Night of Desirable Objects (S02E02)
Airdate: 24 September 2009
Written by: Jeff Pinkner & J. H. Wyman Directed by: Brad Anderson
Running Time: 44 minutes
In the landscape of television science fiction, few genres are as ubiquitous or as derivative as the Monster of the Week episode. When Fringe [kicked off its second season(https://peakd.com/hive-166847/@drax/television-review-a-new-day-in-the-old-town-fringe-s2x01-2009)], the creators, led by J.J. Abrams and Jeff Pinkner, felt the need to pay explicit homage to The X-Files in the premiere. However, by the time "Night of Desirable Objects" aired, they shifted gears. Instead of a direct imitation, the show delivered an episode that looks, at least superficially, like a standard MOTW episode from Chris Carter’s seminal series. It captures that familiar atmosphere of rural isolation, bureaucratic friction, and uncanny occurrences without necessarily inventing a new wheel. It is a solid, if familiar, formula designed to deliver scares while moving the overarching narrative forward.
The episode starts with a cold open set in the rural community of Lansdale, Pennsylvania. It is a classic setting for these types of stories—a place where the darkness lies just beneath the surface. A construction worker named Raymond (Chad Cole) is snatched by something that digs its way from the earth, dragged to a subterranean lair, and prepared for consumption. This is merely the latest in a string of disappearances in the area, leading Fringe Division to investigate. The dynamic between the local authorities and the FBI is established immediately, particularly the frustration of local sheriff C. Howard Golightly (Charles Martin Smith). Golightly is a man who believes in traditional law and order, and he has no patience for the eccentricities of Walter Bishop. Walter, when brought to the scene, is his usual chaotic self, but he does manage to find a substance that is both paralytic and contains traces of human DNA. This convinces him that the disappearances are the work of a mutant, setting the team on the path to uncovering the truth.
As Olivia Dunham digs into the files of the missing people, she uncovers a pattern that points to a retired local doctor, Andre Hughes (John Savage). When Olivia visits him, she senses something amiss. She notices traces of digging in his property, which he explains away as work related to maintaining wells. Olivia, who has been dealing with heightened senses following her injuries, is convinced she hears someone else living in Andre’s house, though he insists he lives alone. The investigation leads to the discovery that Andre lost his wife, Eve Line, at childbirth years ago, and they had an unknown son. Andre is brought in for questioning; his refusal to provide a DNA sample is suspicious, especially given the circumstances. Shortly after being taken into custody, he hangs himself.
Olivia eventually obtains a court order to exhume the bodies of Eve Line and her son. The autopsy reveals that Eve Line suffered from advanced lupus, yet, against all medical science, she somehow managed to give birth. The baby boy’s remains are nowhere to be found, and the state of the graveyard suggests that he dug his way out of his own coffin and continued to live underground. The final piece of the puzzle is the revelation that Andre Hughes was a scientist of sorts. He had tried to save his unborn’s son by injecting the womb with scorpion and mole rat DNA. This genetic manipulation caused a mutation that turned the boy into a monster—an entity that produces a paralytic toxin and craves human flesh. Andre, in a moment of desperate paternal love and later horror, tried to catch his son but failed. The climax takes place in Andre’s basement, where a tunnel to the underground lair is discovered. The monster, having already snatched Golightly, is confronted. The monster dies when the tunnel collapses, sheriff’s car crushing him beneath the debris.
Throughout the episode, Olivia’s physical state is a constant reminder of the stakes. She is still forced to use a cane to walk, having not fully recovered from the injuries sustained earlier in the season. This pacing decision is a strength of the series; unlike many broadcast television shows where characters bounce back instantly from grievous wounds, Olivia’s recovery is slow and demanding. It adds a layer of realism and grit to the show that elevates it above the average sci-fi fare. Nina Sharp, sensing Olivia’s struggle, recommends a man named Sam Weiss (Kevin Corrigan), who helped her during her own post-cancer recovery. In a neat piece of foreshadowing, Olivia reluctantly visits Sam, who runs a bowling alley, setting up a recurring character who would become integral to the show’s mythology.
While the episode benefits from good cast chemistry, it is not without its flaws. Meghan Markle, who was introduced in the previous episode as a possible recurring character or even a protagonist, actually disappears from the series following this episode. It appears to be a glorified cameo, as her character, Agent Jessup, gets minimal screen time before vanishing. Later explanations suggest her character’s religiosity was at odds with the scientific emphasis of the show, but the abruptness of her exit feels like a plot point that was never fully realised. It is worth noting that Markle was originally cast as a potential replacement for Anna Torv during salary negotiations—a fascinating footnote in television history given her later fame. The script by Jeff Pinkner and J.H. Wyman, however, maintains strong continuity. The slow recovery of Olivia serves as a grounding force, reminding the audience that the sci-fi elements are happening to real people who are dealing with very real pain.
Filmed in the Vancouver neighbourhood that has stood in for so many US locations during The X-Files production, and directed by respected filmmaker Brad Anderson, Night of Desirable Objects is a generally entertaining episode. It benefits significantly from the performances of veteran actors like Charles Martin Smith and John Savage, who bring a gravitas to the supporting roles that elevates the material. The production design and sound work effectively create an atmosphere of dread that suits the show's tone. However, the reliance on the Monster of the Week format can sometimes feel like a step down from the more serialised storytelling of the previous episodes. Yet, the script manages to weave in the shapeshifter plot thread effectively; we see the shapeshifter impersonating FBI agent Charlie Francis contacting his superiors in the Alternate Universe via a special typewriter. He receives orders that she must help her remember, neatly tying the episode into the larger narrative without overshadowing the monster mystery at hand. Ultimately, it is a competent, if derivative, entry in the series that balances its scientific anomalies with a believable human cost.
RATING: 6/10 (++)
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