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I have a doubt about the Millenium Group. Is the devil behind? or are two separates entities?

Some observations.

In the curse of Frank Black Crocel ghost  sent by the devil suggest Frank Abandon Millenium Group. Well this proff the Millenium Group (or part of it) is separated from the Devil influence.

I believe, one of the  the Millenium Group Lodge is satanic and the devil is behind it. 

When Frank Black confronts Peter Watts in his own house. Peter says, "The group who videotaped jordan is not the group i know"

So, maybe, one of the lodges of the Millenium Group is involved with Satanic practices.

In the end, when Frankl Black achieve a sort of revelation:

 

Quote

FRANK: We survive, maybe.But only by discarding the questions that confuses us – what do I want – and asking what the world, what the universe wants and needs.

This is Frank Black accepting his fate and recognizing the Ourubourous. When he says, "what the universe wants and needs" is not saying "what god wants and need"

The universe is full of demons and evil forces too. So he is recognice them in order to survive with his little daughter.

My conclusion, about the group, is that Frank Black fails to recognices the Ouroboros, I mean, the bad side of the group and that is the reason, he has to run away with his daughter.

He asked to many questions, he saved too many people, he failed to understad good and evil combined to make a world a better place.

 

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The Millennium group was a private, secret group whose original mission was to guide mankind in whatever way it could, to  being prosperous and good. It was to fight evil.  But... somewhere along the

After all is said and done, It's a TV show, and there were many facets to each character, but many things left unsaid, many questions unanswered.

The running story arc in Season 1 was Legion attempting to "employ" Frank Black. Their methods and motives were so transparently nefarious that I've concluded it was a disingenuous gesture, and that t

The Millennium group was a private, secret group whose original mission was to guide mankind in whatever way it could, to  being prosperous and good. It was to fight evil.  But... somewhere along the way, as often happens, the group got too proud, too haughty and too greedy for the relics and the mystery.  By season 3 it had morphed into an entirely evil group, with the shapeshifter killing people, and the group trying to discredit Frank Black.

 

Frank Black, was merely a human being trying to do his best to make the world safe for his family.

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"I smell blood and an era of prominent madmen"

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The running story arc in Season 1 was Legion attempting to "employ" Frank Black. Their methods and motives were so transparently nefarious that I've concluded it was a disingenuous gesture, and that their real purpose in constantly bumping uglies with him was as to divert his attention from the people he should really be worried about: the Millenium Group.  They were a strawman of sorts, acting as a lightening rod for Frank's negative energies and putting him in such a fluster that he'd fail to recognize the real enemy. Indeed, it work for a while: by Season 2 he was deep in with the Group. I wonders if he would have stayed with them, had  Catherine not died.

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Setting evil and the devil off to the side.  All through the series, the group and it's members appeared to be unstable.  There was always an issue, and the very fact that there are two factions proves this.  Then you add individual perspectives and opinions to the mix, and you end up with an "All of the Above."

I personally believe that they wanted to kill off Catherine and Jordan thinking they would have more control over Frank, but it backfired, in his reality, it created just the opposite, he wanted out.

Also, I believe he was suspicious of the group all along, just didn't have proof, and wasn't sure how to break away.  Plus, he did experience the good that the group did, which in some ways didn't amount to much.

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"Time is too slow for those who wait; too swift for those who fear;

too long for  those who grieve; too short for those who rejoice.

But for those who love, time is eternity."

(Jane Fellowes)

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Or maybe they considered her more of a threat.

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"Time is too slow for those who wait; too swift for those who fear;

too long for  those who grieve; too short for those who rejoice.

But for those who love, time is eternity."

(Jane Fellowes)

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They may very well be glad Catherine died from the Marburg virus as she had a clear abhorrence for the Group and tended to keep Frank's eyes open, but they would've wanted to keep Frank in tow and bring Jordan along down the road because of her gift.

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In the ending of season 3, Peter Watts gave Frank files on Frank and Jordan that the group kept. That was his warning to Frank, and the reason Frank picked Jordan up from school and they drove away in the series finale.  They would have lured her in, or coerced her in.

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"I smell blood and an era of prominent madmen"

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      What we were trying to do later on was go to something that was a little more - we had a secret manifesto, actually. The first one was mankind is racing toward an apocalypse of its own making, so it was going to become more political. And we never got there because, even though it would have made all the sense in the world to have something called 'Millennium' actually get to the millennium, we ended up some months shy of that.
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      We always in the back of our mind knew that it was possibly the end of the series, and we didn't want to do what season two did, which was to absolutely define where you were and where the series was. But at the same time we wanted some closure, we wanted some meaning, if, in fact, that was it.
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      Klea Scott:

      I was actually a little hurt when I saw that Emma Hollis, personally hurt, that Emma Hollis had accepted membership into the Millennium Group.
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      Klea Scott:

      We didn't have a lot to say to the creators or writers about what would happen to us. We would read the scripts and find out.
      (Hollis: What was I supposed to do? He's my father.
      Frank: Do what you have to do. )

      Klea Scott:

      I was so ashamed! (laughs) You want to talk about feelings of shame just bubbling to the surface. But that was why I loved it, because it was subtle and it was to me very believable and real that this could happen between these two people.
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      Hollis' father: You shouldn't have done it, Emma. You shouldn't have done what they asked. )

      Klea Scott:

      The man she did it for has no gratitude or acknowledgement for her, and the man she betrayed is gone from her life as a result. So, yeah, it was really, really f**ked. Really f**ked. And, for that reason, interesting and exciting for an actor to get to play all that.
      Ken Horton:

      We ended up doing that, and that was the start of it, and then it just picked up from there and eventually, we felt, put Frank in an interesting place. Not good, not bad. He was safe with his daughter, she was safe with him. And we thought that was an undefined safe. We didn't know whether, when they went over that hill and there was a little valley over there, you didn't know whether there was more Millennium people waiting for them, or that they were going to start a new life. You didn't know exactly. But you got the feeling that they were going to do something and that they were happy with each other, and that was - I don't want to speak for Chip, but I think he wanted that same kind of feeling, I know I did too. He wanted to leave the characters in a difficult but good place.
      Klea Scott:

      And then we were cancelled. (laughs) You know, again I have no idea. I don't know what was going on. But I just thought, 'Give us 13 more and take us to New Year's Eve.
      Frank Spotnitz
      Writer/Co-Producer

      In its final season the show ratings-wise had plateaud. And I think that while it wasn't doing badly, it was clearly not going to be a monster hit for the network. And I think it was a calculation on their part: 'Do we bring the show back? It's got a certain audience, it's got a certain level of critical estimation. Or do we roll the dice and hope we're going to come up with a big hit in that time slot?' And I actually think, looking back now, we realize that the audiences for network television were in the process of eroding, and nobody was quite aware of it yet. And the fact that 'Millennium' was able to hold its audience to the degree it was, was in fact quite a success. But nobody, at that time, really saw it that way, so I can't really blame them for hoping they could do better with something else.
      Six months later ....
      The X-Files Episode 7 "Millennium"
      Airdate: 11/28/99 Season 5
      Writers: V Gilligan & F Spotnitz / Director: T J Wright

      (Skinner: This magic circle you mentioned, what if it looked something like this?
      Mulder: It's an ouroboros, possibly. Definitely a mystical symbol. The alchemists favored it. They believed that it represented all of existence.
      Skinner: I'm thinking more the Millennium Group. It was their symbol as well. Are you familiar with them?)

      Thomas Wright:

      I remember we'd been away a while after the show went down, and I was doing an X-Files which had Lance in it as Frank Black.
      (Mulder: Well, if there's anybody that can tell us about the Millennium Group, it's him. He used to consult for them. Later, he fought to bring them down at the expense of his own career and reputation.
      Scully: Single-minded. Sounds like someone I know.
      Mulder: Frank Black? Hi, my name is Fox Mulder. This is my partner, Dana Scully. It's a pleasure to meet you. Do you mind if we sit down?)

      Frank Spotnitz:

      When Millennium shot its final episode, no one knew for sure whether it was the end of the series. We had not officially gotten the cancellation. And so there was no sense of closure. And so, very badly, I wanted to bring back Frank Black and Lance Henriksen for a farewell, for a goodbye. And I sort of sold everybody on the idea and then found myself in the deeply uncomfortable position of trying to figure out how to make that work, because it was only when I actually sat down to break the story - and, again, I wanted to bring Frank Black back for the millennium, which he had not made in the series, had not reached it since the show got cancelled before the turn of the millennium. And it proved to be extremely difficult because not only was the mythology of Millennium something completely apart from the mythology of The X-Files, but you had three heroes you had to service. And ultimately you had to make it work as an X-Files episode, because that's the series you were servicing, that was the audience you were servicing.
      (Mulder: Shoot for the head. That seems to stop them.)

      Chris Carter:

      Frank Black appeared in The X-Files after Millennium's demise, and really it was done with a wink. I don't think it was a reason or a chance to give his character closure. And you don't want to say that when you create a character - you never want to give your character closure. But it was a chance to work with Lance again, to do it in an interesting way. And with X-Files we were always tying to figure out new ways to tell stories. It was bold in a certain respect in that it was asking X-Files viewers to accept this sort of hybrid idea that you could - maybe they didn't watch Millennium, I don't know - accept this character into The X-Files as a kind of equal in the story that was told.
      (Frank: What?
      Scully: There's someone here to see you.
      Jordan: Hi, Daddy!
      Frank: Hiya, little one.
      They hug.
      Frank: Oh, I missed you, sweetheart.
      Jordan: I missed you too, Daddy.)

      Thomas Wright:

      Brittany came back to be in one of the scenes, and of course she'd grown, like, another two feet or something. And it was really kind of fun seeing her again and working with her, really grown-up.
      (Mulder: Good luck with everything.
      Frank: Agent Mulder, Agent Scully. I guess this is it.
      Scully: You're not going to stay and watch?
      Frank: No, just want to go home. Take care of yourselves.)

      Frank Spotnitz:

      It ended up not in fact owing very much at all to what had happened in the Millennium TV series. It ended up being an excuse for bringing Frank back and for seeing him with his daughter, and for telling people what became of him after the show ended. But that was really all it did in terms of bringing closure to Millennium. I think maybe that was enough, but I'm sure that, for Lance and for die-hard fans of the show, it wasn't answering all the questions they might have had.
      Chip Johannessen:

      Honestly, I must say, Fox was so supportive about this show and there were a lot of people loved this show. I think it frustrated them in the same way it was kind of frustrating to us that the audience was not as big as we were hoping, ultimately. Especially because some of the episodes were so great.
      Frank Spotnitz:

      It was very, very dark, and I think to the extent people really loved Millennium, those are the people who really connected with that darkness and wanted to be scared on that level. I think that's a very specific certain audience, which is why Millennium worked with a core audience and then didn't reach a lot of other people who didn't want to watch that in their homes.
      Chris Carter:

      The network and the studio got frightened that we were too scary, too dark, too frightening. And I think now when you see shows that are succeeding on television now this is six, seven, eight years later - they are what Millennium should probably have aspired to be, which was really good murder mysteries that stood alone, that had, in this case, a millennial quality, which was, I think, the signature aspect of the show.
      Lance Henriksen:

      I just think that Chris Carter is sitting right on the edge of a gold mine to do a Millennium film. Me too. I mean, it would be an incredible thing. I've done a lot of movies over the years, but that one just still haunts me. It really does.
      Mark Freeborn:

      I think that ... I think that ... (laughs)
      John Peter Kousakis
      Co-Executive Producer

      (appears from stage left and puts his arm around Mark Freeborn)

      All we'd like say is we had the best years of our lives on a show like Millennium.
      Mark Freeborn:

      We did.
      Klea Scott:

      It was a family experience for me that I haven't - you know, it was unusual because it was intense just to be with Lance and myself, just one actor. And if that was a bad combination, that could have been a really miserable experience. But - I speak for myself I really liked working with Lance and respected him.
      John Kousakis:

      I think the most rewarding thing about the show for me, is that it brings back some great memories. It brings back some not-so-great memories. It brings back a sense of working on something that, as again I've said ad nauseam, something that I can be so proud of and something that stands up today to, I would say very, very safely and confidently, 90% of the feature films in the same genre.
      Thomas Wright:

      Of all the shows I've done - and I've done quite a few - to be on a series, do a series day in and day out, it's been my most enjoyable and, I feel, some of my best work.
      (Frank and Jordan running down the school corridor.)

      Thomas Wright:

      Everybody I know that worked on the show - it was always fun. It was just a great experience.
      Klea Scott:

      If you get the combination of: you like doing it and people like it - wow. Those are gems. They don't come along very often. And then you use them as a golden mean by which you measure all the things that come along after that. And Millennium was one of the ones - I could have done Millennium for a very long time.
      Lance Henriksen:

      Looking back at it again, I could have gone on another year and see where it led. But I do know that I needed ... I had some ... Listen, I had some ideas about how that show could have gone on. But again, it's like talking about a romance that you had five years ago and how you could have made that work, you know? It's all second-guessing and it's all what you've learned from it. I wouldn't change anything. I was very proud to have done that show.
      (Jordan: Which side wins, Daddy?
      Frank: That's what I'm saying. It's up to us.
      Jordan: We are all shepherds.
      Frank: Yes, honey. Yes, we are.)
    • By Simon Black
      I had exchanged with caleb(sinestro) in a other topic on Peter Watts end -
      and found that we have the same thoughts, so i have to start this topic because it gives me no rest.

      Apologies if it was ever discussed



      I've always wondered : is Peter really behind the desk or is it his killer?
      Perhaps Peter was faster and caught him by the search of his papers,
      the papers which he has put Frank in the jeep.
      Maybe the producers wanted to keep open a possibility to bring Peter back for a possible fourth season ?!

      What do you think ?


      I watched the episode again today, i tried to compare peters clothing with this picture but...no results yet.
    • By Gotham Gal
      Does anyone think Peter Watts may not have died in the final episode?

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