How Long Did X Files Run – Press Release: Thirteen years after the original series, FOX has ordered the next thought-provoking chapter of THE X-FILES, an exciting six-episode event series that will be helmed by creator/executive producer Chris Carter with stars David Duchovny and Gillian Anderson reprising their roles as the iconic FBI agents Fox Mulder and Dana Scully. This marks the momentous return of the Emmy and Golden Globe Award-winning pop culture phenomenon, which remains one of the longest-running sci-fi series in network television history.

The announcement was made today by Dana Walden and Gary Newman, chairman and CEO of Fox Television Group and Chris Carter, creator and executive producer of THE X-FILES. Production on THE X-FILES event series is set to begin in the summer of 2015. Additional details remain under wraps and will be announced at a later date.

How Long Did X Files Run

“I think of it as a 13-year commercial break,” Carter said. “The good news is that the world has only gotten so much stranger, a perfect time to tell these six stories.”

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“We had the privilege of working with Chris on all nine seasons of THE X-FILES—one of the most rewarding creative experiences of our careers—and we couldn’t be more excited to explore that incredible world with him again,” noted Newman and Walden. “THE X-FILES was not only a groundbreaking show for both the studio and the network, it was a worldwide phenomenon that shaped pop culture—yet remained a true gem for the legions of fans who embraced it from the beginning. Few television series have attracted such dedicated fans as THE X-FILES, and we’re ecstatic to give them the next exciting chapter of Mulder and Scully they’ve been waiting for.”

THE X-FILES originally premiered in September 1993. During its nine seasons, the influential series went from breakout sci-fi favorite to massive global hit and became one of the most successful television dramas of all time. The show, which won 16 Emmy Awards, five Golden Globes and a Peabody Award, follows FBI special agents Scully (Anderson) and Mulder (Duchovny) as they investigate unexplained cases — the “X-Files” — where the only answers involve the paranormal phenomena.

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THE X-FILES is produced by 20th Century Fox Television and Ten Thirteen Productions and is created and executive produced by Chris Carter.P. T. Barnum once exhibited a mummified monkey head attached to the tail of a fish. He called the grotesque hybrid the Mermaid of Fiji and advertised it as a “genuine fake”, a PR move that only fueled public curiosity. It didn’t matter how the creature came to be. A hoax that draws crowds is still a kind of truth. The legend of the Fiji Mermaid reaches FBI agents Fox Mulder and Dana Scully in a salty circus town in Florida, a kind of otherworldly pool where everything already seems semi-unreal. I grew up not far from there; I have felt it. The lies the place tells are part of its appeal.

, which premiered 25 years ago on September 10, 1993. Mulder (played by David Duchovny) and Scully (Gillian Anderson), partners in a unit dedicated to investigating unexplained phenomena known as the X-Files, became sci-fi archetypes : the believer and the skeptic teamed up to investigate sinister matters. It seemed like their job was to determine what was real, but more often they looked at what they had

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Was real, and why, and if there was a difference. The show was less about absolute truth than about truth as a concept and how it revolves around collective perception.

It’s like this: Alien abduction stories follow a pattern. Are the elements these stories often share (paralysis, tests, amnesia) evidence that the abduction doctrine is true, or that everyone who tells them has internalized the same lie? Mulder’s sister Samantha disappeared when they were children. He believed she had been taken by aliens, but throughout the series, Mulder admitted to worrying that he couldn’t trust his memories. Maybe his sister’s abduction was just a story he told himself to make sense of a senseless loss. To which

In the pilot, Scully was assigned to Mulder to spy on him: a nice plan on paper, not that anything that makes sense on paper stopped

. She was a scientist, a doctor, and a young woman who wanted to excel in a male-dominated field, so the suits at the FBI assumed she would put the final nail in Mulder’s coffin and shut him down before his curiosity could uncover agency secrets. This was a failure of the imagination.

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Mulder and Scully were Schrödinger’s believers and skeptics, setting the molds even as they broke them. The famous poster on Mulder’s office wall was not “I believe” but “I want to believe”—for all his openness, he could not fathom a belief that does not strive for proof. Scully, still clinging to the cross around her neck, was the one who saw the faith as a Catholic leap of faith. The partners were symmetrically curious, both drawn to the spaces where facts should be but aren’t; on their first case, when Scully lets herself consider an irrational theory, she laughs.

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FBI higher-ups conspiring to cover up the existence of aliens wanted Mulder out of the picture, but pairing him with Scully only drove the thorn deeper into their own sides. If the personal conflict at work i

Was between faith and skepticism, the global conflict was between connection and alienation—summed up in the way the strange, instantaneous alchemy between Mulder and Scully made them unrecognizable to agency conspirators whose business was so impersonal they had no names. The most unscrupulous monsters in the show’s world weren’t ghouls, but men in suits working behind closed doors, trying to maintain their grip on the power they felt slipping away.

Was afraid of progress; its discomfort with technology was primary. But with its episodes of wild-eyed cult members and murderous, incestuous rural families, it was even more fearful of what people who fear progress will do to prevent it.

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Are the monsters; Mulder heard as much from a psychologist in the series’ revival, which debuted in early 2016. But the monsters in the show’s mythology are mindless chess pieces: classic little gray men in flying saucers, hidden by the conspirators and planted only in plain sight. occasionally, as a distraction. For Mulder and Scully, acceptance of the existence of alien life is not a means of avoiding human monstrosity, but a guaranteed reckoning with it, in the sense that humans guided by the basic instincts of self-preservation stand between the agents and the answers they seek.

Is to step behind the curtain of the conspirators. Even those who never asked for that experience pay the price. Strange Encounters is the lens through which the show views oppression, and it’s striking how often witnessing a fringe event is conflated with life on the fringes. People in a low-income neighborhood with bars on the windows are killed by a creature that carries their worst fears (in Season 7’s “X-Cops”). The homeless and mentally ill are sent to a leper colony (in Season 3’s “731”) and experimented on until they are mistaken for aliens, then buried in a ditch after mass execution. Rumors of voodoo swirl in a camp where Marines beat and kill Haitian refugees (in Season 2’s “Fresh Bones”); as soon as Mulder and Scully get hold, the gates are closed to all but the military. “In case you haven’t noticed, Agent Mulder,” drones his informant, “the Statue of Liberty is on vacation.”

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Had a difficult track record of victimization at the individual level. Attempts to recreate the beliefs and folklore of various cultures as paranormal phenomena almost always ended up reinforcing broad stereotypes (Haitian voodoo was milked for crude shock value, for example). And female abductees, including Scully, were subjected to bodily horrors that converged on their wombs, turning a woman’s ability to reproduce into a plot device. But if the show sometimes failed to give its victims enough agency, it was also surprisingly aware of how powerful institutions can do the same, denying marginalized people the right to trust their own experiences, much less talk about them.

The original series’ fascination with authority is key to its relevance in the current climate, but the revival (consisting of a six-episode run in 2016 followed by a 10-episode season in 2018) failed to maintain the same angry tone of the early years . The mythology was too messed up and Mulder and Scully were too tired. The new seasons at their best grappled not with politics but with the passage of time, though the two themes aligned this year in “The Lost Art of Forehead Sweat,” writer-director Darin Morgan’s sharp satire on the death of “that truth ” as meaningful currency. Mulder and Scully came of age as counterarguments to ’90s complacency. It was never clear where they fit when paranoia went mainstream.

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As if it changed; the show wanted the gravitas of an ongoing battle between uncompromising characters. But Mulder and Scully grew up. When the eighth season began and Scully was

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