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Abstract
Conspiracy on television is a distinct genre with heuristic value that fulfills important social-psychological functions for viewers. As such, this essay suggests that generic criticism can be productively expanded to focus on function rather than to be defined by recurring situation. This essay illustrates how conspiracy discourse works to articulate ideas about identity and reality in contemporary society. In addition to identifying the relationship between recurring situation and generic elements, this essay centers on the functions of the conspiracy genre that make it especially desirable for society right now. With the completion of the series, the conspiracy myth-arc of “The X-Files” is used as a paradigmatic illustration of the productivity of a functional approach to genre.
Notes
A prime example is Stephen Spielberg's 10-part miniseries “Taken,” which ran in 2002. In 2003, the program was nominated for multiple awards including six Emmys. The show won the Emmy for Outstanding Mini Series. Similarly, “The 4400” was nominated for three Emmys following its first season.
Reeves, Rodgers, and Epstein (Citation1996) characterized the show as both “anti-postmodern” and “post-postmodern.” Irvine and Beattie (Citation1998) also read the show as “anti-postmodern.” In addition to this focus, other literature has examined connections to traditional mythology and folklore (Jones, Citation1996); fandom (Clerc, Citation1996); and gender (Wilcox & Williams, Citation1996; Parks, Citation1996) among other things.
Tuskegee, Agent Orange, and more recent rumors of Gulf War Syndrome make the complicitness of medical personnel a viable possibility for viewers.
I would like to thank Pierre Hecker for pointing out the term “Easter egg.” An Easter Egg is an intertextual reference made within a text designed to compliment the informed viewer.
While I point out the argumentative troubles with conspiracy, I also agree with Knight (Citation2000) that, although conspiracy can be “dangerous and deluded, it can also be a necessary and sometimes even a creative response to the rapidly changing condition of America” (p. 8).