Day 6 has arrived, sneaking up on Day 5, shrouded in the black of night before revealing its glory and bludgeoning Day 5 in a gristly dawn spectacle. Welcome to Morgan & Wong Week Weekend!

Today we move away from Millennium one more time to look at another slice of Morgan & Wong legacy: Final Destination.

This rather quirky horror carried a rather quirky premise: what if you managed to avoid the point when you were meant to die? What if Death was rather miffed by this discourteous lack of time-keeping in regards to copping it, and looked for the nearest opportunity to re-adjust his records. By this I mean - what crafty ways can Death come and kill those pesky people who haven't died? You get the picture.

Final Destination has since spun a franchise. Teen after teen who has avoided death finding there is no escape from their chosen fate. )Last year we had Keegan Connor Tracey talk about her role in Final Destination 2 in the Millennium Group Podcasts

So to commemorate the first - and often argued to be the best - of the Final Destination movies, written and conceived by Morgan and Wong, here's a little video montage to the events of the first film!

So what can be said about Final Destination?

It was written by Morgan and Wong, with James Wong directing and Glen Morgan working as a film producer. It came out in March 2000 and started Devon "Idle Hands" Sawa, Ali "Resident Evil: Extinction" Larter, Seann "Gross-Out Teen Movie" William Scott and of course, Kristen "Millennium/Space:Above and Beyond" Cloke. Soundtrack was by the great Shirley "Batman: The Animated Series" Walker.

The film opens with Alex Browning's High School trip to Paris. Prior to the flight, he dreams of his aircraft's destruction, and as they prepare to take off, he finds life is imitating his dream too closely.. Acting on his fears, he gets himself, a few friends and his teacher thrown off the flight before it takes off. They soon realise his dream has saved their lives and cheated death... but death is a sore loser, and one by one the flight survivors are knocked off by the most feared force of nature...

It has to be said, I'm not a horror fan. Anyone who has listened to our Horror Special for the Millennium Group Sessions perhaps will remember me bleating on about the fact. However, Final Destination I take exception to - yes, I rather like it. It's silly, nasty and fun - in a horrifyingly inescapable death-stalking way. I always felt Final Destination championed what I see as the quint-essential asset to any good horror film: life is bloody unfair. Yes, Horror works best when its victims are those who don't deserve it in anyway whatsoever.

When I first heard of Final Destination I figured it was a group of kids who intentionally look to cheat death via premonition , but it isn't - it's one poor sod who reacts to a dream and others who are forced along with his actions. No one goes out to cheat death really. Alex is perhaps the only one you could point a finger at when he realises, but only in a natural human urge to survive. The rest don't believe him until they see the event for themselves. These aren't stupid kids who have wandered into a haunted house, or decided to dabble with arcane magic they shouldn't, or have released a horror onto the world through some stupid curiosity. These guys are just off to Paris. Their death is pure bad luck - and in tandem, so is their survival. That's a very neat mirror for a horror film.

So Final Destination is made more horrific by the fact these poor bastards didn't really cheat death, and the one who set the ball in motion only did so by some freaky dream. You'd feel that Death would perhaps feel a little sympathy for these guys, and if it did, it certainly kept its sympathy under wraps as some of the deaths - surprise surprise - are not pleasant (though some to be fair, are actually quite quick - perhaps Death had a pang of empathy and felt obliged to give that particular victim a high speed train to the head. Not much time to feel anything there...)

It's a unique concept - one you'd expect from the likes of Morgan and Wong - throwing a little revitalisation to the horror genre. Of course, the state of the franchise now is more questionable - as Millennium fan/horror writer John Kenneth Muir points out in a recent review.

The below is an excerpt of that review - a slice which I think is both fascinating and very relevant to the original film.

"Watching a death scene unfold in the original Final Destination (2000) is like watching God play Ideal Toy's classic board game, Mouse Trap. With people.

And heavy machinery.

I admire this approach because, in some odd way, I believe it actually reflects the shape of life (and death). Case in point, and I've told this story before: In 1989, I was driving to Richmond from New Jersey with my parents. We made a last minute decision to take the family van and not our smaller sedan. About half-way to Richmond, we became positioned on 1-95 behind a car carrying a surfboard on its roof. In short order, the surfboard became unloosed from the top of the car, and -- like a guided missile -- flew backwards into our van's grill. It bounced off and did minimal damage.
But had we been driving in the sedan, the surfboard would have smashed right through our windshield and probably decapitated everyone in the car. I've never forgotten this incident (which is probably why I've brought it up on the blog more than once.)

I remember the feeling of inevitability -- the impression of my life in slow-motion -- like it was yesterday. I remember seeing the board's restraints break; I remember seeing the surfboard shake and shimmy on the roof-top of the car ahead. I remember the wind lifting it up like a plane on ascent. And I remember the surfboard gliding right at us and thinking, finally, "This is it...I'm gonna die." And what a weird, unexpected way to go...

The Final Destination (in 3-D no less) is perfectly positioned to thrive on that very brand of feeling: on the inevitability of death; on the relief at miraculously evading it; on the thought "There but for the Grace of God go I."

This is from John's fantastic blog, Reflections on Film and Television. The FULL article on the latest in the Final Destination franchise - and comments the article received - can be found here. Please support his work!


Do you want to own the first three movies on DVD? Final Destination 1, 2 AND 3 on REGION1 DVD? Films that's cast and crew include Millennium wonders such as Morgan and Wong, Kristen Cloke and of course Keegan Connor Tracey? You know the drill! Name and address on an email labelled "Final Destination" and sent to - we'll pick the winner later tomorrow!

Tomorrow will be the final day of Morgan and Wong Week, and to finish off the seven days we have a feature length podcast with Glen Morgan himself.

This is quite an event as Glen's not spoken about Millennium in many, many years. So this is one to look forward to!


Congratulations hero! Well now, you've arrived at day 5 of Morgan and Wong Week. Read this entry to win the level and proceed to day 6!

Well we're staying on the Millennium theme today having looked at Morgan and Wong's contributions in season one with Dead Letters, we're now moving back to Season 2. Today we have guest writer William Johnson from Secure to take us through season 2 through his eyes.


You can't have a season 2 without a season 1. . .and that's probably the only clear cut thing about Millennium's approach to. . .well. . .anything. Because while Millennium excels in being as thematically sporadic as possible across three wonderful and often tortured years on American television (where patience is hardly ever rewarded by the big suits in the big chairs in the big office in the big building) I believe (queue up the Season 1 loyalists, the Season 3 wackos, and the Season 2 haters), Season 2 embodies everything you'd ever want to know and feel about the show Millennium. *winces expecting large objects to be thrown*

I was talking to Lance the other day (yes, Lance Henriksen. Not Lance, my barber neighbor next door or Lance the homeless man near my work who I always give a quarter to) and he mentioned that Chris Carter feared Millennium wasn't as cutting edge as he wanted. Then again, as documented, Chris Carter never watched all of season 2. And I'm not here to go all Chelsea Handler on the Hollywood machine (or, Hollywood-Canadian machine I guess) and point fingers at people. Chris Carter had a show idea in Season 1 about solving serial killings with cameo appearances by millennial nutbags and prophesy obsessed weirdos. Glen Morgan and James Wong, once Carter employees, decided to make season 2 a show actually living up to it's namesake: Millennium. This time the cameo roles went to the serial killers and the wackos got center stage.

And while the critical results are mixed, two things happened: Millennium became cutting edge and Morgan and Wong were pronounced certifiably insane. . .in that creative, genius way! We're celebrating Morgan and Wong week here at BacktoFrankBlack and while my all-time favorite episode of Millennium exists in Season 1 (coincidentally written by Morgan and Wong: The Thin White Line), their magnum opus of work is, without a doubt, Millennium: Season 2.

I enjoyed Season 1 (otherwise I wouldn't have watched season 2) but thought that, despite many of its genuinely shocking/creepy moments, there was a formula that prevented the stories from truly breaking out. Maybe because I enjoy things with a little supernatural bent (it has nothing to do with my Fox Mulder poster next to my bed) I felt Season 1's strongest points were when it went into ambiguous horror mode. I liked guessing whether or not things were real, hyper-real, uber-real, or just plain otherwordly. I like androgynous creatures coming down into basements and killing people. . .I do.

So after Morgan and Wong wrapped up a cliffhanger season 1 ending (pre-empted by some super cool celestial stuff), they decided to just embrace their macabre tendencies and go full-out ambiguous horror, minus the ambiguous part. I won't lie. . .I was taken aback at first. A show about sadistic but all too real serial killers was now being replaced by demon dogs and humanistic (and holiday specific) demons. Perhaps the lines of ambiguity were no longer there. . .these things flat out existed. . .but the mystery and grandeur continued. Why? Sure, it wasn't about 'does this exist?' like it was with, say, Season 1 Lucy Butler or the dude who shot lightning bolts out of his hands (or did he?????), but 'what will these things do next and how will it effect our hero?' And instead of just flat out explaining it, Morgan and Wong decided to make your face explode by tackling the subjects in every way possible: you want laughs? You got it. You want mystery? It's there. You want straight horror? They provide it. You want to make men everywhere sexual confused by maximizing both the raw sexiness and terrifying horror of Lucy Butler. . .well, that exists too. What doesn't exist? is probably the question to be asked. Because Season 2 can't be summarized or easily explained. . .(when asked to write a 'summary' of sorts by the Millennium Group themselves (aka Troy) I literally went to my room and cried for two days straight). Season 2 just is and you have to take it or leave it. I take it. . .with reckless abandon.

And while Morgan and Wong didn't write every episode (not everyone can be J. Michael Stracyznki. . .jeez), there presence on the show kept the show focused. To not criticize season 1 (or 2) too harshly, there was always a wandering sense to the narrative. You were never sure where the story was going to go in terms of consistency. You never know where Season 2 is going to go in a situational sense. That season was, believe it or not, amazingly consistent in theme: a)because, like Chris Carter's first few years of his 'Mythology' arc of the X-Files, the writers, seemingly, had an idea of where to end things (and if they didn't then bully for them because they fooled us all and are only made of more platinum genius if they came up with this stuff on the fly), and b)because Morgan and Wong are CRAZY!

Seriously, though, Season 2 set into motion two things: the rise and fall of Frank Black and the final preparation for the Millennium itself. In regards to Frank, his character becomes the eyes for the audience. He's isolated (just like I am on my couch while watching the show) and thrown into an ever growing world that seems to be on a ticking clock to doom. We can't help but learn and grow with him. . .but like all great hero journeys, Black goes through a Gauntlet of Physical/Emotional proportions.

At the beginning of season 2 and the very end, Black goes full circle: he abandons his family and is lost. By season's end, some of his family has abandoned him and he is beyond lost (he's got grey hair and all that to prove it). In between he is tempted by myriad forces to join them (Millennium group) or to give up the fight (multiple demons/angels/what have you). Physically he suffers from his 'gift' even at points only able to think straight if he wears glasses inside. And at one point, Frank Black is seen from the villain's angle. . .from the outside looking in (Somehow, Satan Got Behind Me). In my mind, no character in television history has ever been examined so thoroughly. A man journeys down a road to. . .well. . .?

The Millennium, finally, plays the final part in Season 2's consistency. Whether it be the continued cameo of the 'comet' to the days ticking away on Frank's computer, to Frank coming face to face with different cultures and groups' take on the Millennium itself (Asian, Native American, the Millennium Group, European, etc.), Frank encounters what makes the actual fascination with 12:01, 2000 tick. And we, thanks to Morgan and Wong, were there for the ride.

Sure, there were some Season 1 sidebars, but you can only have so many Old Man in Woods episodes or demons eating donuts or what not. Episodes like 'Luminary' and 'The Mikado', while having nothing, really, to do with Season 2's Millennium theme, further exploit the exploration of Frank's soul. Luminary, specifically, making Frank look at what it takes to be human, even having a moment where he has to see what a young kid sees when stripped of all 'normal' attributes of existence. It's compelling stuff.

I hope you want to watch Season 2 again. . .I really do. That was my goal. Morgan and Wong spearheaded the whole thing and though it seems they left on bad terms, their work is cemented forever both in my brain and, thankfully, on DVD. I think many people get stuck in their views and can, over time, revert to those views even when new life experiences can change them. . .if you are adamant Season 2 is not for you, just give it another try. I think it will change the way you look at Frank Black. . .because that's why we're here! To bring him back and Season 2 is almost like his greatest moments captured in 23 hours of television (okay, well, that Sense and Antisense stuff was kind of odd. . .so 22 but still. . .). Let's thank, primarily, Morgan and Wong for that.


In case anyone has lost count, or was thrown in part by yesterday's second part to our third part of our part Morgan, part Wong week, this is day four.

Today we make a welcome return to the ouroborus and the Millennium, having drifted into some of M&W's other rather excellent circles. To take us on our ever circular trip, we welcome the return of our favourite-reviewer-in-a-mask, DiRT! Today, DiRT will be talking to us for ten on the exciting world that is Millennium, on an episode from season one that was touched by the penship of Morgan and Wong... Dead Letters!

So without further ado, let's do the flashy player thing, and press play! And watch out for the blooper! Nice come back DiRT! :)

A reminder that our competitions are open until Sunday. To win a copy of the X-Files Season 4 Boxset, or Space: Above and Beyond boxset, simply put your name and address on an email to - with "X-Files Competition" in the header for the X-Files competition, or "Space: Above and Beyond" in the header for the Space: Above and Beyond Competition (please send separate emails for both competition entries).

Please note, with humble apologies we've discovered we've been having a few problems with our emails for the first part of this week - if you've sent us a comment or competition issue entry on Monday-Wednesday night, could you PLEASE resend so we're sure all entries and comments have got to us for that period. Apologies again.

Finally, thank you to Steven Trotter for the base design that I used to flash up our Morgan and Wong week header. He's been using a similar one he created to promote the Morgan and Wong week on his Millennium Facebook Group. I think both looks great, don't you?


A bonus for Morgan And Wong Week Day 3: Space: Above and Beyond. Horror writer and Millennium fan John Kenneth Muir has found one of his older articles on the subject and has posted it on his blog. An excerpt follows:

"Imagine a "gritty, gutsy" (per TV Guide...) futuristic war drama colored in hues of mood battleship gray. It takes place in deep space following a devastating sneak attack on humanity by an unfathomable and merciless enemy.

Our protagonists in the war effort (which we are "losing badly") are young, attractive (but headstrong and angsty...) pilots. Much of the action occurs inside the cockpits of cramped space fighters and in military briefing rooms. The universe depicted by the series is one of murky morality and hard truths which shift in the troublesome and ambiguous sands of wartime. For instance, the specter of torture (here termed "re-education") is brought up in one installment.

You don't think I'm talking about the re-imagined Battlestar Galactica, do you?

Instead, the first paragraph of this review describes the Glen Morgan/James Wong sci-fi war drama, Space: Above and Beyond, a mid-nineties-era TV endeavor that aired on the Fox Network for one season (and twenty-three hour-long episodes), and which concerned a squadron of rookie - but committed - soldiers serving in the United States Marine Corps Space Aviator Cavalry aboard a mobile space headquarters; not the Galactica, but the Saratoga."

For more, follow the link to his blog! Well worth a visit!

And don't forget to enter our Region 1 boxset competition for Space: Above and Beyond! Send an email to with your name and address. Lucky winner gets the boxset!


It's Wednesday and we're back for day 3 of Morgan & Wong week. We've looked at Millennium (which we will be returning to tomorrow), we've looked at The X-Files - so what's next? Well indulge me please as I ramble on a little about the show which to me, was more Morgan & Wong than them all: Space Above and Beyond.

If you take the time to listen to our Glen Morgan interview this coming Sunday, you'll no doubt be utterly unsurprised at the levels of personal affection he has for this show. This was Glen and James' baby - written, produced and conceived by the duo. It was quite a wonderful series that flew high, only to be shot down on its maiden season by the network.

Space: Above and Beyond came to air in 1995. It lasted 24 episodes and was nominated for both Emmy and Saturn awards. The story carried echos of many war tales and seemingly a small homage of Heinlein's Starship Troopers. The year is 2063. The world is at war, a space war with an enemy known as the "Chigs". Suffering severe losses against this alien foe, humanity grows more and more desperate to hold the line and their forces fill with untried, inexperienced and untrained units... Space: Above and Beyond tells the story of one of those units. In particular the show's heroes belong to the 58th "Wildcards" unit. and we follow the adventures of this group as they bond and grow from fresh meat to veterans in the field of War.

From the synopsis it should immediately become apparent what an ambitious project this was. Not just a future tale, but a bleak, epic future tale. Even with CGI helping cut costs on what inevitably would be a high special effects budget, it was clear the studio would be watching this project closely for any signs of weakness..

The main cast of Space: Above and Beyond

Like so many shows with unique potential, Space: Above and Beyond was a concept that inevitably faced enemies far mightier than the Chigs. To start, this future is bleak and colourless. There is no utopia of Star Trek, or even the snug comfort of a commercial space station like Babylon 5. Space: Above and Beyond put you in the seat of the trooper - you aren't Captain Kirk or Captain Sheridan; a leader whose decisions could bring victory - or even the hope of victory. You are a grunt. You are one of the expendables wondering if your next mission would leave you drifting cold in space or dead on some forgotten planet. Space: Above and Beyond was a dark show.

Furthermore, the show wasn't set too far into our future, less than a 100 years. This creates three further obstacles for a show to gather a sizeable audience.

First, stories set in the far future can be wonderous fantasy worlds filled with teleporters, silver cities, crazy aliens and lots of glitter - if we are to invest in a "near future" storyline, there has to be roots in what we experience or conceive to be contemporary - so it becomes less escapist.

Secondly, rooting it in the near future makes the events more intimate than the far future; we empathise with the plight against the alien Shadows in Babylon 5 - we see the parallels to our military wars, but it's more conceptual and removed. "Near future" wars look for close parallels - and those who look to do it realistically like Space: Above and Beyond will attempt to draw intimate parallels with our contemporary understandings of war. As intended, this can again make an audience uncomfortable - it's the future, but it's the near future. It COULD happen to you - and the vision reflects that.

Third, when something is meant to feel near the age we live in, we tend to be more critical. We expect a certain truth that far future can side-step. Audiences can be highly critical as how believably "near" a "near future" can be.

But this isn't a criticism, it's something to applaud, as any drama worth its salt will create some form of response, and the sheer overwhelming struggle of a seemingly impossible war is a treasure trove of drama. Morgan and Wong did indeed take the show Beyond - beyond what many would dare try, and while the show didn't have length, there is no doubt it had quality.

Before I go any further, I have to say it's been a long time since I've seen Space: Above and Beyond - too long in fact. I've been waiting for a decent content filled DVD boxset (as has Glen!) for a while and I'm feeling I'll have to capitulate to the current Region 1 release (pretty barebones). So in a way, this overview is more about the memories - the lasting impact of the show, than the detail.

Space: Above and Beyond was a show I was initially sceptical about. By the mid nineties we couch potatoes were in a very conflicted situation; we were coming out of the 80's trend of pretty, young, dashing heroes finding them to difficult to relate to, but still an audience demanding pretty, young, dashing heroes to grace our screens. I was no exception to this shallow rule, and seeing a cast line up, my gut was "uh oh, pretty boy show" - which it was, so far as the cast were far from unattractive; Weisser, Cloke, Rowland - and even the mature unflappable dignity of James Morrison - gave me the feeling of a too pretty cast in a very unpretty world. But once I got into that world, I learned the folly of such presumptions, and perhaps in such a dark world you needed some aesthetics that gave you comfort. It did matter what the characters looked like, what carried you through was the circumstance and while the characters lived in hope, as a viewer, the oppressive threat of the enemy drove home the bleak futility of a soldier's war. The Chigs felt unstoppable, but as a pilot or a trooper, you just had to fight on regardless and hope for the best. Whenever I think back to Space: Above and Beyond that feeling is what I always remember - a feeling of uncertainty - not just whether the war could be won, but whether the next day would be the day it was all over... the day humanity ended.

For me, Space Above and Beyond was a show that fought to string together many dark layers rather than fixating on the obvious one. It sought to texture its universe with more than guns and dogfights; to really make you believe it isn't just about the common enemy, but about a wealth of forces that weave around the battle with the enemy. Space: Above and Beyond had conflicts within the genetic underclass (the in viteros and the silicates), conspiracies within their own military and governments, and deep frustrated personal struggles between the unit. What impressed me was the frailty it added to the human soldier. I remember one of the lead character's, Wong, actually breaks in the face of capture - which in most shows is considered reprehensible and disgraceful, but in Space: Above and Beyond, you are encouraged to feel what could make a good man fail his friends, his country and himself. I remember that moment profoundly. I recall wondering at the time (unaware the show was cancelled) what potential Space: Above and Beyond had if it was willing to sacrifice the usual good guys/bad guys approach to war that most shows enjoyed.

For me, the show's peak - in fact one of the best stories I've seen in TV sci-fi - was a tale called "Who Monitors the Birds?". The episode had the in vitero Hawke stranded alone and injured on a hostile planet. It's a powerful episode replete with physical struggle and personal demons, that relies as much on what's not said than what is. The boxset is worth picking up for that one tale. It certainly showed me the potential in the show's future, a future it sadly never got to play out.

A Chig meets Frank Black in a cameo in The Curse of Frank Black

For me Space: Above and Beyond was a show that was looking to slowly grow into its own shoes, and hoped the viewers would enjoy experiencing that growth - unfortunately I think many viewers either expected something more immediate or were hoping for something else all together. Perhaps it was born before its time. Battlestar Galactica managed to complete its four season trek carrying with it a very dark world, filled with tragedy, gloom and only the faint whispers of hope - a little like Space: Above and Beyond. Sadly, we'll never know - we are left with our memories, our DVD box-set and the knowledge that while it was not on the air long, it was on long enough to be remembered. And if this article helps jog that memory and sustain it even further, then I think Day 3 of Morgan and Wong week has done its job.


To celebrate Morgan and Wong's proud achievements, we are offering the FULL series of Space: Above and Beyond on REGION1 DVD to a lucky winner! Simply send us an email with your name and address to and we'll draw a lucky winner on Sunday. Unlike the war against the Chigs, this is an easy win!


While this may be a Millennium focused campaign, and while there maybe a plethora of Morgan and Wong material out there in the bleak bloody wastes of Millenniumland, to ignore Morgan and Wong's other great achievements in our week's celebrations would be short-sighted.

So for day two, we th
ought we'd look at Morgan and Wong's work on Millennium's older sibling, The X-Files - and perhaps one of our duos most controversial episodes, "Home".

Indeed, to lazily coin a pun, the truth is out there and to aide us finding the truth behind "Home" we have X-Files content and PR guru Tiffany Devol.

Following this article, a chance to win season four of the X-Files (which of course includes "Home" - so check out the details at the bottom of the page).

So without further ado, Morgan and Wong Week Day 2: Home

Home - by far the creepiest "X-File" ever told. Pedophile priests have nothing on the incestuous baby killing Peacock family. What is fascinating about the episode is how bright and cheery everything outside of the Peacock house looks. Equally fascinating is after years of seeing Mulder and Scully in the dark, they look pretty damn good under a sunny blue sky.

Written by long-time friends and writing partners Glen Morgan and James Wong, Home was the first "X-Files" episode to get a viewer discretion warning for graphic content. In the original aired version, the baby's cries at the beginning of the episode were removed due to a request by Standards and Practices. The DVD version has the original audio. Home became one of the most popular episodes of "The X-Files" and was one of director Kim Manners' favorites.

Even now, the episode is as witty as it is disturbing.

The story begins with 3 brothers and a mother whom they keep under the bed. The father was killed in an automobile accident that also claimed the arms and legs of the mother. To continue her family tree, the mother has incestuous relations with her three sons, business as usual for generations of Peacock kids. When the child born to them is riddled with a host of deformities, the brothers take it out back and bury it alive in the cold wet ground as it squeaks more than screams its first breaths.

Days later a few neighborhood boys are playing baseball nearby when the batter kicks at the ground only to discover blood on his tennis shoe. The FBI soon arrives and Mulder and Scully are tasked with solving the horrific crime. They are taken to the police station to examine the body and Scully determines that the child suffered from a host of rare birth defects. After a nice little chat on the park bench outside the police station about babies and Mulder's genetic muster, the duo head out to the Peacock farm where they pass a bloodied hog's head lying on the front porch. Yet another reason why it was better to eat long before 9pm on Friday nights.

Mrs. Peacock overhears Mulder and Scully talking about the investigation and tells her sons who then head to Sheriff Andy Taylor's house in their white caddy. If infanticide was not enough, the Peacock brothers roll up listening to "It's Wonderful, Wonderful" by Johnny Mathis and then proceed to break into the Sheriff's home, brutally murder the man and his wife.

When Mulder requests that backup accompany them to the Peacock farm, Scully voices her concerns over the time that will take given that a woman could be captive in the farm house. Sheriff Taylor's deputy, understandably upset about his partner's death, enthusiastically agrees to take them to the farm house, a house they soon realize is booby trapped. After the deputy quite literally loses his head, Mulder and Scully proceed more cautiously. They hunker down in the mud and set a pen full of swine free in order to distract the brothers and gain entry into the house. That'll do pig.

Just before they get to the porch, partnership is in full swing as Scully bends, grabs a plank of wood and tosses it to Mulder who catches it one handed and heads toward the front door. Once they gain entry, they storm the dark house, working in tandem with flashlights and guns drawn. They soon discover Mrs. Peacock who tells Scully that a boy will do anything for his mother. Realizing the woman is not held against her will, Mulder and Scully try and determine what to do next but the Peacock brothers have picked up their scent and two of them come charging into the house.

When the brothers attack Mulder, Scully empties her clip but they don't stop, intent on killing her partner. The next logical move for Scully? Loudly threaten that she has their mother which gains their attention and forces Mulder to try and keep them from chasing her down. As one brother gains on her, Scully drops to the floor while Mulder shoots the second brother in the kitchen and the brother chasing Scully falls over her and is killed by one of his own booby traps. Whew that had to be fun to film. Mulder runs after Scully as she gets up and he puts a hand out, stopping her from walking toward the dead brother and presumably, toward any more traps.

As the dust settles our dynamic duo realize that the mother and older brother are gone and in the final scenes for the episode, mother and brother are rolling in their caddy, "It's Wonderful, Wonderful" playing joyfully through the stereo.

Home had horror, humor, action and suspense but more than anything, it had the heart of a MOTW story with some great Mulder and Scully moments.

With Home, you could have your cake and eat it too, assuming you didn't throw it up afterward.

- Tiffany Devol

Do you want to win a copy of season 4 on Region 1 DVD, which includes "Home"? Well here's your chance! Simply send us an email to headed "X-Files Competition" with your name and address and we'll randomly select a winner at the end of the week! The winner will be announced on Sunday during our Glen Morgan interview podcast - so stay turned to that! Couldn't be simpler! More competitions later in the week!


MORGAN and WONG week kicks off today! And where better to start that with Millennium's second season début episode: The Beginning and the End!

This episode, based around the abduction of Catherine Black, began Glen Morgan and James Wong's tenure as show producers and saw some slight changes to Millennium's core concepts. First and foremost was the nature of the Millennium Group itself - taking it away from its depiction as a law enforcement consultation firm in season one, to a deep rooted cult with a dark mythological origin and an apocalyptic vision of the world's end for season two.

Today we celebrate the Beginning and the End for its rich dialogue, bleak vision and shocking events that would forever change the world of Frank Black.

So we have two special gifts for you. The first is Video Avatar - Millennium fan Josef Gunnarsson works his music/video montage magic around The Beginning and the End. Thank you for sending this wonderful piece of work. Enjoy this exclusive and special video. As always, copyrights go to their respected owners, no infringement intended. This is for fan fun only!

Second, we have a brand new postcard, a vehicle for your message to FOX - to help Chris and Lance bring back Millennium! This postcard will be the first of many that are aimed to reflect the new branding of BacktoFrankBlack. Use it to send a request to FOX, or simply just to send to friends.

Click to download a high-res postcard!

To send your request for more Millennium to FOX, please send to the following address.

Twentieth Century Fox
10201 West Pico Blvd.,
Bldg. 88, Room 132
Los Angeles, CA 90035

If you take your photo with your postcard and send it to us, we'll throw it up on the blog and at our BacktoFrankBlack Facebook group!

More exclusive Morgan & Wong material tomorrow - and watch out for our M&W competitions - we'll be running SEVERAL this week!

Starting tomorrow: MORGAN AND WONG week

A week celebrating Morgan and Wong starts tomorrow, with articles, podcasts, reviews, music and a bunch of competitions! Stay tuned for a week honouring the magic of Millennium, X-Files, Space: Above and Beyond, Final Destination, and all things Morgan and Wong!

We expect the eyes of James, Glen, Darin, Kristen and Thom Wright among others will be looking at the blog during the week - so if you want your feedback/comments/opinions read by those closely associated with season two, don't forget to leave us a note on the blog!