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Millennium – Sacrament (Review)

This February and March, we’re taking a trip back in time to review the fourth season of The X-Files and the first season of Millennium.

If Force Majeure and The Thin White Line seem to call forwards towards the weird and eccentric second season, Sacrament is a bit more modest. In many ways, Sacrament seems to foreshadow the last stretch of episodes in the first season. The forces of evil seem to encircle the Black family, creeping closer and closer to the big yellow house and everything it represents. For the first time, Sacrament explicitly puts Frank’s family at the heart of a case; this time focusing on the kidnapping of his sister-in-law from her child’s christening.

In many respects, this points towards the direction the show will take in its final stretch of episodes. Lamentation and Powers, Principalities, Thrones and Dominions will see the forces of evil explicitly violate the Black residence, insidiously eroding the idealised life that Frank has tried to build for his family in their new Seattle home. The cliffhanger at the end of Paper Dove pushes the concept to its logical conclusion, as a secret that Frank has tried to keep from his family finally comes home to roost.

Worst. Uncle. Ever.

Worst. Uncle. Ever.

As with WeedsSacrament demonstrates that writer Frank Spotnitz has an uncanny understanding of how Chris Carter built Millennium. It is an episode that is soaked through with the core themes of the series; it is a story about good and evil, and how evil taints everything that it touches. As with a lot of Millennium, Sacrament is not subtle; the moment that Tom Black is identified as the brother of our protagonist, it is inevitable that the forces of evil will come barrelling down upon him.

Nevertheless, Sacrament demonstrates a clear understanding of what it wants to be, and is a pretty effective snapshot of Millennium at this moment in time. The first season of Millennium is often overlooked and overshadowed amid the controversies surrounding the second or third seasons, but Sacrament stands as a great example of what the first season was trying to do.

Our father...

Our father…

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Roy Thomas & Werner Roth’s X-Men – X-Men Omnibus, Vol. 1-2 (Review/Retrospective)

To celebrate the release of The Wolverine later in the month, we’re taking a look at some classic X-Men and Wolverine comics every Monday, Wednesday and Friday here. I’m also writing a series of reviews of the classic X-Men television show at comicbuzz every weekday, so feel free to check those out.

The X-Men were not, to put it frankly, a comic book franchise that hit the ground running. Despite the considerable talent involved in their first nineteen issues, the comic struggled to find its own niche, unsure of just how far it dared to venture from the standard superhero template, and how confined it was by the whole “mutant superhero” bit. Writer Roy Thomas was tapped to take over the book when Stan Lee left.

Thomas is one of the underrated Silver Age writers. His work on The Avengers, spanning more than a half-a-decade, is arguably more influential and definitive than Lee’s original run on the title. He is responsible for The Kree-Skrull War, which remains one of the stronger early Avengers stories. He would work on X-Men twice before the book was finally cancelled. His second run, with Neal Adams pencilling, is arguably a lot stronger than his work here, which feels a little muddled and unfocused.

To be fair to Thomas, it’s quite clear that he recognised that the X-Men needed a shake-up and to find their own voice distinct from the initial run written by Lee and Kirby. Unfortunately, Thomas doesn’t seem entirely sure of what that voice is.

Lighten up, Charles!

Lighten up, Charles!

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