The X-Files: I Want To Believe

When a former priest begins having psychic visions of a missing FBI agent, Mulder and Scully are called back into action to assist in solving the crime.

Starring – David Duchovny, Gillian Anderson, Amanda Peet, Billy Connolly, Xzibit, Mitch Pileggi

It’s been a really long time since I have watched the X-Files TV show so I wasn’t that excited about checking out this flick. I had been a big fan of the mythology of X-Files, any story involving the arc of Mulder’s missing sister was prime viewing for me. However this film plays more like a one shot story. Maybe it should have been left as that.

It’s not that the movie is bad, it’s just not the type of X-Files I wanted to see. In fact, other than the apparently psychic priest, there’s no other supernatural occurrences going on. Towards the end there is a tinge of the abnormal but with a very scientific explanation, although the explanation is highly far fetched and would have been better off as something paranormal.

It was great to see Mulder and Scully together again and I really enjoy David Duchovony’s portrayal. He’s always got some smart-ass remark to throw in and the dialogue between Mulder and Scully is usually fun and entertaining. Billy Connolly does well as the former priest but beyond that the other actors were boring and one dimensional, especially Xzibit. Why is he even in this movie? Pretty much all his dialogue in the movie consists of him commenting on how he doesn’t like or doesn’t believe anything Mulder says.

All in all it was an enjoyable film, just not an enjoyable X-Files film. If they do continue the series I’d love to see them go the extra-terrestial route and get back to what made me enjoy the TV series in the first place.

Under the marquee – Will

Politics, Hollywood, School & Parents Suck:

The Gillian Anderson Story 2008-09


‘Nazi Bush – Hollywood’

IT’S VOGUE TO KNOW

GA

‘FASCIST BUSH-HOLLYWOOD’ REGIME’S MOST HIGHLY GUARDED SECRETS OF MYSTERY, INTRIGUE, DANGER AND REAL LIFE DRAMA: THE GILLIAN ANDERSON STORY

Boring and stupid sucks, hence, Nazis suck because they’re Fascist pigs worshiping the SYSTEM, not personal freedom for just being whatever, whenever and however in uprightness. As a side-note, many argue the semantics relating to the accurate definition of Nazism, fascism and totalitarianism (even Socialism and Communism). This is as stupid and boring as the ‘system’ and those who support and live it.

Their definitions overlap each other because their ideology and/or core values are identical. They kill individual freedoms via ‘THE SYSTEM’ established by the government, marketed by old Hollywood (all media and media-arts), taught by schools and reinforced by sympathizing wimpy parents and/or family (the majority) sucking up to the system in order to survive. Does it really matter what you call this ideology? Hells no! Though perhaps not politically correct, the word Nazi will suffice just fine to describe today’s dying system.

Today, paid (the big question here is by whom) professionals attempt to describe our current dying Nazi system with in-depth and/or high intellectual, political, religious and/or psychological slants or approaches to the topic. They don’t answer the vital questions as to how, SPECIFICALLY, our current culture evolved into a despot society; they only make vague and/or broad brush strokes in their explanations. If they were to address the how, when, what, where and why, involving the whole story, then the masses would eventually be able to pinpoint the parties responsible. Keeping in mind that this issue involves highly criminal acts with potential prison time, it stands to reason that the mainstream, published writings on this topic cannot be used as research towards accusing the guilty parties.

The dumbed down (by media-arts, parents and schools) new generation are the true victims via this system. So, whom are these experts addressing? Themselves? After all, it’s today’s so-called ‘adults’ (government, corp. Hollywood, school administrators and parents) that have kept the system alive and well thus far. They suck. We may love them, but they still SUCK! They’ve helped make our lives a living hell. Who needs Nazi friends?

The new generation isn’t really interested in their blame game excuses as to why the current dying Nazi-like system exists. Suspiciously, America’s educational system is woefully inadequate especially regarding the complicated political and cultural logistics and/or economics that thread a society together. To complicate things further, the new generation may not be experienced but it doesn’t mean that we’re stupid and boring, and/or without wisdom.

The fact is, what is, is. And, it’s way past the time for talking. It’s well past the time for politically correct and sociably acceptable discussions in addressing this serious and hypersensitive national and global issue. Fuck the system! And, fuck old Hollywood (and every bit of their tainted media-arts!)

It doesn’t take a professional, or expert to figure out how things got to be so sucky: not living life following one’s heart’s desire, being forced to learn how things are to be done according to the system in order to become a good indentured servant in today’s corp. cubical-slave-fields of dying souls, forced worship of a twisted corrupt system. ‘Thanks, dad. Thanks mom. Thanks granddad. Can I see your cool swastika, do you keep it in your sock-drawer beside your 666-black-book of crap Nazi advice?’

We know all we need to know. Society’s majority are all frigging brain-dead cowards sucking the big one out of fear of poverty and being excommunicated from the system. ‘Oh, how will we survive!? Oh, save me ole powerful Nazi system. Save me!’ Living in silence under the oppression of bootlicking-sympathizing family-heads, schools and/or the majority is quickly coming to an end.  The day is coming soon when, at the right time, people of substance, innovation, insight, creativity and backbone will stand firm as one unshakable upright voice. It’s about time somebody said, ‘Shut Your Frigging Gourd! NAZI!’

Regardless of what one thinks about Gillian Anderson as a character-actor or otherwise, her story serves better than any of the current detailed but sorely lacking reports describing all the ins and outs of today’s governmental reform.

There’s little doubt that the fuse of this initial reform was started by old Hollywood’s own actions. Sadly, Gillian Anderson became stuck right in the middle of it, hating Nazis but loving the arts. Like us, Gillian Anderson became a victim -but she was and is no wimp- of the Nazi system and her story tells the whole story, and it’s a real thing. It exposes the system as to what it really is, in a nutshell.

So, with all the horrors in the world, why consider the story of Gillian Anderson? Are we star struck in Hollywood, California?

Perhaps, or perhaps not …probably. Within this last generation, especially the last two decades, her story is singular, one for the history books and the stuff that great movies are made of. Gillian Anderson’s life path unwittingly put her face to face with the powerful and feared key corporate officers linked to the Fascist-like dynasty of today’s Bush/Hollywood dying regime.

Over the years America has established a global reputation as a society toying with serious internal civil unrest, a weird ever-growing polite civil war that intermittently erupts into rioting in the streets. For decades Americans have been swimming way out and drowning in a sea of silent voices. There’s a difference between a society tolerant towards its powerful elite and a society of bootlicking-sympathizers like that of WWII Germany.

Unfortunately, anyone that’s been around the block a few times knows that it’s only the simpleminded that mistakenly believe that anyone cares. Who will even acknowledge it to themselves, today’s dilemma? And, God forbid speaking of it with your mouth, out loud. Grasping to be carefree like a child, is, …well, immature. Wow, big dreams. Pushing the boundaries in order to survive is more than understandable. On the other hand, being self-destructive by selling out to Nazis in silence is just stupid, and boring (eternal nothingness.)

Obviously, the majority wants a sugary reality. Otherwise, why would the supposed educated majority enthusiastically want to believe the current media’s false reality wonderland, as if life as we experience it today is civilized, happy and free, fair (enough), and holds no real dangers except for those who deserve it –like old Hollywood’s endearing but grossly lacking in reality family movies.

However, there are overseers over overseers currently addressing the great injustices involving the criminal union of the government, corp. conglomerates and their greatest weapon against society, their monopoly over all forms of the media via old Nazi Hollywood (as it’s known today.)

Gillian Anderson’s career path inadvertently put her on the frontlines (and in dangerous crossfire) of the battle against the current powers that be. Like many of us, will Anderson become yet another forgotten victim of collateral damage via America’s hush-hush, don’t tell all, saving-face Nazi-sympathizing-generation as it tiptoes around civil war?

Stark reality shows us that it is old Hollywood’s chronic gross publication of their clinically certifiable and illegal media-arts that finally weakened the dynasty of the Bush/Hollywood fabric of seeming invincibility.

Did Gillian Anderson, in fact, act as an initial thread-cutter to the ‘Nazi Bush/Hollywood’ empire? At the time, Anderson found herself employed by old Hollywood and rubbing shoulders with the secretive, behind the scenes and politically appointed corp. Hollywood kingpins hired to run America’s false media and media-arts. Furthermore unlike those in the industry, few are aware of the Pentagon’s (on set) involvement with that Fox T.V. series, due to the show’s tendencies to highlight the invincibility of aliens against the U.S. government’s armed and civil security forces (F.B.I., C.I.A., army, etc.)  Even fewer are aware that this type of governmental coercion is standard procedure and has been since the 1920s -though this should come as no shock to those who have a pulse.

Through Gillian Anderson’s somewhat unwitting association with America’s criminal corp.-governmental-media regime, she earned phenomenal popularity with the masses and renowned global fame, becoming a legend in her own time. However, and in spite of this, Anderson’s growing adversity towards their highly questionable Nazi ways in Los Angeles, California became almost as famous as she is.

For those who choose to remember, Gillian Anderson’s internationally famous 2002 abrupt and hostile resignation from old Hollywood’s grasp screamed of their hidden wrongdoings, bringing them intense scrutiny from the global community. Anderson’s determined move defied sound logic and reason. When, at the top of her game, making millions, in her prime, with the masses wanting more, and with strong public support and approval, why would Gillian Anderson possibly want to quit, run from Los Angeles and immediately leave the country? By not doubting one’s own senses, one can conclude the obvious.

Gillian Anderson’s specific motives for making herself an enemy of old Hollywood and the Bush dynasty are of course only known to her. However, there are a host of reasons from which to choose: unimaginable condescending degradation on set via their daily employment of harassing and humiliating management strategies; overlords breathing down her neck everyday on set ensuring that she never forget who the boss is; working her 15 hour days, 5 ½ days a week for 9 months straight every year for ten years, leaving her 3 months out of the year to live life and be a mother, (essentially robbing her of her first experience of motherhood); working in a non-creative Nazi-like environment; forced to live out of the country in all sorts of inclement weather away from home, family and friends; artistic strangulation, the inability to take the sitcom character deeper or do side projects outside the sitcom of deeper substance; her adverse reaction to living and working with fascist-like corporate oppressors and their Nazi-bootlicking-sympathizing co-workers; working for the flagship (Fox) of America’s media-monopoly; and, her total lack of interest in the genre.

Regardless of her motives, by making herself an enemy of old Hollywood, she has in turn made herself a friend to the new generation’s movement for governmental reform, especially as it applies to the media-arts.

For those who aren’t seeking a sugary reality, Gillian Anderson was surely aware that the Bush/Hollywood media-arts are obviously methodical in their design to serve as America’s ironic hush-hush (yet blatant in-your-face) iron-curtain media monopoly. (Though, they are currently facing overwhelming odds of destruction, and rightly so.)

Old corp. Hollywood’s 100-year self-serving and ironfisted rule (via the media-arts) over the American people has been managed with an ever-increasing megalomaniacal approach, especially over the last two decades. These corp. conglomerates’ corrupt billionaire businessmen’s oversight in grandiosity while living on the credit and talent of others, in the mansions overlooking Rodeo Dr., gives credence to the ancient proverb ’pride comes before a fall.’

The early morning hour has finally arrived finding corp. Hollywood hung-over and standing in their underwear. In this haziness, they are apparently oblivious to the fact that their enemy is now at the gate. And, it was their own hand that lowered their drawbridge during a decades-long stupor of over indulgence fuelled by avarice and malevolence perpetrated upon not just American society but the world.

Delinquent in coming to arms, the new generation -waiting in the wings- politicians now have the supreme advantage. Dethroning the highly corrupt organization, the Bush/Hollywood regime, is now a distinct reality. At least the puppets of this regime are now being rousted out of positions of power via our nation’s slow to act (saving face) political coup.

It was the government’s media-arts puppets’ (the corp. fat-cats of old Hollywood) mismanagement that gave America’s new powers the much needed and unchallengeable legal leverage, and public support, necessary to officially move towards governmental reform. Perhaps being drunk on power (and probably too much fine wine and cream sauces) was responsible for old Hollywood’s inability to notice or care that they had become sloppy.

After all, a Nazi nation pretending to be democratic whose captured media/media-arts monopolized into an impenetrable iron-curtain, must not be turned over to a drunken, middle-management if it is to survive the challenges of worthy political opposition and a country of angry tax payers. The operative word here is MONOPOLIZED.

Evidently, admonishing, censuring and then sanctioning corporate government sponsored giants for running an illegal all encompassing MONOPOLY campaign empire over all forms of national media, thereby participating in the TREASONOUS act of killing freedom of speech leading to today’s governmental reform is apparently a lengthy, decades-long process.

America’s reform took way too long to manifest itself and is therefore highly suspect. It inevitably suggests that America was long since sold out by the middleman, our affluent majority. Taking payoffs from the secretive yet well known powerful elite minority was no doubt the swag that tempted the people’s so-called representatives to sell society’s greatest commodity on the open market: freedom of speech.

Gillian Anderson just wanted to be a character-actor, yet she found herself caught deep inside our nation’s feared and twisted media-arts monopoly machine. Following her heart’s desire, Anderson unwittingly had become Nazi Hollywood’s prized property and/or employee and unspoken prisoner. Did Anderson’s fight within the very core of their governing body ignite the unstoppable chain of events that is quickly eroding today’s Bush/Hollywood regime? Their century-long reign that emerged from humble beginnings to become an unchallenged despot empire is crumbling.

Gillian Anderson serves as an excellent catalyst for discussion on the standing of today’s female in society, and old Hollywood’s relation to the necessary battle we must contend with in the now weakened fascist-like regime over our current society.  The catastrophic state of America’s media-arts are the greatest reason for our ruin and our ruined cultural reputation around the globe.

Gillian Anderson’s career path tightly traced America’s ambiguous media-arts machine. It has literally sketched the outline form of the Bush/Hollywood regime that can’t be seen with the naked eye. Rendering the form of America’s dark mysterious cultural cave can only be done from the inside. A golden mountain of cover-up hides its true form. It’s not a mountain at all, but a hollow abyss, an empty cavern with the ghostly spiritual presence of nothingness, lies and greed. Since all forms of America’s media arts are based upon the substance and/or foundation of lies and greed, what does that say about us, our culture?

Far from being stupid and boring, Gillian Anderson’s story forces one to the edge of their seat starving for what comes next in this real life drama. It is perhaps one of most important tales of the century because it can be used to trace and identify the parties responsible for this nation’s fascist-like empire. Gillian Anderson’s story is notably unique and important in modern times, for many reasons, and here’s why…

1990s VS. 2000s


As a prelude, from the early 90’s to the early 2000s, most had not yet discovered the Internet’s capacity to be a viable tool for breaking through our nation’s iron-curtain. America’s propaganda machine, old Hollywood, was running at full steam, and some argue this was partly an early preparation for 9-11. Few were able to break through the media’s lies and even fewer had access to untainted local and national news. The American people were truly cut off from each other and the world.

Society, burdened by the depression of a slave existence and the realization that the fundamentals of fascism had long ago replaced any semblance of democracy, responded with a strong, near violent social movement. The fascism had become so blatant that you could be arrested for just sitting on the sidewalk. Seemingly impotent with frustration, society’s response manifested in a general mood of apathy, anger and disgust, where Grunge and Goth became the figurehead of defiance against the Nazi-like rule over us.

This frustration was finally relieved, in large part, when the masses began to simply bypass the old Hollywood media altogether via the Internet. This medium has taken over as the only -somewhat- trusted means of information and entertainment. Respectively, today’s angry society has matured to a mindset of: IT’S VOGUE TO KNOW the truth. Now, what are we going to do about it?

Of course, Gillian Anderson was sporting Goth and chain-smoking her clove cigarettes during the period prior to accepting a job with old Hollywood on that Fox Sci-Fi sitcom. Anderson’s devotedly inseparable core values against oppression inevitably clashed with old corp. Hollywood. Perhaps Anderson understands that ‘we wear the chains we make link by link in life.’ It seems she did not consider becoming a slave to old Hollywood and an icon of oppression over society via the media-arts to be an upwardly mobile career path with opportunities for growth.

Flashing forward, there’s something undeniable about Gillian Anderson that is, well …she’s just hot. What is it? Is it her hair, eyes, her skin or the whole package altogether? Why did her public image strike so deep into the hearts of so many with a following that still exists, unwavering even today?

After a decade, bearing children and pushing towards the spectrum of middle age, Gillian Anderson’s previous title, reigning supreme through the nineties as one of the most beautifully crowned and most popular females ever -in spite of her tattoos- remains securely in tact. She was/is the people’s choice.

In 2008-09, Gillian Anderson may be out of sight, out of mind, but she hasn’t fallen too far from grace. Her candle burns bright, (it’s the candle-stand that’s lacking.) Compared to Anderson’s reign lasting a decade, today’s corporately manufactured “celebrities” pushed upon society via old Hollywood may be famous, but calling them popular is quite a leap.

The public’s perception of Gillian Anderson can be summed up basically as: beauty, brawn and brains. Her history largely suggests that this reference to her public image is not merely an honorary title. This holds true especially when stacked against today’s mass media imposed famous females whose fundamental public persona can be ironically paraphrased as ‘the slutty-good-girl next door.’ These issues call out for closer examination to civic-minded society.

In reflection, all the hype regarding this new millennium is more than anticlimactic. Thus far, the sickle and hammer controllers of our so-called media and media-arts (corp. Hollywood conglomerates) have hijacked the beginning of this era. We’re being bombed every hour of every day with the latest so-called up-to-date news reports on this decade’s national “celebrity” figureheads by our self-appointed propaganda ministry, old Hollywood.

It’s understandable how malingering, immaturity, mental imbalance, drug and alcohol abuse and moral bankruptcy might be directly related to the professional and personal daily lives of the current dying powers that be. However, how is this continual flow of hot-garbage-juice saturating our airways possibly relevant in any way to the general upright majority?

Moreover, how is it deemed worthy for national and local news? Firstly, these aren’t the people’s choice, America’s choice representatives. Just as importantly, these incessant 24/7 obtrusive messages are starting to brainwash even the neighbor’s dog. Seriously, the universal water-cooler summation is that these issues are far beyond suspect: they are mentally subversive.

GILLIAN ANDERSON’S GREATEST HOUR VS. TODAY’S ICONIC STANDARD

The modern day forced female image is destructive, especially for impressionable young females. The comment ‘mommy I want to grow up to be just like Britney Spears, Scarlett feel-me-up Johansson, Lindsey Lohan, Madonna and the like’ is enough for most parents to demand that the likeness of Gillian Anderson be reinstated immediately.

A back-to-back comparison of these trends spanning the last two decades demands an increasing and more serious look into Gillian Anderson, especially regarding the foundation that supports her public reputation.

Like a clear sky breaking through lingering Los Angeles smog, Anderson’s popularity is apparently expanding once again across all social and age demographics. Recently, the clouds have parted to reveal what has always been there: Gillian Anderson’s indefinable presence of substance, one that has been continually supported by millions who agree that she, or her likeness, is the type of artist the public not only desires, but needs.

There are even rumors that Gillian Anderson may return to America now that the old Bush/Hollywood regime is being systematically dismantled. However, old Hollywood’s existence is deeply rooted in our infrastructure and cultural conditioning. Hence, their surrender was conditional. It could take some time to dislodge them completely.

THE PEOPLE’S CHOICE – GILLIAN ANDERSON – CAPTURES GLOBAL ATTENTION AND THE HEARTS OF MILLIONS

Gillian Anderson ushered Fox Studios’ Sci-Fi sitcom to phenomenal fame when she took on the one-sided, shackled, and micro-directed T.V. acting role in the network series. Though it only offered her limited camera time, her role, though brilliantly played, stole a potential artistic, cultural gift from global society (and Anderson.)

It robbed us of a possible mind-expanding experience through the media-arts, because Gillian Anderson’s full potential was never fully explored or allowed to escape that sitcom – a sitcom that for her evolved into a personal and professional prison cell. If a candle is not turned routinely, it burns unevenly on one side and is ruined.

If not impeded by old Hollywood, perhaps Anderson may still be in the running to help nudge the world one step closer to universal cultural enlightenment through the fine arts. What is still sorely missing in today’s media-arts? A representation of females with beauty, brawn and brains… and more importantly, the feminine version of an upright and substantive individual.

OLD CORP HOLLYWOOD MANAGES AMERICA’S DESPOTISM – GILLIAN ANDERSON REFUSES TO TAKE PART, FREEDOM OF SPEECH DEFINED

Was it greed and paranoia motivating those particular corp. department heads responsible for restraining Gillian Anderson to such personal and professional bondage, or something even more sinister? Ignoring Anderson’s inherent rights as a free artist to grow within the sitcom and refusing to support her pursuit of other more challenging career prospects of deeper substance outside their ironfisted contractual control is less than the American way, or is it?

If our standard is to allow our corporate biased judicial system to dictate to our nation’s professional actors or artists as to how, when or what they render, and under whose organization they plant their flag, then it is CLEARLY DESPOTISM that rules our nation. And clearly, the supposed legal reform (in and around the 1940s) of old Hollywood’s ‘studio system’, where artists lives were under the full control of a given studio, did not have any lasting impact.

This modern method of indirectly gagging the free reflective voice of the people’s artists makes for a society of, and controlled by Nazis and/or Fascists, or in other words, a despot society managed by old Hollywood; a society devoid of true freedom of speech and democratic lifestyle regardless of what we choose to call ourselves.

Artists are any society’s natural barometers. Infringements upon artists’ freedom of speech reflect encroachments upon any society’s freedom as a whole.

In fact, this is so vitally important that a public report should be published daily detailing the current status of a nation’s artists’ freedom of speech. What is today’s artists’ freedom of speech status report? (Imagine: “While the NASDAQ closes down 317 points today, the artists’ free speech report is down an unprecedented 2000 points largely due to the squashing of rights across the country in all sectors today.”)

Artists have the uncanny ability to see through all things. Freedom, to include freedom from contractual control, is the single greatest essential element of artists, allowing them to express their inherent right (freedom of speech) to render reality as they see it. Nielson ratings, corporate comptrollers, biased production and publishing companies, and/or any other must take backseat to an artist’s right to freedom if freedom of speech is to rule supreme.

OLD HOLLYWOOD CORP GIANTS THREATENED BY STAND-ALONE FEMALE ACTOR, ‘GILLIAN ANDERSON’

(Those who attempt to control others fear the one they hope to cage.)
As an actor, emitting a near spiritual aura, rendering revolutionary perspective of character, and having the ability to bewitch the masses with a magical screen and/or stage presence, if even just for a moment, would certainly be high goals to achieve. International and domestic audiences’ response to Gillian Anderson’s performance on Fox’s sitcom suggests that Gillian Anderson’s works achieve that high accomplishment.

It seems that Anderson is capable of delivering a powerful punch that is difficult to describe. Her popularity overtook all other cinema Stars of the previous and current day, even historical. In 2002, the question was, would Gillian Anderson’s much talked-about free spirited aura, strong presence of mind and body, uprightness, beauty and exciting demeanor representing woman (never seen prior or since) translate to other bodies of work outside Fox’s sitcom? Not if the old corp. Hollywood billion-dollar-investors of the Fox sitcom could have their way. In the blackness, while old Hollywood embodies a specter impeding Gillian Anderson’s success, the true outcome remains to be seen.

History shows that in 2002 Gillian Anderson felt strongly, as a professional artist, that she had the right to become a free agent, and she pursued that path. In hindsight, this challenge may have been, at the time, beyond her maturity level, political and legal connections, and bank account.

At the level of playing field that Anderson had arrived, she soon became enlightened to the typical hardened demands that famously accompany contractual benefactors or financiers.

Commonly, certain contractual business agreements are served up by wealthy entities and inevitably include atypical borderline illegal obligations primarily designed for the unknowing or desperate entrepreneur. Essentially, they can fire you but you can’t fire them, or basically they can ruin you financially with lawsuits and/or destroy your career, if so desired, if you don’t comply with their every stipulated demand (usually near humanly impossible and mostly unfair, if not unconstitutional, ‘demands.’)

They choke creative personal and professional goals and growth. They also make an individual prisoner to an invisible, golden yet cruel concentration camp that equates to an existence of mental torture. More often than not, this results in the capitulation of one’s core beliefs and values via contractual coercion. This in turn routinely causes mental instability or complete mental collapse.

These are devastating and all too common symptoms when employing such benefactors or contractual bullies, especially Nazi Hollywood (as they are known today.) Traditionally and historically, they have been known to use their position to unfairly control the lives of their victims as well as control the results of the finished product. As previously stated, this legalized yet unfair control often borders on the criminal.

With all due respect, Gillian Anderson foolishly fell victim to this nightmare, as it was ‘the’ prerequisite for getting the job with Fox and their Sci-Fi sitcom project. She was, in fact, required to sign one of their notorious contracts prior to interviewing and/or auditioning.

Nevertheless, Gillian Anderson rose to astronomical award winning status. Global society’s ‘Forever Gillian Anderson Explosion’ induced old Hollywood to play this out on most every magazine cover, T.V. commercial, horse-and-pony celebrity talk show, Internet site and forum, and newspaper imaginable around the world throughout the 90s and beyond. The important point here is that global audiences COULD NOT GET ENOUGH OF GILLIAN ANDERSON. This is key in understanding the chain of events that make up the real Gillian Anderson story.

All this routed Gillian Anderson’s co-star David Duchovny and especially shook the series’ powerful corp. department heads deep within old Hollywood’s flagship, Fox Studios. (Who is he that can stand before jealousy?) Her great shadow of overnight success in fame gave her significant bargaining clout. The old Hollywood corporate conglomerate is comprised of various semi-independent power-houses (and their own powerful corporate officers.) Being that there’s little honor among thieves, the greedy competitiveness inherent to this arena only further weakened the Fox Studio corporate officers’ hold over Anderson within this bullpen. They all wanted a piece of the million-dollar-baby, Gillian Anderson.

Anderson’s demographically high ratings immediately offered her more freedom… at least, it gave her freedom from Fox’s contractual control and the freedom to choose the lesser of two evils within the industry. Most crucial, this gave her direct access to potential avenues to get the costly and extremely addictive drug Anderson is desperately dependent on in order to function normally in her artistic world: FREEDOM! As a freedom junkie, Gillian Anderson used her hard earned fame as a preemptive strike towards achieving artistic professional freedom.

COMPLEXITIES OF FASCIST-LIKE MEDIA-ARTS, GILLIAN ANDERSON RAN HEAD ON INTO THE ‘BUSH | HOLLYWOOD’ REGIME

The following criteria are not accepted as fine art in any society: gratuitous sex (soft porn) and violence, product placement, and racial, cultural, political, religious and social class profiling and/or bias including sexism.

Yet the Fuhrer or puppet of America’s so-called media-arts, old corp. Hollywood, is not only famous for this with a far-reaching global footprint, they’ve become a multibillion-dollar entity off of society in the process. Old corp. Hollywood’s spirit has never roamed outside the realm of their money-pit.

Their -monopoly- productions are synonymous with the above, and with old corporate Hollywood’s reputation. Since old Hollywood’s productions are not artistic, what are they? And what then is old corporate Hollywood? The sooner Americans bother finding the resolve TO KNOW the answer to these vital questions, the sooner we as a nation will catch up with the rest of the world. Yes, old Hollywood’s reputation precedes us, sadly enough.

There’s little doubt that Gillian Anderson was motivated more by her desire to become a talented character-actor than by any interest she had in becoming famous, especially a “Hollywood” pretentious celebrity slave. (Of note: the concepts of slave and artist are on complete opposite ends of the spectrum of reality.) Old Hollywood’s tradition of exploiting beauty is legendary. Spoiling female beauty into sex symbol ideology has always been their ace cash-cow for establishing billion dollar bank accounts at the expense of women and society as a whole.

Not to mention that most every corp. Hollywood production is tainted, they’re continually forcing simpleminded scripts and roles onto young -legally- powerless actors (prominently females) deemed beautiful. For a generation old Hollywood has sold us front row seats at the cinema served with a soft-drink and popcorn along with female degradation and servitude as an acceptable social past time. Milk-Duds anyone?

OLD HOLLYWOOD ATTEMPTS TO SKEW GILLIAN ANDERSON’S ENCHANTING SCREEN PRESENCE AND ARTISTIC GIFT

Those who believe that old Hollywood is a giant, multi-billion dollar corporate conglomerate production organization that produces artistic and news-media productions with the approval stamp of the government would be incorrect. All of the above is indeed true, except for the part about artistic and news-media productions. Old Hollywood IS NOT a media-news or media-arts production company, except perhaps in the academic sense. Stated previously, their productions do not meet the universally accepted criteria for classification as art or news. Again, what is old Hollywood? Again, IT’S VOGUE TO KNOW in these times.

One of old Hollywood’s manipulation tools is to use female actors like Gillian Anderson. Old Hollywood doesn’t advertise their productions. Instead, they prey upon society’s human factors, to include our weaknesses, fears, hopes and vices. They indelibly lure us in by playing off our humanity. Audiences vulnerably sit in front of their tainted subliminal message productions, while hoping to feed some human need, even if it’s just hoping to catch a glimpse of a famous boob, because the ole sex life has tapered off.

Seriously, the old Hollywood sexist female degrading ideology as a whole –in movies, music, publications and celebutante media bits– makes for a dangerously unbalanced society, to say the least. The castration of female values and worth makes for a society that is off kilter and spinning out of control. The equal balance of male and female perspective and values is essential to the survival and growth of any culture. A part of the current imbalance in America manifests in impressionable females struggling with low self-esteem stemming from constant brainwashing by old Hollywood of unattainable body image standards.

The ‘Bush-Hollywood’ regime’s attempt to implant a cultural mind state on the American people that, ‘physical beauty and ridiculous feminine sensuality are the means to all ends’ is a crime against humanity, raping the minds of young females. It’s a step backwards in cultural evolution, especially for women.

Young impressionable females can be convinced in their own minds that how you look combined with over the top public sensuality somehow relates to how your mate or the world values you and your substance as an intelligent, capable and upright individual; not to say that being physically fit and healthy is a bad thing. There is something definitely wrong when a society’s entire media revolves around female sexuality and/or sex in general.

It’s worth highlighting that the crumbling ‘arts and entertainment‘ industry’s sex goddess acting roles perpetuate limited mental scope and depth in society. Further, it fuses this limited scope to the artist, which then serves as an obstacle to roles of great substance and historic longevity. For example, can you imagine a Paris Hilton type in the lead role of ‘The Color Purple?’ Regardless, Gillian Anderson maintains even though corporate-types have continued to bully her with B and C-list projects (and budgets) with the usual cheap and/or sexually oriented roles.

That equates to forcing a fine art genre oil painter to render only hamburger ads. The faceless old dying Hollywood corp. conglomerate is emphatically at odds with producing roles that are well balanced in being beautiful, upright, intelligent and capable. This especially holds true for female roles, unless at the end they’re raped, take their top off or kill someone.

GILLIAN ANDERSON’S BEAUTY AND BRAWN IS TESTED

Old Hollywood contracts have earned the nickname ‘lifelong’ contracts. Working for old Hollywood, even once, is like joining the mafia. You can’t just quit and/or refuse their offer when they come knocking at your door, at least until most recently. That is, if an actor desires to stay employed and/or alive. Whatever the movie or role, actors are dictated to by feared, outside the law corporate thugs. In time, history will show that this is not an exaggeration. Old Hollywood’s horror stories are no longer hidden by their strong-arm managed studios veiled in the dark cloak of silence.

The truth is now flooding into the public mainstream. The Bush Dynasty’s hired gun, old Hollywood, will surely serve as one of their greatest fall guys during today’s ever-increasing acquisition. In this, the truth will be revealed, mostly. However, as with WWII Nazi Germany, the real perpetrators responsible for pulling all the puppet strings will most likely escape relatively unscathed …or, will they?

When an actor is labeled and marketed by corp. as sex symbol property, they are inevitably coerced into accepting B and C-rated movies (marketed as A-list movies) and/or acting jobs written primarily around low-class sensual plotlines of flawed characters. Like many others, Gillian Anderson’s beauty served to detour her career briefly to such roles. However, to-date she has managed to keep old Hollywood from turning her professional reputation -completely- into a would-be Madonna.

Metaphorically -or perhaps not- there’s a gun to Anderson’s head (people have been killed for less.) As yet, she hasn’t danced on stage in her underwear in order to save her bacon. Under the serious circumstances, few realize that this is, in itself, a huge accomplishment taking a tremendous amount of nerve, of raw -it’s a good day to die- courage.

However, without judging or reading any motives into her actions, Gillian Anderson has balanced the scales of power a bit by becoming the mother of renowned muscle in England, if you know what I mean. This does offer her some formidable protection against the Goombah-like opposition in Los Angeles. This certainly must have something to do with the fact that Gillian Anderson still has both of her thumbs, and is still able to fight within this hush-hush bizarre ring and with some small successes.

The falling of old Hollywood has got to be Gillian Anderson’s best Christmas gift this year and every year thereafter, though she may never be able to go through life without looking over her shoulder. Though old Hollywood has greater priorities at the moment; like, saving their ass, their mansions, seized assets, avoiding prison time and worse, there’s no guarantee that they will ever forgive and forget the billion-dollar-loss and insult that Gillian Anderson served them in 2002.

Yet, Gillian Anderson seems charmed. Perhaps, and according to their own code of conduct, the Godfathers of that old Hollywood syndicate may very well be sleeping with the fishes soon enough. After all, it was their sloppy and/or insane mismanagement of the media and media-arts that was a major factor in beginning the war against the entire ‘Bush | Hollywood’ regime. Isn’t karma great? Should Gillian Anderson continue to shine through all this, her popularity would probably be well beyond her previous moment. When this happens, we will all know that the wicked witch (old Hollywood) is truly dead.

GILLIAN ANDERSON’S BEAUTY AND CHARM EXPLORED – IS THERE MORE TO ANDERSON THAN PHYSICAL BEAUTY?

The ‘ugly duckling’ phase that Gillian Anderson displayed and endured in her early years is reflected in her unique beauty today. Being the little chubby girl with odd hair and a curious voice has a new meaning today, promising a potential outcome likened to Gillian Anderson in later life.

No one can know what’s in the heart of another, yet it is said that a tree is known by its’ fruit. Gillian Anderson’s apparent ‘black sheep’ spirit must also be responsible for that certain stunning something. In her early years, she was referred to as bizarre due to the extent at which she made herself an enemy of the corporate establishment. She suffered socially and legally including incarceration due to her outspoken strong beliefs against all forms of Nazi and/or Fascist-like oppression in society.

As time passes, Gillian Anderson has revealed herself to be dedicated to her values. She is the first worthy and/or potentially dangerous opponent of old Hollywood’s power base. In her professional prime, Gillian Anderson brought intense scrutiny upon old Hollywood when she turned her back on them as far as she dare without risk to life and limb. Additionally, she was one of the very first to continually and publicly speak out against their destruction of society via their iron-curtain unbridled media monopoly networks.

GILLIAN ANDERSON; A HUMBLE PRINCESS OR CRAFTY WITCH?

Regardless of the origin of her appeal, Gillian Anderson’s massive Internet following continue to praise her despite any bad press; she can seemingly do no wrong. It seems she has a righteous allure that is like bees to honey. By now Gillian Anderson must be aware of her extraordinary curse and/or gift of presence. In this, at least outwardly, she appears to remain humble and well adjusted. This is perhaps due to the wisdom she suffered in her early years via living as the ‘ugly duckling’, ‘black sheep’ young woman.

Still, Gillian Anderson seems oblivious to the overwhelming universal feedback concerning her charm. Perhaps this too is an inherent gift that Anderson holds that further adds to her unwitting ability to cast her spell upon others. It is possible that she may not understand the strong universal attraction that she continues to have upon global audiences and especially the opposite sex.

Is body beautiful true beauty if it merely serves as a host to an ugly spirit? Really getting to know someone reveals all and in most cases the camera lens serves in this same way. Maybe that’s why some cultures are afraid of the camera. All may see their true spirit. Many accept that physical beauty is worth a little but beauty of spirit is worth everything.

Further, theologians agree that beauty is a blessing and a curse. Inevitably human nature as it is in the majority either leans towards wishing to consume and/or capture beauty for selfish means (abuse), or sways towards wishing to destroy it out of jealousy (violence.) Within this battle of principalities, Gillian Anderson gives the impression of holding her own while attempting to be comfortable in accepting the responsibility of living in a glass bowl.

Of course, it’s clear Gillian Anderson works at keeping fit. But is it Gillian Anderson’s inherent kindred spirit that is key, the timeless and nurturing seed that enables her perennial beauty to bloom year after year? A few hard-liners having strong objections to Anderson accredit it to her having sold her soul to the anti-Christ or dollar almighty.

IF GILLIAN ANDERSON IS SO GREAT, WHY DOES SHE AND HER MOVIES SUCK? OLD HOLLYWOOD SEEMINGLY STILL ON TOP: THE GILLIAN ANDERSON CONSPIRACY

Unfortunately, America is known for being a nation of self-deceivers believing that we live in a democratic society, as if freedom of speech is at the very core of our everyday lives. The quickly fading belief that old Hollywood’s so-called ‘arts and entertainment’ industry is just that, is not only a part of our national lie but perhaps it is the most damning towards recovering any hope for true freedom.

Those informed and involved in the arts are aware that Gillian Anderson found herself, no doubt to her dismay, square in the middle of today’s ongoing battle against the popular mass cultural illusions stated above. Anderson has become old Hollywood’s fly in the ointment, spoiling everything. Via their rags and whenever possible, they skew the public’s perception of her professional and/or individual persona, as she is legally (and otherwise) gagged into silence, giving her little recourse to defend her reputation.

It’s well known that in the early nineties a then 24-year-old Gillian Anderson was tricked into an unlawful ‘lifelong’ contract with old Hollywood via the Fox sitcom. Surely, the Dons of old Hollywood’s flagship (Fox Studios) thought, to their great fortune, that they had stumbled upon a million-dollar-baby, for life.

Clearly, the old Hollywood corporate department heads have an egotistical view that wisdom is only derived from age and/or experience. Their presumption that Gillian Anderson was naïve and/or gelatinous of mind and spirit was a costly mistake of gigantic proportions on their part.

The faceless powerful billion dollar moguls of old corp. Hollywood, cheap as they are, spared little expense towards their newly proclaimed long term ‘Gillian Anderson-Sitcom’ investment including: lighting, hair, makeup and wardrobe, script writing and collaborators, cinematography, soundtrack, supporting guest actors, special effects, location, directing and editing, etc. The list could go on compared to the appallingly lacking and shoddy procurements thrown at the overnight projects that Anderson has ‘suspiciously’ been associated with since 2002.

Gillian Anderson’s presence, in most part, rocketed a sometimes brilliant, sometimes stupid, sometimes campy Sci-Fi T.V. series consisting of characters that never evolved past the 1st season’s character formulas (for ten years) to huge fame bordering on a cultural phenomenon, which still exists today. Yet, long before a decade had past Anderson had had more than enough of corporate’s far less than fair, ethical and scrupulous dealings. During high Nielson ratings, and after years of legal finessing, Gillian Anderson managed not to renew her contractual prison in Los Angeles (with old Hollywood’s top series project.) She hastily made good her escape to the UK, never looking back.

Hence, old dying Hollywood lost BILLIONS IN PROJECTED AND ALLOCATED REVENUES, in addition to their painstaking ten-year BILLION-DOLLAR INVESTMENT LOSSES involving the series. Their mad delusions of owning Gillian Anderson (surely still existing today) skipped across the pond with Anderson, as she sought freedom from their stranglehold.

Old corp. Hollywood, in their relentless stalking of Gillian Anderson, must be laboring under the illusion that they own her and that she owes them, and must be obsessing in their desire to retrieve some small portion of the losses suffered when her freedom of choice killed their golden goose series and potential movie venues. Few who are informed would deny that these are mere excuses to take vengeance upon Anderson.

After all, a stand-alone female (Gillian Anderson) outwitted Nazi Hollywood. This equates to a David and Goliath. Few, with the exception of those within the industry, can imagine the contemptible foaming at the mouth rage of old Hollywood in this matter or the ravenous means that they’re willing to employ in order to even the score with Gillian Anderson – even if it causes their ruin.

Extrapolating further for those not in the industry, imagine that a ruthless government sponsored militaristic mafia moronically believes that you betrayed them resulting in such unrecoverable losses mentioned above. This isn’t a high school or college prankish symbolic protest against unfair business practices and oppression within a civil law abiding arena that Gillian Anderson found herself entangled, far from it.

Gillian Anderson is and has been in the fight of her life, and it is a very real thing. Few are surprised that certain characteristics of the sitcom character came to real life in Gillian Anderson in her gutsy 2002 resignation from that T.V. series.

Worthy of mention, attempting to throw the baby out with the wash, perhaps due to bad memories and/or the fear of being typecast again, Anderson is slow in recognizing this pronounced observation. It appears to be vitally important to Anderson that she continue to dispel any connection between herself and the qualities of that Fox sitcom character, as if it may impede her pursuit of a career as a character-actor (not a formula actor.) American society has always been under the misguided belief that having a sense of humor and being serious minded are somehow mutually exclusive. Gillian Anderson is known for having a great sense of humor… clearly this does not mean that she is incapable of playing a serious role.

Factoring in all of the above variables congruent with the fact that old Hollywood’s management hierarchy mirrors that of the military controlled by a faceless crime syndicate, one is able to understand the real story behind Gillian Anderson’s current circumstances and that of other actors in similar stand-offs with veritable hell, old Hollywood.

Again, those in the know are all too aware of the scope of Gillian Anderson’s battle of attrition with old dying Nazi Hollywood. Their ever-stalking offences hold the potential of real and dire consequences that might be expected from any typical organized crime syndicate with limitless means that is insane with the notion (and otherwise) that you owe them a billion dollars.

As a black sheep, Gillian Anderson’s usual course of following the road less traveled has indeed put her in serious jeopardy and it’s not only her professional career that has suffered and is currently at risk. Yet, Gillian Anderson is known for not being afraid of a good fight or of living the motto “Vivre Libre Ou Mourir!”

Equivalent to the fall of the Berlin wall, after a corrupt 100-year reign in government, America’s -current changing of the guard- first priority has been directed at thoroughly bankrupting, or annihilating the old regimes’ propaganda machine, old Hollywood.

Consequently, taking as many chips as possible still on the table while exiting, old Hollywood has managed to pick the pocket of the naive public during the transition by quickly putting out a slue of cheap assembly-line cookie-cutter projects that offer multi-million-dollar returns for their half-baked troubles. In fact, they’re franticly and furiously throwing everything at the T.V. and movie audiences at present, giving the impression that their death sentence is not in effect and that they’re still alive and well.

However, as an important side topic, this is mere bluff in a great egotistical saving face move of vengeance, as they strive to retain some semblance of power (or the appearance thereof.) Keep in mind that their capitulation is a conditional surrender. As part of their vengeance against the incoming powers to be (hoping to ruin the crossover of their incoming productions), old Hollywood is of course grabbing any last cash floating around, though there’s no way that their activities could possibly be functioning in the black at this point. Quite the opposite: they’re going bankrupt in the industry.

Imagine, a destitute whose fire is going out, having burned all the wood and furniture, throwing everything at the fire: a tennis shoe, pizza box, a bath-towel. Like the destitute, old Hollywood is throwing everything at audiences right now. This explosion of crap is their last stand in desperation, after a century of unchallenged and feared power.

Old crime Dons never forget a betrayal. Obviously, dying corp. Hollywood has made Gillian Anderson’s box office name and reputation their shining beacon for God-awful cinema junk. Should her appeal survive their last ditch effort to exploit the arts and society while vindictively assaulting her (and others they begrudge) undoubtedly with coerced participation in these scam projects, remains to be seen. The potential catastrophic, unrecoverable damage to her (and others’) career is looming at the door and the outcome depends, in part, on the forgiving public.

Further, it is imperative that an actor’s good humor be in force in order to produce masterpiece performances. It is an absurd notion that an artist can flourish when ridiculously miscast in a piece of corroded-horse-crap movie and character role while under chronic high stress, continual, insurmountable threats and shadowing intimidation.

Anyone not brainwashed into believing that corporate Hollywood is a nice place, and also well informed of the facts on this matter, who cares enough to reflect upon it, knows that old Hollywood is involved in a spectacular plot against Gillian Anderson; attempting to keep her in servitude to their grossly artistically inept projects designed specifically for money-scamming-enterprises, as retribution.

Respectively, one can easily understand why Gillian Anderson seems to suck as bad as the works that she has ‘suspiciously’ participated in since 2002. Under the circumstances, though surely a grievous professional concern to her, this is the least of her worries. Metaphorically, enduring a ferocious pit-bull strapped to your bloody leg for over a decade, tends to demand priority over all other matters, even artistic integrity and career choices. Without doubt, pure survival is the name of the game here.

Though Anderson is, more than not, considered old Hollywood’s enemy number one, routinely scheduled for exploitation, she is not the only resistance fighter/actor currently being abused. It’s to her luck that informed non-Nazi-sympathizers are far more ready to think the very best of Gillian Anderson than of old Hollywood, certainly her massive fan base.

GILLIAN ANDERSON SHINES THROUGH RELATIVE OBSCURITY – BUT HASN’T SHE ALREADY BEEN DONE – SO RETRO?

What Gillian Anderson’s professional course will be as she enters the heightened stage of beginning maturity is unknown, probably even to her. Supporting the latter, she conveys that she is one who believes in the river flow of life that has it’s own course. How then could she possibly know where her footsteps will take her?

We do know that we haven’t clearly seen Gillian Anderson and/or the full extent of her acting career as a character-actor. Unfortunately, the sitcom character that Gillian Anderson made so beloved via her performance blinds the public. Congruently, audiences have been bombed with her forced or highly suspicious presence in total crap movies that had her in absurdly miscast roles, or truly terrible character roles or roles that were -without doubt- simply lame. Neither the crap movies nor the sitcom character can be fairly counted as a realistic reflection of Gillian Anderson’s character acting abilities.

These mentioned films are a deterrent to Gillian Andersons’ reputation as a talented character-actor. Armed with the facts, there is little doubt that she was forced into these money generating junk films. There’s also little doubt behind old Hollywood’s motives in coercing her participation. After 100 years of practice in swaying the perception of the mass population, old Hollywood has become pretty smooth at this. In 2002, perhaps Gillian Anderson was misinformed in regards to old Hollywood’s stronghold across the pond. They have bought up a significant portion of the UK’s mainstream media and media-arts.

Depending upon what side you are on, the downside of conspiracies is that they are near impossible to prove. The upside is that it’s not necessary. “Even a child is known by their acts.”

Gillian Anderson’s career as a character-actor was snuffed by old Hollywood before it even began. Maybe she has been using her time in the waiting room to continue studying, exploring and preparing on her own time. With a reputable production company, script, casting and the like (of substance) there’s little chance that the audiences would be let down by her performance and just might experience Gillian Anderson -the artist- for the very first time.

Gillian Anderson may have escaped the lair (Los Angeles) of Nazi Hollywood. Yet, none of us can escape our own cross worth bearing, and she is no exception. If wisdom is only acquired through long suffering, Gillian Anderson should emerge with great wisdom, which would be beneficial in pursuing her dream as a character-actor.

WHAT DOES THE FUTURE HOLD FOR AMERICA’S MEDIA/MEDIA-ARTS AND GILLIAN ANDERSON?

The government is the ‘Director’ and old Hollywood is the ‘Producer’ of America’s soon-to-be extinct current media and media-arts. At the behest of unseen elite, the Bush|Hollywood puppet dynasty captured the all powerful media and media-arts from its inception (nearly a century ago.) America has never experienced a free untainted media. Neither have we experienced the media-arts, and their actors, based purely on artistic merit, as they most certainly should be.

Today’s dying media-arts, and their appointed actors, are based solely on the demographic statistics most likely to generate the highest profit margins for old Hollywood’s corp. conglomerates; statistics favoring brainwashing of specific targeted social sectors; and demographic formulas favoring the success of implanting a collective cultural mind-state dictated and/or directed by the government and managed/produced by old Hollywood. Few upright individuals (or even sympathizers of today’s Nazi Bush-Hollywood regime) would argue these facts.

Gillian Anderson quickly learned that, until now, it was not a good time to be an artist/actor in America unless one wished to work for Nazis whose sole intent for actors was to use them as chattel for their propaganda machine. Of course, we all know of her honorable choice between either remaining a wealthy tool and slave to America’s propaganda, or falling from fame to a free but hounded status, persecuted by one of the most powerful and feared entities on the planet.

Though a petite female, history shows Gillian Anderson to be a true scrapper through and through. There’s little reason to think that she will ever retire. There’s also little doubt that her followers continue to give her supreme kudos of, ‘great job, don’t quit.’ All the indicators emphatically suggest that for the first time in our history, it’s a good time to be an actor. In fact, it’s a good time to be an artist in any medium.

The dying old Hollywood corp. conglomerate has functioned as the unchallengeable voice of our nation’s fading Nazi-like Bush dynasty for nearly a century. Essentially they are one in the same, living as one body. Metaphorically, this system has increasingly developed a chronic serious and/or untreatable self-destructive mental illness, becoming a danger to others if not incarcerated –much like a 3-year-old with a loaded gun.

Though there is no guarantee, the outcome of the initial reform of today’s system appears to be going favorably towards completely dethroning the fascist rule over us. We do know without doubt that the system today can be described accurately as a completely insane, armed street thug dominating the busiest corner in the market place (with a badge, corp. haircut and a suit) terrorizing and assaulting any whom pass by, while incessantly shouting a continual flow of nonsensical perversities at the world. No, we’re not speaking of a black drug dealer in a hoody or any other stereotypical ethnic group, culture or social status, but of America’s corp. politicians, old Hollywood, tainted educational system and the sympathizing majority (mom and dad.)  They suck.

It seems Gillian Anderson may outlast them after all. It’s unquestionable that Gillian Anderson does have something. Unlike the system, Gillian Anderson is hot. She just is.

The silent inept majority say, ‘we didn’t know’, we haven’t heard anything about this. On the day of reckoning, just as in WWII Germany, honest society will ask ‘why didn’t you know?’ Being a ringleader in choosing omittance in silence and pretending ignorance is a choice that speaks volumes in support of the status quo, especially within an oppressive despot society. Being carefree and/or caviler about our cultural issue is stupid and boring; if one is not resistant to the problem they are not only a part of the problem, in a sense they are the problem. What side are you on, and how much time are you contributing to society in today’s resistance against our noted corrupt system? 

Some may never understand why so many praise Gillian Anderson as one actor in our time that has great worth and substance, and one artist who is considered a viable contribution to this generation, though, IT’S VOGUE TO KNOW. The debate continues today. Yet, in these times, a true American patriot must in a sense be anti-American, lest they be Nazi-sympathizers.  Via her great sacrifice, Gillian Anderson became one of the first true patriots to lead the way in today’s governmental reform.

 2009

Morning, Sunshine!

It is a New Day, and all that perfunctory bullshit. As Occam pointed out to me last night, we no longer have to see those morons wearing 200X glasses on new years eve because next year it’ll be 2010. Huzzah!

Was it me or did the telecasts last night feature more product placement and in-camera advertisements than ever before? The fucking hideous nivea tophats. I’m sure they paid a shitload of money to NBC to keep cutting to shots of people wearing them. Sometime soon either I or an associate of ours is going to do a post on advertising and how not cool and sexy it is like they show on Mad Men.

mmhmm

Meh. Granted, it’s a New Day now and all, but I still feel the need to look back over 2008 and offer some worthless thoughts on it. I would have done some earlier, but Marco was on a roll. But still, who the fuck is Eartha Kitt? Also, maybe I’m a callous asshole — okay not maybe, I am — but I just don’t feel great sadness when very old people pass away. Sure, death sucks and all and we’ll miss those who’ve gone away, but if you reach 80, it’s kind of like, hey man, you had a good run, save us a window table in hell.

blah blah blah. My favorite word of the year was “contraflow.” What a fucking awesome word, should be used way more often.

“Meme,” on the other hand, was my least favorite. Thousands of naive little Obama supporters running around the internets “meme this” and “meme that.” Basically any time somebody wrote anything not laudatory of Mr. O, some twerp would pop up screaming about how this is the latest MSM meme dsfasd sgadg. Fuck em. And retire that fucking word.

My least favorite journalistic trend of 08 was every third headline being “XXsubjectXX set to XXverbXX.” This, along with the rise of over-covering press conferences, is indicative of the media’s new lazy standards. They don’t cover a story anymore, they just announce that something is going to happen sometime soon. We seriously don’t need to go live to the scene where Brett Favre’s plane is set to land. If you want a culprit for the slow death of print media, don’t look at the Internet, look at cable television and the fucking associated press.

My favorite news story of the year was this:

Man jumps from plane with no parachute, dies

Saturday, June 7, 2008
(06-07) 16:51 PDT Duanesburg, N.Y. (AP) –

A 29-year-old man leaped out of a plane at 10,000 feet with a camera but no parachute Saturday. His body was found next to a house with a damaged roof, police said.

Sloan Carafello of Schenectady, who was observing on the flight, followed an instructor, student and videographer out the door, wearing no skydiving gear, officials said.

Police said they did not suspect foul play but would not elaborate.

Robert Rawlins, pilot and owner of the Duanesburg Skydiving Club, said he was flying the single-engine plane and had begun to close the door when Carafello jumped.

His body was found next to a house west of Albany.

Never jump out of an airplane without a parachute or a gun. One of those two.

Sublime.

What to look for this year from Counterforce: I’d like to get us a real domain and maybe even migrate the page to our own design and depart from wordpress. Or maybe we’ll all get bored and stop posting. We’ll see.

Prince Caspian is the new Douchebag. From now on, instead of calling a long, or even shaggy-haired guy a d-bag, we shall call them prince caspian.

I really enjoyed the Stars Sad Robot EP this year. Anathem was a great read. Having not seen any of the winter oscar bait, and not being very impressed by the buzz, I’m going to declare Wall-E the best movie of 08. There were many many many movies tied for the worst.

I did see most of those.

Review by Vives Anunciacion
Inquirer Libre August 19 2008

The X Files: I Want to Believe
Directed by Chris Carter
Starring David Duchovny, Gillian Anderson

In technical terms, it’s properly treated and smartly made (I didn’t say it has an intelligent script). David Duchovny and Gillian Anderson are back in the roles that made them famous in The X Files: I Want to Believe. The good news is, just like the hit TV series this movie is based on, these two are the best parts of the show.

This is supposedly a stand-alone story that non-fans of the series can reasonably understand, but I guess a good knowledge of the TV show helps in better appreciating this movie. Other than this, I Want to Believe is just an okay drama-thriller about two persons who have supposedly matured in their relationship, but start questioning their beliefs in each other when extraordinary challenges face them again.

Six years after their last X Files adventure (the series ended in 2002) and ten years after the last movie (Fight the Future, in 1998), Fox Mulder (Duchovny) and Dana Scully (Anderson) are no longer agents of the FBI.  Scully is a doctor in a Catholic hospital tending a child dying from an incurable brain disease. Mulder is in protective hiding to avoid further charges from the government which he has accused of many conspiracies.

The two are forced out of “retirement” when they are enlisted by agent Dakota Whitney (Amanda Peet) to help the FBI locate a missing female FBI agent by aiding a pedophile priest who claims to have visions of the victim. No one wants to believe the priest, especially the very rational and devoutly Catholic Scully, except Mulder, whose interest in the case can be linked to his personal search for his missing sister. Science and faith are tested with and against each other, but in the end, faith itself will be tested before the case can be solved.

The best part of I Want to Believe is seeing Duchovny and Anderson relive their on-screen characters with true chemistry as if the relations between Mulder and Scully have truly aged through the years. The movie’s title is most appropriate with Scully and her terminal patient, on how she can make herself believe that she can still save the kid’s life even if her faith and her science deny her that possibility.

I would even dare say that up to a certain point, it’s a relatively smart, moody semi-creepy thriller more sophisticated than some blockbusters. Unfortunately for director Chris Carter, the mystery plot is just too thin for the big screen (Russian experiments, again?) and the entire movie just feels like an okay edition of the series, which has had better episodes. In that sense I don’t see the point of I Want to Believe being on the big screen rather than being a made-for-TV-movie, which is what it is.

There’s good musical scoring and a few creepy surprises here and there, but overall I Want to Believe is no big deal – a better drama than a thriller but only a mild combination of the two. However, if Scully’s last line and the last image at the end of the credits mean anything, fans should see this movie as a proper closure to the beloved show.

This film stars Billy Connolly, so it must be really sh*t!

Even Xzibit as the token character for the ‘Urban appeal’ isn’t doing it for me.
Not even worth 2 quid from the DVD man on Wilmslow rd.

King’s article in Entertainment Weekly can be found here.

————————————————————-

It’s incredibly rare for a horror movie to frighten, especially when you consider the big-budget, special effects laden abortions that Hollywood has been churning out as of late, so it’s always nice to see someone like Stephen King, an icon for the genre and purveyor of three-page long descriptions of curtains, to provide his scathing yet subtle opinion of big-budget horror films and their inherent inability to frighten the viewer. Unfortunately, fear is subjective, and citing a horror film’s potential to frighten as the rubric upon which it must be graded is simply a bad idea. There are so many amazing horror films that AREN’T scary, but are still excellent in their own right. Fear, however, exists on so many levels, that no movie can possibly scare everyone who views it. I’m sure I’m just stating the obvious, but it’s true. One of Mr. King’s major points is the claim that the The Strangers, despite being a major Hollywood release, actually offered up genuine fear, but for me it was nothing but cheap, predictable scares sullied by piss-poor acting and awful direction. This doesn’t mean it was a bad idea like, say, the entire Leprechaun series or anything Platinum Dunes puts out. There exists a little French film called Ils that features pretty much an identical plot, yet it’s so perfectly executed that it scared the Hell out of me, and it didn’t rely on the cheap scares or excessive gore that plagues these big films.

Conversely, let us look at a movie like Event Horizon. Now, given its director and hit-or-miss acting, the prospect of this film frightening someone might be laughable. Gross generalizations aside, it did in fact make the light beside my bed a gift from God, and I’ll tell you why: it focused on real fears. Sam Neil, being the physical embodiment of a place worse than Hell itself, terrified the shit out of me. This is precisely why a movie like The Exorcist remains one of the scariest ever made. The concept of a little girl possessed by a demon focuses on what is perceived to be completely plausible and very real fear to many, thus causing it to affect the viewer on a level a quick scare can’t. The fear lasts and doesn’t dissipate once the credits role. Of course, I’d be remiss if I ignored the outstanding direction, acting, soundtrack, and everything that goes into making a good film good, but that’s for a whole other article.

King touches upon one thing that mirrors one of the biggest issues I have with horror movies, that being the apparent need to explain the motives of the antagonists. George Romero’s Night of the Living Dead exemplifies how explanations and background are secondary to the story, as any explanation for the zombie outbreak is relegated to speculation. King says it best when he writes, “nightmares exist outside of logic.” By leaving it up to the viewer’s imagination you’re in effect utilizing one of the most effective tools for conjuring up fear. Offering up an explanation moves whatever is happening in the film away from the realm of reality, and in the end, the fear has the tendency to dissolve once the viewer comes to grips with the fact that what they’re watching isn’t real.

One final point concerning King’s article is his opinion of M. Night Shayamalan’s newest abortion The Happening, citing the director’s understanding of fear in its success over the other supposed big-budget fear fest, X-Files 2. The whacky exploits of Mulder and Scully notwithstanding, I’m simply going to assume King was coerced into writing that, as there is no way that he can, as a horror writer, believe what he wrote. An R-rating does not make a movie frightening, and while The Sixth Sense may have been chock full o’scares, The Happening is just one mangled corpse away from being akin to torture-porn, that most reviled of all sub-genres, and in the end it fails on an epic scale.

Despite the grievances I have with King’s article, he sums up the point I’m trying to make (at least regarding fear) perfectly when he says, “Horror is an intimate experience, something that occurs mostly within oneself, and when it works, the screams of a sold-out house are almost intrusive.” This is precisely why movies like Saw and Hostel fail in their attempts to frighten. They’re just…gross. All the fear is visceral – the result of an instinctive nature to look away when someone is getting their head sawed open or their eyeball removed with a drill, and that’s just unfair. Unfortunately, as long as these movies keep making money, someone will keep writing them and, sadly, we’ll keep seeing them.

I should have just gone to see The Dark Knight again

I suppose I deserved this. All my intuition told me to stay away, but my curiosity won out and I went and paid real cash money to see The X-Files: I Do Not Want To Believe. This is a bad movie. Could have been edited down into a subpar monster of the week episode, maybe. It’s as though Chris Carter was off camera for every scene shouting “No no no! Sadder! More dourer! Play it totally humorless! Like you’ve just been diagnosed with a terminal illness!” What the hell is Amanda Peet doing here? And Exibit? What’s with all the snow? wtf. Only three things need to be taken from this movie:

1 • Russians are bad human beings. But we already knew that.

2 • West Virginia should be avoided at all cost. But we already knew that.

3 • The Catholics are Doing It Wrong. But we already knew that too.

Don’t go see this movie. You’ll regret it.

Oh, those halcyon 90s days of cordless phones and books.

I wasn’t going to watch the X-Files movie this weekend (why is the singular form of movies not movy?). I mean, the trailers can best be summed up as: “zzzz FBI zzzzzzzzzz Mulder zzz Scully zzzzzzzzz It’s here! (scottish accent) zzzz Here! zzzz Here! zzzz Here! zz! HERE! zzzzz.” Chris Carter found god and wants to bludgeon us over the head with his new bullshit spirituality by reanimating one of the beloved shows of the 90s. There is no reason at all for “X-Files: I want to Believe” to exist.

And yet, I was over at Salon.com reading one of my favorite writers there and damn it all if Rebecca Traister’s excellent piece on Ms. Dana Scully didn’t get me kinda wanting to drive over to the theater. You should all go read the article as there is nothing I can write on the subject that she doesn’t say better. Some people are Mulder people. Some are Scully people. I’m the latter. I mean, she’s a redhead, c’mon! I must admit, I never saw the episode where it is suggested that Scully is immortal, and this intrigues me to no end. Sigh, there could have been so many great places to go with another X-Files movie and instead we get two burnt-out characters trying to help a child-fucker priest solve mysteries.

I’m trying to convince myself that it’s morally acceptable to go watch The Dark Knight again and then hop into The X-Files. On the one hand, I don’t want to support Chris Carter since he’s been a hack for about 10 years and completely killed the show back in the day. On the other, Gillian Anderson should really be getting more work. Sadly, I know in my heart that if I go see Batman again there’s about a 75% chance of me just leaving the theater afterward.

PS. It’s nice to see that the Sex and the City backlash has already begun amongst my favorite feminist authors on Salon.

While it would be inaccurate to call me a hardcore X-Files fan, I can say that I enjoy the series and watched it quite often during it’s original run. When I first heard that a new X-Files movie was on it’s way I was pleased because I always enjoy seeing popular series get another installment after a hiatus. The series has been away just long enough to generate a call for a return and I Want To Believe is a well-crafted and satisfying return for the series.

I was so glad to see both Gillian Anderson and David Duchovny reprising their iconic roles. If one of them had opted not to return then the movie wouldn’t have really worked at all. Truly the movie is all about the relationship between Mulder and Scully, it is the main force that drives the plot along.

Before going to see the movie, the vibe that I got by reading online was that the movie would be very much stand alone and would not delve to deeply into the mythos of series. However to my surprise the movie does in fact explore many aspects of the series mythos. There are many moments in the film that are direct references to the series, some of which I (due to my non-hardcore following on the series) did not catch but was aware of due to the audience reactions.

Yet even with all the nods to series the movie’s story is structured in such a fashion that it can appeal to even those who know nothing at all about the X-Files. The plot follows a familiar X-Files formula. It is a mystery that gets progressively more complex as Mulder and Scully dive deeper into it. Moments of suspense and intensity are interspaced with welcomed bits of humor. Many varying tones are juggled successfully allowing for a rich and captivating story.

Final Verdict:

I Want To Believe is an exceptional treat for fans and a nicely done film for all. It’s a great story that has a meaningful theme of hope running through-out it. I encourage you to support the movie so that we can perhaps see some more X-Files movies in the future.

So we saw X FIles 2 at midnight last night in Brooklyn. Highlight if you want my spoilage-laced opinion. The movie was pretty good. I really liked the storyline about black market medical research and all the grossness involved, and though aliens were never mentioned (they were just like “go see the new Indiana Jones!!”) it felt fairly arc-y, in that it brought up all of Fox’s demons of what he’s really chasing and Scully’s complete refusal to believe. It also had some clunky dialogue and terrible directing, and I felt like they pushed some of the themes a little too hard. Also, I wanted to SEE Mulder and Scully fall in love, not just peek in on them after years of blissful cohabitation! However, Skinner did show up, thank fucking god. Ok, with that out of the way, I’d rather talk about our experience watching it rather than the movie itself. We brought our action figures, and Kumail the atmosphere was one of communal anticipation and joy. It was us and about 20 women there who could be described as lesbians, library science majors, or more globally, dorks. They were awesome.

For example, Kumail, in his exuberance, accidentally kicked the back of one woman’s seat, and she turned around very seriously and said “hey, could you not kick my seat? i get motion sickness very easily, and if you kick my seat more, i might start feeling sick.” She then proceeded to be very dramatically surprised at every loud noise in the movie. Like, a door closed in the movie and she would jump and yell. The girls behind us were all in funky glasses and anytime something referential would come up, they would go “Ohhhh look, sunflower seeds! Mulder loves those!!” Their excitement was infectious, and we all watched the movie happily.

Until………the bullies arrived.

I shit you not, at the height of the scene where Mulder finds a… big bad thing and is trying to infiltrate it and violence happens, four young men walked into the theater shouting and rhyming nonsense words. Like, at the top of their lungs. We all just kind of stared at them for a minute, and then someone boldly yelled “shut up and get out of here” which infuriated them. They were apparently there to pester a friend of theirs that was watching the movie, I think, or maybe they were just bored hoodlums in hoodlum school and trying to get some extra credit. It was old school harassment. They started yelling things like “suck my dick!” and “come over here and tell me to shut up”, and the dork girls, emboldened at being ensconced with their own people, yelled “There are more of us than there are of you, so get out!!!”

It was fairly similar to the ending of every Revenge of the Nerds movie.

No one made a move for the door to complain, as it was being blocked by the aforementioned hoodlums, but you could tell it was some kind of magical catharsis for the dork girls, who kept yelling things like “We’re taller than you, get out!” and “Leave us alone!”. The guys kept screaming things and were getting more and more escalated, and there was a definite moment where the mood in the room shifted from emboldened to scared. Everyone shut up and tried to watch the screen where their hero, Mulder, was struggling valiantly against his own bullies. Eventually the bullies retreated, cursing and yelling their way out of the theater, taking a good 10 minutes of the movie and all the magic in the room with them. We finished the movie in sullen silence, the slow realization blooming that the more things change, the more they stay the same. Time travel is real, and it apparently can bring from your past Mulder, Scully, and the pain of public insults.

Pre-Shark Week continues, taking a break from Jaws‘ species to highlight another dangerous old creature of the deep…

Cthulhu!

Actually, not really. I just like that title: Cthulhu Cthursday, so I thought I’d use it this once as pre-Shark Week mania continues…

Personally, I find Lovecraft to be a bit of a douchebag. His writing is not necessarily what I’d call terrible, but it’s certainly not scary. I don’t think you read it because it’s scary. I think you read it cause you feel like you can jack off to the insane and bizarre mythos. Also, Lovecraft was kind of a racist too, wasn’t he? And that’s never sexy.

Now let’s talk about something sort of somewhat serious…

X-Files: I Want To Believe.

I’m just not sure I believe anymore.

Or that I even want to anymore.

As a child of the 90s, I feel a certain obligation about going to see this movie, but it just looks so fucking bad. So boring and trite and what a waste of time. I feel like I’d rather be raped by the Elder Gods than slide some cash over for this movie, actually.

I remember when the X-Files was good. I remember when I could almost call it my favorite show on TV. And I remember when that all went away. And then there was the ending of the series… Fuck me, what bullshit. What insulting, stupid wretched filthy bullshit. (Not to forget that fucking Brady Bunch episode, which I’d like – I’d like! – to think was just Cthulhu sending me an evil hallucination to drive me mad and not the work of hacks jumping and fucking the shark, but why would that include David (Speaking of sad relics of the 90s, ha ha) Faustino?

Also, if I remember that fucking finale right, didn’t the show end with Mulder and Scully as fugitives on the run from the law and the government while waiting for the aliens to invade and conquer in 2012? So how are they working with the FBI in the movie? And we know they are cause there’s the scene where Special Agent Xzibit recruits Scully in the commercials… And Gillian Anderson, I’m glad to see your intellectual and lovely presence in a movie again, but aren’t you hosting Masterpiece Theater now? How much money did they use to lure you back to this? And why isn’t David Duchovny a bigger star? Sure House Of D looked like less fun that tentacle (Cthulhu!) rape, but still, after all these years, all he has to show for himself is X-Files 2, a song, and a show like Californication? Really?

(Side query: Who out there watches Californication? Is it really as filthy as I hear it is? Is it any good?)

I would file this movie, from the looks of it, under the category of doing it wrong. Heinously wrong, actually.

But that reminds of J. J. Abrams’ upcoming Fringe TV show, which I would file under the category of doing it right by everything I’ve seen of it. It seems like a modern take on the X-Files, only more grounded in real science while at the same time, being more crazy nutso out there yah yah yah. And I’m perfectly okay with that.

Also, it seems that Abrams will be more involved on this one and I like the sound of that. Personally, I think he would’ve been happy to come back to Lost after he finished Mission Impossible 3, but there probably just wasn’t the room nor the need for him anymore. That show perfectly discovered it’s core and legs without him. Or, you could say… it’s tentacles? Cthulhu!

But the thing that really gets me excited about that show (despite Pacey being in it, again to go back to the sad little men of the 90s) is the line from the show’s co-creator, Roberto Orci: “I wanted to do a show with geniuses solving problems.” All TV could benefit from that kind of thinking. I mean, isn’t that part of why people watch House? (Just add in misogyny, emosogyny, and copious amounts of super fun drug use.)

So, to recap…

X-Files 2: Doing it wrong.

Fringe: Possibly doing it right.

What do you think, Cthulhu?

Fair enough.

Speaking of J. J. Abrams (whom I’m just going to go ahead and call the Joss Whedon for the hoi polloi, though I don’t intend that to be an insult necessarily), remember when the Cloverfield mystery was just an excellent teaser trailer and a guessing game? Remember what everyone thought it might be? Cthulhu!

So a quick question about the latest news from the political world… Obama manages to rally something like 200,000 thousand people in (“Channeling Reagan”) Berlin today, and McCain retaliates by… going to a German restaurant in Ohio? Seriously? That’s just… brilliant. And just as amazing as the fact that the Secret Service needs more money to protect these two in what has to be the longest Presidential contest ever.

And how old is John McCain? Like, a billion, right? Could he technically be one of the Old Ones?

Well, maybe not the top spot, but should Cthulhu be expecting a call about being McCain’s running mate?

Link-wise, this is me dropping a little science on you, talking about the aurora borealis and how magicians are light years ahead of the scientists.

And here’s Neil Gaiman discussing Lovecraft and “the mythos.”

And here’s Nas being number one. Which makes me wonder if I could sell the title “Cthulhu of the rap game” to someone. What do you think?

And while you’re thinking about that, here’s Zach Galifianakis and Will Oldham presenting to you Kanye’s “Can’t Tell Me Nothing.” My God, these guys are real bears. You also can’t tell Cthulhu nothin’.

And here’s Galifianakis in an old Fiona Apple video. A real bear.

Also, Cthulhu Cthursday!

Seis anos após o fim de “Arquivo X”, Mulder e Scully estão de volta. E os fãs tem bons motivos para ficarem ansiosos pelo segundo filme da série. Quem acompanhou a mitologia intrincada e os casos inexplicáveis durante nove anos, vai ficar arrepiado só de ouvir a música-tema novamente.

Acesse o link abaixo e leia a materia completa.

http://francislei.wordpress.com/arquivo-x/estria-o-novo-filme-de-arquivo-x/