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Millennium – Broken World (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.

On paper, there is a lot to like about Broken World.

In theory, it is Robert Moresco building off the success of Covenant, developing another story that works within the framework of Millennium without adhering to the formulaic “serial-killer-of-the-week” approach. As in Covenant, Frank Black is wandering the country to do good, a stranger who comes to town to fight evil. In this case, the evil takes the form of a budding young serial killer – a fiend who has not yet claimed a human life, but seems to be building towards it.

"I think he's trying to tell us something..."

“I think he’s trying to tell us something…”

In reality, Broken World is a number of great ideas suffering from terrible execution. While the story is technically quite distinct from the stock “serial-killer-of-the-week” stories that haunted the series in the middle of the series, the practical difference is minimal. Broken World is another story of sadism and brutality that inevitably feels sleazy and exploitative. While the episode could be an interesting twist on a tired structure, Willi Borgsen is just another generic psychopath like Edward Petey or Art Nesbitt.

Still, the title feels somewhat appropriate. Broken World does a lot to demonstrate how far Millennium has come in this stretch of episodes. Broken World would have felt quite comfortable sandwiched between Weeds and Loin Like a Hunting Flame. Sitting between Powers, Principalities, Thrones and Dominions and Maranatha, it feels almost like a relic.

Who's gonna ride your wild horses?

Who’s gonna ride your wild horses?

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Millennium – Covenant (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.

Apparently, the original cut of Covenant ran over an hour and twenty minutes. This is not unusual in network television. Glen Morgan and James Wong faced similar problems when producing The Field Where I Died. However, while cutting The Field Where I Died down to forty-five minutes left something of a jumble, Covenant feels much stronger for the rather ruthless editing done to fit the episode into the broadcast slot. In many ways, Covenant feels quite minimalist – an episode that says the bare minimum, but conveys everything that needs to be conveyed.

Covenant is an episode that could easily seem exploitative. After all, there are points where Millennium feels like it is wallowing in human anguish and suffering. A story concerning the brutal murder of a nuclear family (including three children and a pregnant wife) is something that needs to be approached with care and delicacy. The original script for Covenant is perhaps overwritten, trying to draw too many parallels to Frank’s own family; these associations are best left unsaid.

Bloody handiwork...

Bloody handiwork…

In many ways, Millennium could be described as a “horror” show, and Covenant hones on some of the same fears that the first season has targeted repeatedly. Millennium is a show that is keen to assure viewers that their family members are not safe in their own homes and communities. However, there is a deftness and a tactfulness on display here that elevates Covenant above many of the similar stories in this début season. Covenant is all the more unsettling for its restraint and its control.

Covenant continues a strong late-season streak for Millennium, demonstrating the versatility and the nuance possible within the framework that the show has established. Covenant is a triumph for all involved.

Solid as a rock...

Solid as a rock…

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