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Written by Gruic on 2018-04-14
With this episode, we feel like everyone, cast or crew, is working hard to do a good episode and offering a nice conclusion to the Doggett story arc. The result is a very powerful episode with a true ambience, serving by great musics.
Robert Patrick is, again, stunning. One of the best actor of the show, for sure.
Loved it and still loving it.
Let me believe than they knwe they'll never use Doggett character after this episode.
|| The last Doggett centric
Written by DuaneB on 2018-06-17
This episode proves that even at the end of tne ninth season, the team was still able to do a great episode.
after two years with Doggett, we can not say that the character did not bring a new wind of Cartesianism in the middle of this festival of improbability that became the series. In the end, the risky introduction of the beginning of the season 8, namely to integrate a dramatic loss into a character to replace the void created by the resolution of the samantha affair, was successful.
The story of the kidnapping and death of John Doggett's son is mentioned for the first time in the superb episode Evocation 8x05. It was already clear what was the point of making Scully try to solve his problem in Mulder's search. It should not be seen as a blind subordination to Kersh, but a way to compensate or heal the wound that left him the death of his son in 1993. The fact of having taken this plot in the episode Empedocles 8x17 or still in John Doe 9x07 necessarily called for a resolution. So that's what this episode offers us.
In addition, it is interesting to see Doggett's ex-wife, Barbara; even if it arrives late. I like Scully's involvement with Dogget that this story entails. For Reyes, the implication was a bit more obviously since it was with her that they had worked on the disappearance of Luke at the time.
Scully who teaches Quantico is always a pleasure, especially when she is faces with what looks like a gifted student. This little genius promised a magnificent career was neither more nor less than an accomplice of Rigali, himself an accomplice of Brad Follmer.
The paranoia is at its height when one realizes that the so clean on him Follmer is involved in this story. There is certain pleasure in deconstructing a figure of authority and in giving a semblance of justice.
This episode has its strength of making us forget the weaknesses of others. The division in titled section of the episode refers to the beautiful episode Triangle, although it had no titles, but it could.
Decorations as vector of feelings:
The sets are varied, the play of lights in the interior scenes of the apartment of Hayes give a sensation of end, of madness too. As for the scenes at Barbara Dogget, or the scenes of flashback the lights are in the perfect tone to highlight Doggett's emotions. The final scene only confirms it. There is in this episode a filmic side wich gives us a real pleasure to watch.
Who did not notice the perfect score of Mark Snow here? IT just fits so well with the dramatic colour of the episode. Besides, it is a specific desire from Snow. The process of a short melody, which remains easily in the lead, with a rather minor and nostalgic tone had already been used in the Evocation episode. So there is no hazard. This compositional process is a will to musicalise the narration; to rhythm it too, and especially to print it in the ear of the viewer who will remember it and who will assimilate this music to a pleasant memory, so to a pleasant episode by extension.
There is a palapble tension between Regali and Doggett, then between Follmer and Reyes, then between Follmer and Doggett wich creates a real waltz of feeling, all combined and shackled in 44 minutes, and for once in the series leading to a real conclusion. An underestimated jewelry that raises the level of this season and the feeling of hardship that accompanies it, not to mention the flavor of end that we already feel...
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