Don’t mistake this as a complaint, but “Night of Desirable Objects” reminded me of a couple of X-Files episodes, hybridized into one. It took a little bit of the Flukeman from Season 2’s “The Host,” a little bit of the Peacock family from Season 4’s famously banned episode “Home,” but it also married that horrible family genetic secret arc and that mutant killer underground arc with two of its own similar conceits from season one: the albino bat boy and the chimera. For a MOTW episode, this was pretty entertaining, though because it’s mostly an MOTW, it doesn’t have a lot of value to the series overall.
Construction workers go missing from a field near the Hughes farm, grabbed from the ground by a shiny, blue-ish claw. Fringe division pokes into these disappearances, allowing Walter to analyze the residue found on the ground at the latest disappearance and discover that it’s a paralytic. On a visit to the Hughes farm, Olivia, who has developed occasional super hearing, hears an additional person breathing despite Dr. Hughes’ insistence that no one else is there. He is alone, because his wife died in childbirth about 20 years ago, and gave up doctoring shortly after that incident. Agent Jessup picks up a bible at the Hughes house and finds a note from the pastor telling him not to blame himself for the death of his wife and child, which leads the team to believe Hughes might have killed his family.
Wow, I’m so glad Jessup got a scene in this episode that’s so crucial to the plot or her character. I have no problem with Jessup’s existence in the series, but why write her in to a case she wasn’t originally part of? That scene with her struck me as very odd and out-of-place. Maybe her arc in this episode was a victim of editing. If so, I’m sure they could have reshot the scene with the Bible featuring, oh, ANYONE ELSE. Peter. Olivia. Evil Agent Francis. Dude, I’d sooner believe that they let Astrid go out in the field than insert Jessup for one lame scene.
Walter exhumes the bodies, only the baby casket doesn’t contain a body. Something tried to claw its way in or out and has stolen the bones. By examining the remains of the mother, though, Walter learns that she had lupus, and it is therefore a medical impossibility for her to have given birth, as the bodies of expectant women with lupus attack fetuses as though they were diseases. Through this, they realize that Hughes, who is in the process of hanging himself from the fluorescent light in custody, genetically engineered a child that could survive in hostile environments, such as:
Peter: He altered his baby’s DNA to survive its mother’s lupus.
Astrid: That’s sick.
Walter: That’s genius! He’s created the superbaby!
It’s part scorpion, hence the paralytic, and part mole or some such other underground creature. Armed with this knowledge, Olivia and Peter try to find it in its underground lair, where it snatches Olivia and then dies when one of its surface tunnels collapses, sending a police car crashing down atop it. Poor little scorpion mole boy, done in by the advancements of a world he could never be part of.
If there’s one really poignant thing I can say about this MOTW, it’s the Hughes desire for a son is very nicely mirrored in the act of Walter taking V2 Peter from the other side to replace the son he lost. They’re both about men who, at their cores, just really wanted to be fathers. And that scene at the end, where Peter talks about wanting to take his dad fishing as a boy but never could because Walter was always too busy? That broke me heart, especially when Walter invited himself to attend the trip with Peter and his “friend,” not realizing that the story was about him, or that he was invited all along. “You know, Walter,” Peter says, “that might just make the trip.”
Meanwhile, mytharc-wise, Evil Charlie Francis is told by his magical mirror typewriter that he needs to find a way to make Olivia remember the other side, and Nina Sharp sends her to see a “therapist” to talk about her accident and subsequent side effects of visiting the other side. This makes me wonder if Nina’s cancer diagnosis and subsequent bionic arm replacement were a result of her business with the other side. She has a really great speech about her cancer and her body becoming “a foreign thing, a threat” to her that engages with my work and connects very neatly to the origin story of the MOTW. Not Fringe’s best episode, but serviceable, and not without a few great moments.
Maybe it was the Indian food racing through my digestive system last night, but I’m already becoming a little impatient for MOTW episodes that don’t really wow me, preferring as usual to see a mytharc episode while still realizing that too many mytharc episodes in a row would overload the entire show. I just didn’t need to see John Savage being creepy yet again and living in a house that I am pretty damn sure appeared in the second episode of Chris Carter’s failed 1999 show Harsh Realm. (Which I can come close to proving, as Fringe moved its production city from Brooklyn to Vancouver between seasons 1 and 2.)
And now, more haiku.
Charlie Francis has
A kickass magic mirror.
Will it say “redrum”?
If this ep is true
Bowling represents more worlds.
Kingpin has meaning.
Reliving Smallville, s1
Will she get to fly?