(Mulder looks at his watch) Mulder: Ok, that's twelve seconds. I think that's more than generous. Scully: Thanks. Uh, do you want some chicken? Mulder: Chicken? Scully: Yeah. (Scully reaches into her briefcase and pulls out a tupperware filled with chicken drumsticks) Scully: I figured we might get hungry on whatever this is. So, I packed some lunch. Well, actually, I just told Mark Harmon a joke and he gave me the chicken. Sort of... oh right! (She holds up the book Muldar gave her) Doesn't he talk about this in here? Mulder: Oh, you mean, symbolic exchange. Well, I think he talks about it somewhere. I mean, his work is truly vast, Scully. All sorts of stuff, really. Consumer societies, treating economics and social exchanges like a bad math problem, simulations, levels of signification, cool memories, The Gulf War, the media - (Scully holds up a piece of chicken) Scully: Enough, Muldar. I get it. Just... let's eat this chicken and walk the shops. (Mulder takes a bite and eats with his mouth full) Mulder: Anyway, yeah, at some point, he talked about a fourth level of signification. The first three are: the real, the mass reproduced, and the simulated. (They're walking the shops and Scully takes a bite of her chicken) Scully: And so what's the fourth level? Mulder: Uh, well, it gets a little weird there cause you're beyond the simulation. But it comes down to symbolic exchange and its emergent outcome: the gift. Scully: You mean like pokes on Facebook and donations on OnlyFans? (They continue walking) Mulder: Uh, not quite. The idea is to do something that's just totally nice, disregarding money totally. Sort of like how you told Mark Harmon a joke in the diner and then he gave you all this chicken. Or something. Like I said, it gets a little fuzzy. Let alone emojis. Scully: Emojis? Mulder: Well, I was talking with AI about the nature of communication and asked it to collate and extrapolate given the nature of this hipster's work. (He holds up the book, which is now greasy) Well, now, I've done it, the grease is everywhere. Scully: Anyway, so get to the point. (They continue walking and eating) Mulder: So, the AI examined and came up with like eight or nine levels. I think emojis were the eighth level. (Scully laughs) Mulder: We actually did the same thing with Yeezus' work New Slaves. Scully: Oh, great song. Swell, in fact. Mulder: Swell? (Mulder takes another drumstick out of the tupperware and takes another bite) Mulder: Man, Mark Harmon really knows how to cook chicken. That is falling off the bone! And... indeed, quite swell actually. (Scully chuckles and takes another bite) Scully: Anyway, as far as swell goes, I've been flipping around channels on my Roku. They've got this whole thing called the Roku Channel. Each channel is just one show or a collection of shows and it just plays 24 hours a day. Mulder: Wait, are you serious? Scully: Totes, Muldar, my homebro, totes. Anyway, I was just flipping the channels around and found Leave it to Beaver. (Mulder takes another bite as the walk) Mulder: Great show. Scully: I know! Solid cast, excellent writing, great camerawork, excellent direction, and... there's just something so nice about everything being so neat. And tidy. Plus, the show was often quite revolutionary, considering it premiered in 1958. Mulder: How do you mean? Scully: Well, really, you can just look at the first couple of frames and the first person credited. It kinda starts things off right and gets things off on the right foot. Mulder: So, what do you see when you watch the first frames? (They approach a large area) Scully: The food court! Perfect! Mulder: The first frames of Leave it to Beaver are a food court? Scully: No, we've found ourselves now in the food court at this mall and now we're here. Wanna sit down and eat some more chicken? Mulder: I mean... I'm a pretty off-the-wall guy but eating our own food in a mall food court seems like it might be pushing it. Scully: But Muldar, look around! (She gestures about) Scully: Do you see what I see? Mulder: If you're referring to the fact that the whole place is empty, then I think we're on the right track. Scully: Exactly. Totally empty. Well, I mean, all the shops are operating, but there's essentially no one here. I mean, Muldar, it's 2025. I don't think anyone's been in a mall since 2004. You know, PS2 era! Mulder: So, what you're saying is: given the sheer overabundance of the supply of tables, it's probably alright for us to sit down and eat this chicken Mark Harmon gave you as a gift out of your tupperware. Scully: Even you can occasionally follow my simple logic. So, high top, table or booth? Mulder: So, not only an abundance of tables but also various choices. I mean, honestly, this level of freedom is somewhat overwhelming. Scully: I'll make the choice. You're a fan of booths I know. (They sit down in a booth in the middle of the food court) Mulder: So, anyway, getting back to Beaver, you mentioned the revolutionary nature of the program starts from the beginning. Scully: Right. (She takes another piece of chicken) Scully: So, it's actually the credits to the show. And, you know, it comes in various forms: the kids coming down the stairs and going to school or the parents waking the kids up. There's the music of course. And that's all nice and helps and gets you comfortable. But the revolution is in the order of the names. First, the mother, played by Barbara Billingsley, then the three male actors. Interestingly, they're listed in alphabetical order but also in age order. First Ward, and then Wally and then - Mulder: Right, Beaver, I follow. So, what are you getting at? (She looks at him) Scully: Muldar, come on. I mean, it's 1958 and here is this woman, the mother, getting top billing. Just smiling and cooking meals and such. I mean, come on, just put the pieces together. (Mulder squints at her and takes a bite of his chicken) Mulder: Oh my god! I think I see what you're saying. Scully: So, say it, don't be afraid. Go ahead. Mulder: The woman comes first. Scully: Exactly. Like I said, revolutionary. And they did it in all sorts of ways really throughout the series. That's just the first thing I noticed. But I mean, they were on a network so they had to cloak it, real sneaky like. So, they have all sorts of words like "Swell" and "Gee" and the music and the nice house and Barbara Billingsley smiling like a movie star and all. You know, just lulling people, and then they'd deliver all sorts of messages about classism and addiction and lying and deception and growing up and becoming an adult and the bittersweet nature of being a parent. All sorts of stuff. (Mulder eats more chicken) Scully: Muldar, are you listening to what I'm saying? Or are you focused on your chicken drumstick? Mulder: I'm listening. Sort of multitasking: the chicken and what you're saying. Scully: So, anyway, you know, it has to be for the family, so they had to play by the rules. So, you know, you're some family with an antenna and you tune in. Obviously, you're in the real world watching TV, so you don't look like the Cleavers. But you know, a stylized ideal. But anyway, you're some family and you have your problems and struggles and all. And then you tune in and watch whatever episode it is. Maybe I dunno, a pair of fathers and a 13 year old sister and an 8 year old brother. Mulder: in 1958? Scully: Mulder, it's an example. So, anyway, the young man laughs at the stupid turns of phrase and Beaver getting dirty. And the young woman can't help but look at Tony Dow. And the fathers consider the example provided by Ward Cleaver. And maybe one of them remarks how much he likes June's latest set of pearls. Plus, you know, the gay dads probably also chuckle at all the innuendoes. And they also appreciate that it largely goes over the heads of their children. Fun for everyone in different ways. Mulder: Fair enough. So, what now? Scully: More chicken, I guess. Mulder: Honestly, I'm kinda full at this point. And, jeez, there's still a ton of chicken. That must have been a hell of a joke! Scully: Not really. Hardly anything really. More of a light remark approaching zero humor. Which in a way, that makes sense, given I told it to Mark Harmon. Plus, they had a ton of chicken in the back and needed to cook it and get rid of it. Anyway, we could just leave it here if we're done. Mulder: Maybe someone will eat it. Scully: Or the flies'll get to it or the janitor will clean it up. But, uh, maybe we'll just sit here and wait to see what happens. (Mulder nods and smiles) Mulder: We'll hold this position. And wait for them.