Millennium Episode Review of Anamnesis by ZeusFaber
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It was last viewed on Friday, March 17, 2023, 11:24 AM (UTC).
Catherine Black is called to a Seattle area high school to help understand why a local girl is claiming to have magnificent religious visions of Mary Magdalene. When she arrives, however, she finds her cool psychological findings to be in direct conflict with those thought patterns of another investigator: Lara Means, representing the Millennium Group. The struggle for answers may bring Catherine to a deeper understanding of her husband's work and driving essence.
Written by Erin Maher & Kay Reindl
Directed by John Kousakis
Edited by Chris Willingham, A.C.E.
Random scenes from Anamnesis
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Awards and Nominations
This episode of Millennium did not receive any Nominations or Awards.
A muddled mess of an episode that sets lofty goals but ends up drowning in a sea of its own pretension and bad plotting. By using the structural device of opening with the school shooting, it sets us up for a story that will explore what could lead to such an event, but instead that gets totally sidelined in favour of an almost entirely unrelated plot, leaving us to instead pop back around to the perpetrator at closing time who is otherwise entirely absent, with not a shred of screen time devoted to building or exploring his psychology. All we get is his question: “does Jesus love her more than me?” ‐ yeah, that's a rock solid motive that would drive a kid to mass murder.
Strangely, the total absence of Frank isn't the problem. It doesn't help, but it isn't the problem. The problem is that it's clearly been written by people who have spent far too much time reading up on Knight's Templar lore and not nearly enough on crafting a proper script. The character focus is also a huge missed opportunity. What should have been Catherine's post-traumatic stress episode instead becomes about Lara Means and her angels, visions and growing insanity, pretentiously stuffed with endless quotes from Biblical and Gnostic texts which serve no purpose other than to show off the colour of the authors' research.
It's also an episode filled with non-sequiturs ‐ why does Catherine suddenly rush off in search of danger at the climax? Who gave the boy the note and why only to him? Why does there need to be a sacrifice? Who was the man carrying the book at the end and where did he come from? Why do the girls dance around a collection of diverse icons in the woods with no shoes on? It's just a flimsy excuse to shoehorn in Patti Smith's “Dancing Barefoot”. It's a shame too, because some of the ideas being explored are actually quite interesting (later to be made popular by "The Da Vinci Code"), but they're thrown into a giant melting pot without any thought. If only they had been weaved around a more coherent and better-plotted story.