Half of it was touching and thought-provoking while the other involved fresh-faced Mulder and Scully clones and MULDER BRO-COUNTRY TRIPPING ON MAGIC MUSHROOMS! Complete with line dancing, some pop bumpkin tunes, and cameos from The Lone Gunmen and the Cigarette-Smoking Man! The latter of whom was whipping Mulder to the tune of Tom Waits' "Misery is the River of the World." Yes, this unexpected psychedelic interlude managed to overshadow the entire mini-me shtick that was going on with Miller and Einstein, adding even more "f*** it" to a season that seems perfectly fine running hot and cold. "Babylon" wasn't as flat-out goofy (or great) as the Were-Monster episode from a few weeks ago, but it did kind of split the difference. Honestly, some of the episode got a bit long-winded, but I thought the simple, bare-bones idea of trying to communicate with a near-dead man (and, honestly, that was it) was cool. Be it a violent and deadly clash or simply a rift between opposite-leaning partners who don't see eye-to-eye over methodology. Like the tale of the Tower of Babel - the ancient cause of that which supposedly splintered us as a species - "Babylon" was all about clashing over ideas. The science of thought and the weight of ideas. Were these terrorists being framed? Was there something supernatural about their target or method of detonation? What was to be the ultimate hook here? Aside from Mulder and Scully meeting younger doppelgänger versions of themselves in Robbie Amell's Agent Miller and Lauren Ambrose's Agent Einstein? In the end, the messaging was all about disparate forms of communicating. Mostly because, overall, I never knew where "Babylon" was headed.
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