Son of X-Files, Jr., Part II: The Beginning

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 It’s hard to believe, but The X-Files is returning to Fox. The six-episode mini-series starts shooting this summer. And Twin Peaks, another dead show about paranormal investigators, is being reincarnated by Showtime.
 

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Why are occult detectives back in fashion? I think Scully’s M.D. makes her more qualified than either Agent Mulder or Agent Cooper. Remember the episode when she gets abducted by aliens? The scene was shot in Vancouver, but they pretended it was Afton, Virginia—which does not have a funicular. I know because I used to drive over the Blue Ridge Mountains to the University of Virginia’s Creative Writing Department three days a week, unaware that the university also housed a Division of Perceptual Studies.  Its founder, Dr. Ian P. Stevenson, died a few months after I finished my MFA.

Given his research area, I feel I should place an asterisk next to “died,” but his colleagues have yet to report evidence of his afterlife activities. Dr. Stevenson had been a full-time paranormal researcher since 1968 when philanthropist Chester Carlson, inventor of the Xerox machine, willed UVa’s medical school a grant to open DoPS. So, yes, the world’s only university-based researcher of reincarnation was funded by photocopiers.

If a medical school seems on odd place to find a psychical investigator, you should know that Scully comes from a long tradition of occult detectives with MDs. World-renown surgeon Stephen Strange abandoned his scalpels for astral projection, in 1963, two years after Dr. Droom entered “that dark and mystical world which lies beyond the known and the unknown!” Dr. Stevenson visited India in 1961 too, to document his first of almost 3,000 cases of past-life memories. Stevenson was still finishing high school when Superman co-creators Siegel and Shuster dreamed up the first comic book occult physician, aptly named Dr. Occult. But Algernon Blackwood’s 1908 Dr. Silence is the first general practitioner to accept the superhero job title “psychic doctor.”
 

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If a medical degree doesn’t sound sufficiently superheroic, then you need to see Hugh Jackman in Van Helsing—or wait for the Tom Cruise reboot, if it ever escapes from development hell. All these Hippocratic Oath-swearing healthcare professionals also reveal the superhero genre’s most important superpower. Sure, X-ray vision would be handy when diagnosing, and what doctor couldn’t use telekinesis in the O.R.? But despite all those fist-thrown Ka-Pows! and bone-bashing kicks, the number one superhero trait is kindness.

When told he won’t be paid to treat the dying Llama, Droom answers: “I can’t refuse to treat a sick man! If I must, I’ll treat him for nothing!”And so he’s rewarded because: “Only a charitable, self-sacrificing human would have done so!” Dr. Silence also takes “no fees, being at heart a genuine philanthropist.” His wealthy friends are “puzzled” that he “should devote his time” not just to doctoring but “chiefly doctoring folk who could not pay.” He poses the “native nobility of a soul whose first desire was to help those who could not help themselves.”

This Hippocratic philanthropy extends to monsters too. Dr. Van Helsing can “pity” and “weep” for vampires during his “butchery” of their bodies, imagining Dracula’s “joy” when “his better part may have spiritual immortality.” When Dr. Silence faces an Egyptian fire spirit wrongly “torn from its ancient resting-place” and brought to England where it exacts revenge, he feels more for the mummy than its wealthy looters. He later worries about the well-being of a werewolf, a condition he terms an “infirmity,” rare but also “often very sad.” He has no enemies, only patients. Though the ghost of a witch is beyond his help, he transmutes the “evil forces” she left behind “by raising them into higher channels.” He doesn’t destroy evil—he cures it.

Unlike the vampire-hunting Drs. Van Helsing and Hesselius, Silence has actual superpowers, making him the first superman to leap beyond the comparatively mundane realm of superhuman strength. He would be an ideal subject for Dr. Stevenson’s studies in extrasensory perception. Not only does he posses the “power almost to see in the dark,” “that special sensibility that is said to develop in the blind—the sense of obstacles,” but “his psychic apparatus never failed in letting him know the proximity of an incarnate or discarnate being.” His Watson-like narrator also wonders if he has “some secret telepathic method by which he knew my circumstances and gauged the degree of my need,” a power that also “saw into the future.”

These powers don’t come from enchanted artifacts or mutating radiation.  His magic isn’t magic. It’s an extension of his “humanity,” his “spiritual sympathy.” He can “absorb evil radiations into himself and change them magically into his own good purposes” because he’s just an incredibly nice guy. He’s not just sensitive, he’s “ultra-sensitive.” “Thought-reading” just requires paying attention to and caring deeply about other people. And since “suffering always owns my sympathy,” of course he’s going to dedicate his life to helping them.

Dr. Stevenson kept a list of the books he read that numbered over 3,535. I’m sure it includes some of the same “Yoga books” Dr. Silence admires, the ones arguing “the necessity of man loving his neighbors as himself” because, says Silence, “men are doubtless not separate at all.” Stevenson achieved that  interconnected state of “perfect serenity” though the “mystical experience” of LSD, but whatever its source, he and Silence had the same goal, the same desire for “peace and quietness.”

Usually that means putting the past and present back into balance. “Ancient pasts” and “ancient instincts” have a way of rising in Blackwood tales. Stevenson traveled the world to study the same phenomena, writing a 2,268-page monograph on past-life memories, including 200 “in which highly unusual birthmarks or birth defects of the child corresponded with marks, usually fatal wounds, on the previous person.”

Silence’s filing cabinet is considerably smaller. He vanished in 1917, after Blackwood published his sixth and final case study. Given that John Silence, Physician Extraordinary was a breakout best-seller that let the author quit his day job, it’s weird the doctor never came back. Maybe Silence has just been waiting for his favorite shows to return to TV in time for the 100th anniversary of his last publication?

Or maybe he was abducted? Those X-Files aliens returned Gillian Anderson after her maternity leave and Buddhist wedding. Blackwood and Chester Carlson were students of Buddhism too and firm believers in reincarnation. I’m more of a Dr. Scully myself. Though I try to be sympathetically open-minded.
 

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Transsexual Supervillainy

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So John Simms is now Michelle Gomez. Presumably Time Lords have always had the regenerative ability to change sex, but it took a half century of Doctor Who adventures before anyone dared to notice. The villain’s new body also gives the former Master the ability to stick her tongue into Peter Capaldi’s mouth. The Guardian’s Mathilda Gregory wasn’t shocked: “Discovering the Master had kissed the Doctor and called him her boyfriend didn’t seem odd, because there has always been sexual tension between the two, but seeing Missy being able to express it made it clear how heteronormative TV can be.” Matt Hill at ScienceFiction.com was more irked: “If this is the way the Master felt like treating the Doctor, why is it the only time we see a kiss [is] when the two participants for all intents and purposes fit a heterosexual norm?”

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I agree, but I’m intrigued by a larger pattern of villainy. Why do evil homicidal men keep turning into evil homicidal women?

I’ve been catching up on old episodes of Syfy’s Haven with my wife and son, and 2012’s season three features a serial killer dubbed the Bolt Gun Killer (a possible homage to and/or knock-off of the cattle gun-wielding Anton Chigurh in No Country for Old Men). He not only murders women, but he slices off his favorite parts to stitch into a new body. The Killer is clearly male—the blurry surveillance image proved it even before detective Tommy Bowen is unmasked—but that Frankenstein body he’s making isn’t his bride. It’s himself. Like Buffalo Bill in The Silence of the Lambs, he’s sewing a new skin so he can become a woman. Except the Haven writers (I seriously doubt Stephen King had any influence on this plot arc) gender flip the gender flip by revealing that the skinwalking killer was originally a woman who now slides in and out of birthday suits, male or female, while busy assembling one that looks like her old self.
 

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She wants to impress her returning husband (he spent a few decades in a magic barn and/or alternate dimension), and her plan more-or-less works. But no one comments about the Bolt Gun Killer’s gender and sexuality ambiguity. When “she” slips on a man is “she” still a woman? Or is she a man with a female gender identity? Since the Killer’s spousal devotion is constant, does that mean she changes sexual preference when she changes genitalia? In the Troubled universe of Haven, are gay men and straight women the same under the skin?

Chris Carter belly-flopped into similarly murky waters in the 2008 The X-Files: I Want to Believe. A pair of gay villains, Janke and Franz, abduct women to extract and sell their organs on the black market. Except sometimes Franz needs a whole body for himself—everything but the head (which Janke buries in a field for the FBI to find with the help of a psychic pedophile priest who molested Janke and Franz as altar boys). Franz’s first and presumably male body may be in that ditch too, though it’s unclear how long his team of assistants has been removing his head and reattaching it to new bodies. Women’s bodies. Are women just easier for Janke to abduct? Or does Franz have a female gender identity? And if so, how does Janke, a gay man, feel about his husband’s new vagina? In the outed truth of Carter’s Catholic universe, are gay men just straight women attached to male heads?
 

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Again, Carter and his co-writer, like the Haven writers, don’t comment on the implications—they don’t even seem aware that their fantastical sex change operations sew up anything but plot holes. There are other examples—the female H. G. Wells from another Syfy show, Warehouse 13; Tim Curry’s Dr. Frank N. Furter, that “sweet transvestite from Transsexual, Transylvania” landing on Earth via The Rocky Horror Picture Show—but I prefer the original transsexual supervillain/ess because s/he is also the original comic book supervillain.

When Jerry Siegel and Joe Shuster’s Ultra-Humanite debuted in Action Comics No. 13, he was a bald guy in a lab coat and wheelchair. All those seemingly unrelated adventures during Superman’s first year—a crooked football coach, a war-profiteering munitions manufacturer, a circus-foreclosing loan shark—were all part of the retconned Ultra’s improbable plot for world domination. Superman thwarts him four more times in 1939, ending with the villain’s explosive death in No. 19. He’d mysteriously vanished from plane wreckage in No. 13, but this time Shuster draws the corpse. “Dead!” declares Superman.
 

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Action Comics No. 20 introduces Dolores Winters, a Hollywood actress who lavishes Clark with thanks then cold shoulders him the next day. “It doesn’t make sense!” he exclaims. “Females are a puzzle—movies queens in particular!” After the “vixen” kidnaps a yacht of millionaires and threatens to murder them, Shuster draws the first wordless panel in Superman history.
 

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“Those evil blazing eyes,” declares Superman, “there’s only one person on this earth who could possess them . . .! ULTRA!”

The “person” confirms: “My assistants, finding my body, revived me via adrenalin. However, it was clear that my recovery could be only temporary. And so, following my instructions, they kidnapped Dolores Winters yesterday and placed my mighty brain in her young vital body!”

Although Shuster draws that young vital body with his standard vixen proportions, Superman can’t drop the male pronouns. “He must have as many lives as a cat!” he says after Ultra’s inevitable escape, wondering “will he continue his evil career?” But when Ultra returns in the next issue, the captioned narration accepts her sex change, mentioning “her last encounter” and “her hideaway.” Even Superman adjusts, calling her a “madwoman.”

Ultra expressed no sexual desires before his operation—so 1939 readers, like 2014 Doctor Who viewers, would have assumed he was straight. But given all the young vital bodies available for transplantation, why did he instruct his minions to stick his brain inside a gorgeous woman’s skull? Next thing he’s using his new pussy (a cat trapped in a fence) to seduce a male scientist—but that’s just to get the scientist’s atomic-disintegrator, right?

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Ultra pulls on a pair of pants before leaping into a giant vagina–I mean, volcano–at the end of No. 21, but the next issue begins the two-parter that introduces Lex Luthor to the Superman universe. Ultra never returns. “It all seems to be a terrible nightmare!” declares the pussy-freeing scientist. Superman doesn’t want to talk about it: “Well, leave it go at that.”
 

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I’m thinking Siegel’s cisgendered editors wanted to leave it go too and told him to flip villains. 1939 wasn’t ready for transsexuality. 2014 may be past it.

Ultra, Franz, and the Bolt Gun Killer have one thing in common: a brain. The rest of their body parts are detachable, but their skull-housed sexualities and gender identities seem constant. Franz is a straight male brain. Bolt Gun and Ultra are straight female brains. None of them actually change. The Master is different. I’m not sure exactly what happens inside a Time Lord’s cranium during regeneration, but the brain–the physical organ–must transform with the rest of the body. Only the mind remains. Which means a Time Lord’s identity transcends anatomy: the Master is neither female nor male, neither gay nor straight. Time Lords have no baseline sex or sexuality. The Doctor Who thought experiment posits a universe in which cisgendered-heteronormality isn’t even a possibility.

The Master is also the first sex-changing villain whose sex change isn’t a manifestation of his villainy. Franz, Ultra, and Bolt Gun are variations on Buffalo Bill–a character so two-dimensionally vile, audiences root for Hannibal Lecter instead. Bill is subhuman, and his homicidal attempts to become a woman are his only defining feature. Except possibly his thigh-tucked penis:
 

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The Mistress stands apart from Bill, Franz, Ultra and Bolt because she didn’t abduct and murder actress Michelle Gomez to get her body. Missy is still a homicidal psychopath, but her sex change isn’t monstrous. The character may be evil, but not the transsexual transformation. That’s a first in pop culture supervillainy.
 

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