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Millennium – Seven and One (Review)

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

Seven and One is the last episode of Millennium to be written by Chris Carter and Frank Spotnitz.

That is a pretty big deal. Frank Spotnitz had been a vital part of Ten Thirteen since the second season of The X-Files. He had also been the only X-Files writer apart from Chris Carter, Glen Morgan and James Wong to cross over to work on Millennium. He would become one of Carter’s most trusted associates, also contributing scripts to Harsh Realm and The Lone Gunmen. When The X-Files: Fight the Future took Carter’s attention away from Millennium in its second season, he proposed Spotnitz to run the show in his stead.

Here's Frankie!

Here’s Frankie!

Chris Carter had created Millennium, and it was clearly a show that meant a lot to him. While The X-Files was populist and accessible, Millennium always felt like more of an auteur project. It was solemn, abstract, contemplative. There is a sense that he was quite disappointed when his attention was diverted away from the show in its second year. Carter has talked time and time again about how he created Millennium as an examination of evil in the world. Appropriately enough, Seven and One finds him circling back around to that idea right before the show concludes.

Seven and One might be the most overtly religious script that Carter and Spotnitz have ever written. It seems to foreshadow the closing themes of Carter’s script for The Truth, the final episode of The X-Files. It emphasises just how essential religious themes are to Carter’s work.

Eye spy...

Eye spy…

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The X-Files – F. Emasculata (Review)

This August (and a little of September), we’re taking a trip back in time to review the second season of The X-Files. In November, we’ll be looking at the third season. And maybe more.

The wonderful thing about the second season of The X-Files is the spirit of experimentation. There’s a sense that the show is consciously pushing itself to try new things, to figure out what works. Watching the second season of the show, you can see the series’ outline beginning to take shape, even if it’s not full developed yet. The third season of The X-Files would seem a lot stronger and more cohesive, but it was building off the lessons learned during the second season.

Sometimes those experiments worked well. For example, the first stretch of the season demonstrated that the show could do an arc spanning multiple episodes. Colony and End Game established the foundations of the larger “colonisation” mythology even beyond “the government knows about aliens and they sometimes abduct people.” Episodes like Die Hand Die Verletzt and Humbug demonstrated that the show could do comedy stories and step outside its comfort zones.

Has everybody caught the Ebola bug?

Has everybody caught the Ebola bug?

Of course, there were a few narrative dead-ends as well, a few experiments that did not work as well as they might. Most notably, the tail end of the season leans rather heavily on science-fiction high-concepts. The elements introduced in Colony and End Game work well enough, but shows like Soft Light and Død Kälm feel almost like episodes of some other science-fiction anthology show. Still, there’s a sense that the show is trying to figure out what exactly it wants to be.

F. Emasculata is a wonderful example of that spirit of experimentation, effectively tapping into nineties health scares within the framework of a conspiracy thriller.

Everything burns...

Everything burns…

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