HOW THE GHOSTS STOLE CHRISTMAS

Directed and written by Chris Carter.

RATING: **1/2

It's Christmas eve, and what better place to spend the night than an alleged haunted house? Mulder drags Scully to a deserted mansion that is supposedly haunted by the ghosts of a pair of lovers. Immediately they witness eerie happenings, and quickly become separated, and trapped in seemingly alternate versions of the same house. Scully has a run in with female spook Lydia (Lily Tomlin), while Mulder meets the deceased Maurice (Edward Asner). The ghosts play mind games with the agents, giving them reasons to doubt themselves...and convince them to shoot each other.

Carter's second directing-writing effort of the season is another unusual stand-alone episode. Considering Carter started his directing work with the tight, intense episode 'Duane Barry', his more recent entries (the masterful 'The Red And The Black' aside) have been broad, goofy gimmick fare, like the unsuccessful 'The Post Modern Prometheus', and the visually spectacular 'Triangle'. I wish Carter would get back to the hard dramatics, because there's too much humor in the show these days. This episode does work for the most part...the first half of the show is both funny and eerie. The interplay between Mulder and Scully is great, and big name guest stars Asner and Tomlin bring a lot to the parts. However, this is another episode that can't seem to come up with a suitable ending after setting up something potentially explosive. The script makes Scully too jumpy; She's been through so much over the years and all kinds of freaky shit, yet it hardly takes anything more than a slamming door to unnerve her here. She's too out of character here. It's a pretty decent episode (complete with some unexpectedly fascinating insights into Mulder), but the flaws just hold it back from being great.

TERMS OF ENDEARMENT

Directed by Rob Bowman. Written by David Amann.

RATING: **1/2

Deputy Arky Stevens (Michael Milhoan) comes to the FBI HQ with a possible X-Files case, and talks with a certain agent. Unfortunately, it's Jeffrey Spender, and the case file is shredded. However, Mulder learns of it, and goes to investigate himself; Laura Weinsider (Lisa Jane Persky) claims her unborn baby was ripped from her body by a demon one night, and Mulder suspects that her husband Wayne (Bruce Campbell) may be the one responsible, and far more than just a child snatcher. Mulder hounds the Wayne, convinced that he is in fact the demon, and soon learns that he has a second wife, Betsy Monroe (Grace Phillips), who's also expecting a baby. Is Wayne Weinsider a demon looking to impregnate human women? How often is Mulder actually wrong about these kind of things?

A mostly average episode that never really makes a real impact, despite the disturbing subject of baby snatching and killing. There's a few major twists towards the end that are pretty effective, and creepy demonic imagery early on is downright unsettling. It's refreshing to see a episode that's back to chills and thrills, although Duchovny gets to have a bit of fun. Horror movie fan favorite Campbell is a welcome addition to anything, and he's quite good here in a change-of-pace role as the charming yet demonic husband. Chris Owens has a neat cameo as Spender, and the destruction of the case file allows for a funny moment in which we see just how far Mulder will go to keep his fingers in the X-Files.

On the downside, there's a certain lack of believability about the whole thing. Mulder jumps to the conclusion that Wayne is a demon way too quickly, and then proceeds to harass him. Didn't it occur to him that if he's wrong, subjecting Wayne to that kind of treatment is just plain mean after he lost his unborn child and the mental breakdown of his wife? And the wife herself, Laura, comes off as clichéd mousy, complete with wholesome hair and thick glasses. There are other problems here too, Wayne being able to get away with so much for so long and why didn't he just use his life-stealing ability to silence Mulder?

Personally, I think this story would have worked better as an episode of the brilliant second season of Millennium, which had the surreal, nightmarish atmosphere to pull it off. If nothing else is gained from 'Terms Of Endearment', we learn that demons have good taste in music.

Directed by Kim Manners. Written by Jeffrey Bell.

RATING: *1/2

Mulder once again drags Scully out on an odd little assignment, this time to Kroner, Kansas, where local greaseball Daryl Mootz (Clayton Rohner) is making big money by seemingly producing rain for the local farmers. On investigating, our heroes discover that the unusual weather patterns may be the result of the mental state of one of Kroner's residents, but is it Mootz, his one time fiancée Sheila Fontaine (Victoria Jackson), or her friend best and town meteorologist Holman (David Manis)?

Yet another lighthearted episode, this one lacking any kind of menace and excitement. It is amusing, and does deal with the semi-romantic relationship between Mulder and Scully. Between this and 'How The Ghosts Stole Christmas', viewers could be getting a little frightened about a possible Mulder and Scully love affair somewhere down the track. There's a couple of funny FX, one involving a flying cow, and the other being flashbacks to past freak weather events. The performances are too light weight and cutesy overall...Saturday Night Live's Jackson makes Lisa Jane Persky in 'Terms Of Endearment' look like a tower of strength. However, Rohner, who was very likeable as Tom Sizemore's sidekick in The Relic, is actually quite amusing as the sleazy Mootz who claims he's "1/64 Cherokee". The exceedingly slow pace is almost fatal, and audiences may find it difficult to stay awake through. Granted, I watched a late night rerun when I got home from an X-Mas booze up, and fell asleep while taping it. But I guess that says more about me than the episode.

The X-Files first foray into romance is cute, but nothing more.

S.R. 819

Directed by Daniel Sackheim. Written by John Shiban.

RATING: **1/2

Walter Skinner becomes sick at the FBI HQ, and Mulder suggests he may have been poisoned. Skinner recalls running into respected doctor Kenneth Orgel several days earlier, and as they go to visit him, they arrive to see him being kidnapped. They learn the kidnappers are Tunisian, and have diplomatic immunity. Scully discovers Skinner's blood has been infected with foreign bodies that multiply at a shocking pace. While trying to uncover the reasons of Skinner's worsening condition, Mulder learns of a connection to his old friend-in-high-places Senator Richard Matheson (Raymond J. Barry). With Skinner at deaths door, is it too late for Mulder and Scully do to anything...or learn the identity of the mysterious long-haired man pulling the strings.

Another solid episode for Skinner, and Pileggi gives a great performance. This is a great companion piece to the fourth season's Pileggi-orientated 'Zero Sum', and like that knockout, it's about how Skinner fits into the greater X mythology and how he walks along a very dangerous path because of his loyalty to Mulder and Scully. However, this one isn't in the league of 'Zero Sum', which had a breathless pace and thrilling revelations. This one seems a little strained and lacks the overall bite. The script leaves us with a few unanswered questions and unresolved threads. Luckily, writer Shiban and Emmy winning director Sackheim build a fair amount of suspense, thanks to some unpredictable story developments and involving flashbacks. And they save the best twist for last: the identity of the person who poisoned Skinner. Like 'Zero Sum', this has a political thriller vibe more than anything paranormal, and it works pretty damn well. Not as great as it could have been, but still a noble entry.

Nominated for a pair of Emmys: Music Composition, Series (Dramatic Underscore) and Single-Camera Picture Editing, Series.

TITHONUS

Directed by Michael Watkins. Written by Vince Gilligan.

RATING: ***

Scully, seperated from Mulder, is assigned to work with overly eager New York FBI agent Peyton Ritter (Richard Ruccolo) to investigate Arthur Fellig (Geoffrey Lewis), a crime scene photographer who Ritter suspects to be a serial killer as he keeps on popping up when the corpses are found. However, Scully gets to know him, and begins to learn the truth about the world weary Fellig...and his tragic supernatural ability to look into the face of death.

Possibly the most intelligent, cerebral episode of the season (and somewhat similar in tone to the later, vastly inferior 'Milagro') strikes the same note as the brilliant 'Clyde Bruckmans Final Repose', yet doesn't come across as a simple rehash. That said, it isn't in the league of that Darin Morgan-Emmy winner. This one is very leisurely paced, and there's almost no engine driving the episode. It's very unlike the majority of the rest of the season. This does also benefit the story, as it does match Fellig's curse. The episode is deep, sometimes haunting and extremely well acted by Lewis and Anderson, in her only real starring episode of the season. Lewis, who I've only really though of as Clint Eastwood comical second banana in the past, is simply remarkable here, and does some Emmy-calibur work. He probably should have received an Emmy nomination for this. Another interesting aspect is Scully working with eager-beaver agent Ritter. It's rare to see either Mulder or Scully in the field with colleagues other than each other. Ruccolo (known for the sitcom Two Guys And A Girl...and the second of the title lads to appear in The X-Files) is very good as Ritter, and he and Anderson get a good, and uncertain, vibe going. 

 From a good start to the haunting and ironic resolution, 'Tithonus' is strong little episode.

TWO FATHERS

Directed by Kim Manners. Written by Chris Carter and Frank Spotnitz.

RATING: ***1/2

A group of scientists working for the conspiracy are burnt to death by the familiar, faceless aliens, and there's only one survivor: Cassandra Spender (Veronica Cartwright), who's been missing for nearly a year, and now is asking for Mulder. Her son Jeffrey doesn't want Mulder around his Cassandra, but reluctantly informs his rival. Cigarette Smoking Man knows everything he and his shady friends have worked on for fifty years is on the verge of coming to pass, and Cassandra is the key to victory...or defeat. The colonization of Earth is beginning, and Mulder and Scully are standing directly in front of it.

Riveting first half of what is possibly the most important two parter of the series six year history. After sitting through many conspiracy installments that pose as many questions as answer them, this story puts all it's cards on the table and lets us know what the hell is really going on. The second scene has CSM actually telling us the basics outright, and more key elements are explained as the story progresses, including if that was Samantha Mulder that CSM delivered to Fox last season. Some of the most remarkable revolves around CSM himself, whom we learn a great deal about. Curiously, both chapters don't deal much with the events covered in 'The End', 'The Beginning' or the motion picture, whereas it directly links to the masterful 'Patient X' and 'The Red And The Black', and that's fine with me. Knockout performances from all, including Davis, Lea as Krycek, Cartwright, Owens, and, of course Duchovny and Anderson. Throw in neat appearances by Pileggi and Mimi Rogers, and you've got a fully rounded ensemble. Veronica Cartwright received her second Emmy nomination for playing Cassandra Spender. Also, 'Two Fathers/One Son' won an Emmy for Makeup, and the former was nominated for Art Direction.

ONE SON

Directed by Rob Bowman. Written by Chris Carter and Frank Spotnitz.

RATING: ***1/2

Cassandra Spender is the prefect human alien hybrid, the key to winning the war between the colonists and the alien rebels. She shows up at Mulder's front door, claiming that the only thing to do is kill her. Suddenly, workers for the center for disease control show up, and led by Diane Fowley, and say Cassandra is a carrier of a deadly virus. It appears that worldwide colonization is beginning, and the conspiracy prepare to join the aliens. With the end of everything near, Fowley offers Mulder a chance to avoid the chaos. Meanwhile, Jeffrey Spender has learnt the truth about the Cigarette Smoking Man's experiments on Cassandra, and decides to betray his father and siding with our heroes. But is it too late to fight the future?

Spectacular wrap up to not only this 2-parter, but pretty much the entire conspiracy/colonists/black oil creature plotline...at least until it's resurrected in slightly different form in the eighth season. Although it's not action-orientated, 'One Son' is extremely exciting. The suspense comes from the sheer intensity of the scenario and the desperation of the characters. There's not a moment in the episode where it doesn't feel like the world is coming to an end. For these two episodes, Carter and company have managed to deliver an overwhelming sense of apocalyptic finality that the companion show Millennium was managing to do throughout it's second season.

It's appropriate that almost every X-Files conspiracy character appears: CSM, Skinner, Cassandra Spender, The Lone Gunmen, the "Elder" (Don S. Williams), Alex Krycek, Diane Fowley, Kersh, and the nearly forgotten Marita Covarrubias (Laurie Holden). Even Peter Donat reprises his role of William Mulder in a flashback scene. Duchovny and Davis are particularly excellent here, and their scene together is exceptional. Ultimately, the key character of the story is Jeffrey Spender, who really goes through a trial by fire ordeal, and finally wins the audiences sympathy. Bowman's direction is exciting, breakneck and suspenseful...and much better than his work on The X-Files movie. In fact, this should have been the X feature film! The scene where the rebel aliens unleash their final attack is unforgettable and both shocking and ironic.

Effortlessly compelling, 'One Son' is the perfect way to resolve the saga The X-Files has been building since the very beginning.

Rob Bowman on 'Two Fathers' / 'One Son': "The aim of the episode by Chris Carter and Frank Spotnitz was, to start simplifying the conspiracy episodes because they have got so complex and got so many characters into the show. In the movie, it's very difficult to present because you are letting a brand new audience into a highly involved conspiracy. Mulder is known by all these people, but how do you invite a new audience to a movie that's already been developing over 5 years prior? So we made a bit different story in the movie and tried to have many second characters in this two-parter."

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