As
I’ve noted before, Darin Morgan’s stories for The X-Files (1993 – 2002)
are something of a philosophical anomaly.
Where
Mulder and Scully typically voice facets of belief or skepticism, Morgan often populates
his episodes with a lead character who is a surrogate for his own belief
system: nihilism.
That
surrogate in “Jose Chung’s From Outer Space” is an opportunistic “non-fiction/science-fiction” writer, Jose
Chung (Charles Nelson Reilly) who is seeking a quick buck by writing a history of an alien
abduction experience.
And
at one point in the episode, Chung directly diagrams this episode’s theme: “Truth is as subjective as reality.”
This
statement of principle, as you may detect, is deliberately and distinctively at
odds with a series which made famous the catch-phrase “The Truth is Out There.”
How
can truth be subjective, if it exists in some definable place, “out there?” If it is subjective, is the truth even worth
seeking?
This
thematic tension represents merely one glory of The X-Files as a multi-layered
and meaningful work of art. The Chris
Carter series can accommodate different points of view and different
philosophies so long as Mulder and Scully remain true to their beliefs and
histories as the audience understands them.
Morgan’s episodes are so much fun -- and
so provocative -- because the scribe stretches the boundaries a bit, but
never totally breaks them. In this case,
the lead protagonist role is taken by Chung, an act that permits the
storyteller to present a different philosophy while sacrificing nothing we know
in terms of continuity.
To
wit, the alien-abduction and Mulder and Scully’s role in its investigation is
largely recounted in flashbacks this episode.
Under this creative paradigm, memories, essentially, are “portrayed” or
dramatized as answers to Chung’s probing interview questions. In true Rashomon (1950) style, the viewer
has no way of knowing or verifying the honesty or veracity of each
account. In other words, the author’s
point that the truth is subjective becomes manifest in the very absurdity of
many witness reports.
This
is a funny development, to be certainly but also a complex one, for it leads to
Darin Morgan’s final, existential truth about our human existence. Since there is no objective truth for us dwelling
here on Earth, only interpretations of it, we are truly -- in a variation of Close
Encounters’ (1977) ad campaign --“alone.”
Two
teens in Klass County, Washington are imperiled by dueling aliens on the way
home from their first date. A popular
author, Jose Chung (Reilly), interviews Scully (Gillian Anderson) about the
case and she recounts her perception of it.
Scully
and Mulder (David Duchovny) have a difference of opinion about the truth of the
case, however. Mulder believes there was
a genuine alien abduction while Scully believes the matter was date rape and
ensuing post-traumatic stress.
Meanwhile,
a witness to the odd events of that night, Rocky, claims that a third alien -- one from the Earth’s molten core and named
Lord Kimbote -- was involved, as were two unearthly Men in Black.
Unable
to discern the truth for himself, Chung hopes to interview a reluctant Mulder
about what really happened that fateful night…
I’m
not passing judgment on this aspect of the episode, but a deep cynicism shines
through in “Jose Chung’s From Outer Search.”
That
cynicism concerns humanity’s eternal quest to know the truth. Through a series of re-enacted events related
to one bizarre alien encounter, this episode by Darin Morgan suggests that
human memories are inherently and fatally flawed and therefore unreliable
arbiters of fact or history. For one
thing, humans may lie on purpose, without others knowing it. To this end, we learn that the teenagers
involved in the close encounter actually had sex on their date, and are
desperate to hide this fact from their parents.
So
memory being wrong is one thing, but some people encourage wrong
interpretations because they boast hidden or unknowable agendas.
Morgan’s
critique of truth goes further. “Jose
Chung’s From Outer Space” also expresses doubt in truth-searching tools, ones developed under the auspices of man’s
science; tools such as hypnosis. Here,
hypnosis is termed explicitly in the dialogue as a procedure which “worsens” rather than “enhances” human memory. In other words, human memory is bad but
memories re-surfaced during hypnosis are even worse.
Intriguingly,
“From Outer Space” also indicates that the desire to know the truth -- in this case to believe in alien life forms
-- is merely a primal scream shouted in response to a nihilistic human
existence, and a delusion or blind alley fostered and encouraged by a complicit
mass media. The episode’s first shot,
for instance, is of an object (actually a work crew’s crane…) that could easily
be mistaken for a UFO.
In
fact, this inaugural image knowingly harks back to the first sequence in Star Wars
(1977), with the triangular Star Destroyer intersecting the frame, as well as a
moment from Close Encounters (1977), wherein Roy Neary spots a large object
overhead, hovering in the dark Muncie sky.
Those
productions nurture in us, the episode seems to indicate, some sort of
romanticism about the nature of life and the universe. It’s a false or unfounded romanticism,
according to Morgan/Chung.
More
important, however, is the fact that in this shot we believe we’re seeing a spaceship at first glance. As we watch longer, however, we become aware
that we are actually seeing something much more mundane, something utilitarian and man-made.
This
visual joke thus perfectly reflects the idea that we can’t ever be sure that we
are correctly seeing, registering, and interpreting external stimuli. Our desire for the romantic (look, it’s a
spaceship!) supersedes our rationality (oh, it’s a work crane!) and our brain
seems to respond to our deeply-held desire see that which isn’t, plainly,
there. And if this is so, it means that
our perception, our memory, our very truth,
is suspect.
At
the end of the same scene, we witness the appearance of an intentionally
silly-looking “monster,” Lord Kimbote.
This hairy, cyclopean thing seems based on an amalgamation of creatures
from 1960s Ray Harryhausen films. No
matter -- our eyes immediately discount Kimbote as fake or corny.
Here’s
the point, however. We don’t visually “read”
the Greys nearby in the same dismissive fashion. On the contrary, they seem “real” in a way
that Kimbote just does not (perhaps because the Greys reflect 1990s mythology
instead of 1960s mythology/fantasy…)
Morgan’s
message is thus that we shouldn’t stand in judgment of other people’s belief
systems, because they are all equally
flawed and yes, silly. Why accept
dome-headed Greys from space without question, but nit-pick Lord Kimbote from
the center of the Earth? Is one “being” intrinsically
a nuttier idea than the other? Or are
they insane on a co-equal level?
It’s
a little like saying that you believe in the literal meaning of communion
(eating and drinking from the literal body of Christ), but that you draw the
line of believability at the Pope’s infallibility.
Everyone
draws this line differently…
And,
of course, if we draw that line differently and can’t objectively support our
belief system, then we are, for the most part, alone in our belief system.
What
I find so interesting, however, is the last few moments of “Jose Chung’s From
Outer Space.” Here, Morgan establishes
how the abduction has influenced each “alone” individual to change his or her
life for the better. A teen girl at the
center of it has become an activist hoping to save the world. The boy she was with that night, contrarily,
has been reconfirmed in his (unrequited) love for her, and has made this love
the center of his (meaningless?) existence.
And
Mulder, of course, tilts forever at Morgan’s impossible windmills, looking for
answer to things that aren’t really questions in the first place. Why seek truth when there is no truth?
“What really happened to those kids on that
night?” Chung asks Mulder. His answer is “how the hell should I know?”
For
Mulder such an answer might result from a lack of facts, or a need for more
investigation and research. But for
Chung it’s a validation for the belief that we are all animals trapped in our
cages of subjectivity, unable to know the truth or reality of any event in our
lives.
Undeniably
brilliant and categorically funny, “Jose Chung’s From Outer Space” is another
signature X-Files episode. I
appreciate it intellectually, and it always makes me laugh. Yet it is not among my personal favorite
episodes of the series because I tend to believe that we, as humans, must search for the truth, even if it
is, finally, a fool’s errand.
The
journey is worth the trip, and even if truth is ultimately found infinitely subjective,
it still may be enough to help us sleep better at nights, or accept our
limitations as flawed, mortal creatures. Sometimes, a little bit of
self-delusion isn’t necessarily a bad thing, if it can keep us looking to the stars,
or to the next horizon.
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