By Rifan Muazin 
The "Coogler Factor" cannot be overstated in its ability to turn a cynical corporate revival into a genuine cultural event. Recently anointed by Vulture as the second-most-powerful filmmaker on the planet—trailed only by the likes of Christopher Nolan—Coogler has spent the last decade proving that he can balance massive commercial requirements with a distinct, uncompromising directorial voice. From the gritty, humanistic roots of Fruitvale Station to the reinvention of the Rocky mythos in Creed, and eventually to the Afrofuturist world-building of the Black Panther franchise, Coogler has mastered the art of the "elevated blockbuster." Now, as he turns his sights toward the paranormal, the industry is bracing for a version of The X-Files that promises to be as visually arresting as it is narratively daring.
Coogler’s involvement isn’t merely a "director-for-hire" arrangement; it is the fulfillment of a lifelong fandom. Speaking on the Happy Sad Confused podcast, Coogler revealed that his connection to the series is deeply personal. "It’s what I used to watch with my mom, bro," he told host Josh Horowitz, adding that he considers the original Chris Carter creation to be "one of the most beautiful American television shows ever made." This reverence for the source material is crucial. Unlike previous attempts to extend the franchise, which often felt like they were chasing the ghosts of the 1990s, Coogler’s approach appears to be rooted in understanding the DNA of what made the show work: the atmosphere, the isolation, and the genuine terror of the unknown.
That terror is apparently a high priority for the new production. During an appearance on the Last Podcast on the Left in early 2025, Coogler signaled that his version of the show would lean heavily into the "Monster-of-the-Week" format that defined the original series’ most memorable outings. "Some of those episodes, if we do our jobs right, will be really fucking scary," he noted. This suggests a departure from the increasingly convoluted "mytharc" of the later original seasons—which focused on complex alien colonization conspiracies—in favor of the visceral, standalone horror that made episodes like "Home" or "The Flukeman" legendary.
The casting for the pilot, which reportedly wrapped production earlier this month, further underscores the project’s pedigree. Stepping into the lead roles are Himesh Patel and Danielle Deadwyler, two of the most versatile actors working today. Patel is currently riding a wave of massive commercial success following his role in Christopher Nolan’s box-office titan The Odyssey, where his performance as a weary, bearded warrior opposite Matt Damon earned him rave reviews. Deadwyler, meanwhile, is an indie darling and a powerhouse performer who garnered significant awards buzz for her harrowing portrayal of Mamie Till-Mobley in 2022’s Till.
Interestingly, this is not the first time Patel and Deadwyler have shared the screen. Both were central figures in HBO’s critically acclaimed limited series Station Eleven, a post-apocalyptic drama that explored the endurance of art and humanity after a global collapse. Their established chemistry provides a solid foundation for the new X-Files, though purists can breathe a sigh of relief: they are not playing "New Mulder" and "New Scully." Patel confirmed in an interview with The Direct that they are portraying entirely original characters. "Myself and Danielle Deadwyler are playing completely new characters, and we just wrapped on the pilot," Patel stated. "If we do get to do more… we’ll see where we go from there." This decision to move away from the original protagonists is a strategic masterstroke, allowing the new series to exist within the same universe while avoiding the inevitable, and likely losing, comparisons to Duchovny and Anderson’s lightning-in-a-bottle dynamic.
Despite the focus on new blood, the shadows of the past still loom large, and Coogler is well aware of the weight of history. He has confirmed that he has been in contact with the original stars. Regarding Gillian Anderson, Coogler told Variety, "She’s incredible, and fingers crossed there," hinting at the possibility of a Dana Scully cameo or a recurring advisory role. David Duchovny also revealed to The Hollywood Reporter in April that he has spoken with Coogler, offering the director his blessing. While Duchovny remained characteristically cryptic about Fox Mulder’s potential return—noting that "there’ve been talks about certain things, but there’s nothing concrete at this point"—the door remains tantalizingly ajar for the original duo to pass the torch in a meaningful way.
Beyond the narrative and the cast, it is the technical ambition of the project that has the industry buzzing. Rumors have circulated via World of Reel and other industry insiders that Coogler and his cinematographer, Autumn Durald Arkapaw, shot the pilot on 65mm film. Arkapaw, who won an Oscar for her work on Coogler’s Sinners and previously lensed the visually stunning Black Panther: Wakanda Forever and Disney+’s Loki, is known for a rich, textured aesthetic that favors deep shadows and grand scale. Shooting a television pilot on 65mm—the large-format stock typically reserved for IMAX-level theatrical spectacles like Nolan’s Oppenheimer—is almost unheard of in the world of episodic TV. The only recent comparison is the third season of HBO’s Euphoria, which Kodak noted was the first series to use significant volumes of 65mm film.
This choice of format has led to speculation that Coogler’s vision for The X-Files might be even larger than the small screen can contain. Reports suggest the pilot clocks in at a feature-length two hours, and there is a growing theory that Coogler may be aiming for a limited theatrical release for the series premiere. This would align with his vocal advocacy for the theatrical experience; during the promotion for his supernatural thriller Sinners, Coogler released a public service announcement breaking down the importance of viewing film in its intended large-scale formats. By treating The X-Files with the same technical reverence as a major motion picture, Coogler is signaling that this isn’t just another content play for a streaming service—it is a cinematic event.
The timing of this reboot is also significant within the broader landscape of television. We are currently seeing a resurgence of "procedural-plus" storytelling—shows that combine the comfort of a weekly mystery with the high production values and serialized character depth of the "prestige" era. The X-Files was the progenitor of this format, and in a world where audiences are increasingly fatigued by eight-hour movies broken into episodes, a return to the "Monster-of-the-Week" structure, executed with Coogler’s flair, could be exactly what the medium needs.
Furthermore, the themes of The X-Files—government distrust, the blurring of truth and fiction, and the fear of what lies in the dark—are perhaps more relevant in the 2020s than they were in the 1990s. While the original show thrived on the post-Cold War anxieties of the Clinton era, a modern iteration has a wealth of new "shadowy conspiracies" and technological terrors to mine. Coogler’s ability to weave social commentary into genre filmmaking suggests that his X-Files will not only be scary but also deeply reflective of the modern American psyche.
As it stands, the project remains in the "pilot" stage, meaning it has yet to receive a full series order from Disney (which now owns the franchise via its acquisition of 20th Century Fox). However, given the talent involved and the scale of the production, a full green-light feels like a formality. Whether it lands on Hulu, Disney+, or even in theaters, the new X-Files is shaping up to be a defining moment in the career of one of Hollywood’s most important directors.
For the fans who spent their youth wondering if the truth was really out there, the wait for a worthy successor has been long. But with Ryan Coogler at the helm, Himesh Patel and Danielle Deadwyler in the field, and the breathtaking grain of 65mm film capturing every shadow, the return to the paranormal feels less like a gamble and more like a promise. The cases may be new, and the agents may be different, but the mission remains the same: to find the beauty in the terrifying and the truth in the dark. For now, the files remain open, and the world is watching the skies—and the screens—with bated breath.
