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Millennium – Closure (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.

Closure is the first time that Emma Hollis has come into focus.

The character has been featured in the opening credits since The Innocents, but has mostly existed in the background. The Innocents and Exegesis made it clear that Hollis was a young agent who could act under her own initiative, but she was very much a secondary figure in a narrative largely about Frank trying to work through the loss of his wife. She played a significant role in TEOTWAWKI simply by virtue of being able to work with both Frank Black and Agent Barry Baldwin. It was hard to get a read on her character beyond the very basic elements.

"Closure" in one word.

“Closure” in one word.

The opening scene of Closure makes it quite clear that his will be a Hollis-centric episode. While a senseless murder in a cheap hotel provides the sting leading into the credits, the teaser opens with Emma Hollis wandering through a graveyard and narrating to an unseen character. “I spend my days looking for reasons,” Hollis narrates. “The reasons people do what they do. It’s my job, it’s my way. I want to know why. Why it’s like this. Why good people die.” So it is quite clear where Closure is going from the outset.

Closure works reasonably well. It is much more modest episode than something like The Innocents, Exegesis, TEOTWAWKI, … Thirteen Years Later or Skull and Bones. It is an episode that feels like a conscious attempt to pull the show back towards the first season, hinting at an efficient serial killer procedural. Closure feels like a first season episode, and not just because of the procedural element. The decision to give Hollis a childhood trauma as motivation feels like a rather lazy way to flesh out her character. It is efficient, but it does feel a little too easy.

Smile!

Smile!

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Millennium – The Innocents (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.

So, how do you write your way out of the end of the world?

To be fair, it is not an easy assignment. The Fourth Horseman and The Time is Now are two spectacular pieces of television, but they arguably work better as a series finalé than a season finalé. Once Fox decided to renew Millennium for a third season, the biggest problem facing the staff was the challenge of writing around the apocalypse that had arrived at the end of the second season. It is a problem that hobbled the third season of Millennium coming out of the gate. However, it was not the only such problem.

Guess who's Black?

Guess who’s Black?

Millennium is a show that feels particularly disjointed from year-to-year. It has been argued – quite convincingly – that Millennium was really three different shows, and that no two seasons of Millennium convincingly resemble one another. The third season of Millennium would be a different beast than the second. The Innocents and Exegesis demonstrate that clearly and quite articulately. The two-part season premiere made it quite obvious that Millennium was no longer a show particularly interested in ideas of apocalypse – whether global or personal.

Unfortunately, it seemed like the show had no real idea of what it wanted to be.

"Yep, this is what Chris Carter found when he took the show back."

“Yep, this is what Chris Carter found when he took the show back.”

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