Season 2: Episode 21: "Somehow, Satan Got Behind Me"

Written and Directed by Darin Morgan

Air Date: May 1, 1998

Guest Stars: Bill Macy (Blurk); Dick Bakalyan (Abum); Alex Diakun (Greb); Wally Dalton (Toby)

A sharp turn into satire for Millennium, Darin Morgan's "Somehow, Satan Got Behind Me" features four demons in a donut shop contemplating humanity and the banality of evil. Full of '90s social commentary aimed at pop culture, the topical references are very 1998. The makeup staff went above and beyond. 

As agents of chaos and pain for centuries the demons have become bored with humanity. Blurk relates a darkly comic tale of converting a disturbed young man who's obsessed with true crime books and serial killer memorabilia to start acting out his fantasies. In the podcast age true crime has gone mainstream in a big way as a popular entertainment, so maybe we have grown sicker . . .

The second tale related by Abum contends life in the late 20th century has become so joyless and predictable, people have become numb to the pleasures of sin. Perhaps the satire could've been amped up here, but it's in line Millennial unease about contemporary life everywhere in pop culture then and now.

Then Gren relates a more meta story that's a send up of Fox TV shows, specifically the network censors. Morgan drew on his own experiences writing for The X-Files. Mulder and Scully appear, Alien Autopsy and - remember the dancing baby (demon here) are among the many topical references. Are network censors a thing of the past?

The final section with Toby attempted to achieve a pathos, as he relates his attempt to fall in love and the sad failure that followed. Frank makes occasional appearances throughout as one of the few humans aware of their presence and asks them at the end, "Aren't you lonely."

In the 25 years since Millennium has aired one can only speculate how it would handle many of the themes it raised in the context of mass shooting and social media. What would Frank Black make of 2023? 

Season 2: Episode 20: "A Room with No View"

Directed by Thomas J. Wright

Written by Ken Horton

Air Date: April 24, 1998

Guest Stars: Christopher Kennedy Masterson (Landon Bryce); Sarah Jane Redmond (Lucy Butler); Mariangela Pino (Teresa Poe)

An example of Millennium firing on all cylinders, "A Room with No View" is suspenseful and original in theme. Notable for the return of possibly Frank's most terrifying nemesis Lucy Butler (plus Frank throws on shades for part of the episode).

Part of the teleplay's brilliance is how the disjointed elements of the first 15 minutes come together in such a satisfying way. It begins with a harrowing escape from a farm that's quickly quashed by a mysterious figure. Then we meet two High School seniors (Bryce and Howard) meeting their guidance counselor Teresa Poe who dissuades them from applying to college because of low test scores. Bryce encourages Howard to pursue his goals in spite of what adults tell him. We next learn Howard died of a heart attack caused by a fright, while Bryce was kidnapped.

The case gets the attention of the Millennium Group. Frank has visions of Lucy Butler, the woman who murdered Detective "Bletch" in Frank's basement from the "Lamentations" first season episode. Peter reveals to Frank the group's had Lucy under surveillance and have observed no suspicious behavior (later revealed she tortured the agent to death). Lucy's been kidnapping High School kids and putting through a sort of brainwashing to convince them they are mediocre and should be subservient. Meanwhile, Peter and Frank discover a pattern in the kidnappings All the victims were ordinary and considered mediocre by the system, and Roe had worked at all the schools.

Peter observes that many great figures from the past were considered unremarkable during their youths, only did it become apparent years later their innate ability to inspire others to be better. Meanwhile at Lucy's compound she's attempting to brainwash the teens into believing they're worthless. It's an interesting dynamic of a beautiful, charismatic woman attempting to break young men, using a variety of psychological methods, acting as mother, lover, and destroyer. As Nick Lowe wrote, "you got to be cruel to be kind, in the right measure."

Once Peter and Frank make the connections, they locate the compound and free all the captives (with a SWAT team). Of course, Lucy Butler is nowhere to be found. When asked where she could, Frank replies, "Everywhere" as if speaking about Michael Myers or Hannibal Lector. They've won a victory against evil, but the battle continues.

"A Room with No View" presents a nuanced view of evil. Over 20 years later we might be a little more sophisticated on how systems and institutions can alienate and turn out a generation of cynics. So many have an untapped potential that's never realized through no fault of their own. I don't mean this in the Ayn Rand or Nietzschean sense of radical individualism. It's more in the Maslow sense of becoming a fully realized individual that places compassion first and foremost. Our society's need to quantify everything through standardized testing (alluded to in the episode) serves to stifle above all else.

Season 2: Episode 19: "Anamnesis"

Directed by John Peter Kousakis

Written by Kay Reindi & Erin Maher

Air Date: April 17, 1998

A notable episode on many levels, "Anamnesis" is a Catherine centered story (Frank does not appear) that deals with belief and religion. The story centers around a teenage girl who exhibits mystical abilities. Catherine and Lara investigate the case together, modeled on Mulder and Scully.

Five girls at a High School claim to have visions of the Virgin Mary, led by the mischievous Clare (Genele Templeton). Lara eventually concludes Clare may be a direct descendent of Christ, while Catherine is skeptical. Catherine is further taken aback when Clare seems to know everything about her, including her kidnapping and Jordan's own burgeoning abilities. Later it's revealed the group has taken an interest in the girls and has placed guardians to insure their safety. The end of the story suggests divine intervention and sacrifice after a shooting.

Gender and theological history are a major theme in the episode. Lara recalls how women's roles in early Christianity were excised by men, Mary Magdalene be the most egregious case, many believe she was the wisest and most trusted disciple. Patti Smith's "Dancing Barefoot" is played twice in the episode, the lyrics perfectly encapsulate the theme of the episode:

I'm dancing barefoot

Heading for a spin

Some strange music draws me in

Makes me come on like some heroine

An ambitious episode in its engagement with religion, gender, and American culture - enough material for a feature film. I wish the story had gone a bit further in examining youth and religion during the late 1990s. Now over 20 years since the turn of the century, religious and secular society have only drifted further apart. "Anamnesis" offers something of a middle course between the extremes of belief and skepticism, handling these issues with a degree of wonder and maturity. 

Millennium Season 2: Episode 18 "In Arcadia Ego"

Directed by Thomas J. Wright

Written by Chip Johannessen

Air Date: April 3, 1998

Guest Stars: Ed Lauter (Warden Kellard); Missy Crider (Janette); Mary-Pat Green (Sonny)

"In Arcadia Ego" is more in the style of season one of Millennium in terms of theme and tone. The story begins with an escape at a female prison, following fugitive lovers Janette and Sonny as they go on the run. There are shades of Thelma and Louise as the episode follows a similar trajectory. A supernatural element is introduced when it's revealed Missy may be pregnant without a father. 

Green and Crider both bring a humanity to the story. Both women had experienced injustice at the hands of a society rigged against them (also revealed Jeanette was assaulted by a guard), both victims of domestic abuse who acted out and were punished for it. Eventually Frank and Peter track them to a railyard where a violent confrontation takes place. Missy dies after giving birth, while Sonny is killed by the police shortly after. Frank insured the survival of the child and locates adoptive parents.

Frank stoically observes at the end, "this should've ended better." The downbeat ending did not allow Janette and Sonny to be absolved, although the suggestion of a "virgin birth" lingers. A competent episode that follows the logic of a procedural, but it does throw off the rhythm of the season which was heavily focused on the history of the Millennium Group.

Millennium Season 2: Episode 17 "Siren"

Directed by Allen Coulter

Written by Glen Morgan and James Wong

Air Date: March 20, 1998

Guest Star: Vivian Wu (Tamara Shui Fa Lee)

"Siren" explores some areas the show had not explored up to that point, but the plot takes a turn towards well worn territory in the journey of Frank Black, protagonist of the series.

The cold open is set aboard a cargo ship bound for Seattle that's smuggling people fleeing from China. Customs officials inspect the ship and find a woman chained in the cargo area, a woman the captain blames for several deaths onboard on the ship. Later on at the hospital, Jordan spots the young woman and informs Catherine the woman may help Frank at some point. Once informed, Frank and Lara begin to investigate mysterious occurrences aboard the ship.

In a brief exchange, Lara muses on the sacrifices and risks many take in coming to the United States, Frank observes "humans are drawn towards the light." If the 1990s was the Pax Americana, a period when immigration rates continued to rise, I feel like there was an opportunity explore the idea further. The episode never goes into xenophobic territory, the theme of immigration and changing American identity during the 1990s, gets set aside in favor of Frank's narrative.

Unable to discover any useful leads to the woman's identity, Frank questions her at the hospital. She speaks English and seems to know everything about Frank's past. After leaving, Frank sees her on the highway and stops his car, but notices she's vanished. Then in what turns out to be visions, Frank imagines an alternate life when he's reconciled with Catherine and not associated with the group, a vision that ends with a terrifying image. Many make comparisons to It's a Wonderful Life, but The Last Temptation of Christ also comes to mind. 

Frank's frequent agonizing over whether he's doing what's right for his family has been a sustaining theme, but here it starts to feel a bit repetitive. An uneven entry, but worth watching for Frank's vision of an alternate reality. 

Millennium Season 2: Episode 16 "Roosters"

Directed by Thomas J. Wright

Written by Glen Morgan and James Wong

Air Date: March 13, 1998

Guest Star: R. G. Armstrong (The Old Man); Phillip Baker Hall (Group Elder)

"Roosters" picks up right after "Owls" and while remarkably plot heavy for a one-hour network TV show, it moves with confidence towards a satisfying conclusion. 

Secular vs religious worldviews are a main theme, partly causing the division from within the group. We learn the secularists are convinced an "astronomical event" in the mid-21st Century will destroy the planet. We also learn the group is privy to technological advancement long before the public becomes aware. In addition to the eschatology and secrecy, the Nazi element introduced in "Owls" is revealed to be a "third party" remnant of the Odessa Group, the alleged group of ex-Nazis who gathered after Germany's defeat, who are working to divide the group. There's a lot to process!

Where is Frank Black in all this? Alienated from the group for good reason, he discovers Catherine's new employer is front for the Odessa Group in a gambit to get to him (this felt a little thin). While Nazis always make for an easy villain, the idea that fascism remaining a malignant and dangerous force in the world sadly still resonates. 

Lending even more dramatic weight to the episode are guest stars R.G. Armstrong and Phillip Baker Hall. Both serve as stabilizing figures who suggest the goals of the group aren't necessarily nefarious. In an effective closing scene Baker receives the true cross and tucks it away in his bookcase, no dialogue, just effective non-verbal acting.

The denouement feels like an homage to The Godfather with the group exacting righteous justice on the Odessa Group. Now reunited, not unlike the Allies who came together in WWII to defeat fascism, the fissure within the group appears to be healed - for the moment.  

An intriguing story, "Roosters" steered Millennium into the apocalyptic momentum of the second season. At the same time, the story of Frank and his family gets lost in the shuffle, placing the series at a creative crossroads.

Millennium Season 2: Episode 15: "Owls"

Directed by Thomas J. Wright

Written by Glen Morgan and James Wong

Air Date: March 6, 1998

Guest Star: R. G. Armstrong (The Old Man)

"Owls" was the first of a two-part story that would conclude with "Roosters." In full world building mode, the episode brings to light the split within the Millennium Group. The divide goes back to the group's origins, a debate over how the apocalypse will occur. The Owls believe there will be a disaster brought on by the natural world (secularists), while the Roosters believe it will be a theological event, the return of Christ. Fast paced and never boring, "Owls" borders on narrative incoherence at times, yet takes the series mythology to another level. 

The Magoffin of the episode is no less than the actual cross of the crucifixion. In Damascus, there's a shootout over the cross between the Owls and Roosters which inflames the inner turmoil. It's believed that whoever possesses the cross will be invincible - very Raiders of the Lost Ark in concept. In addition, descendants of the Nazis are also involved and seeking the cross, further complicating the group's history with Occultism. Meanwhile, Catherine accepts a counseling job with a company that's apparently a front for Nazis.

Meanwhile, Frank remains suspicious about the group and has another confrontation with Peter, clashing over the Group's increasingly intrusive and secretive methods. Peter expels Lara from the group when he discovers her name on the list of a Rooster. 

Between all the cloak and dagger going on, there's a set piece when a group member is assassinated while driving set to America's "Horse with No Name." A cool sequence, but with a character we're completely unfamiliar with so it lacks any emotional impact. Then a fake cross is left with him, adding to the narrative confusion.

"Owls" exemplifies the strengths and weaknesses of Millennium's second season. All the intrigue involving history and mythology seems to anticipate the potboilers of Dan Brown and more unnervingly the mass proliferation of bad historical analysis on shows like Ancient Aliens. Yet the promise of a truly epic story arc yields a steady fascination even though it feels like the main characters are getting lost in all the intricate plotting.