Well everyone, today is the day. My first novel, The Adventures of the Thin Man and Andrea is now available on Amazon and wherever books are sold.
This one took a while—written in fits and starts, in bars and hotel lobbies here in Kyoto—but it finally found its shape. More than anything, today I just want to thank all the readers of The Kyoto Kibbitzer, wherever you hail from; I’ve always thought of this as an ongoing conversation, and a lot of this book grew out of that exchange.
If you do pick it up, I hope you enjoy the ride—and if it lands for you, a quick review on Amazon would mean a great deal. Thank you, as always, for reading.
Note: This reflection comes out of a long-standing fascination with The X-Files, one of the most distinctive television shows of the 1990s. When it first aired, the series managed to occupy a strange and compelling middle ground between science fiction, horror, conspiracy culture, and something closer to philosophical inquiry. Week after week the show asked the same unsettling question from slightly different angles: what if the world is not quite as stable or intelligible as we assume?
What made the series especially effective was the dynamic between Fox Mulder and Dana Scully. Mulder represented the pull of belief, intuition, and pattern-seeking; Scully stood for skepticism, evidence, and scientific restraint. The tension between those two orientations created a kind of philosophical engine that powered the show for many seasons.
The major episode discussed here is one of the early “mythology-adjacent” stories that sits near the boundary between the show’s monster-of-the-week format and its deeper conspiratorial arc. Watching it again years later, what stands out is not only the eerie storytelling but also the way the series captured a particular cultural mood of the 1990s — a time when technology was expanding rapidly, institutions were increasingly distrusted, and the possibility of hidden systems operating beneath the surface of ordinary life felt strangely plausible.
In that sense, The X-Files was never just about aliens or government cover-ups. It was about uncertainty itself — the uneasy space between explanation and mystery.
Epigraph:
“Autorerotic asphyxiation is not a pleasant way to go, Mr. Mulder.”
Clyde Bruckman, The X-Files
The X-Files is my second favorite television show of all time, behind only The Wire, and it’s not close.
That may sound like a bold claim given the sheer amount of television produced over the past thirty years, but for those of us who came of age in the 1990s the show hit a nerve that very few cultural artifacts ever have. It wasn’t just entertaining. It was atmospheric. It was unsettling. It felt like it was plugged directly into the cultural nervous system of the time.
To understand why, you have to begin with a simple generational fact. I was born in 1974, just eleven short years after the assassination of John F. Kennedy. That event cast a shadow that lingered for decades. My parents’ generation and my grandparents’ generation were deeply scarred by it in ways that people my age never fully understood. Something in the national psyche broke that day. Trust in institutions never really recovered.
Historians later described this cultural mood as “The Paranoid Style of American Politics,” borrowing the famous phrase from the essay by Richard Hofstadter. Whether one agreed with Hofstadter or not, the phrase stuck because it captured a very real undercurrent in American life: the suspicion that unseen forces were operating behind the scenes.
The genius of The X-Files was that it leaned directly into that atmosphere. It didn’t treat paranoia as pathology. It treated it as narrative fuel.
Discovering the Show
I was an early adopter.
The show premiered in 1993, and by 1994 I was already watching it in the dorms at Hamilton College with a group of friends. If possible we’d get a little baked first, which in hindsight may have been perfect. The X-Files is a show that rewards slightly altered states of perception.
At first it was something of a cult discovery. A few people watched it religiously while others barely knew it existed. But by the time the second and third seasons rolled around it had become a communal ritual. Thursday nights meant Mulder and Scully.
The chemistry between the leads was immediately apparent.
David Duchovny and Gillian Anderson had what we would now call “shipping chemistry,” although that term didn’t really exist yet. We simply knew that something electric was happening on screen. The characters worked because they embodied opposing ways of understanding the world. Mulder believed everything. Scully was more skeptical. Between them the truth hovered in an unresolved middle ground.
The show was also disciplined enough to hold that tension for years. In an era before streaming algorithms and social-media speculation, viewers waited week to week to see how the relationship evolved.
Hovering over them was their boss, the enigmatic Walter Skinner. For several seasons it was impossible to tell whether Skinner was helping Mulder and Scully or quietly managing them on behalf of darker forces. That ambiguity was one of the show’s greatest pleasures.
In a delightful twist of pop-culture irony, the actor Mitch Pileggi was at one point named TV’s Sexiest Man by a glossy magazine. Which is hilarious when you remember that Skinner is essentially a bald FBI bureaucrat in a gray suit. Such was the cultural power of the show.
The Smoking Man
Then there was the figure lurking in the shadows.
The Cigarette Smoking Man is one of the great villains in television history. Played with eerie understatement by William B. Davis, he appeared whenever the conspiracy thickened.
He looks exactly like the kind of man who would be at the center of a decades-long government cover-up. Three packs a day. Cheap cologne. A lingering Jameson hangover. The sense that he spends most of his time in dim Washington parking garages and windowless offices and only emerges from his crypt when the conspiracy requires it.
It’s a performance so physical that you can almost smell the character through the screen.
Three Essential Episodes
Every long-running show has defining episodes, and The X-Files produced dozens. But three in particular illustrate what made the series so special.
The first is the pilot itself, which introduces Mulder investigating mysterious disappearances in the Oregon woods. A key moment occurs when the agents experience missing time on a dark forest road. The scene establishes the tone immediately: eerie, ambiguous, and faintly plausible.
The second is Fallen Angel, an early classic that introduces the lovable conspiracy obsessive Max Fenig. Max’s jittery paranoia captures the spirit of the show perfectly. When he remarks that “someone’s always watching, Mr. Mulder,” it feels less like dialogue than like a thesis statement.
The third is the masterpiece of dark humor, Clyde Bruckman’s Final Repose, written by the great Darius Morgan. In it, a weary insurance salesman named Clyde Bruckman discovers that he can foresee the exact circumstances of people’s deaths. Played beautifully by Peter Boyle, the character delivers a hilarious and oddly touching performance. It is Bruckman who also delivers the immortal line that also gives us our epigraph: “Autorerotic asphyxiation is not a pleasant way to go, Mr. Mulder.” Run roh. Take that belt off Fox baby.
What makes the episode remarkable is that it gently mocks the show’s own hero. Mulder spends the entire series searching for hidden meaning in the universe. Clyde Bruckman, by contrast, believes life is largely arbitrary and tragic.
His prediction of Mulder’s death—immortalized in the epigraph above—is both absurd and strangely profound. It’s also a sign that by Season Three the show had gained enough confidence to poke fun at itself.
When the Mythology Expanded
Like many successful serialized shows, The X-Files eventually struggled under the weight of its own mythology. One of the central narrative engines involved Mulder’s missing sister, Samantha Mulder. Early on, the mystery added emotional depth to Mulder’s obsession with the paranormal.
But as the seasons progressed the storyline became increasingly convoluted. Samantha might have been abducted by aliens, or replaced by a clone, or transformed into something else entirely. Meanwhile the conspiracy expanded to include frozen alien ships in Siberian ice, shadowy government syndicates, and the infamous black-oil virus that seemed capable of possessing human hosts.
At a certain point the mythology began to chase its own tail.
Then, as the final blow, David Duchovny left the show. Gillian Anderson remained excellent, but The X-Files was always fundamentally a two-hander. Without Mulder and Scully together the balance of the series shifted in ways it never fully recovered from.
Why It Still Matters
And yet, for all the narrative tangles of the later seasons, the early years of The X-Files remain extraordinary television.
The show captured a very particular moment in cultural history: the twilight of the pre-internet era, when conspiracy theories spread through late-night radio programs, photocopied newsletters, and whispered conversations rather than social media feeds.
It was a time when the idea that powerful institutions might be hiding enormous secrets still felt plausible rather than merely exhausting.
For a few seasons in the 1990s, Thursday nights belonged to the weirdest, smartest, most paranoid show on television.
The truth, as Mulder kept reminding us, was out there
Dedication
For Dana and Fox. You know we still want to know what went down in that motel room baby.
Note: If you enjoyed this essay you may also enjoy the two essays below, both of which, in different ways, take up themes of intrigue and mystery.
Note: This essay takes up my personal four favorite books from the marvelous Adventures of Tintin series. I make no claim for these to be the best, and the list omits the very popular Moon books, however this is the list as it stands. I hope you enjoy Tintin as much as I do, and as always, thank you for reading.
I first encountered Tintin in Grade 5, checking two slim volumes out of my elementary school library: The Blue Lotus and Tintin in America. I remember the physicality of them—the glossy covers, the bright blocks of color, the uncanny clarity of the drawings. They felt different from the other books on the shelf. Most children’s adventure stories required you to imagine the action. Tintin showed it to you panel by panel, with a confidence that made the whole world feel precise and alive.
Even before I fully understood the stories, I had the sense that I had stumbled onto something like treasure. The pages moved quickly. Cars skidded across city streets, gangsters hid in back rooms, deserts stretched into the distance. Tintin himself was fearless and tireless, a boy reporter who seemed capable of appearing anywhere in the world with little more than a notebook, a trench coat, and his small white dog.
But even at ten years old it was clear that the two books belonged to the same universe but not quite the same stage of its development. Tintin in America was energetic and funny but also loose and episodic, closer to a cartoon chase story than a carefully constructed narrative. The Blue Lotus, by contrast, felt deeper. The stakes seemed real. The world seemed larger and more dangerous. The book hinted at forces—politics, empire, war—that I could not yet name but could somehow feel moving behind the story.
Before going further, it’s worth acknowledging briefly the long-running controversy surrounding the politics of Tintin’s creator, Hergé. Some of the early Tintin stories reflect the colonial assumptions and stereotypes common in Europe during the interwar period, and Hergé himself worked for a newspaper in German-occupied Belgium during World War II. These facts have generated decades of debate. They are real and worth knowing. But they are also only one part of a much larger story. Over time Hergé’s work grew more humane, more attentive to other cultures, and more morally complex. For the purposes of this essay, it is enough to acknowledge the controversy and then move on to the books themselves, which remain among the most remarkable achievements in modern popular storytelling.
Mr Dreyer’s Class, 7th Grade:
Even before I took his class, I was aware that Mr. Dreyer was, let’s say, a different sort of fellow. He liked to tell a story about his brother who lived on a massive contour map of the San Francisco Bay area. The map was located in an enclosed structure that hung under a bridge in Oakland or something. And his brother just chilled there full time, so the story went. So Mr. Dreyer, apparently, was the normal one in his family.
(I remember Mr. Dreyer talking to me about John Lennon one day as well. This was maybe when I was taking his class, but I think it might have been before that. “John Lennon’s assassination was really sad,” he said, “he was just starting to put his life back together.” I had heard of John Lennon but at that time knew nothing of the circumstances of his death. And I certainly didn’t know about his ups and downs in the 1970s. Mr. Dreyer must have been a Lennon fan though, and wanted to tell me about it.)
In any case, when I got to middle school I was assigned Mr. Dreyer, as mentioned. Mr. Dreyer wore a mustache that looked pretty Frenchy to me—maybe that’s why I kind of thought he was a French native. There were also a number of the Tintin books in French on a shelf in the back of the room. I had read most of the Tintin books in English by then, so it was fun to browse the French versions and take in some of the action from a new lens.
The Blue Lotus
If the early Tintin books were clever adventure cartoons, The Blue Lotus was the moment the series entered history.
The story takes place in Shanghai during the turbulent 1930s, amid Japanese expansion and international intrigue. What distinguishes the book is not simply the exotic setting but the sudden moral seriousness that runs through it. Tintin is no longer merely chasing criminals. He is navigating a world shaped by imperial ambition, propaganda, and cultural misunderstanding.
Central to this shift is the introduction of Chang Chong-Chen. Chang’s friendship with Tintin humanizes the story in a way earlier books never attempted. Through Chang, the reader glimpses the everyday life of Chinese citizens caught between foreign powers and internal turmoil. The relationship is warm, sincere, and quietly revolutionary for its time.
One sequence has stayed with me since childhood: Tintin being smuggled into an opium den hidden inside barrels. As a child I read the scene simply as a thrilling act of infiltration. As an adult it evokes something darker—the lingering shadow of the opium trade and the colonial exploitation that shaped China’s nineteenth and early twentieth centuries. Even if young readers do not consciously grasp the historical weight behind it, they feel that something serious is at stake.
With The Blue Lotus, Tintin steps out of the cartoon world of early adventure stories and into a recognizably historical landscape. The hero is still brave and resourceful, but the world around him has grown more complicated.
The Crab with the Golden Claws
If The Blue Lotus deepened Tintin’s world morally, The Crab with the Golden Claws transformed it emotionally. The reason can be summed up in a single name: Captain Haddock.
Before Haddock appears, Tintin himself is almost too perfect. He is brave, clever, and incorruptible. Admirable, yes—but also somewhat distant. Haddock brings chaos into this orderly universe. When we first meet him he is a drunken wreck aboard a cargo ship, bullied by the crew and prone to bursts of confused outrage. In his introduction scene he is literally knocked around by events, bonked on the head and stumbling through the narrative like a man who has wandered into the wrong story.
Yet Haddock quickly becomes indispensable. His flaws—his temper, his drinking, his explosive vocabulary—make him recognizably human. Over the course of the series he evolves into the lord of Marlinspike Hall, a man readers root for not because he is flawless but because he struggles, blunders, and ultimately proves loyal beyond measure.
The mystery at the heart of the story—those curious tins of crab that conceal a narcotics smuggling ring—is classic Hergé plotting. An ordinary object becomes the gateway to a hidden criminal network. But what readers remember most is Haddock: the lovable rogue who changes the emotional chemistry of Tintin forever.
Land of the Black Gold
Land of Black Gold is one of the most unusual Tintin stories, blending geopolitical intrigue with comic delirium.
The plot centers on sabotage of the world’s gasoline supply, drawing Tintin into a web of international conspiracies in the Middle East. Yet what makes the book memorable is its sense of narrative labyrinth. The trader and raconteur Oliveira da Figueira talks endlessly, spinning stories within stories, improvising explanations that seem to circle back on themselves. His rambling style mirrors the complicated, byzantine nature of the intrigue unfolding around Tintin.
At the same time, chaos erupts in the form of the child Abdullah, whose relentless practical jokes push everyone toward exasperation.
And then there is the unforgettable desert sequence in which Thomson and Thompson pursue mirages while unknowingly driving in circles along their own tire tracks. The scene borders on hallucination. Heat, confusion, and comic misunderstanding combine to create one of the series’ most surreal episodes.
Where The Blue Lotus introduced moral depth and Crab introduced emotional warmth, Black Gold revels in controlled absurdity—the sense that the modern world is a maze of conspiracies, misunderstandings, and comic misadventures.
The Calculus Affair
By the time we reach The Calculus Affair, Tintin has entered an entirely new landscape: the Cold War.
The story begins with the kidnapping of Professor Calculus, whose research has attracted the interest of rival governments. Tintin and Haddock pursue him across borders, into secret fortresses and heavily guarded territories.
What makes this adventure distinctive is the absence of a clear moral center. Earlier Tintin stories often feature obvious villains. Here the lines blur. Rival states compete for technological advantage, intelligence services manipulate events, and even the heroes seem slightly overwhelmed by the scale of the intrigue surrounding them.
Tintin and Haddock are no longer simply solving a mystery. They are wandering into the murky machinery of international espionage.
Yet Hergé never abandons humor. The action sequences—helicopter pursuits, roadblocks, sticky-tape tricks, and frantic car chases—are thrilling while remaining faintly absurd. The tension builds like a spy thriller, but the comic timing prevents the story from becoming grim.
The result is perhaps the most sophisticated Tintin adventure: a tale in which suspense, humor, and geopolitical intrigue coexist in perfect balance.
Why Tintin Endures
Across these four books we can see the remarkable evolution of Tintin.
The Blue Lotus brings the series into history. The Crab with the Golden Claws introduces human imperfection through Haddock. Land of the Black Gold revels in the comic chaos of modern intrigue. The Calculus Affair confronts the morally ambiguous world of Cold War espionage.
Through it all, Hergé’s storytelling remains astonishingly clear. Each panel advances the narrative. Each scene unfolds with the precision of a well-designed machine.
Tintin may begin as a boy adventurer, but over time he becomes something else: a traveler moving through the complicated landscape of the twentieth century. History deepens, friendships form, conspiracies multiply, and the world grows ever more ambiguous.
Yet the clarity of the storytelling never falters. That combination—simplicity of form paired with depth of experience—is the secret of Tintin’s endurance.
For many readers, the journey begins exactly as it did for me: a small book taken from a library shelf, opened with curiosity, and discovered to contain an entire world.
Note: This essay is written in the spirit of amused inquiry rather than firm conclusion. Human history is filled with reports of strange visions, unexplained lights, divine visitations, and unidentified aerial phenomena. The interpretation of such experiences has tended to shift with the cultural vocabulary of the time. Medieval Europeans often described encounters with saints or angels. In the twentieth century the language of extraterrestrials became available.
The psychologist Carl Jung famously suggested that UFO sightings may function partly as modern mythologies—symbolic attempts by societies to understand mysterious experiences in technological terms. Jung also observed, with characteristic dry humor, that UFOs often appear to be “somehow not photogenic.”
The present investigation was prompted by my brother Mike, who recently asserted via text message that extraterrestrials are currently residing in Earth’s oceans. His wife Coleen agreed. “They are everywhere,” she said. While this claim remains unverified, the oceans themselves are vast, poorly explored, and capable of sustaining a wide range of speculative hypotheses.
The purpose of the essay is therefore not to prove or disprove the existence of extraterrestrial life in the ocean. Rather, it is to examine why such ideas persist, how they resemble earlier historical visions—from medieval religious phenomena to modern UFO culture—and why the possibility continues to feel strangely plausible to otherwise reasonable adults.
Epigraph
There are aliens in our midst.
Wussy
The Jung Problem
At this point in the investigation one is reminded of a dry observation by the Swiss psychiatrist Carl Jung.
Jung noted that UFOs possess a curious property: they are “somehow not photogenic.” Sightings multiply, witnesses speak with conviction, yet the documentation remains just slightly blurry.
Jung’s larger argument was that such phenomena often behave like modern myths. They appear at moments when societies are under stress, technological change is accelerating, and people are searching for new symbolic explanations of the world.
In other words, the sky fills with things.
Medieval Precedents
This pattern is not entirely new.
During certain periods of medieval Europe, particularly when grain supplies were contaminated by the fungus ergot, communities reported vivid religious visions: glowing figures in the sky, saints appearing in fields, the Virgin Mary materializing in unexpected places.
Ergot poisoning, now understood scientifically, can produce powerful hallucinations. But to the people experiencing them the visions were not chemical side effects. They were divine manifestations.
Entire crowds could witness miraculous shapes in the heavens or detect holy images in the crust of bread. A modern observer might diagnose environmental intoxication or collective suggestion. The participants experienced revelation.
The important point is that the content of the vision reflected the cultural vocabulary available at the time.
Medieval Europe saw saints. Modern America sees aliens.
One can see this dynamic clearly in the case of Joan of Arc. Joan reported hearing voices and receiving instructions from heavenly figures whom she identified as saints.
Historians generally accept that Joan sincerely believed these visions were divine communications.
But it is difficult not to notice that saints were the most advanced category of non-human intelligence available in fifteenth-century France. The conceptual vocabulary for extraterrestrials would not be invented for several hundred years.
Had Joan lived in the late twentieth century, it is at least possible that the same experience might have been interpreted somewhat differently.
She might have reported a craft.
The Cold War Sky
By the late 1940s the heavens had acquired a new cast of characters.
The famous incident near Roswell occurred in 1947, just as the Cold War was beginning to reorganize the world’s imagination. Reports of flying saucers multiplied. The mysterious visitors were described with increasing consistency: small grey beings with large heads and enormous eyes.
The explanation most often offered by the authorities was considerably less glamorous.
Weather balloons.
Strange objects falling from the sky during the early Cold War often turned out to be classified surveillance equipment. Unfortunately, the phrase “weather balloon” never fully satisfied the public imagination.
Aliens, after all, are much more interesting than meteorology.
The Mulder Doctrine
By the 1990s the entire mythology had been carefully systematized by American television.
The X-Files:
In the series, FBI agent Fox Mulder dedicates his career to investigating extraterrestrial activity after his sister Samantha is abducted from their home during childhood.
The abduction occurs at night. A strange light fills the room. The sister disappears.
Mulder spends the rest of his life attempting to prove that what he witnessed was real.
His partner, Dana Scully, is assigned to bring scientific skepticism to the enterprise. Their relationship gradually becomes one of the most beloved partnerships in television history, built on the productive tension between belief and doubt.
Entire generations of viewers absorbed the idea that somewhere in the sky—or possibly beneath the ocean—extraterrestrial activity might be quietly unfolding.
A Modern Lens
Seen from a slightly greater distance, the pattern begins to look familiar.
Medieval villagers saw saints because saints were the explanatory language available to them. Cold War Americans saw aliens because aliens had become the new vocabulary of the unknown.
Both phenomena may reflect the same basic human impulse: when confronted with mysterious experiences, we populate the heavens with the most compelling figures our culture provides.
Which brings us back to Mike.
So Are There Aliens In Our Oceans?
It must be admitted that if an advanced civilization from another planet wished to observe humanity without attracting attention, the deep ocean would offer several practical advantages. The environment is dark, difficult to access, and rarely visited by surface-dwelling primates equipped with submarines that can only remain operational for limited periods of time.
From a strategic standpoint, it would be an excellent hiding place.
This possibility has occurred to more than one observer, including my friend Mason, who recently suggested that a technologically sophisticated off-world civilization might simply have decided that the bottom of the ocean was the most convenient place to avoid the rest of us.
Provisional Conclusions
My brother Mike believes there are aliens in the ocean.
Carl Jung might have suggested that mysterious phenomena often adopt the symbolic clothing of their era. The Middle Ages had saints. The twentieth century produced extraterrestrials.
Mike has simply moved the story offshore.
The oceans remain vast and poorly explored. The woods remain dark and occasionally unsettling at night. Both environments have the correct atmospheric conditions for unexpected encounters.
If extraterrestrials are present, they may well prefer the sea.
But it would be a mistake to rule out the woods.
In either case, it seems wise to remain polite.
Footnote: The Ocean Logic
It must be admitted that if extraterrestrials wished to establish a long-term observational presence on Earth, the ocean would offer several advantages. Humans rarely visit the deep sea, and when we do we tend to leave fairly quickly due to crushing pressure, darkness, and the general inconvenience of breathing water.
From the perspective of an advanced extraterrestrial civilization attempting to avoid unnecessary interaction with our species, the ocean may therefore represent the single most sensible real estate on the planet.
Mike may, in other words, be thinking strategically.
POSTSCRIPT: Supplemental Testimony
Shortly after the investigation began, the primary witness—my brother Mike—provided additional clarification regarding his position.
According to Mike, extraterrestrial life has not only visited Earth’s oceans but has been present there for a considerable period of time. The aliens, he explained, appear to prefer the environment and have constructed bases beneath the sea.
When asked for supporting evidence, Mike cited the well-known Navy pilot videos showing unidentified aerial objects performing unusual maneuvers.
These videos—often referred to as the “Tic Tac” incidents—have circulated widely in recent years and are frequently interpreted as evidence of advanced technology of unknown origin.
Mike considers them decisive.
A second observer, his wife Colleen, agreed with this general assessment while expanding the hypothesis somewhat.
In her view, extraterrestrials may not be confined to the ocean at all. Rather, they may be present around us at all times.
According to Colleen, it is entirely possible that aliens walk among us.
At this stage of the investigation, these claims remain under review.
Dedication: For my brother Mike. I love you bro, but I still thinks them shits are in the woods.
Note: If you liked this piece, you may also like the pieces below, which also discuss the famous psychologist Carl Jung.
Note: This essay reflects on the film Sicario and its place within the cinema of the 2010s. It is written in the spirit of cultural criticism rather than formal film scholarship. My aim is not to produce a definitive ranking of the decade’s films, but to articulate why Sicario stands out as a particularly revealing work about power, violence, and the uneasy moral landscape of contemporary geopolitics.
The film’s depiction of the U.S.–Mexico borderlands and the covert war against drug cartels resonated strongly with me because it refuses many of the narrative comforts typical of American action cinema. Instead of heroic triumphs or clear moral resolutions, Sicario presents a world in which institutional power often operates through ambiguous methods and morally troubling compromises.
In that sense the film belongs to a small tradition of American cinema willing to look directly at the realities of U.S. involvement in Latin America. An earlier example is Salvador, which similarly attempted to depict American policy in the region without the usual patriotic framing.
Readers who disagree with the claim that Sicario is the greatest film of the 2010s are very much invited to do so. Film arguments are part of the pleasure of cinephile culture. The claim here is intentionally bold because bold claims tend to produce interesting conversations.
At the very least, the border extraction sequence alone earns Sicario a place among the most unforgettable cinematic moments of the past decade.
I first watched Sicario on Netflix.
Which is not the way great films are supposed to enter one’s life. Great films are meant to arrive in dark theaters, on enormous screens, in the company of strangers who feel the tension at the same moment you do. Netflix, by contrast, offers films casually, like items on a digital buffet.
But sometimes a movie survives even that.
Sicario does.
Within half an hour it becomes clear that the film is operating at a different frequency from most thrillers. The dialogue is spare. The pacing is deliberate. The camera lingers on landscapes and silences. Something about the atmosphere suggests that the story is heading somewhere morally uncomfortable.
Then comes the border crossing.
The Extraction
The convoy moves slowly toward the border crossing at Juárez.
The mission seems straightforward: extract a prisoner from Mexico and return him to the United States. The vehicles move through traffic in tight formation. Nothing dramatic is happening yet.
And yet everything feels wrong.
Cars begin to surround the convoy. Drivers stare from their windshields. Traffic slows to a crawl. The camera—guided by the extraordinary eye of Roger Deakins—cuts between glances, mirrors, steering wheels, hands resting near weapons.
The tension builds with almost mathematical precision.
What makes the scene so powerful is not the violence itself but the certainty of its arrival. Everyone in the vehicles understands what is about to happen. The operators watch the surrounding cars with an eerie calm, as if they are simply waiting for a timer to run out.
Disaster is not possible.
It is inevitable.
When the gunfire finally erupts it is sudden, efficient, and disturbingly professional. The scene ends almost as quickly as it began.
By the time the convoy crosses back into the United States, the viewer understands that the film is not interested in the usual heroics of the crime thriller. It is interested in something darker.
The Line Between Law and Power
Part of what makes Sicario extraordinary is the way it gradually dissolves the moral categories the audience expects.
Emily Blunt’s character, FBI agent Kate Macer, begins the film believing she is participating in a legitimate law enforcement operation.
Kate Macer
But as the mission unfolds, she begins to realize that the institutions she represents are operating according to rules that have very little to do with the law.
The key figure in this realization is the relaxed, almost cheerful CIA operative played by Josh Brolin.
Matt Graver
Graver is one of the film’s most fascinating characters because he openly blurs the lines between legality and strategy. He treats the war against the cartels not as a legal battle but as a geopolitical game in which certain rules simply no longer apply.
He jokes. He smiles. He reassures Kate that everything is under control.
And yet the deeper the operation goes, the clearer it becomes that the “control” he represents has very little to do with justice.
Alejandro
If Matt Graver represents the pragmatic face of American power, Alejandro represents something older and more elemental.
Alejandro Gillick
Alejandro is not a police officer or a soldier in any conventional sense. He is a weapon deployed inside the machinery of the state.
His presence reveals the film’s central truth: the war on drugs, as depicted here, is not really about drugs. It is about power, revenge, and the maintenance of geopolitical equilibrium through violence.
The final dinner-table scene—quiet, controlled, almost polite—delivers one of the most chilling moments in modern cinema.
Alejandro does not rage.
He simply completes the task.
A Film Without Illusions
The reason Sicario stands above most films of the 2010s is that it refuses to decorate its subject with comforting illusions.
American cinema has often struggled to portray U.S. foreign policy in Latin America with any degree of honesty. Films frequently soften the narrative with patriotic framing or moral reassurance.
Sicario does the opposite.
In that sense it belongs to a small tradition of films willing to examine American power without the usual gloss. One earlier example is Salvador.
Like Salvador, Sicario presents U.S. involvement in the politics and violence of the region not as a heroic intervention but as a complicated and morally ambiguous system of influence.
The film does not sermonize about this reality.
It simply shows it.
The Craft
What elevates the film from strong political thriller to masterpiece is its extraordinary craftsmanship.
Director Denis Villeneuve constructs the story with remarkable restraint. Exposition is minimal. Dialogue is sparse. Much of the narrative unfolds through mood and implication rather than explanation.
Roger Deakins’ cinematography turns the borderlands into a stark visual landscape of highways, deserts, and shadowy tunnels.
And the score by Jóhann Jóhannsson provides the film’s subterranean heartbeat—deep, rumbling tones that feel less like music than like distant artillery beneath the earth.
Together these elements create an atmosphere that is almost hypnotic.
The Film of the Decade
Every decade produces films that entertain, and a smaller number that capture the psychological mood of their time.
Sicario belongs to the second category.
The 2010s were a decade in which institutions increasingly appeared opaque, power operated through indirect mechanisms, and the line between legality and strategy often seemed disturbingly thin.
Sicario does not attempt to solve these problems.
It simply looks at them without flinching.
And that honesty may be precisely why it stands as the greatest film of its decade.
March 7th, 1990. Mitchell Grey waits at a make-shift roadblock on the Iranian side of the Iranian/ Azerbaijani border at Astara. The Azerbaijani populace has been on a 40 day general strike since a desperate and cornered Gorbachev ordered a crackdown on the citizens of Baku. Nerves on the border are stretched thin, to say the least. Grey takes his time, keeps his head down. He turned 30 in November, a mid-Sagittarius, born adventurer. Not that he’d had much choice. Of course, Grey is no more his name than it is yours, unless that is your name happens to be Grey.
Four or five people, all men, are processed and it is Grey’s turn. He turns over his passport for inspection. The customs officer looks it over, gingerly.
“What is your profession?” he asks, in perfectly inflected English.
“Engineer,” replies Grey.
He had settled on this option after much thought. Grey stands 5 foot 10, with clipped hair, three-day stubble, and work boots. He is operating on a $1500 advance paid three weeks ago in Milan by his handler whom he had met for 10 minutes. Precious little remains, and Grey is in no position, no mood to pretty himself up for the Astara crossing. He does not look like a businessman or financier, and is not about to take the risk of trying. Nor does he look like a writer, despite the capaciousness of that particular category. He looks like what he is, a hand for hire, a mercenary. Engineers are scientists, more or less, and he hoped that at least a patina of respect would be accorded his proffered status.
“Engineer of what? You are here to steal our oil, yes.”
Not a question. The border guard gives Grey a look somewhere between a sneer and a smirk. A game player, thought Grey, a patriot perhaps, but a game player first. This is usable information. Grey takes a low deep breath, forces himself to relax.
“A structural engineer. I specialize in basements and aqueducts,” he replies.
Grey hoped that the word “aqueduct” would escape the guard and that he would tire of the game soon. However the young man was not such an easy mark.
“Basements,” says the guard, with heavy sarcastic emphasis. He turns to the man to his right, an older man, long past fed up with the conversation. “You have business in our country about basements?”
It was time for Grey to fall back on the cover story. “I am not here on business. I am meeting an elderly couple in the countryside. They are passionate hunters, and we will be hunting your famous Caucasian snowcock. As well as of course quail and pheasant.”
“So you are on holiday,” askes the guard. “Holiday, now, after the brutal crackdown of the Russians, you are here to shoot birds on holiday.”
“That’s correct,” replies Grey.
He produces a letter of introduction to the couple, one Mr. and Mrs. Verlandier. There is indeed such a couple, extant, with a villa in the hills. They had received $500 through a cut-out of a cut-out of a friend of a friend. Essential plausibility, the first principal of trade craft. Now, a letter of introduction is just a piece of paper, as the border guard was well aware. Nonetheless, the scruffy looking traveler had produced paper, and paper suggests organization. And organization, well organization suggests friends. The Soviet Union was in tatters, matters were moving fast. Who knew who was with whom? The guard has no wish to inadvertently insert himself in a game any larger than hassling an apparent criminal drifter. Still, he can not resist making his feelings known to this Mr. Grey.
“That sounds like a very interesting pastime,” he says placidly. “I know a little bit about Caucasian cocks myself. In fact, I have a reputation of being able to spot them from hundreds of meters away. Just something people have said.”
Mr. Grey takes this in stride, nods, and thanks the man for his passport back. Eyes low and feet slow, he tells himself. Don’t fuck up; “go see the Verlandiers.” He crosses the border and takes his first steps on Azerbaijani soil. He has three hours before his appointment. Every minute matters.
The Kyoto Kibbitzer 