“So what is our profile of the killer? Indeterminate height, weight, sex; unarmed but extremely attractive?” – Dana Scully.
GENDER BENDER [Standalone] Aired January 21, 1994
Episode: 1×13 / 14 Overall
Director: Rob Bowman • Writer: Paul & Larry Barber
A religious sect becomes the prime suspect in a murder spree.
Gender Bender is notable for being the first episode to feature Rob Bowman as director and also the first appearance of Nicholas Lea, otherwise known as Alex Krycek, in an unrelated guest role. Bowman is one of the series best directors, taking the helm for not only 33 episodes ranging from seasons one to seven, but also directing the 1998 X-Files movie. Paul and Larry Barber penned the script for this week, their singular contribution to the show, and it’s surprising that we will not see them again since Gender Bender offers an interesting, original concept with just enough mystery and suspense to keep the audience engaged. It’s only significant downfall being that it concludes rather abruptly, almost as if they ran out of time in the editing room and the final scene ended up on the cutting room floor.
This episode succeeds at delivering the unexpected. From the opening scene in the nightclub, featuring a gender bending killer able to hypnotise their victims by touch, you would never expect the story to lead to an Amish-like community of ageless alien beings living outside a small town in Massachusetts. If originality is worth anything, the Barber’s deserve some credit for providing an imaginative story. Bowman’s skilled direction is also evident throughout and a key element to what helps this episode succeed. The setting of the Kindred’s farmland and modest housing are a welcome change of scenery from the concrete jungle of previous episodes. The locations certainly give this show a distinctive feel and aide greatly in drawing the audience in to the fascinating world of this religious sect. The soft colour pallet and stark, open landscape of the Kindred’s community is juxtaposed perfectly with the intermittent scenes that feature the thumping music and high-tech, neon glow of the night club.
The supporting cast all deliver believable performances and although many members of the Kindred are not afforded a great deal of screen time, they nonetheless communicate a convincing depiction of a secluded cult that is harbouring some dark secrets. A small gripe with the script writing for this episode involves the uninspired method of preventing Scully from once again witnessing the crucial ‘X-File moment’. As in an earlier episode, she is knocked over by an assailant, forcing her to stay behind while Mulder chases after her attacker and subsequently witness the sex-changing transformation before his eyes. This is a weak plot device that we’ve seen before and it’s hard to take, as Scully is a highly trained FBI field agent, yet she seems to be particularly susceptible to knocks on the head. As mentioned, the shows biggest flaw is it’s ending, or lack thereof. The final scenes culminate in a well crafted climax that ends just one scene too early. Mulder and Scully return to the Kindred’s community after they are seen recapturing Brother Martin, only to find them conspicuously absent, having left behind a circular pattern in the field which strongly suggests an alien element. The concept of the Kindred never ageing, as evidenced by the photographs from the 1930’s that feature current member of the sect, piques our interest. However, this is left unexplored due to time constraints and although the X-Files frequently concluded episodes as unresolved and unsolved, this particular entry feels as though it was due to poor pacing or editing rather than a conscious choice by the writers. It’s flaws notwithstanding, Gender Bender is an entertaining standalone episode that welcomes Rob Bowman to the series in his first of many great turns in the director’s chair.
★★★☆☆
The X-Files Retrospective Project 