When
I reviewed “The Erlenmeyer Flask” a few weeks ago, I discussed the notion of
the alien corpse or “wellspring” as a kind of Pandora’s Box. Use of the
alien corpse’s DNA in scientific experimentation would mean -- in the universe of
The
X-Files -- a brave new world, one with infinite variations, and infinite
capacity for good and evil applications.
Chris
Carter’s episode “The Host” also involves, at least implicitly, a Pandora’s Box
of another brand.
In
“The Host,” Mulder and Scully investigate a strange mutant spawned in the real
life radioactive horror of Chernobyl and conclude, chillingly, that it may be
only the first such creature “born” out of man’s mistakes and short-sighted treatment
of the environment around him.
Or
as the episode’s dialogue makes plain: “Nature
didn’t make this. We did.”
In
this case, nuclear power is the
Pandora’s Box, and the thing that, once “opened,” spawns unpredictable terrors.
Beyond
utilizing the horror of Chernobyl as the monster’s point-of-origin in “The
Host,” this second season story of The X-Files works so splendidly
because it gazes at a kind of corollary
for the Chernobyl accident.
In
particular the Chernobyl accident involves possible mismanagement -- or human error -- in a setting of vital
importance to man’s communities. In “The Host,” the topic isn’t nuclear power,
but the ways that modern civilization removes
or disposes of biological waste on an industrial scale. In other words, the vast sewage plant of “The
Host” replaces the nuclear plant at Chernobyl as ground zero. It is a stand-in
for that locale.
Accordingly,
“The Host” veritably wallows in tons of sewage, waste, and other unpleasant
side-effects of human biological processes. At least three crucial scenes are set near
toilets (aboard the Russian freighter, in a home bathroom, and finally, in a
campground outhouse). The tacit connection
to Chernobyl is that the accident which occurred there in the eighties also
involved a modern response to a basic human need, but for power (and thus heat
and light), rather than a place to extrude waste.
In
addition to Mulder’s several nauseating trips into raw sewage, “The Host”
terrifies because of the absolutely unpleasant or unsavory nature of its
monster, the “fluke man,” a humanoid with a sucker for a mouth, and rolls of
loose fat for a trunk.
The
Fluke Man is decidedly hideous in appearance, but even more terrifying in his behavior. He injects his victims with
his young, his larvae, so that human beings become host to the parasites before
dying a horrible death.
One
particularly harrowing scene in “The Host” finds a hapless sewer worker
throwing up a worm while taking a shower.
And the episode’s big “jump” moment involves another “baby” worm poking
its nose out of a corpse during an autopsy conducted by Scully.
Although
I haven’t gone back and watched every X-Files episode preceding “The Host,”
I’m pretty certain that no other episode yet produced has traveled so far down
the line of biological or body horror, and featured so many absolutely
grotesque “ick” moments.
And,
not incidentally, this episode re-states The X-Files Gothic thesis about the
Romantic response to Enlightenment.
Here, science creates monsters.
The age of “rationalism” gives rise to magic, mystery and inexplicable new
terrors. A tabloid contending in
sensational (and thus Romantic…) tales of monsters and mayhem offers the clue
which allows the scientist, Scully, to solve the episode’s mystery.
Taken
as a whole -- or in disgusting pieces for
that matter -- “The Host” remains one of the X-Files’ greatest and
most memorable “monster of the week” stories.
It is scary because the Fluke Man is grotesque and monstrous, but even
more so because it goes where few (TV) horror stories might be willing to
tread: into the facts regarding human waste disposal in a modern setting.
With
The X-Files still officially shuttered, Mulder is relieved of his wiretap surveillance
assignment and asked to look into a bizarre murder case in Newark, New Jersey. In particularly, a body is found in the
sewers with a strange bite mark, and a Russian tattoo.
While Mulder hunts the murderer -- a giant
fluke worm -- Scully determines that the victim may have come from a Russian
cargo ship carrying contaminated water from Chernobyl.
Digging
deeper, Mulder and Scully find that the adult fluke-worm mutant -- part parasite
and part man -- is using human bodies as an incubation place for its
young. They are faced with the specter
then of a whole colony of such Worm/Human Mutants…
On
April 26, 1986 a disaster of unprecedented proportions occurred at Nuclear
Reactor 4 in the Chernobyl facility.
Over
four hundred times the amount of radioactive material that was released in the
Hiroshima bombing in 1945 was dispersed into the atmosphere over the Ukraine. The area around Chernobyl was evacuated as
workers struggled to contain the nuclear meltdown, but the long-term effects of
the accident were only beginning.
For
instance, the Pripyat River -- which
supplied drinking water to 2 million people in Kiev -- was contaminated, as
were fish in the area. Citizens were exposed
to the high level of radioactivity in the immediate vicinity, and began to
experience higher incidences of Thyroid cancer. The same poisoning occurred
with local wild-life.
Chernobyl
is a terrifying place where science fiction meets science fact, and in a very
unfortunate manner too. Deformities of a
horrendous nature were detected in animal and human births after the nuclear accident,
and a new kind of “black fungi” was even seen, years later, thriving inside the
abandoned reactor walls. Was it a new
kind of life?
Chris
Carter’s fluke-man does not seem so far-fetched or outrageous an outcome when
one considers all these gruesome details, and once again The X-Files plumbs
real-life fears to make its fictional horror feel more realistic and immediate.
The
environmental and human cost of the Chernobyl accident is horrible enough, but
in some sense, one might call it “distant” from our national concerns. The meltdown happened in the Soviet Union,
after all, and some eight years before the second season of The
X-Files was commissioned. But
cannily, Carter relocates a Chernobyl-style horror to another vast, industrial
locale, and also one of crumbling infrastructure: our sewers and sewage plants.
A stand-in for Chernobyl. |
And another view of the sewage station, our stand-in for Chernobyl. |
Before
it is done, “The Host” features obsessive views of backed-up toilets, sewage plants,
flooded tunnels, out-house shit pits, and even men knee-deep in human
waste. The obsession, rather clearly, is
on the underbelly of modern civilization.
Today,
we flush our toilets, and don’t really think about anything beyond that local
outcome. But indeed, there is an entire
industry -- invisible to most -- dedicated to treating and disposing of that
waste once it leaves our homes. The
toilet is actually only the beginning of a long journey. “The Host” garners so much of its ability to
disturb by shining a light on the things we’d rather not know about the end
results of our normal biological processes.
In
some respects, this is the very key to crafting successful horror:
investigating something real and disturbing, and then adding a fictional
horrific element beyond the reality of location. The Texas Chainsaw Massacre (1974) does
the same thing, after a fashion, by frequent references to the local
slaughterhouse and the incidents that occur inside. That real “terror” is then connected with a
fictional one, in this case a cannibal family. But the uncomfortable aspects of the
slaughterhouse set audiences on edge, and sow anxiety. In “The Host,” the sewage plants and other “bathroom”
imagery perform an identical function.
They augment the terror of the actual monster to a considerable (and
sickening…) degree.
Part
of what makes “The Host” work so effectively is its decorum-shattering approach
to facets of life we’d rather not talk about, at least in polite company. The Flukeman hides in an outhouse shit pit,
unseen and undetected, but the thought of that fanged thing just waiting down
there for an unsuspecting person to make a “deposit” is almost too much to
bear, especially considering how vulnerable people are when they sit on a
toilet.
Overflowing toilets on the Russian ship. |
As stopped up sewage line. |
The campground outhouses. |
And the monster's new home. |
The waste removal process, up-close. |
The sewers: home to a man-made breed of monster. |
In
some ways, this episode’s focus on waste -- from the stopped-up toilets on the
Russian freighter to the monster in the outhouse waiting to strike -- is as
every bit convention-busting as the series’ most notorious episode: “Home.” “The Host” makes us face things we’d rather
not gaze at.
In
terms of X-Files continuity, this story introduces Deep Throat’s
successor X, if only as a voice on the telephone, and establishes the
re-opening of The X-Files. There’s also
a great scene here for Assistant Director Skinner (Mitch Pileggi), when he acknowledges
openly that closing the unit was a mistake.
This dialogue reveals to viewers that Skinner is not just a bureaucrat
following orders, but someone who Scully and Mulder can at least begin to
trust.
Watch where you sit... |
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