Thirty years ago, a singular episode of The X-Files premiered, forever altering the show’s landscape and solidifying the reputation of a writer who would become synonymous with its most beloved and unconventional moments: "Humbug." Debuting on March 31, 1995, as the 20th installment of the second season, "Humbug" was a masterclass in subverting expectations, blending the show’s signature monster-of-the-week format with a generous dose of dark humor, courtesy of writer Darin Morgan.
In an era before binge-watching and streaming dominance, television seasons were lengthy affairs, often stretching beyond twenty episodes. The X-Files, during its initial run from 1993 to 2002, adhered to this model, offering viewers a substantial narrative arc each year. By the time "Humbug" arrived, audiences had been immersed in season two since its September 1994 launch with "Little Green Men," a Glen Morgan (Darin’s brother) and James Wong-penned episode that delved deeper into the show’s overarching alien mythology. Interestingly, this duo would later gain further fame as the minds behind the Final Destination film franchise.
Darin Morgan’s voice had already been subtly introduced earlier in the season. He received story credit for "Blood," the third episode of season two, which Glen Morgan and Wong developed into a script. "Blood" explored a technology-driven horror scenario, featuring subliminal messages and pesticide contamination. Though a clever and chilling episode in its own right, "Blood" merely hinted at the tonal shift that "Humbug" would ultimately deliver.
"Humbug" immediately sets a different tone, beginning with a misdirection. The opening scene depicts two boys playing in a pool. An approaching figure, initially presented as a menacing presence, enters the water. However, the tension quickly dissipates as the figure is revealed to be the boys’ playful father, much to their delight. The camera then pans out to reveal a sign identifying the location as Gibsonton, Florida, also known as "the Alligator Man," a nod to the town’s historical significance as a haven for circus and sideshow performers.
From the outset, the episode challenges viewer assumptions. The initial "monster" is humanized, depicted as a loving parent. This subversion is quickly followed by a grim reality: there is indeed a monster in this narrative, albeit a misunderstood one, and the Alligator Man is, tragically, its latest victim.
When Agents Mulder and Scully arrive, they discover that the murders may be the work of a serial killer with a distinct modus operandi, causing a peculiar fatal wound. The body count is substantial, approaching 50 victims, scattered across nearly every state. As the FBI agents grapple with this bizarre case, the setting itself becomes a focal point, further subverting expectations.
The Alligator Man’s funeral is attended by a diverse group of individuals, including a bearded lady and several little people. Mr. Blockhead, a man who drives a spike into his chest, also makes an appearance. In this environment, Mulder and Scully stand out, their "ordinariness" making them conspicuous.
While the episode adheres to The X-Files’ monster-of-the-week formula, the setting elevates "Humbug" to a truly inspired level. It offers an intimate glimpse into the real world of sideshow performers, handled with significantly more sensitivity than Tod Browning’s controversial 1932 film Freaks. The episode explores similar themes of community building among "very special people," as one character describes them. Morgan’s script emphasizes the significance of Gibsonton to its residents, highlighting how their experiences with perceived otherness, like the Alligator Man’s skin condition, often foster strength of character rather than malevolent tendencies. The episode also delves into sideshow history, referencing the real-life story of conjoined twins Chang and Eng, whose fate mirrors that of the "Humbug" killer.
The episode humorously portrays Mulder and Scully’s sense of displacement. Scully, the ever-skeptical agent, finds herself in unfamiliar territory, though she does succumb to a carnival gag, wryly quoting P.T. Barnum’s famous line about suckers being born every minute. Mulder, on the other hand, embraces a theory involving the mythological Fiji mermaid, much to the amusement of the townspeople. He is also comically teased for his exceptional good looks. A particularly delightful aspect of the episode is Mulder’s interactions with the acerbic owner of the mobile home park where he and Scully are staying. This character is portrayed by Michael J. Anderson, instantly recognizable from his role as the "Man From Another Place" in Twin Peaks, creating a subtle reunion for Anderson and David Duchovny.
Beyond its connection to The X-Files’ popularity and the Twin Peaks nod, "Humbug" also draws on another element of 1990s nostalgia. Mr. Blockhead is played by Jim Rose, whose Jim Rose Circus was a fixture of Lollapalooza, a defining music festival of the era. The Enigma, also featured in "Humbug" as "the Conundrum," was also a member of Rose’s show. These characters serve to highlight the distinction between individuals born with conditions that make them "freaks," vulnerable to exploitation, and those who intentionally cultivate those qualities.
Despite its overall darkness and its conclusion that reinforces the saying "it’s what’s inside that counts," "Humbug" is filled with moments of quirky levity: Mulder declaring a bed of nails "more comfortable than a futon," Scully feigning the consumption of a bug in front of Mr. Blockhead. The episode also features a surprising twist ending and a thought-provoking thesis, one that The X-Files itself, particularly in its revival seasons, could have taken to heart: "Maybe some mysteries are never meant to be solved."
Darin Morgan’s contributions to The X-Files extended beyond "Humbug." He became a regular writer in subsequent seasons, penning three season three episodes that are now considered among the show’s finest: "Jose Chung’s From Outer Space," "War of the Coprophages," and "Clyde Bruckman’s Final Repose." He also wrote and directed what many consider to be the two best episodes from The X-Files’ revival seasons: "Mulder and Scully Meet the Were-Monster" in season 10 and "The Lost Art of Forehead Sweat" in season 11. These episodes serve as a testament to his unique ability to blend humor and horror, solidifying his place as a pivotal figure in The X-Files’ enduring legacy.
