Season 3: Episode 17: "Darwin's Eye"

Written by Patrick Harbinson 

Directed by Ken Fink

Airdate: April 16, 1999

Guest Star: Tracy Middendorf (Cass Doyle); John Beasley (James Hollis): Peter Simmons (Joe Doherty)

Frank Black and Emma Hollis investigate a young woman, Cass Doyle, who escaped from an asylum and then persuaded a cop to help her go on the run. The episode also introduces Hollis's father, James, who is struggling with Altheimer's Disease. 

Cass was institutionalized for killing her parents and murdered and beheaded an orderly at the asylum. She convinces Deputy Doherty of her innocence and muses on the machinations of Darwin's natural selection, specifically the mysteries of the human eye.

Hollis seems especially intrigued with the case, noticing images of wild palms in Cass's cell, noting they are symbols used by special forces in the military. Hollis's father worked for the defense industry and often creates haunting images connected to his time in the service, specifically palm trees enveloped by mushroom clouds. Evidence leads Frank to conclude Cass was sexually assaulted by father and the orderly at the asylum, who also served in the military. They track Cass down to a motel where she has apparently killed Doherty, found caressing his severed head.

In what appears as a standard case of tracking down a fugitive becomes a story about violence against women by men entrusted with being guardians of national security. Cass took revenge on the men who abused her and suffered for it, her own life was destroyed by the very men she was supposed to trust. The theme of national security and gender and the trauma passed down from generations is powerful one, which the script might've developed just a bit more.

"Darwin's Eye" tells a suspenseful and fast paced story Millennium did so well. Yet I sense a weariness creeping into the series as the third season entered its final stretch, the storylines are starting to feel stale, the series seemed to be struggling to find its identity after two seasons of powerful stories. Should the series simply focus on crime stories each week? Does the mythology of the Millennium group need more backstory? Or is the group now mostly irrelevant? Humor also seems to be lacking, which despite all the dark places Millennium went, seems mostly absent in the third season, the episode featuring Kiss being an exception. 

The streaming era allows TV shows to plot out their seasons and develop mythology. Millennium did not have that luxury, the late 90s was still ruled by the dictates of network television. One wonders if Millennium arrived too soon and whether such an ambitious series was better suited for a streaming format. We'll never know. 

Season 3: Episode 16: "Saturn Dreaming of Mercury"

Written by Chip Johannessen and Jordan Hawley

Directed by Paul Shapiro

Airdate: April 9, 1999

Guest Star: Michael Bofshever (Will Sanderson); Dillon Moen (Lucas Sanderson)

Demons, both literal and metaphorical, continue to haunt Frank Black despite everything he's been through. Throughout Millennium's third season Frank struggles with being a single father, realizing Jordan is not only getting older but also shares his gift. "Saturn Dreaming of Mercury" effectively plays upon those anxieties and features some truly frightening moments. 

The episode begins with Frank training Jordan how to ride her bicycle, a childhood rite of passage. When new neighbors move in next door, Jordan seems fixated on the boy Lucas. She has frightening visions of the new house and speaks of her imaginary friend Simon. At school. Jordan is accused of attacking Lucas. at one point biting him. While Frank is upset about Jordan acting out of character, he also discovers strange things about the new neighbors that may account for her behavior. 

Frank discovers Lucas was adopted by the Sandersons, as Jordan begins to see demonic faces. A connection is also made to the murder of a pregnant woman in Phoenix, the city the Sandersons moved from. When the Sandersons are visited by a Welcome committee, we discover a collection of eyes in their home. Upon leaving, the mother and son in the welcoming committee are in a car accident. Jordan is led to the Sanderson's basement and finds a terrifying boiler, shades of Nightmare on Elm Street, and supposedly attacks Will with scissors. Frank visits the basement and has a dreamlike vision of a demonic attack; he wakes up and escapes the house as its burning. As Frank and Jordan watch the engulfed house, they witness Lucas transform into Lucy Butler - she was manipulating everything. 

Johannessen and Hawley leaned into horror in their fever dream of a script - topped off with a terrifying basement! At the end of 'Antipas" Lucy threatened Jordan and this episode - and threat was not empty. The story also tapped into the loneliness Frank feels and the absence of Catherine, leaving him and Jordan more vulnerable than ever. Hollis plays a peripheral role in the plot, her frustration with Frank's mysterious methods boils over in the final scene. There's a melancholy atmosphere to the episode, even overriding all the horror elements, Frank's been trying to find refuge from his past and despite all his best efforts he cannot escape it. But they survive another day.

Season 3: Episode 15: "Forcing the End"

Written by Marjorie David

Directed by Thomas J. Wright

Airdate: March 19, 1999

Guest Star: Andreas Katsulas (Moses Gourevitch)

"Forcing the End" deals with a Jewish fundamentalist group abducting a child to fulfill an end times prophecy. Once again, Peter Watts proves a vexing presence to Frank after stepping in to help with the investigation. 

Affluent couple, Daniel and Jeannie Borenstine are enjoying a quiet evening until intruders break into their house and take Jeannie away, as she's close to giving birth. Jeannie's taken to a temple, given sedatives, and immersed in water for a "pure" birth. Frank and Agent Hollis find a connection with Daniel's secretary and connect her to the fringe group who believes the child will be a messiah. Peter Watts also gets involved in the investigation, offering knowledge to Hollis that helps the FBI track down Jeannie and the child.

With its focus on apocalyptic cults and end times prophecy, "Forcing the End" feels like a return to the first season. There's a bit of tired routine with the yet more strange rituals and charismatic leaders, in this case Katsulas (one-armed man from The Fugitive) filling the role, a former officer in the Israeli army turned religious leader. 

The real intrigue in the episode is Peter obviously attempting to groom Hollis for possible membership in the group, he seems more focused on her than Frank. Yet as a character, Watts is getting increasingly cagey with his motives and secrets. We never learn much about the status of the Group either, or what they were even up to as the Millennium was nearing. Watts seems a bit lost and obsessed with Frank this season, making for a muddled arc for the character. "Forcing the End" is a competent episode but contrived and routine in execution. 

Season 3: Episode 14: "Matryoshka"

Written by Erin Maher & Kay Reindl

Directed by Arthur Forney

Airdate: February 19, 1999

Guest Star: Barbara Bain (Lily Unser)

"Matryoshka" continues to explore the history of the Millennium Group, connecting them to the Manhattan Project and the birth of the military-industrial complex. 

A complicated historical mystery is at the center of the episode, starting with the suicide of retired FBI agent Lanyard who witnessed odd happenings at Los Alamos when the atomic bomb was being built. While investigating a scientist (Dr. Alexander) suspected of crimes, Lanyard learns that Alexander was experimenting with plutonium, and his own self was split, a Jekyll and Hyde situation. 

Frank and Agent Hollis follow a lead involving Peter Watts, who, as usual, knows more than he leads on about the case that caused Lanyard to shoot himself. They speak to the family's nanny Lily Unser who witnessed the strange events. In flashbacks, we J. Edgar Hoover and his Lieutenant Clyde Tolson discussing the Millennium Group, with Hoover drawing up the ouroboros symbol. 

There's a germ of a great idea in the script, once again tying the group to the Cold War and its implications, to quote one character, "they stole the apocalypse." Developing nuclear weapons gave humanity powers attributed to Gods, and the episode makes a gesture at the spiritual implications. But the idea feels too ambitious for the episode, at best a meditation on the legacy of the Manhattan Project, predating Oppenheimer by many years. 'Matryoshka" is more about the personal side of legacy, we learn the daughter of Dr. Alexander works on genetic engineering experiments, speaking to the anxiety about tech at the end of the 1990s.

There's an amusing line when Watts says, "Frank says everything is tied to the Millennium Group." Which, despite Peter's sarcasm, appears to be true! As for the episode, the structure seemed oddly opaque although it was never boring. especially the moments with Peter and Frank. TV veteran Barbara Bain brought poignancy to her scenes as well. But we're not left with much to ponder by the end, other than the Group was involved with the Manhattan Project and some scientists involved in dangerous side projects. 

Season 3: Episode 13: "Antipas"

Written by Chris Carter and Frank Spotnitz

Directed by Thomas J. Wright

Airdate: February 12, 1999

Guest Stars: Art Hindle (John Saxum); Sarah-Jane Redmond (Lucy Butler); Rachel Victoria (Divina Saxum)

"Antipas" featured the return of possibly Frank Black's most dangerous enemy - Lucy Butler. A demonic shapeshifter with evil powers; Lucy's infiltrated a wealthy family under the guise of being a nanny. Written by series show runners Chris Carter and Frank Spotnitz, "Antipas" captures the tone and style of the first season.

The episode begins with John and Una Saxum contemplating a run for Governor. Their daughter Divina appears to have behavioral issues, and she runs off into the woods and gets swallowed by a python but then appears beside her nanny. Lucy begins to bond with Divina and suggests she's her actual mother while trying to seduce her father. Wild dogs and mysterious strangers wander around the property in a visual callback to The Omen.

Meanwhile Hollis is investigating a series of brutal murders that appear unconnected. Frank takes over the case and comes upon the phrase "Antipas" which has connections to Satan and the Book of Revelation. He connects the term to a murder that happened near the Saxum's property (Antipas Gardens). Frank rightly suspects Lucy and advises the Saxum's to stay away from her, but John angrily sends Frank away.

Things get stranger when Frank dreams of Lucy having sex with him and then transforms into a demon, he then wakes up with marks on his wrist. Frank learns Una was murdered, and that Lucy might be shapeshifting as him. Lucy is detained for questioning, but her lawyer gets her freed along with odd accusations of Frank assaulting her. Freed after taking paternity tests, Frank goes back to the Saxum manor to help Hollis, and we discover John is dead from hanging and shapeshifters are chasing Hollis, one of whom takes the guise of Frank. In their escape Lucy gets hit by a car but survives, Frank visits her at the hospital where she threatens Jordan. 

A fast-paced episode, "Antipas" adds to the mythos of Lucy Butler. Did Frank's dream happen? Is she trying to convert Frank to evil? Evil likes to distort the truth, and that's her Lucy's line of attack here, to confuse and get inside Frank's head. Although she fails, the threat against Jordan is not to be taken lightly. As a story the episode works as Frank once again facing pure evil, and coming out with mixed results, a spiritual thriller in the best sense of the term. 

Season 3: Episode 12: "The Sound of Snow"

Written by Patrick Harbinson

Directed by Paul Shapiro

Airdate: February 5, 1999

Guest Stars: Jessica Tuck (Alice Severin); Trevor White (Doug Scaife)

"The Sound of Snow" provides some closure to the end of Season 2, which ended with the apocalyptic Marburg virus taking the life of Catherine Black. The story centers on cassette tapes containing white noise that causes listeners to die suddenly. Of added interest, the episode is a reunion of sorts with Megan Gallagher reprising her role as Catherine and Stephen James Land returns Det. Bob Geibelhouse of the Seattle PD.

A young woman is driving and listens to her tape player playing white noise and has visions of a drowning boy in the ice and then gets hit by a car. A designer listens to a tape as his apartment catches fire spontaneously. Frank also receives tapes and has visions of Catherine. He's eventually led back to his old house in Seattle, now painted blue. Including "Dark End of the Street" performed by James Carr was a nice touch. The current owner has a tape that was sent to Frank, which lead him back into the place where Catherine died.

We learn from Geibelhouse the Marburg outbreak only killed 80 people and there was a media induced panic as it began to spread. Frank still carries survivor's guilt. In the woods he "reunites" with Catherine in a dream state induced by the White Noise, where they confess their love for each other. Frank is found in the woods and revived. The tapes are traced to a recording studio that's connected with the Millennium Group, prompting to Frank to wonder if they sent the tapes to him. 

Themes of healing and hope in the aftermath of trauma punctuate season three Millennium, a throughline in "Omerta" and "Borrowed Time." "The Sound of Snow" allows Frank - and the audience - some belated solace in the aftermath of the previous season. The acting, direction, and pacing are as usual first-rate. 

Season 3: Episode 11: "Collateral Damage"

Written by Michael R. Perry

Directed by Thomas J. Wright

Airdate: January 22, 1999

Guest Stars: Art Bell (himself); Jacinda Barrett (Taylor Watts) James Marsters (Eric Swan)

Millennium revisits the riff between Frank Black and Peter Watts, when Frank is pulled into a frantic investigation to locate Peter's kidnapped daughter Taylor (Jacinda Barrett). The episode continues to reveal the Millennium Group as secretive and nefarious, tying them to the Gulf War syndrome and use of biological agents on American personnel. 

College students hanging out at the bowling alley are accosted by a group of men and Taylor is taken hostage. She awakes in a terrifying examination room and is put through psychological torment by her abductor Eric Swan (James Marsters). Meanwhile the FBI rushes to investigate the kidnapping, which is given special attention since Watts once worked for the bureau. At the same time, the Group is also doing a parallel investigation of their own. Frank reluctantly agrees to help Peter despite their frayed friendship. 

They connect the abductor to frequent calls he made to Coast to Coast AM then hosted by Art Bell about the government cover-up after the Gulf War. Bell appears as himself, prompting Swan to call in, allowing the call to be traced. Taylor is rescued, just before she broke her restraints and killed Swan with a deadly neck blow. Watts admits the Group was behind the use of biological weapons on American troops. In the final scene, Taylor questions her father at family dinner on whether Swan was correct and gets no answer.

"Collateral Damage" is a fast-paced and suspenseful episode. All the characters are under a time crunch, and bring the right intensity to the performances, especially Barrett and Masters who both went on to long careers in acting. Featuring Art Bell and his late-night radio show suggested the government paid close attention to Coast to Coast, or at least the show was influencing the fringes of pop culture. Bell confesses to Frank his audience will see him as the enemy since he works for the government. There's an irony there since the radio show under Bell's successor George Noory became a MAGA propaganda outlet. 

Which leads to deeper questions about the legacy of TV shows like Millennium and The X-Files. Did they foster a conspiratorial worldview on its audience? Granted, the "paranoid style" has always been a part of the American parlance. Pop Culture of the 1990s leaned into the kitschy side of pop culture with TV Specials like Alien Autopsy, yet the mythos of Millennium suggested secret societies were manipulating history.   

The notion makes for great fiction with world weary protagonists (Frank Black) trying to unravel the mystery. Developing critical thinking skills is a must for unraveling mysteries (and fostering democracy) and making sense of the unknown, a mass populace lacking in these skills will unknowingly fall prey to bad conspiracy thinking. In that sense, Millennium was a smart TV series that never talked down to its audience. It raised great questions and it was never afraid of ambiguity. We need smarter shows like Millennium today!