EX X-Files GILLIAN ANDERSON STORY| 2008-09 An Anti- ‘Nazi Bush | Hollywood’ Landing It’s Vogue to Know ‘NAZI BUSH-HOLLYWOOD’ REGIME’S MOST HIGHLY GUARDED SECRECTS OF MYSTERY, INTRIGUE, DANGER AND REAL LIFE DRAMA: THE GILLIAN ANDERSON STORY With all the horrors in the world, why consider the story of Gillian Anderson? Are we star struck in Hollywood California? Perhaps. But 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 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 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. Gillian Anderson’s career path inadvertently put her on the frontlines (and in dangerous crossfire) of the battle against the current powers that be. Will Anderson become yet another forgotten victim of collateral damage in America’s hush-hush, don’t tell all, saving-face-generation as it tiptoes around civil war? Many believe that it is old Hollywood’s chronic gross publication of their ‘clinically certifiable’ media-arts that finally weakened their fabric of seeming invincibility. Did Gillian Anderson act as an initial thread-cutter to their empire? At the time, she was 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. Through Gillian Anderson’s somewhat unwitting association with this deranged organization, 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 organization in Los Angeles, California became almost as famous as she is. Did her internationally famous 2002 abrupt and hostile resignation from their grasp cause pointed scrutiny of their organization from the global community and today’s power oppositions to the ‘Bush | Hollywood’ regime? When, at the top of her game, 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 are of course only known to her. However, there are a banquet 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 every day 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-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 corporate oppressors and bootlicking Nazi-sympathizing co-workers; working for the flagship 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 society’s movement for governmental reform, especially as it applies to the media-arts. Of course, she was 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. (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 corrupt 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 a 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 nation’s 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 political opposition and a country of angry tax payers. The operative word here is MONOPOLY. Evidently, admonishing, censuring and then sanctioning corporate giants for criminal activity is 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 them to sell society’s greatest commodity on the open market: freedom of speech. Gillian Anderson found herself deep inside our nation’s twisted media-arts monopoly machine. She had become their employee or unspoken prisoner. Did Anderson’s fight within the 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 the necessary battle we must contend with in the now weakened fascist-like regime over our current culture. This holds true specifically regarding one aspect of society’s catastrophic cultural dilemma, the destruction of an essential fine art medium, media-arts. Many articles are being published today regarding the logistics of the ‘Bush | Hollywood’ falling regime (and their roots.) Largely, they are fragmented, telling only part but not the whole story. Further, a generally clinical, stuffy approach only helps to lose the all-important interest of the public, with page after page of lofty intellectual data. On the other hand, Gillian Anderson’s history intertwines so dangerously close (but never loyal to) the ‘Bush | Hollywood’ regime that it tells the whole story in it’s entirety, while forcing 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. 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 and especially frightened 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 are 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 HASNT 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. It’s unquestionable that Gillian Anderson does have something. Gillian Anderson is hot. She just is. 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. 2008-09