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Home Again (#110 of 2)

The X-Files Recap Season 10, Episode 4, "Home Again"

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The X-Files Recap: Season 10, Episode 4, “Home Again”

Ed Araquel/Fox

The X-Files Recap: Season 10, Episode 4, “Home Again”

Tonight’s episode of The X-Files, “Home Again,” pivots on two narratives, one of which is promising and occasionally quite chilling. The first, which has social reverberations that suggest a fusion of Candyman and Land of the Dead, follows a group of bureaucrats and politicians in Philadelphia as they’re brutally murdered by a large, looming, albino entity that resembles the “Slender Man” of online urban legend, who leaves no footprints and who drips pus and maggots everywhere he goes, though his telltale signature is a used Band-Aid that’s left on the scene of every crime, which strangely leaves no discernable genetic material. A homeless person calls this creature the “Band-Aid Nose Man” (John DeSantis), saying this name with an impression of awe that subtly affirms this avenger as a possible champion of the disenfranchised.

Katy Perry Pays Homage to Dangerous Liaisons, Anna Karenina, & The Great Gatsby in “Unconditionally” Music Video

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Katy Perry Pays Homage to Dangerous Liaisons, Anna Karenina, & The Great Gatsby in “Unconditionally” Music Video
Katy Perry Pays Homage to Dangerous Liaisons, Anna Karenina, & The Great Gatsby in “Unconditionally” Music Video

Directed by Aya Tanimura, the understated lyric video for Katy Perry’s “Unconditionally,” the second single from the singer’s fourth album, Prism, is an evocative black-and-white effort that features actress Janell Shirtcliff professing her unconditional love for androgyne Erika Linder. But, perhaps inspired by playing dress-up for the ad campaign for her latest fragrance, “Killer Queen,” Perry clearly had something grander and more mainstream in mind for the track’s official music video, which, in a move that’s almost as retro as the corsets she sports in the clip, she premiered on MTV tonight. Inspired by the 1988 film Dangerous Liaisons and Anna Karenina, the video is ironically free of much in the way of a narrative or coherent period detail. Instead it’s composed of a hodgepodge of imagery—including a flying owl, a burning bed, and some blink-and-you’ll-miss-it homoeroticism—intended to, according to Perry, evoke the “power of love and beauty.” The video was directed by Brent Bonacorso, whose previous credits include Elton John’s recent “Home Again” and lots of slick car commercials—which may explain the inclusion of a Gatsby-esque slow-mo sequence in which Perry ostensibly meets her end.