"Now is the perfect point in the story for a 2000-word ideological manifesto from your thinly-veiled fictional stand-in."
The great novelist doesn't imitate life but rather offers a kind of analogous, ideal vision of it — ideal in the aesthetic, not moral, sense.
— Sam Tanenhaus
Eventually, the question you ask stops being "Who is John Galt?" and becomes "When will John Galt shut up?"
"Everybody is feeding Carterís ego at this point and just getting through his yawnsome script so we can move on to something more interesting... Iím not sure which bugs me more; that this info dump is lumped together right in the middle of this episode where you desperately need something to happen, that Chris Carter has abandoned the show-don't-tell approach and fallen into full on paranoia lecture mode, that the dialogue is absolutely hideous and would trip up a sophisticated performer let alone the cardboard cut out who has to get this mouthful out, or that there are germs of good ideas in this everlasting speech (such as the government using aliens as a cover for getting on with something even more hideous, or the Cold War being one long PR stunt to allow the government to continue spending money on weapons research) that are wasted because after a few minutes you switch off and stop listening and just let the pretty flashbacks wash over you. Had Mulder discovered all of these facts through a well paced and plotted narrative, with the revelations having personal consequences for him and Scully, then the effect would be quite different... This is so appallingly handled Iím surprised an insulted audience didnít abandon the show in droves (they hung around waiting for the next monster of the week episode)."