By Ystyn Francis
“Babylon” is the first episode of two that take place in the titular dead mining town in rural Texas. They are also two of the darkest hours in the history of television. When Management instructs Samson that the carnival is to make its next stop in the Biblically named settlement, the troupe become ill at ease. It is never made clear why there is trepidation but one can assume that disconcerting stories of the place are common in carnie conversational circles, and also the link in name to the wickedest town in Old Testament lore does not sit well with the performers either. Nevertheless, while subtle, their trust in or fear of Management means that they all willingly follow his orders.
While the supernatural is a dominant discourse throughout Carnivale, with Brother Justin’s visions, Lodz’ premonitions and Ben’s
ability to heal, the theme is at its most confronting and obvious herein. Whilst stumbling back to the camp after Samson has shouted everyone a night out on the ghostly town, Ben suddenly finds himself in a mining tunnel, stumbling through the dark and confined passageways with the flickering flame of a lighter his only guide. His confusion is shared by the audience and is less to do with where he is but how the hell he got there in the first place. When he is suddenly passed by Henry Scudder in one of the mine shafts heading the other way, it is clear that the man is far too young to be real – he is reminiscent of the photo which Ben carries from many, many years earlier – so Ben follows him in search of answers.
Meanwhile, above ground, the townsfolk, all men, converge on the carnival in unison and, in a terrifyingly eerie silence, they begin ‘enjoying’ the attractions. Everyone is spooked, including Samson, whose gut-feeling leads him to instruct Stumpy – the head of the cooch show – to allow for no full frontal nudity from his dancers that night. However, despite this command, and with the hope of rich takings from their lusty, masculine audience, Rita Sue contradicts Samson and tells her daughter Dora Mae to perform ‘the blow-off’. This sudden moment of sexuality causes a small riot amongst the spectators who rush the stage before being fended off with clubs.
Finally, later in the evening, a drunk Jonesy, having had fun at the expense of a disrespectful miner, is banished from the camp until the end of the festivities. As he wades through the surrounding desolate scrub, he stumbles on the dead body of Dora Mae hanging from a tree, the word ‘harlot’ etched into the skin of her forehead.
Just rewarched this and I couldn’t agree more. There’s a palpable sense of discomfort all the way through the episode.
I loved Scudders response to Ben’s staring at him in the tunnel when Ben recognizes him, “yeah, but what does it mean?” This sums up so much of the show, not that there is a lack of answers but rather that everything has a reason and a purpose no scene is just there to look good or be ‘cool’.
It’s interesting just how freaked the carnies are leading up to these episodes. Can’t wait to discuss part two.