Let's face it: reboots suck.
I’m sitting here now, struggling to think of a reboot that I don’t hate like poison — outside of a handful of eps in the 2016-2018 X-Files reboot*, of course — but I might grudgingly admit there might be one or two others, here or there.
But still: back to Hell with these reboots, remakes, endless sequels, and knockoffs, and all the rest of it. Go on, now: I’m sick beyond sanity of it all.
What am I getting at here, you ask?
Well, as you’ve probably heard, writer/director Ryan Coogler was press-ganged by the House of Louse to spread some woke-stink all over the Mighty X, which I might find offensive and egregious had I not seen the X-Saga as totally done and dusted during the Dubya Administration.
As it is, I simply see this reboot (just a pilot, as of this writing) as just another tired exercise in neo-Maoist cultural vandalism that does no real damage to the X-Legacy.
Plus, no one really seems to care about this dog one way or the other, discounting X-Fan accounts on social media trying in vain to gin up support.
There’s been some (justified) fan pushback against the potential desecration, but the overall reaction has been near-total indifference. Even the new male lead (who appears in The Odyssey with our Samantha) seems rather apathetic about the whole thing.
WRING, WRING, WRING
Remember that I’ve been telling you Hollywood is over, dead by its own hand, for years now. And finally, the message is sinking in with the normies.
Sure, you’ll have your summer theme-park rides like The Odyssey and Spider-Man, but their reported grosses start to look a lot less impressive when you factor the grotesquely-inflated price of admission, not to mention dollar inflation.
And as you all know, The House of Louse has destroyed nearly every single franchise it has ever acquired, so I’m not remotely surprised they’re trying to wring a few more bucks out of their X-Files acquisition again.
I just think it’s a lost cause, plus ultra: The X-Files was a phenomenon that grabbed the zeitgeist of its time by the throat, and then rapidly faded when that time had passed.
Not to mention that the occult detective format has long since been drained to death.
Disney even threw some dosh at Chris Carter for a “director’s cut” of I Want to Believe, an opportunity he took to further torment the tiny, terminally-toxic ‘Shipper cult by apparently stripping out all the ‘shippy bits in the original.
And why not? Carter wrote in all the Mulder/Scully relationship stuff in for their benefit, only to earn a collective spit in his face for his troubles. Who can really blame a fella?
Now, this may seem like a bit of inside baseball, but the ‘Shippers were long puffed up by FOX’s ruthless marketing department to slave away as free PR agents for the XF, which along with their oceans of tawdry fanfic, drove them to drastically overestimate both their size and importance.
It’s tragic and unfortunate, but then again, so are their lives.
For the time being, I’ll refrain from speculating on exactly why Carter reportedly reduced Gillian Anderson’s screen-time in the process, but the Truth is most definitely out there for those who bother to look for it.
Hiding in plain sight, as the saying goes...
Read the whole thing here,
on the house. It's a doozy.
* I don't consider Twin Peaks: The Return as a reboot. It's way beyond that.
