is not guilty of malfeasance, foreknowledge and/or perjury in the PsyOp of 9/11, but if anyone on
The X-Files does have knowledge about the 9/11 PsyOp and subsequent media frenzy events that were to follow, I hope they will come to recognize their mistake in nurturing such sinister forms of creativity, and step forward with information to share with their audience in a less disgusting, less manipulative way. The truth is what the public really deserves, despite Mr. Carter's hero FBI agents, who are made facetious parodies of the truth rather than honorable nods to it.
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