The Host (2013): Stephanie Meyer’s Sci-Fi Attempt

We open the first episode of the new year joking about the post-apocalyptic theme reflecting the current state of the world – sometimes we have to laugh instead of cry. We’ve chosen to discuss the largely forgotten 2013 book adaptation of Stephenie Meyer’s novel The Host. Capitalizing on her fame from the Twilight saga, this sci-fi, YA fantasy romance failed to find an audience.





The Host Premise



Passive alien “Souls” have invaded Earth, possessing human bodies as hosts to erase the human consciousness. Saoirse Ronan plays Melanie, captured and implanted with the Soul called Wanderer. However, Melanie’s voice remains, influencing Wanderer’s thoughts as they coexist mentally.



A Seeker pressures Wanderer to access memories that will lead to surviving rebel humans. This contrasts the Souls’ claims of being peaceful, though the book better establishes an ethical struggle for Wanderer. She escapes and finds her Uncle Jeb’s colony, who reluctantly shelters her. Here the film’s script fails – more backstory on both sides would make unclear motivations more compelling.



After tentative acceptance, Wanderer – nicknamed “Wanda” learns the humans are trying unsuccessfully to save hosts by removing Souls. Horrified at killing the alien consciousness, her medical skills prove useful. She teaches safer extraction, though mistrust returns after a raid leads to capture and suicide. Again the film misses chances to explore profound themes around identity and the sanctity of individual lives.






Instead, it fixates on undeveloped love triangles between Ronan’s dual role and former boyfriend Jared, now reluctant to see her possessed body as fully Melanie. Newcomer Ian connects more with Wanda. The Young Adult tone continues via recurring kissing scenes we criticize for lacking context around consent given the sci-fi premise. Moments of body-snatcher horror give way to Wanda’s internal voice producing awkward comedy.



Later action attempts fail too – ambiguous mortality risks for a main character, then immediate elimination of the violent Seeker seeking Wanda. Neither builds tension when the audience is distanced from caring. The simplified script contradicts richer philosophical questions in Meyer’s book about an endangered species fighting not to lose humanity while trying to retain it.





Ultimately Wanda decides sacrificing herself will return Melanie’s body and life. After removing her essence the colony places it in a brain-dead body they couldn’t revive, sidestepping her chosen fate. The rapid resolution leaves no lingering uncertainty around the procedure’s effects on hosts. In the end, rebel humans have made progress working with sympathizing Souls further diminishing the war for Earth’s dominance as peaceful cooperation prevails.



Our Take On It



We criticize the anticlimactic absence of conflict in what could almost play as background noise. Invasion of the Body Snatchers by Hallmark would have higher dramatic stakes. Exploring ethical issues around consent more deeply would better match the body-snatching premise.





We invite those who read the book or saw this forgotten film to share impressions – the effect of adapting a complex 600-page novel into a simplified hour-and-a-half screenplay clearly proved unsuccessful,

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