MILLENNIUM Virtual Season Four Episode review
by 4Q2
Submitted 11-6-99

"Genesis" #401
Original "Air" date: 7/2/99
Writer: Dan Owen, Kevin Patterson, and Matt Asendorf


In Brief: 
Frank and Jordan have escaped with their lives for now, but the intentions
of the Millennium Group remain a mystery as Frank investigates the
apparent murder of some Group Members, and his direct involvement with
them.


Overall Impression:  
I must admit to a bit of giddiness when I first heard about this whole VS
idea, and having such bitter attitude toward Fox for cancelling my
favorite show of all time.  That being said, I was ready to embrace darn
near anything that had the name "Millennium" on it. 

Now that it has been a few months, here's my impression of it after
reading subsequent installments.  I STILL LOVE IT!

Gripping, and intricate story.  A fitting conclusion to what was turning
out to be quite the disappointing end to the actual TV show.  


Details:
I'll hit the ground running here... This was brilliant stuff.  Not only
did the images presented in the first few pages capture expertly the
entire MM "flavor," but one refreshing thing (that I did not quite expect
to be honest here) was the tightness of the writing.  The dialog all wove
together neatly into very tense, very real conversation that one would
expect to find in the show itself.  I was expecting your basic
run-of-the-mill fan fiction, but got much, much more than that here.  It
genuinely felt like a "lost" script of the show.

I'm letting you know now that this episode is being slapped with a perfect
score of "10," primarily because it is thus far the most entertaining
episode of the VS, and secondarily becuase it rose above and beyond the
standards set by the show itself in terms of the plot, the character
presentation, and the way it conveyed atmosphere.  I could HEAR Mark
Snow's score playing in the background, right down to the "BOOM-BOOM" in
between the acts.

Was it perfect?  No.  But the score of 10 here is still deserved for the
above stated reasons alone.

The idea that Group members would be offed by the high-ups is hardly new,
so the way the story is told is ultra-critical here.  The means of
execution would have to be... unfathomable and hard as hell to track back
to them.  The idea that they would use the SAME tactic to off each member
seems rather reckless and sloppy.  And while I realize the precedent was
set by "Skull and Bones," there's no reason the Group couldn't have
changed methods, especially if Frank was still very much alive to dog
them.  I also question why their "membership rings" weren't taken from
them after being killed, not just as a way to erase their involvement, but
I would think it to be a symbol of their final excommunication from
Millennium.  I'm just glad that Homer B. Petty wasn't a part of this.  My
score would have been slightly lower.

Another detail I had trouble wrapping my brain around was the idea that
Emma would be up for promotion to ASSISTANT DIRECTOR so darn quickly.  Now
I'm willing to beleive that MM has a hand in this, based in their interest
in her.  However, it just doesn't wash that someone as inexperienced
(while intelligent) as her would conceivably move through the ranks so
quickly.  

Her impending promotion to Agent-in-charge *might* be easier to swallow,
but given the apparent tendency for Emma to give in to emotion, to become
so envious of Frank and his abilities (demonstrated in "Saturn Dreaming of
Mercury"), it seems that maybe even MM would want her to get a few more
years under her belt, or at least learn to control her emotions.  Hell,
look what it took for Peter Watts and Lara Means to crack! 

And speaking of Emma, did anyone else feel she was a little to quick to
accept Finley's explanation of Frank's suspicions about the Group.  She
was *livid* with Peter during Season Three, and it would stand to reason
that she might not be all that willing to accept the word of a Group
member quite so quickly.

Okay, major coincidence alert before I get back to what brought this
episode a perfect score.

Ryan Frost: young, sharp as a tack, and a PI in Baltimore WHO JUST HAPPENS
TO HAVE BEEN AN EX-CANDIDATE?  It was hard to accept for about a
millisecond, then it dawns on me that this was one thing the TV show never
thought to explore: another failed member of the group (although unlike
Frank, Ryan was fired).  The story ideas that could spring from this
little angle are abundant and it made me smile big seconds after reading
Ryan's revelation to Frank.  I like this guy.  I like the way he is
written, and I like the fact that he fills the shoes left by Emma.  Frank
does seem to a bit more interesting when he has someone to bounce ideas
off of the way he did Peter Watts.

Although Ryan is a character that agrees with me, one thing troubles me in
that he has never been SEEN.  He is a creation of the writers at the VS,
and one of the things that makes it easier for me to read is I have
*faces* and *voices* (Frank, Emma, McClaren) to go with the lines I am
reading.  However, never having seen Ryan Frost, I seem to picture him as
sort of a William Baldwin-Noah Wyle type.  What I want to know is this:
Who did you folks at the VS picture to be the actor to "play" Ryan Frost.
I'm interested to see what your pick was.

Now, the things that made this episode a delight were, as mentioned
before...

- The writing was nice and coherent, plot was intriguing and believable
for the most part, the atmosphere came across perfectly.  It felt like a
Friday night at home in front of the tube.

- The choice for Emma's voice password to the Group Intranet was a HOOT!

- The revelation that Frank was never really on the Group's hit list was
attention-getting to be sure (insert raised eyebrows here).  I do wonder
how long Frank will just be "a fly in a hurricane" to them however.  They
MUST see the risk in him being alive.

- Frank's speech to Peter at his grave site was *extremely* moving and
fantastically written.


Did The Opening Quote Seem Relevant To The Story?  (Did 4Q2 get it?):
Often times the opening quotes to all incarnations of "MM" seem sooooo
deep, that the meaning flies right by me.  I'm not the type to immerse
myself in the classics of litertature nor do I study the Bible at great
lengths.   Now that the disclaimer is done.

Reading the quote (as narrated by Frank here) was a chilling experience.
I have to admit to having trouble seeing the relevance of the quote based
on what was turning out to me a mass murder by the Group.  However the
scene later on where Frank and Ryan were investigating the recording left
to Frank and consulting the Bible not only cleared things up, but gave me
goose bumps as I read.  Excellent touch with the narration as well.


TV Episode(s) that it most reminded me of:
"Owls," "Roosters," "The Hand of St. Sebastian," "Skull and Bones,"
"Bardo Thodol"


Score: 10 (out of 10)
Great job, gentlemen.  Onward!

- 4Q2

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"Genesis" review by Neil Anna


PREAMBLE
--------

Okay,

I'm stepping out on a limb here, because this will be my first ever really
detailed analysis on this, or any, board. Moreover, I am reviewing the work
of fellow fans, and I am concious that my words might offend those who are
doing such great work on the virtual season. However, I think it is good
for the VS if criticisms are aired, as this will help the VS to continue,
learning from the mistakes. After all, we are happy to criticise the
writing for the actual show aren't we?

But this is not to say that things aren't good. My initial reaction to
"Genesis" was overwhelmingly positive, as was "Blood and Water." I hope I
can give an objective review, even if I am a great fan of the show.

I'm also acutely aware of the fact that reviews of "Genesis" have already
been written. Due to the fact that I have only just recently returned to
this site, I admit that I have not been able to read any of these.
Consequently, certain points that I will make have probably been aired
before. If so, just skip it.

Further reviews will be forthcoming. If you haven't started reading the VS
yet, I encourage you to do so.


APPRECIATING THE ARCHITECTURE
-----------------------------

The producers have done a great service to the series by continuing on a
logical route. Just where would Frank and Jordan go as they drove off into
the sunset? Second Rate Motel rooms and, finally, his brother's place seem
the most logical thing that he would do. It was important the Frank
re-establish his ties with his family, since the last three seasons have
robbed him of that.

The opening teaser seemed initially corny, but as I read it more slowly and
began to imagine the scenes, things began to fall into place. Moreover, it
was an entirely appropriate place to start. While the book of Genesis is an
account of creation, it also points towards destruction, something picked
up in the closing scenes, and which is tied in quite well with "Blood and
Water" (#402). This ties in, again, with the whole idea of the impending
Millennium.

The idea of beginning is important too. At the opening episodes of each
season, Frank is at a new beginning. In #101 he is recovering from a
breakdown and returning to a normal life. In #201 he loses his family and
has to begin again without Catherine, Jordan or the Yellow house. In #301
he begins with Catherine dead, and without the Millennium group. Now in
#401 he begins without the FBI and no steady job. Frank has travelled a
very dark road, and each successive season seems to be getting worse for
him. If the virtual season ends with Frank or Jordan dying, it would be
appropriate (though very sad).

Loose threads have been cleaned up in "Genesis," or at least they appear to
be. Peter Watts is dead (maybe...) and the folder that Frank got from Peter
contains important information pertinant to this particular episode.

The mystery of the episode is set up well. Who are these dead people? Why
were they killed? How was the group involved? One of the strengths of both
Millennium and The X-Files has to be the way the writers manage to obscure
who the culprits really are, but give the viewers just enough information
to work it out themselves. That is the great strength of this Virtual
Episode too... I would probably define it as "classic Millennium" in its
style.

Thematically, there are a number of interesting parallel scenes. The Old
Man in his shack during the teaser and the conclusion was one, as was the
Frank & Emma talking to their dead friends in front of their gravestones 
does no one get cremated these days?)

There is a definite parallel with the season 3 episode "Skull and Bones"
(#306) where Emma is helping the digging up of Millennium Group Members. On
of the great tensions in that episode was the confused Emma with the
familiar yet strangely alien Peter Watts. The tension that existed between
them was quite noticable. Now, here in "Genesis," we have a very similar
parallel between an embittered Frank and a familiar yet strangely alien
Emma. You can almost see the "we used to be friends and worked together but
now things are different" feeling.

But perhaps the greatest strength that this Virtual Episode has is that the
characters are CONSISTENT. At almost every turn I was asking the question
"What would Frank do?" (WWFD?) and I was not disappointed. the lines given
to Emma and to Jordan are similarly consistent with their characters and,
in Jordan's case, her age. Frank's brief discussion with Helen Black led
them both into a very uncomfortable area, but instead of ending in
confusion, Frank defuses the situation by accepting and expressing the
"uncomfortableness" while at the same time reassuring Helen that she wasn't
doing anything wrong or inappropriate.

Similarly, Jordan's lines were golden. "I liked our yellow house" was an
entirely "Jordan" thing to say in the circumstance, as was Frank's
response.

Having not seen the last 5 eps of season 3, I am not alone in expressing my
frustration in Emma's lack of development during the final season. Yet,
here in "Genesis," everything she said and did seemed consistent - her
smirking, her failure to express herself fully to Finley - she actually
seemed more "real" than in the third season.


STRUCTURAL FLAWS
----------------

I hate to say it, but "Skull and Bones" was far more in view here than it
should have been. While "Genesis" was not a rip off, it was certainly "too
close to the bone" (pun intended) of that particular season 3 episode.

Both "Genesis" and "Skull and Bones" centered around the discovery of the
bodies of Millennium group members. As the spisodes progress, it becomes
obvious that the Millennium Group is responsible for their deaths, but no
one knows why exactly. A detailed investigation ensues, but leads nowhere,
with the Group one step ahead.

It is this which is perhaps the episode's greatest weakness. Why doesn't
Emma suddenly go "Hey, this reminds of that dig I was at last year with
Peter Watts. Here we are again! Spooky?" In S&B she becomes increasingly
hostile and suspicious of the MG, but now she just shrugs off Frank's
suggestion that it was the group's fault (did anything happen in the last 5
eps of season 3 that I missed that would explain this?)

Both the link to S&B and Emma's reaction to the new, but very similar
cicumstance, make the episode a bit too "Fan fic" for my liking, which is
of concern since Matt and Dan want something a bit more professional and
detailed.

There were, as well, a number of particular scenes which I had problems
with. First, Emma sitting in front of Barry Baldwin's grave was an
interesting idea, butwhat she revealed in her converstaion with her dead
friend was too detailed - no one would do that to friends, living or dead,
because friends KNOW what you are talking about. Emma's dialogue at that
point seems more instered for dramatic purposes, but fails to be consistent
with the sort of thing she would be saying. "When the results came back and
the scores were tied..." hey EMMA! He knows what you're talking about
okay? You don't have to remind him!

Second. Frank moving up behind Jordan and grabbing her... coming after the
scene of the hand in the mud, this may seem an interesting idea. But is it
really necessary? I can't think of any reason WHY it didn't seem good to
me.

Third. Finley dismissing Frank's problems to Emma. I'm no psychologist,
but is this description ("After his wife died he had a nervous breakdown
which, together with survivor's guilt from his wife's death, made him
paranoid") actually medically and psychologically correct? I'm aware that
even the official writers make mistakes infacts, but I'm just a bit wary
that factual errors can hurt integrity. Hey if it's correct then great!

Fourth. "There are eight (Frank Blacks) in the area, Two sound promising.
One worked for 18 years for the postal service..." Okay, can we forget
the jokes about postal workers killing people?

Fifth. The coroner with Ryan and Hart. Why is the coroner asking Ryan so
many questions? It actually seems unprofessional and NOT the sort of thing
a coroner would be asking someone on police business. In fact, the only
reason why he is asking these questions is so we can get a picture of who
Ryan is. While it is important to do that, perhaps it would be better
placed as he talks with Frank Black. Moreover, the coroner's defence of
Frank Black, while consistent, would have seemed so much more convincing
and surprising if her didn't ask Ryan about himself earlier.

Sixth. "You read his file, too, detective. He (Frank) is, uh, psychic."
While it may be appropriate for outsiders to describe Frank's gift/curse in
that manner, I always thought that Frank's ability was kept under wraps...
secret if you will. I didn't realise that his ability was officially
described.

Seventh. When Martha comes out with the tape, no one ask her who the man
looks like. Frank's house has been vandalized and Martha says "there was
some guy snooping around..." hey is this guy a suspect or what? It doesn't
HAVE to be the dead group member does it? Why don't Frank and Ryan follow
it up and ask Martha for a description of the man? Surely HE could be
responsible for the house's condition?

Eighth. Okay, I'm moving into a more subjective criticism, but I just
didn't think a "Sound of Snow" tape should turn up.

Ninth. (Last one) I think Frank's dialogue with Peter at Peter's grave was
a bit too detailed as well, not to mention over dramatized. Sheeps and
Shepherds notwithstanding, I always thought of Frank as a man of few words.


GOLDEN MOMENTS
--------------

* The reintoroduction of the OLD MAN.
* Emma's password (A line from "Psycho")
* Jordan and Frank staring out the window, dreaming of better times.
* McLaren telling Emma of her promotion... even he can get "persuaded" by
others (was the unseen figure smoking Morleys?)
* "Kind of craggy faced, seemed a bit of a loner"
* Blaylock taking Peter Watt's folder from Frank's car after Frank was
taken away by the police: it was fairly predictable but entertaining
nevertheless.
* Frank: "Theories can be *made* to fit puzzles"... check MATE!
* Jordan chasing fireflies while Frank watches.
* The initial Frank-Emma confrontation... ouch!
* The Elder speaking of Peter Watts, possibly as though he may still be
alive.
* Implicit pointers to the flood (which may come in #402)


NITPICKING
----------
* Just WHERE was the forests where the bodies were buried?... no LEGEND to
tell us where it was!
* How the hell are you going to train flies to act on cue? (okay, you can
use spfx, but they DO look more fake!)
* "You don't have anything to hide do you? - Weak line.


FAVOURITE LINE
--------------

Ryan: "You're free to go, thanks to a statement from a Mrs Thurman at the
Shady Grove. Add her to your Christmas Card list."


GRADING
-------
7.0 out of 10

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GENESIS, written by Dan Owen, Kevin Patterson, and Matt Asendorf
****1/2 (out of 5)

First of all, a word of explanation. For those of you who haven't gotten
the word, Virtual Season 4 is a project created and written by Millennium
fans, many of whom you may recognize as denizens of this newsgroup. It is
not a mere collection of fan-fic. It is an organized series of
well-written and professionally formatted television scripts, developed by
a staff of writers under the direction of two executive producers. Notice
how I didn't put quotes around executive producers? It's because these
people aren't fooling. These are real scripts, folks. Even if they never
touch the varnish on a FOX network executive's desk, they are real
scripts, nonetheless. They have stage directions. They have commercial
breaks (though no actual commercials). They have air dates. Hell, they
even have print ads.

So, what are they writing about, then? Is it any good?

The season premier, which "aired" on July 2 (making this review a little
dated, but I only found out about VS4 a couple days ago), begins six weeks
after the events of "Goodbye to All of That." However, in a refreshing
change of pace for this series, it does *not* attempt to reinvent the
entire show. The events of the episode derive in a logical way from those
of the previous season's finale; characters and events from season 3 are
referred to and acknowledged, as are some from season 1 and even (gasp!)
season 2. Frank is more or less on his own, now, although he has teamed up
with yet another new partner: one Ryan Frost. Frost is a private detective
who was at one time recruited by the Millennium Group, but who was
subsequently and inexplicably fired only a few months later, which gives
him an interesting perspective on the whole issue.

The writing is great. It's particularly great for a bunch of amateurs (at
least, I assume they're all amateurs), but it's also just plain great, on
par with anything network TV has to offer and even on par with much of
what has recently come from our head-swollen friends at 1013. It captures
the mood and spirit of Millennium with a deftness rarely seen since the
days of Morgan and Wong. The dialog is convincing and in character; you
won't have any trouble imagining Lance Henrickson's voice speaking the
words you're reading. (Some of the dialog, in fact, is almost
uncharacteristically good: Andy McLaren, for example, gives his best
performance to date.) Frost's character could use a bit of fleshing out -
at this point he's still pretty much in a sidekick role, providing support
for Frank in his investigations. However, unlike some other ill-matched
partners we could mention, Frost's support is actually SUPPORTIVE. He's
intelligent, makes his own theories (some of which even prove to be
correct), listens to what Frank says, and provides feedback on Frank's
ideas. He's someone Frank can actually relate to. He is competent enough
to have been recruited by the Group, but was booted before he could learn
anything about them, and now he's eager to know more. All of this combines
to make him an interesting and sympathetic character, one that I'm
actually eager to learn more about. Chip Johanssen, start taking notes.

The plot takes as its springboard the idea that the Millennium Group has
somehow become corrupted from within, although whether this is the result
of an infiltrator or an internal schism has not yet been revealed. This
concept has often been batted around the newsgroup, and appeared on more
than one occasion to be something that the season 3 producers were
strongly, if incompetently, attempting to imply. "Genesis" takes the
tangled threads of season three and does a good job of weaving them into a
believable scenario. Further evidence of the considerable amount of
thought that must have gone into this script, the mytharc for the fourth
season is laid out in subtle, eye-opening explanations of what happened
before balanced with tantalizing, well-paced hints of things to come, all
done with a skill and care that, for once, gives us confidence that this
will all be followed through on by season's end.

Of course, the question inevitably arises: is the fact that VS4 builds on
the developments (if they can even be called such) of S3 really all that
great a thing?

Now, this reviewer has never made a secret of his feelings regarding
season 3. The words "overtly hostile" would be one tactful way of putting
it. However, I contend that one of the most frustrating things about
season 3 is that it *could* have been good. It would have been possible to
tell a good story about the Group corrupted from within, about Peter's
estrangement and Frank's growing instability. It would have been possible
to tell a good story about looking to the human brain for answers to the
coming apocalypse. It would even have been possible to tell a good story
about Emma Hollis's crazy old man. The producers of season 3 did not,
unfortunately, tell that story, and nothing in VS4, no matter how
well-written, is going to make those nine long, dark months look any
better. But the constituent bricks are all still there, lost in the
jumble, and VS4 can pick those bricks out of the mess and say: "Look, this
is how it should have been done."

Their goal, as they have stated several times on the VS4 message forum, is
not to write "dream-team" episodes that satisfy every fan's every whim.
Their goal is to take what was done, accept it, and find a way to bring it
all to a satisfying conclusion. So far they're off to a very good start.

However, there is one important difference between the writers of VS4 and
the writers at 1013: the VS4 guys aren't getting paid. If they're to bring
this project to a conclusion, then it's important to provide them with the
moral support they need to keep from running out of steam.

Oh, one last thing: I am thoroughly uninterested in discussing whether or
not VS4 adequately addresses Frank's guilt over murdering the Polaroid
Stalker. Nor do I have any intention of debating whether VS4 is compliant
with the established tenets of any classical theory of moral fiction. It
boils down to this:

1) I really, really wanted there to be a 4th season.

2) I *didn't* want a 4th season that conveniently forgot or denied
everything that happened before it.

3) What I wanted was a 4th season that managed, as much as possible, to
take what had been done and make something good out of it.

...all this plus

4) I damn well wanted to see some good writing, for a change.

VS4 fits the bill. If you wanted the same things I wanted, you'll probably
think so too.

-M.

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"Thoughts on the VS4 Part One" review by Jon


This is a little set of mini-reviews on the 'Virtual Season' so far. It's
hard to review episodes that will never be filmed, as the authors'
visualisation of their script may not match the interpretation of the
reader. Nevertheless, most of the 7 episodes so far have been a worthwhile
read, and there are 1 or 2 classics lurking in there...

I have to admit a little prejudice against the premise of the virtual
season 4 at the outset. While it's interesting to see what the various
authors think "might have happened next," a virtual season 4 must
necessarily build on the foundations left by season 3. The confusing and
frustrating events of that season (the changing Group, the red bowls, the
palm trees etc.) cannot be completely ignored, but trying to explain all of
the rubbish from the last half of the third season will almost inevitably
doom the virtual season 4 to failure. So far, the authors have avoided
having to explain the contradictions of season 3, but they have to face up
to it eventually. How they choose to do this will probably make or break
the Virtual Season.

In terms of overall plot development since the end of season 3, there have
been no earth-shattering changes: Emma is still with the Group and the FBI,
Peter Watts is still dead, and Frank is back to doing consulting work for
local PDs, etc. This is a 'safe' way to start a virtual season, and
contrasts with the seismic events that have kicked off the rival
'Alternative Season 3' (which has chosen instead to re-write the third
season from the ground up).

The topics covered so far have included Millennium Group murders, rival
conspiracies, religious maniacs, archaeology and 2 episodes dealing with
water and flooding.  n fact, water seems to be a common thread running
through several of the episodes. There is also a theme concerning insects
and buzzing noises, which seems to prefigure corruption and evil within the
Group.

And so to the episodes :


(these reviews may contain SPOILERS - you have been warned)


VS01. Genesis
An excellent start to the season. Frank finds a new home and a new partner,
and is drawn into an investigation of several Group-inspired murders.
Well-written with convincing characterisation and nice references to
previous episodes. This episode also deals very effectively with the
conclusion of season 3 (if none of the other bits). A classic.

VS02. Blood and Water
This episode concerns a series of religious murders, a meteor, a coming
flood and a group of stigmatics known as The Fellowship. Apocalyptic events
seem to be beckoning, only to fizzle out at the end. A good episode, a
fairly typical 'Frank investigates odd occurrences' sort of story, but it's
obvious from the start that the world is not about to end, and this lessens
the impact of the episode.

VS03. Gestalt
A political assassination reveals the presence of a new evil conspiracy
called The Board or The Foundation. Don't we have too many proper noun
conspiracies already? Oh well. Anyway, this is a competent episode. It's a
little frustrating that Frank's investigation gets nowhere, and that things
have to be explained by the deus-ex-machina appearance of Ed the Writer
with a lot of backstory.

VS04. Sala' Del La Morto (Salt of the Dead)
Another series of rather odd religious murders reveals the history of
another shadowy group who are linked to the Spanish Inquisition. Again, the
viewer gets to appreciate the backstory while Frank remains in the dark. A
fair episode, in which the apocalypse is forestalled by the discovery of a
'faithful one'. Irritating detail: if the victims are turned to salt, what
happens to their clothes?

VS05. Shophetim
Frank and Jordan have a car crash, and mysterious forces close in on Jordan
while Frank lies in a coma. I had trouble getting to the end with this one.
Too much prose, too much stagy dialogue, too much technical jargon (does
the author work in a hospital, perchance?), too many 'mysterious'
characters and poor spelling and punctuation (count those apostrophes!).
This script would have benefited from some judicious editing and the use of
a spell-checker. There are some good ideas buried in this script, but I
can't recommend it.

VS06. Hostile Elements
A religious maniac is sabotaging flood defences to bring on the apocalypse
at the behest of the Group. A great episode, with good set-pieces and an
intriguing conclusion. Highly recommended. One slight irritation: whose
fingerprints did the Group plant at the scene?

VS07. The First Prophet
Frank is drawn to France to intervene between warring factions over the
discovery of an ancient cave. This episode is BRILLIANT. I don't want to
say too much in case I spoil the surprise, but READ THIS. The nice thing is
that it has almost nothing to do with the fourth season at all, and could
have worked very well as a Season 2 or 3 episode. Just how long is that
tunnel? How many drawings are left? Better than every third season episode,
and good enough to stand with the big boys of season 2. Absolutely
inspired.


So, all in all, an encouraging start to the Virtual Fourth Season.

One slight problem so far is that there is little overall plot development
between episodes, except for Emma's deepening involvement in the Group.
There are recurring themes of water, insects and the Elder's machinations.

At least 3 of the episodes deal with apocalyptic events which are
forestalled or prevented in some way. It seems a shame that so many
potential apocalypses are crowding together for our attention so early in
the season, and somewhat detracts from the power of future potential
apocalyptic moments.

Some of the episodes seem to be almost 'standalone' stories, which work
well but fail to impart a direction to the overall plot. But it's early
days yet, and I'm looking forward to the next series of episodes to see
"what happens next."  Hopefully the next set of scripts will take the
overall plot forwards in some direction, instead of providing another set
of episodes which are entertaining in themselves but change nothing.

At some point, the chickens have to come home to roost, though. I am
intrigued as to whether the authors *will* try to explain any of the
rubbish from Season 3, or whether they will just whitewash over it by
saying "well, the Group did some bizarre and bad things back then, but
we're all better now."

We shall see...