Again, Scully was ripped to emotional and physical shreds, this time by giving her cancer as a result of her abduction experience back in season two. The character became wrenchingly vulnerable as the series processed, and this was the year that Gillian Anderson to deliver a number of shattering performances that revealed her talented she actually is. Sure, Duchovny was superb throughout the season, but it was Anderson who stole the show. Her Emmy win confirmed it.

Sure, there were missteps , such as 'The Field Where I Died', 'Kaddish' and 'Demons', but they certainly weren't fatal to a show that was riding high and a getting a bunch of awards and nominations.

HERRENVOLK

Directed by R. W. Goodwin. Written by Chris Carter.

RATING: ***

The fourth season first episode continues the story arch that begun last series with 'Talitha Cumi', as Mulder and Scully must face off with the Bounty Hunter (Brian Thompson) to protect the mysterious Jeremiah Smith (Roy Thinnes). Mulder and Smith escape, and together they travel to a strange community staffed by cloned human children, and where deadly bees are being bred. It's Mulder's hope that here he'll learn something that will save his mother, who's dying in a hospital. Elsewhere, Scully makes some startling discoveries about smallpox inoculations, which could effect every single person in America.

Although inferior to the excellent 'Talitha Cumi', 'Herrenvolk' is still a compelling piece of work. There's plenty of action in this one, with several thrilling showdowns with the Bounty Hunter, a creepy bee attack teaser, and a brutal shooting involving Mr. X (Steven Williams). However, a few of the more talky sequences aren't as interesting, and the episode suffers a little. One of the best things of this one is the amount of characters involved, and the fact that they all have things to do. Cigarette Smoking Man (William B. Davis), Agent Pendrell (Brendan Beiser), Skinner (Mitch Pileggi), the conspiracy "Elder" (Don S. Williams), and even Mulder's missing sister Samantha are all involved. Plus there's the introduction of Laurie Holden as Marita Covarrubias, another figure in the conspiracy plot, who appears to be Mulder's alley for some time. But this episode belongs to Thompson (just as 'Talitha Cumi' belonged to Thinnes), who's menacing presence tears up the screen whenever he appears. 'Herrenvolk' is a step down from 'Talitha Cumi', but still an effective conspiracy entry that sets up things for later archs.

HOME

Directed by Kim Manners. Written by Glen Morgan and James Wong.

RATING: ****

The small, isolated community of Home is shaken up when the remains of a dead infant are discovered by kids playing baseball. Mulder and Scully show up soon thereafter, and meet with the local sheriff (Tucker Smallwood), who’s reluctant to work with outsiders. He tells the agents about the Peacock family, who live near where the skeleton was unearthed, and who actually an incestuous clan who have no contact with anyone else. However, when the sheriff and his wife are murdered in their home, the Peacocks are obvious suspects. Aided by the vengeful town deputy, Mulder and Scully must invade the Peacock’s farm, where, it seems they’re keeping a kidnapped woman for breeding purposes.

Simply put, this is one of the greatest X-Files episodes ever, and perhaps the most disturbing. Audiences and critics were both shocked by some of the visuals and ideas in 'Home', and, interestingly, this is one of the handful of entries that contains nothing supernatural or science fiction in the least. Manner’s direction is excellent throughout, especially in the opening pre-credits sequence, the attack on the sheriff and our heroes climatic assault on the Peacock’s farm. However, the most chilling pieces deal with Mrs. Peacock…who’s first onscreen appearance is guaranteed to unsettle any viewer. In fact, it’s probably the most disturbing moment The X-Files has ever given us…thanks in no small part to the makeup FX of Toby Mindala.

Morgan and Wong's return to the show that made them major players is truly a piece of work. Their script slams us over the head with it's dramatics, and yet still manages to give us some of the warmest interplay between Duchovny and Anderson of the season. There’s some welcome humor sprinkled here and there; even the sheriff and deputy’s are named Andy and Barney! Smallwood, a veteran of Wong and Morgan’s Space: Above And Beyond, and Deep Impact and Contact (in which he pretty much the same character), is both believable and sympathetic, and the death of his character is unfortunate…although, very crucial, in terms of the script.

'Home' is a excellent place to visit, but you sure as hell wouldn't want to live there.

Check out my 'Home' page, for behind the scenes info.

Directed by James Charleston. Written by Howard Gordon.

RATING: **

A South African black man turns up in the bathroom of a plane just arrived in the states...very dead, and white. Scully is informed of this by the Centers for Disease Control, and she and Mulder take up the case. They quickly learn several other similar deaths in Philadelphia in which the victims have lost their bodies pigmentation. Further investigating, they connect the deaths with recent West African immigrant Samuel Aboah (Willie Amakye), who is not what he seems. In fact, he may a mythical African demon.

After 'Home', any episode would be a come down, and this one certainly fits the bill. It’s not that this is a bad show, as such, it’s just that there’s nothing fresh here. The villain himself is rather bland, and the most memorable thing him about…his ability to squeeze into pretty much any space…just brings back memories of the classic Eugene Tooms character. The’s a couple of creepy shots of Aboah’s eyes, but, again, the shadow of Doug Hutchison looms large over what we’re watching. Aboah uses his powers to survive, but unlike other such X-Files foes, we really don’t care about him or his plight. The story ultimately has a much ado about nothing feel to it, and Scully’s final few voice over lines just seem pointless.

The supporting cast is interesting, including Carl (Alias) Lumbly as the immigrant’s case worker, and there’s a good one scene role for Zakes Mokae as an African diplomat . Brendan Beiser makes another engaging appearance as Agent Pendrell. Skinner shows up for briefly too. Most importantly, however, is the debut of Laurie Holden as Mulder’s United Nations liaison Marita Covarrubias. However, her scene and involvement just seems tacked on, and what have been better saved for a conspiracy show. Mark Snow's score adds an ethnic flavor that works pretty well, if somewhat cliched.

'Teliko' has a few merits, but overall is a pretty forgettable affair.

Howard Gordon on 'Teliko': "The genesis was really the concept of a melanin vampire, a person who was sucking melanin, and of course, that becomes even more pronounced if it's a black person who becomes the albino rather than a white person. That, in turn, led to me researching African folk tales, and the idea of an outsider or alien among us. That's where the idea came from to use an immigrant. In a way, I felt a little guilty because of the xenophobic possibilities that it presented, but I think we dodged them by making the victims black as well, and also presenting the killer as the anomaly."

UNRUHE

Directed by Rob Bowman. Written by Vince Gilligan.

RATING: ***1/2

In Northern Michigan, a woman gets out of her boyfriend's car to have some photos developed. However, someone murders her lover, and when she returns to the car, the assailant abducts her. Meanwhile, inside the store, the shopkeeper examines the photos he just developed. What he sees are surreal, disturbing images of the young lady in peril and frightened, and surrounded by ghostly faces. Scully thinks the photos were simply faked, but Mulder suggests they're the result of psychic photography. Soon, the kidnapped woman shows up, alive but essentially brain dead. She also repeats the same word: "Unruhe". It's ultimately Scully who locates the killer, Gerry Schnauz (Pruitt Taylor Vince), but ends up being is next potential victim.

Here’s the flipside of 'Teliko'; this is what the series is capable of when each department are firing on all cylinders. The opening teaser is a real grabber, and the nightmarish photos are truly unnerving. In fact, one of the best scenes here is when Mulder is examining one of the spooky snap shots through digital means, revealing all kinds of creepy stuff, which also go a long way in explaining the story. There are several other moments in which the psychic photography grab the audience by the balls, including the ironic and rather profound wrap up.

Bowman's direction is some of the best of the season. He keeps the story move at a great pace, and does some fabulous things with the camera, which builds a lot of atmosphere. Scully gets a chance to take the spotlight here, as you comes face to face with the unusual, and surprisingly sympathetic villain. She has an excellent psychological adversary in Vince, who won an Emmy for his marvellous turn as a serial killer on a handful of terrific Murder One episodes. Vince rises to the occasion again here, and makes the character impressively three-dimensional, haunted by his own personal demons and past. Duchovny and especially Anderson rise to the occasion as well.

Creepy and compelling, 'Unruhe' is one of the season highlights.