Spoilers

“The Post-Modern Prometheus”

We have come to an episode of the X-Files that would be one of my top ten episodes of the series. After watching it again tonight, I have an even greater appreciation for “The Post-Modern Prometheus” than I had when I first saw it.

Mulder and Scully came to a town where a woman claimed to have been impregnated by a monster in her home, without her consent. The woman, who seemed more intent on making the Jerry Springer Show, stated that her 18-year old son Izzy was conceived in the same manner.

Turned out that Izzy was the writer of a comic book that followed the adventures of the Great Mutato, a local legend and the Great Mutato fit the description of the supposed attacker/rapist.

Shot in a beautiful black and white, this episode took the story of Frankenstein and turned it about to fit into an episode of the X-Files. Much of the stylistic choices of the episode fit right into the type of old fashion horror movies, like Frankenstein. The episode was striking with its mood, creating a fantasy style and a surreal element of the tale.

Music of Cher was used throughout the episode, including a majestic version of “Walking in Memphis” at the very end. There was a reference made to Cher’s movie, Mask, where Cher played the mother of a disfigured boy, something to which the Great Mutato could relate.

I read that some people believe that this episode takes place outside of X-Files continuity since the episode begins and ends as if it was a story in a comic book. This is an interesting idea that does make sense with what was provided. It allowed the creators a freedom to be able to bring a different style of mood to this episode.

Over-the-top actor John O’Hurley, known as J Peterman from Seinfeld, played the “mad scientist” Francis Pollidori. His style of acting fit perfectly in this fantastical story.

This is one of the best X-Files episodes of the entire series, and it was epic to get a chance to see it once again. It is a beautifully constructed and filmed fairy tale that is a love letter to the Universal Monsters from the 1930s/1940s.