Chris carter x-files pics skepticism intensifies
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Herrenvolk written by Chris Carter and directed by R.W. Goodwin
What’s it about: I’m not entirely sure…
Trust No-One: If I were Scully I would be right royally pissed off that Mulder scarpers with Jeremiah and leaves her at the mercy of the Bounty Hunter (okay Mulder believes that he has killed him but he has proven to be impervious to attack in the past). I suppose he is doing the right thing trying to save his mother (loathsome as she is) but his decision is compounded by the fact that he doesn’t even achieve that. Instead he heads off to trying discover more about this great conspiracy. I don’t know about you but I wouldn’t leave my mom to die no matter how important my work was. As another reviewer has mentioned (and I wholeheartedly agree with) Carter’s inference here is that the mythology storyline is more important than these characters personal lives and that just doesn’t add up. There’s no frisson when
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This November (and a little of December), we’re taking a trip back in time to review the third årstid of The X-Files and the first (and only) season of Space: Above and Beyond.
There’s a plausible argument to be made a large part of The X-Files‘ third årstid is doing what worked in the first and second seasons, only better.
The Walk feels very similar to a less racist and sexist version of Excelsis Dei. 2Shy decides to split the difference between Tooms and Irresistible, with David Nutter directing. The show keeps the mythology two-parters during sveper, and David Duchovny gets to contribute to two key stories over the course of the årstid. It’s not a bad approach, and it pays dividends. There is a reason that the third season of The X-Files works as well as it does. It’s a ruthlessly efficient television production machine.
Drowning his sorrows…
If that argument holds water, then perhaps Oubliette can be seen as an upd
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We already live in interesting times. What is surprising – in a world beset by terrorism, climate change, war and economic instability – is the human commitment to making the times even more interesting (read: horrible) than they need to be. Open up your Facebook page and, unless you have chosen your friends with uncommon care, you will see a cavalcade of chemtrails, false flags, vaccination plots, Illuminati schemes, Mossad blueprints to create Isis, and other tinfoil-hattery. As David Aaronovitch showed in his book Voodoo Histories, conspiracy theories answer a deep human need: the desire for the nobody on the street to be at the centre of the story, for a comforting sense that someone, somewhere, is in control.
This is no longer simply a fringe concern. In 2013, the World Economic Forum cited “digital misinformation” as a major threat to modern societies, alongside terrorism and “the failure of global governance”. Last February, researchers who had studied 1.2 million Ital