MILLENNIUM Virtual Season Four Episode review by 4Q2 Submitted 11-12-99 "Blood and Water" #402 Original "Air" date: 7/9/99 Writer: Dan Owen In Brief: Frank and Ryan investigate bizarre murders in the Cascade mountains that seem to be connected to a group of "stigmatics" and an impending global "baptism." Overall Impression: Freakish, imaginative plot. No real complaints here, but I do wonder how long humanity can keep ducking disaster when Frank Black is in town. Still, a quite stunning ending and even more fun on the second read. Details: One of the things I had grown to admire about Millennium during its first and second seasons was the way it mixed up its evils. The serial-killer-of-the-week format was followed and carried out nicely with a few dashes of religious-prophecy-terror thrown in. "Blood and Water" not only joins the examples that successfully mixed both, but we have been given the *best* of both worlds. I remember watching the Pilot episode and being enthralled with the lengths The Frenchman was going to prove his point. I found that while being a sick and twisted SOB, he was unfailingly intelligent and very aware of what he was trying to convey. While we are often given the picture of killers being very mindless and erratic, we can't deny that there is something very watchable about a serial killer (at least the fictional ones) playing the game. And it makes the investigation to catch him (*or* put him out of business permanently) all that more satisfying. I got the same air from Jarod Kinley here, the antogonist of "Blood and Water." In addition to his homicidal attributes, we also have the added bonus of him being a "Stigmatic," one who bleeds mysteriously or develops wounds similar to Christ's at the time of his crucifixtion. His self-perception of being the one to usher in the "Baptism" makes him easily one of the more intersting killers in the MM universe, ranking with the aforementioned Frenchman and Galen Calloway from "Kingdom Come." The secret meeting of the Stigmatics living in the trailer park had a very nice feel to it reminiscent of a classic X-Files episode, and I like the fact that they even had a plan of "escape" that Kinley had no knowledge of. Very cloak-and-dagger. The writing, as with "Genesis," was strong and real. The development of the partnership between Frank and Ryan is coming along nicely at this point, but I must confess a bit to missing Emma Hollis. I'd think she'd be conducting an investigation at the behest of the MM group just based on the religious impact of the events here. Seeing the sneering, evil face of Mabius may have been appropriate too, but I won't bore you with my wish list. "Blood and Water" is fine, fine work. I'm almost regretful that the whole VS experience in confined to simple text, without the benefit of visuals. I say this because the entire meteor-crashing sequence that accompanied the final moments of the Stigatics in the mine read very nicely, and the final jump of Jarod was exceedingly dramatic and well constructed. One tiny nitpick: Sheriff Matthews refers to Ryan as "Agent Frost" at one point. When did *he* join the Bureau? Priceless line: Ryan (to Frank): Another "vision-thing?" (Ranks up there with Frank's reply to Lara Means: "I'm not depressed. Just quiet.") Did The Opening Quote Seem Relevant To The Story? (Did 4Q2 get it?): Oh yeah, I got it. And, oh yeah, VERY relevant. Now if I can get that damn Def Leppard song out of my head. Good quote choice, Dan. TV Episode(s) that it most reminded me of: "Pilot (The Frenchman)," "19:19," "Force Majeure," "Kingdom Come," "Forcing the End" Score: 10 (out of 10) While lacking the punch of "Genesis," this was still an excellent story. No one seemed out of character (Even though Frank was the only one to be worried about as far as that goes), and the dialog was top-notch. Like "Genesis," deserving of a perfect score. Onward! - 4Q2 =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= "Blood and Water" review by Neil Anna PREAMBLE -------- Hey, I'm on a roll! I thought I'd better do this now, just in case I get sidetracked onto doing more sensible things (Uni essays, washing up, etc) APPRECIATING THE ARCHITECTURE ----------------------------- If #401 was "Genesis," then this one could've rightly been titled "Revelation," such was the strong apocalyptic overtones. The words of the Old Man at the end of #401 "...and the earth shall be without form once more.." are now examined in an episode rich in end-of-the-world events and some fascinating Christological and theological metaphors. It was, in fact, the metaphors that really gave this episode some ooomph. Viewers of Millennium who do not use their brains usually get turned off, and this is certainly one ep which rewards the careful viewer/reader. Such was the strength of the Christological metaphors that I am wondering what writer Dan Owen's particular religious beliefs are. Though Millennium has never taken any particular theological position, "Blood and Water" is about as Orthodox as Apple Pie when it comes to the meaning and outworking of the crucifixion. No liberal/modernist re-interpretations are present here! The crucifixion is viewed of here as a sacrificial substitutionary atonement. For those who want an English Translation, it bascially means that the perfect sinless Christ took upon himself the sins of humankind and, through his death on the cross, was able to atone for these sins. This particular theology is fairly central to the traditional beliefs of all three major strands of Christianity (Catholic, Orthodox, Protestant), though each one has differing views on exactly how this effects humanity. Okay, enough of the Sunday School lesson. The "Fellowship" who live in the trailer park are basically substitute Christs, who undergo stigmata and other horrible stuff. Their deaths prevent the destruction of the world. One of the great scenes occurs when Frank is standing in the mine, looking into the darkness and hearing the groanings from the Fellowship down below. If there is any scene which encapsulates that part of the Apostles creed "And he (Christ) descended into Hell," then I don't know what does (Hell was traditionally thought to be the underworld, which fits when you consider that the Fellowship are dying at the bottom of a coal mine). Important numbers keep popping up during the episode, though not always explicitly. "Nobody is older than 33 (apart from Tom Langton)" - Traditionally, Christ started his ministry when he was 30 and was crucified when he was 33. Also important are the fact that there are 13 members of the Fellowship, which is exactly how many Apostles Jesus had. One of these Apostles betrayed him - Judas - and anyone who can guess who the Fellowship betrayer is can give themselves a pat on the back (If you're really dumb, it was Jarod okay? Jarod-Judas... get it?) The appearance of the Lion and the Lamb is very "Revelation," whereby Christ is portrayed as both Lion and Sacrifical lamb - both King and servant, priest and sacrifice... Okay, let's cut to the chase. Tom Langton WAS the Christ figure. "I contemplated suicide for years... until my Father explained why I have these wounds. What I have to do.... in order to save humanity." Enough said. STRUCTURAL FLAWS ---------------- There is a very disappointing error in continuity - VERY disappointing. Art was killed as evening approaches, as we can tell when Jarod looks up into the darkening sky while he frightens Glenda. But when Frank and Ryan turn up to the Crime scene, it is still Day. Moreover, as Frank and Ryan travel in the police cruiser during the DAY, Frank pulls out a torch to look at the map. After this false sunset and return to day, finally the sun sets at the trailer park.... ...Where we are told in the script that the Fellowship are meeting, none of whom is over 33 years old. While I have lauded this point above, I must now dismiss it as being quite unworkable as a visual metaphor. How do you define what a 33 year old looks like? Will anyone looking at this image on a TV screen recognise just how important this is? "Hey look Honey, they're all under 33!" "No, hang on, that one looks like he's 34!." I know these episodes probably won't end up on the small screen, but they're supposed to be TV scripts after all, and such directions are, at best, totally unnoticable. The huge focus on the Christological stuff was great, but it actually diminished Frank. I'm sorry, but there was nothing particularly Frank Black about Frank in this episode. Remember... WWFD? Frank is relegated to a bit of a talking head, being quite reactive... ..and I think the final apocalyptic scene was a bit contrived and not terribly well done. There was Frank at the bottom of the mine when the meteorite hit. As the mine began to collapse, Frank ran into the lift, which, despite being ancient and slow, manages to rise up to ground level without being pummelled by rocks or having its wires break, condemning Frank to death. Then Frank runs out, pausing only to marvel at the peaceful looking dead face of Bryant, before then managing to escape the entire collapse of the mine shaft. A brush with death, despite having all this time going up the lift and looking at a dead person? Sorry, but this ain't good enough. It would've been better if Frank had been dug out, alive but injured, as he sheltered in an air pocket. And what is Frank doing there? This is Oregon, in some godforsaken (Vancouver looking) Forest again. Wasn't he just in Virginia? Why is he there? He's no longer with the FBI or the MG, so who called him there? Ryan is obviously along for the ride, and Frank seems quite surprised that there is a serial killer behind all this. Sorry, but this is quite weak. Another thing. Why didn't the Fellowship dob in Kinley? They had Bryant on their side in the police force after all, and who would worry about the mad ravings of a lunatic serial killer? Bryant would've been arrested and the Fellowship would've been able to do their suicide-atonement anyway. How did Frank get handcuffs onto Bryant? Couldn't Bryant have resisted Frank? One last problem. Where is Glenda when she's painting? She's obviously on the other side of the road to the lake, but on a DOWNWARD incline so that Jarod is above her, darkening the sun when he appears. So if she's on a downward slope on the other side of the road to the lake.... then does this mean she is in another lake, or does that mean the Lake that Art is fishing in is some big mountain lake with only a hundred metres or so of rock between them? I'm confused. And where did Art's boat go to when Glenda came back? Did it sink? Was it on the beach? GOLDEN MOMENTS -------------- * Jarod "worked as a furniture designer... for 20 years... then quit after a nervous breakdown." An in-joke from "Furniture salesman" and writer Dan Owen? * The death scenes. Great images abound in those ones. * The blood in the jars.... don't know why they're there but they looked great. * Yet another murder to the sounds of music. * Jarod's hallucinations - looked marvelous. * The red paint being mixed into the jar of water. Great allusion!! * The Rainbow at the end... God remembers his covenant with Noah (not to flood the world again). NIT PICKS --------- * Why didn't the CD of "Casta Diva" skip tracks when the car crashed into the river? * The age of Aquarius? (Water) Groan! Give me a break! * I loved Frank's song that he wrote at the beginning.. "Rock of Ages"... oh, he didn't write it? THEN WHO DID?? (legend please) * The local sherriff seems less than affected by the death of so many locals. * Ryan "Another Vision thing?" Seems to denigrate Frank's Gift/Curse (again!) * Frank noticing that a trailer had been taken away... in total darkness. This despite being there in daynight earlier and not knowing. * Why does Jarod consult his map, mark the place where he is at, then throw it away in frustration? FAVOURITE LINE -------------- Ryan: "Plenty of Fish for him to catch, I'd have thought." GRADING ------- 6.0 out of 10. Good potential, but let down by continuity errors. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= BLOOD AND WATER, written by Dan Owen **** (out of five) Having set up the premise and direction for the fourth season's mytharc, the writers of VS4 have stepped back a bit for a stand-alone episode, tackling (with gusto) the long-neglected religious aspects of the show. Once again, excellent writing and a well-drawn plot make this another episode of quality. I was particularly impressed with the "directing": there are images and scenes vividly brought to life in the script that one can easily envision looking great on screen. The red paint billowing through water and the fisherman's earpiece spring to mind. , If only I had several hundred million dollars and a talented film crew... Ryan Frost seems to be still stuck in sidekick mode, although to do him credit, he's a sidekick with initiative. He and Frank seemed to share the investigative work about 50/50 throughout the episode; I thought it was telling that, two minutes into the show, Frost picked up on a detail that Frank had apparently missed, a detail that defined the rest of the investigation from then on. Perhaps Frank simply hadn't noticed it yet, but the point is: Frost beat him to the punch. This is no doe-eyed ignorant pupil under Frank's "tutelage"; they are full partners on equal footing, much closer to the relationship Frank had with Lara Means, and as such much more appealing and enjoyable to watch. If I have any complaint about this episode, it's that perhaps the religion was just a smidgen *too* prevalent here. I know, I know, never satisfied, right? Well, I've always preferred episodes where the religious aspect is more subtle -- definitely present, but not necessarily visible. I liked "Powers, Principalities, etc." much more than I liked "Anamnesis," to give you an idea of what I mean. The cult of stigmatics was a neat (and creepy) idea, but the tie-in to Atlantis struck me as somewhat goofy, and the meteor impact was almost over the top. I was also left somewhat confused by the killer's ultimate motive; we are told that he had rejected the tenets of the stigmatic cult, that his killings were a rebellion against religion...but what was the logic behind his madness, exactly? What was he hoping to accomplish with his cross pattern? The final scenes seemed short on answers. (Not in the least bit disappointing, however, was the killer's death scene -- that suicide jump off the bridge was one of the best Millennium scenes never filmed...) I also have a small problem with the logistics of any plot involving a "near-miss" apocalypse like this one: wouldn't the Millennium Group, who have made the Apocalypse their primary business for the last 2000 years, be aware of or at least interested in a conjunction that could potentially destroy the earth? Wouldn't they take a particular interest in a cult that had the power to prevent or allow this event as they saw fit? It could be argued that the stigmatic cult was simply wrong, and the Group was not present because they knew there was no danger, but Frank's words at the end of the episode seem to belie this theory. But that's just nitpicking. As a stand-alone, this is a dramatic and entertaining episode that once again demonstrates an impressive deftness with the themes and atmosphere of the late, lamented show that was once brought to us in full technicolor by paid, skilled professionals. Questions: - Was anyone else reminded forcefully of the Marburg symptoms by the descriptions of the stigmatics' wounds? At one point, Jarod's condition is called a "blood-sweat," which is nearly verbatim how the medical examiner described the disease in "The Fourth Horseman" ("...he literally sweat blood..."). When asked about a possible connection, Mr. Owen demurred. Coincidence? - I'm curious, since Frank is now no longer with the FBI or the Group, in what capacity was he aiding in the drowning investigation? How did he get taken onto the case? NEXT: Frank gets involved with the Group's "enemies." The print ad just shows a big picture of the capitol dome... -M.