Japanese Film Director Atsushi Muroga- best known for his successful films (Score, Super Cub and Junk) just informed me today that all five directors (including himself) who contributed to the film entitled- June 6th- have finished their productions. The film is best described as an omnibus of five episodes- each with different writers and directors-  and consisting of different film genres.

The title of the film- introduces a foundation of enquiry into what has occured on June 6th in the historical past and what may occur on June 6th as imagined by creative speculation through a Sci-Fi vortex.  

 For clues relating to the significance of June 6th in history- consider Japanese history. The Battle of Midway occured from June 4th to June 7th of 1942. It presented a startling and disturbing change of fate for Imperialist Japan's Pacific campaign and put the country in a disturbingly irreversable defensive mode till their defeat by Allied Forces.

Regarding just what "might" happen on June 6th in the future- that is where Muroga's creative forces as a writer and director come to play in my favorite genre of film: Science Fiction.

Muroga's episode- sporting the ever so quaint title- Kill Pigs!- brings to mind the acidic, slang of American youth in the 60s to refer to Police as brash and brazen destroyers of a more idealic- but not necessarily realistic- libertine dream of American freedom and human rights. 

A major segment of Kill Pigs! was filmed in Phnom Penh, Cambodia and provided Muroga and myself with our first opportunity to work with Green Screen.  And to think all of this time, I thought it was the name of a famous actor!  (Ever worked with Green Screen? Cool dude!)

I can't wait to see how movie magic ended up turning a Toyota Camri into a flying squad car. But if digital effects and wire techniques can make Keanu Reeves look remotely like he is performing a flying kick while learning backwards at a near thirty degree angle, then I guess Toyota Camris can fly also.   

 I am also anxious to see how digital technology can be used to make Phnom Penh look Bladerunner-esque!    

Kill Pigs! features a couple of well known TV actors from Japan and a little-known Australian character-actor by the name of Ian "Snowy" Woodford. Snowy is best known for his role as a quirky, high-strung, brothel-goer- who fights with Matt Dillon in (another film set in Cambodia entitled), "City of Ghosts".  

Muroga conceeded that the tone he was striving for in June 6th was at least partially inspired by SciFi master John Carpenter's film, They Live- in which in order for one to survive mounting economic woes- one was required to sell out to unseen forces from another world- acting as the  master puppeteers of American society.  However, the plot-twister is in discovering who the terrorists actually are and why they are calling for a world-wide caliphate.

Below are the names of the directors who contributed works to June 6th and their films' titles: 

Hioshi Kashiwabara; Episode 1: The Man Who Waits;

Yoshikazu Ishii; Episode 2: Mission;

Takahito Hara; Episode 3: 15 Minutes;

Atsushi Muroga; Episode 4: Kill Pigs;

Hajime Ishii; Episode 5: Dead Planet.

     Invasion of The  Movie  Alien     -           Monster-Metaphors               

Science Fiction film had its roots in highly creative, radio-shows that provided the live performances of voice actors, sound effects specialists and sometimes even small, studio orchestras. Science Horror programs- were the most innovative form of radio entertainment of the 20s and layed the foundation and framework for the American Movie Alien Monster Metaphors. Modern Day Bugaboos that were analogous to older, oftentimes ancient menaces from dark forests, or underground.

 By the early 30s, as many of Europe and America's  scientific knowledge turned toward its relevance in the advent of and eventual involvement in  world-war- motion pictures provided objective information, propoganda and diversions.

During World War 2,  major film themes were for the most part- non-controversial and centered around elements of unquestioning patriotism and romance- during a time when grey areas were troublesome issues best avoided. During and after World War 2, motion pictures promised to further American freedom, but paradoxically- were sometimes used as vehicles to inspire fear, dread, and a more  non-questioning form of compliance with authority. 

Even during the 50s, there was little encouragement for- and virtually no means to wage complaints toward government, or challenge popular- but backward thinking within the ranks of a major, Hollywood film.  Films like To Kill A Mockingbird and Citizen Kane layed a foundation for intelligent inquisition, but had little appeal to blue-collar America- aka: Most movie goers.

 American movies, it was decided, should present the pleasurable asides and diversions of a well shaded park in a world of scorching reality.  Romance as a normal step toward matrimony- laced with gratuitous chases, slapstick and cliff-hanging was a winning combination- but would with the advent of science posing more questions and uncertainty- could not suffice as the only movie modem for long.  

America's encounter with such mentally-disciplined adversaries as the Japanese and Germans during WW2- layed a greater foundation upon which to base fears of a Soviet attack. All of such variables- followed by increases in space exploration, the breaking of the atom, the unfortunate use of the atomic bomb on two occasions- ushered in a new and complex world where linear thinking in itself could pose great risk- if only great leaders would dare to notice.    

The youth of society, both fascinated by the progresses of science and loathsome of the threats it had also ushered in- were ready for films which thrust their interest in pontification of other worldliness.  Things were changing quckily all around- a stress-overload-dilemma was closing in and pretending our greatest threats may be posed by the doors of science creeking open more and more became a fashionable theme. 

Would nature- ourselves- or other beings from far away punish us for tampering with  the atom?

Would our scientiic advancements cause us to invade the domain of dangerous beings?

Would our scientific advancement cause benign or malicious beings to take interest in us?

Would some race of beings from another planet be wise enough to solve our problems?

Would they be coming to destroy us?

Was there some threat from afar that was greater than the threat of communists?

How would outer space effect our view to all such conce rns?  Are we alone?

While 50s SciFi films provided fear-as-fun for cringing youth seeking closeness in the cinemas, they were also exploring the deeper questions of what will radiation do to us? Will giant tomotoes begin to plot our demise? Will dinosaur-like-insects take over the world with us on their menu?  Will strangle Anglo-Saxon men- who parted their hair like our dads and wore hair jel- fly light years to lecture us as though they were former Sunday School teachers?   

In the 60s, Gene Rodenberry's Star Trek (although full of amazing insights and invigorating challenges to the imagination) tended to often present a moral basis not unlike a SciFi "Pilgrim's Progress" where potentially messy analogoies could be thrust into the fascinating backdrop of space where reptilian monsters with Oxford accents- could represent groups of individuals on our planet who could not be talked or reasoned with directly.

Rodenberry created an outer space which provided a safe haven for ideas and critisisms that were too close to home.   

Semi-controversial parallels at best were drawn between earth-based conflicts- such as the Middle East crisis- or the Empire of the Roman Republic pitted against the Hebrew Theocracy of Judea with their hard-wired contention that being on God's right side- required one to have Jewish blood.

Such analogies were planted with a disappointing assumption that strangely American-acting people aboard a huge spacecraft on a five year mission- were correct in expecting all manner of beings- from any number of light years away- to respect Judeo-Christian ethics?

*Klingons in their corner of the universe represented the Arabs with all others as "infidels". 

*Romulans in another corner represented "Gentiles = Heathens" (Romans, etc.);

*The always intervening USS Enterprise (used in this case as analogous to the doctrine of Manest Destiny on a larger scale- is depicted much like a nuclear-powered-Alamo brimming with a strangely 20th century-style of American hubris.

It streams through space to deliver a pay-load of monologues that are usually built around secularized Judeo-Christian values from a future vastly enlightened by science and technology?

The USS Enterprise inevitably allows itself to interfere in the cultural affairs of the other worlds- despite space laws to prevent it. What kind of adventure based on thinly veiled American hubris would settle for less? Anything less would be viewed as weak- (and just plain boring) by arm-chair advocates of foreign adventurism- who took relish in the idea of a giant spacecraft capable of destroying an entire planet with a beam of energy. 

Why was a rigid and shallow and exploration of East-West relations always performed without exploring the dangers of extremism presented by both Right-Wing and Left-Wing mindsets? Those and other equally messy subjects should be capsulized in science-fiction- as the microscope of safer and more entertaining analysis.

The French writer Jules Verne is thought by some to be the father of Science Fiction. His fascination with gadgetry and gizmos combined with a pension for swashbuckling characters treading on the very edge of known perceptions provides the rationale.  His British competition it could be said- HG Wells-  also shared the same interests and styles of expression.

As books and as films- Vernes 20,000 Leagues Under the Sea and Wells' Time Machine both served up great action within a swirling array of conflicts. Both also allowed audiences to question man's ability to control nature and nature's ability to defy that control. However, Wells  introduced a more psychologically entertaining enemy in that the Morlocks were the future negative results of man's past negative actions. Thus, Wells, not Verne, created the most dynamic incubus for Sci-Fi-Film-Monsters to evolve.  

THE MOTHER OF SCI-FI

Prior to the publishing of The Time Machine- Mary Shelly's book- Frankenstein- introduced the theme of a "man created (or resurrected) by science perceived as a monster." Her book presented a rich potential for motivational study centered upon the theme of New Science Vs. Man's Fears, Ignorance, and Intolerance.  

Shelly's book was capsulized in film-script at least four times before The Time Machine. Frankenstein's monster (some believe whose name was Victor). He reflected the potential of human's for brash, mass-actions and lynch-mob justice as the true "monster" with Victor purely as the innocent catalyst and victim. Within a theme of Good Vs. Evil the victim was thus- The Victor- a pitiful and tragic Promethius.    

 Thanks to the creative insights to the human-condition- Mrs.Mary Shelly- at a time when men were reluctant to share the reins of a horse-drawn cart with women- the foundation had been laid for more challenging and entertaining Sci-Fi film monsters. That she influenced the works of Verne and Wells is evident. Verne and Wells were the fathers of unique styles of Sci-Fi genre which would evolve, but clearly, Mary Shelly was the founding "mother" of Sci-Fi.  

Orson Wells controversial tale War of the Worlds (WW) created a very significant new genre of what would be later termed Sci-Fi. He would be responsible for a revolution of thought. Suddenly, the term alien would not necessarily conjure up the narrow-minded parody of a Mexican slipping across the border into the US.

War of the Worlds would inspire the publishing industry and the film industry to reinvent the term "alien" to mean either a menacing nemesis from outer space, or a creature (usually humanoid) like unto a paternalistic angel- super-invigilated by advanced technology. It would provide a superfluous stream of themes built upon metaphors along the lines of Little Green Men as Leprechauns.

Either way, the "aliens" only by way of creative script-writers- would surely entertain us, but would also challenge our concepts of everything which they represented in metaphor- causing us to reflect upon the human-condition- inside and outside of theological traditions and dictates.

WW was written for radio and presented on Halloween night in 1938, inspiring near anarchy in parts of America. It served  as an omnibus- of creative and plausible ideas extracted from Science Horror radio shows of the 20s. it would provide a wealth of philosophical catch-phrases and anecdotal remedies for outer space aliens who like a greasy-haired Latino waving a switchblade- or an ideologically-infested Asian waving an AK-47 could threaten to disrupt the most familiar aspects of our comparatively sleepy little towns.   

WW to date stands as a creative Rosetta Stone regarding man's preparedness for an encounter with outer space unknowns.  Orson Wells introduced cutting-edge scientific ideas for his time and blended them with plausible fears and considerations. He found the fifth wall and broke through.  

WW was unique for its time because of the new concepts it introduced.  The use of electromagnetic force to produce levitation was the radical, new invention of Nicoli Tesla- an Estonian -American- twenty years before!  His and a few other writers' knowledge of that inspired the idea of outer-space craft propelled and levitated by manipulation of the effects of earth's gravity by way of the alien's mastering of electromagnetic energy..

He was the first writer to introduce the concept of outer-space aliens as a humanoid with reptilian and insect characteristics. Naturally, such an appearance would breed the expectation of dangerous behavior and it would become a staple of Sci-Fi. The contrast and comparison of the superior aliens with the relatively primitive humans- further stimulated metaphoric associations (and blurred distinction) between magic, miraculous intervention (from benign aliens) and high-science.

WW also introduced the concept of outer-space aliens with telepathic abilities for communication and perhaps manipulation of other beings. That creates a metaphoric representation for "human prayer" as a means of communication with higher beings- again potentially blurring the distinction between benign outer space aliens and angels of mercy, or the distinction between- malicious outer space aliens and fallen angels, or demons.  

The conflict of earth's invasion by aliens was resolved by their immune systems inability to cope with new viruses in our atmosphere.  Such a concept would be reverse engineered by Michael Crichton in his book and film The Andromeda Strain- with earth invaded by an outer-space virus.  As a logical twist to break out of the established box- scientists in the story would question whether the virus was an alien civilization's attempt to destroy us, or purely a naive, but unintentionally harmful way of saying "hello".

SCARY MONSTERS VERSUS SCARY NEW IDEAS.

A recent survey indicated that WW ranked 27th in the order of scariest of Sci-Fi monsters to date. Presumably the survey included films from the Golden Age of Cinema to the present day.

I find this knee-jerk association between aliens and monsters to be confusing and unfair.   After all, the traditional meaning of the term alien means a person that is a foreign national in a country other than their own. Of course, in pop-culture- particularly where film is concerned- the term alien has been expanded to mean-  foreigners from outer-space.

Naturally, it is possible for traditional aliens to behave, or look even worse than the best behaved, or best-looking outer-space aliens. Many of them present outer-space aliens with a formidable challenge.

Even after traditional-aliens have been naturalized, granted a green-card whatever- they maintain habits which are considered "alien" or simply disturbing to the some locals. For example, Naturalized-Aliens from most areas of East Asia tend to run businesses providing at least two main services which sometimes can seem to present a conflict of interest such as: Wing-Ding's Pedicure Salon & Restaurant.

The thought of ordering a salad, sandwich, or any item of food from someone who is alternating between handling and preparing food in a kitchen, massaging people's feet, cleaning and cutting toenails (and who knows what kind of massages on the side) somehow (for me) diminishes the appeal of that businesses restaurant-appeal. Call me finicky.
 
I would also cringe at the thought of Outer-Space-Aliens who pick their noses as much as the average East Asian. It is frightening to think America could be invaded by them and makes one think soberly about whether to ever go to another Asian restaurant. 

To better understand Outer-Space Aliens and the role they play not just in cinema but in helping to define and critique our possible development or destruction by real involvement with them we should place OSA- Outer-Space-Aliens into three working categories:

1. GOSA
2. EOSA
3. OSAM

GOSA- refers to a Good-Outer-Space-Alien who almost always wants to do one or more of the following: teach earthlings something, retrieve something, help one of their own, get back to where they came from, etc.  Often times, they espouse a suspiciously Judeo-Christian philosophy which simply bores the hell out of a lot of people and has an anti-climactic effect on the overall plot.

Evil-Outer-Space-Aliens who may, or may not look evil, but they eventually prove to be evil. They often times are assumed to be, or pretend to be good before being found out. It is rare for EOSAs to have a change of heart, or learn anything from earthlings because the type of script-writing skills such a challenge would require would also bore the hell out of most any audience.

OSAMs are Outer-Space-Alien-Monsters that look like bad news from the very start and continue to be. However, just what is meant by the term "monster" necessitates some exploration. Thanks to the evolution of pop-film- the term monster- just like the term alien- has sometimes been misused.

In film, a monster "should" mean a creature that either looks dangerous- but is discovered not to be- or is as dangerous as it looks. Although monsters are usually large- as its adjective form of "monstrosity" is often used to describe-  it can denote a small and terrible looking creature that poses dangers- such as the puppet-like creatures used by Steven Spielberg in Gremlins- to inspire additional profits from toys bearing the same likeness.

Outer space alien monsters are never cute and cuddly and are always devoid of any moral guidelines that are like ours. The are predators, or even scavengers, or parasites which can evolve and morph. They seemingly  exist only to consume, or destroy. Some want to use our bodies, take our thoughts, emotions, but non are so treacherous as a spiteful, recently divorced women seeking her ex-husband's wealth, or property.

A monstrous-looking being that turns out to have only benign interests in our planet- is in the final analysis- not an OSAM- but merely a good outer space alien that is having conflicts with humans. Our initial misinterpretation of such a being- is usually due to the fact that they are capable of detecting which humans need "offing" and which ones are their to help them get back to their own planet, etc.  Such a theme was established by Spielberg in ET and in his more recent film Super 8.

In the classic film Frankenstein starring Boris Karloff- the monster was never given a personal name- and was only a monster in the sense that he defied normal standards of appearance which vastly limited his range of social interaction. The film serves as a study of what are perceived as acceptable limitations of science in regard to biological experimentation.

Specific to any intended theme revolving around the story of Frankenstein- is the revelation that the intolerance and fearful rage of the villagers posed the greatest threat to social stability- with  Dr. Frankenstein's creation as a monstrosity, but still a tragic and innocent victim. He was no-less than a Promethius- shaving committed no sin- struggling to break loose from his bindings.

If Dr. Frankenstein had endeavored to construct a beautiful bar maid rather than a very awful looking man who- happened to consist of an accumulation of body parts from different corpses- we can suspect that the village would have- rather than in a state of panic and chaos- would have discovered itself with vastly improved night-life and increased revenues.

The true monsters- in the sense of impending threat and danger- were the villagers who posed all the actual threats to social stability- while Dr. Frankenstein's created life-form- only strove to defend himself as anyone might do in similar circumstances. Thus, the film Frankenstein- to the tacitly aware- has its theme in the evils which spring from societal rigidity as the end result of religious, superstitious, and politically bred ignorance and intolerance.

FILM MONSTERS CAN BE THE SAD VICTIMS OF BAD P.R. & PRESENTATION.

Outer Space Aliens that appear as monsters are often  found in dark-areas throughout a film.   They less you can see of something- the more frightening it can become. As convenient as the scare-factor of an imagined threat we are always told about, but never actually focus on- or have the freedom to verify for ourselves.   The less-is-more theory used to be not only a cost savings device for film, but a psychologically effective means of utilizing the best special effect every created: our imaginations and inherent fears.  

In that sense, the overuse of digital SFX to embellish such monsters always diminishes their fright-factor- demoting them from horrid entities from outer space, or inner space can demote potentially frightening beings into nothing more than- Ugly-Action-Figures.   One must be careful not to allow over zealous advocates of digital imagery to  destroy a film's bid to be as  psychologically effective as possible.

The mere presence of more high-tech imaging techniques should not always necessitate their use. Mere possession of a sledgehammer does not justify using it to open something requiring delicate precision. 

The film Van Helsing- could have been a wonderful film in many ways, but the overuse of rough-shod effects beginning with the Jeckle & Hyde character and getting worse with Dracula's fair maidens confirms this.  For special effects imagery to contribute appropriately to a film that is intended to be scary- there must be realism.

The inappropriate use of jet propulsion sounds added to this- perhaps making some of the relatively good visuals seem absurd by way of sound-associations that conjured up being on an aircraft carrier, but not a spooky place in Romania.

Just to carry things to more absurd levels- some films now force us to view flashbacks, or fast camera pans also endowed with jet engine sounds.  Who are the fools that think of such bullshit?  

What could have been a truly Uber freaky scary film- ended up seeming more like a Transformers set in the mid-ages.   

They were unrealistically- if not purely undesirably fast. Traditional themes which nurture fright almost always rely upon the use of slow monster actions encased in a time frame that threatens to prevent the protagonist from fleeing in time.  Seemingly jet=propelled bat-women and goblin-like creatures which inspire the Battle Over Britain- cannot accomplish an adequate level of dred and fright. 

Why should flying vampires-make jet-propulsion sounds as they swoosh to and fro? It is simply not scary and are insulting to the intelligence of anyone who knows (or remembers) more effective filming techniques. Somehow, in the film The Wizard of Oz- dozens and dozens of flying monkeys (using wire techniques which the Chinese want us to think they developed) managed to complete their tasks without the invigilation of jet propulsion sounds. 

Extremely fast camera panning movements also should not require these inappropriate jet-propulsion sounds. Must even purely biological monsters subconsciously compound the idea that movement of all kinds requires the use of combustion engines which use petroleum-based fuels?

LESS IS MORE UNLESS...

Hitchcock and others proved, aspects of actions which an audience are intended to dread  are left at least partially unseen almost always become well enhanced by the imaginations of the viewers. In the respect, modern-films that are aided by wanna-be digital- effects gurus- often diminish or destroy what was originally intended.  

In the film The Day the Earth Stood Still- released in 1951 (two years before WW)- the Outer-Space-Alien known as Klaatu turned out to be a good alien even though his robot-side-kick inspired fearful awe.

Klaatu looked down his (Roman-looking) nose at the earth's chaos and consternation like some tuxedo-clad socialite stuck in a Salvation Army soup-kitchen. To the sensibilities of educated 21st-century audiences,  Klaatu was no much less outer-space-like than Oprah.

Such good aliens were no doubt put into the Sci-Fi films of the 50s in order to promote a surprisingly Anglo-Saxon-style of Judeo-Christian idealism- during a time when the American  government began making greater attempts to exaggerate the threats of both communism and  recreational drug use- other than alcohol as the most widely-used, most socially destructive and obviously legal one. 

Perhaps it was reasoned that America's teenagers would be more prone to listen to preachy "Reefer-Madness-style monologues" if after gratuitous levels of a new, more intriguing form of entertainment (accompanied by date-cuddling) was delivered by a man (who despite his appearance, British accent, and general mannerisms) seemed completely human- but nevertheless claimed to represent a superior-race from outer-space.

It is important to bear in mind that War of the Worlds invaded America's radio-waves long before Klaatu invaded with his list of demands and bland diatribes. The arrival of War of the Worlds as a film with its distinctive-breed of EOSAs marked the dawning of new possibilities for earth invasion.

That the writer's of  War of the Worlds- had the presence of mind to consider that mode of perception also served as a hallmark for more open-minded scripts on Evil-Outer-Space-Aliens. It raised a question that could easily be transposed within the sphere of our own troubled geopolitics:
We think they are evil, but what do they think of themselves and us?"

in their flashy gravity-defying vessels- glowing emerald-green like luminescent sting-rays- the outer-space aliens in WW as higher life forms- manifested a sterile, dispassionate objective to exterminate earthlings in a manner that made the My Lai massacre and others like it- seem chaotic.  Yet, from the viewers perception the label of Evil-Outer-Space-Aliens serves to define our perception- not that of the invaders who- to themselves were no more evil than bluejays raiding robin's nests.

War of the Worlds offered 50s viewers a brazen,  dispassionate, utilitarian enemy within a Human Nature Vs. Non-Human-Nature conflict. That morality was not preached, but merely attributed as a perception relative to the needs and orientations of every being regardless of their origin in an endless sky-was highly significant. lt was no less significant in the film version of WW in  1953- as it was in the radio-version of WW- which was believed by who had tuned in late on  October 30th, 1938- to be a real, emergency broadcast of an invasion from outer space!

The silliest mission which good aliens (or bad aliens turned good) could pursue was the worn-out quest to learn the meaning of a strange human emotion called  "love".  It served as a great intro for kissing scenes which could gave ticket purchasers on dates the necessary level of chutzpah to fulfill any ulterior motives. The love-research angle for outer-space aliens was also a form of human self-flattery: It enhanced our cumulative pride and self-esteem as earthlings as the most unique beings in a ghetto-like universe of much trashier emotions .
 
That good and even bad Outer-Space Aliens were- and from time-to-time still look Caucasian or Anglo-Saxon is frustrating and disappointing particularly if they come in the form of Keanu Reeves saary if. That is why WW helped define a new genre of  sci-fi film, and even pioneered several significant aspects of monster-presentation.


VALUE PROJECTION FROM BEYOND

Outer Space purveyors of Good News became deeply challenged after the 50s. America's increasingly ugly and invasion of SE Asia played a fundamental role to this change.  GOSAs
as angelic bearers of enlightenment would be viewed as no more exotic than government operatives with strange cologne.  Their philosophies and demands for earthlings became revealed as capitalist jingoism disguised in the flashing lights of a night sky.

An era when script writers could inspire better behavior from youth would be opposed by greater resentment and less trust for political leaders whose Klaatu-like speeches were delivered in a manner similar to how outspoken white-cultures have persisted in doing even in a post-colonial era. 

It is strange that in the past, good aliens from outer space were always not only human, but were white and adhered to a kind of Hallmark-card level perception of Judeo Christian ethics.

EVIL ALIENS & THE HUMANS THAT SELL OUT TO THEM.

A  more complex and modern time calls for a more complex and modern interpretation of all manner of outer space aliens. They could assist earthlings in discovering ways to expand their mortality by way of greater morality. Developing a direction contrary to that established by good but boring aliens from cinema-past- requires a protagonist to violate our expectations.

In his film They Live- John Carpenter took the concept of an largely unnoticed- veritably invisible invasion- no doubt already explored by Rod Serling and done over again by The Outer Limits- in a manner that would require the aliens have special morphing or disguising technology. It went beyond where the bounds of 50s and early 60s films rarely "if ever" tread.

It managed to address the interests, angst and suspicions of an increasingly isolated and disenfranchised American (and international population) under the shadow of a more intrusive government- at a time when America's corporate defense complex (spread the world over) with a vastly increased number of M&P contracts were starting to be manufacture high-tech components in such a highly compartmentalized fashion that , the average line-operator,or line-technician (regardless of his or her moral or political convictions) were simply unable to learn the nature or use of.  

Almost forty years after WW- wrestler-actor Roddy Piper- playing the role of  a quiet, construction  worker who is drifting to where work is available. When he arrives in the gloomy vortex of an LA-based shantytown- he ushers the audience through the ramifications of an unseen alien invasion that takes advantage of the desperation and anger the gradual rotting away of an economy can create.

They Live- successfully exposed the Sci-Fi viewer to outer-space aliens who were capable of cloaking their hideous-skeleton-like appearance with the bodies of humans who "sold out" to them by discarding their human morality and social conscience- for the higher level of wealth and comfort joining the alien-alliance could offer them.  Sounds a bit like globalization.

They Live was a witty melding of traditionally overt outer-space invaders with the popular interest in international secret societies- which are said to permeate the top-levels of government and industry worldwide.   

COSMIC BALANCE: EVERY EXTREME NEEDS ANOTHER

In a universe full of economic. political, and moral dualism- the Good Outer Space Aliens require an antithesis- Evil Outer Space Aliens. Where any evolutionary process exists- lesser evolved species will poss a threat to more evolved species and visa-versa. Factor in vast distances, vastly different biological structures and requirements, perceptions and goals, and virtually all living (or non-living?) beings can have the potential of posing a great threat to all others. 

An Evil Outer Space Alien could establish the idea that Good is what propagates humanity's survival, as a way to lure them is- just the way ridiculous aliens who looked just like men from the 50s tried by manifesting strangely droll-looking American hairstyles. They wanted to come across as wise fathers full of witty truisms for the Beaver and not as horny playboys out for a good time.   

If earth men do in fact think about sex every 8 seconds as someone has said, then it's just ass likely that aliens would come to earth for steamy sex with us, or various breeds of wildlife they fancied even more- rather than to lecture us, or consume us.

The crux of a creative script with that perspective has yet to be done.

TV scripts, a human-protagonist has managed top jam some outer space alien's computer's circuits- or like an illustrious lawyer with an acerbic wit confuse the outer space aliens with an endless quagmire of contradictory terms logical dilemmas.   

This has also been explored by Federal Agencies of the US government to further confound the nerve-racked general public in pursuit of  the proverbial Form A  which cannot be obtained without the proverbial Form B- which requires the possession of an approved Form A.
 
It is no secret that throughout the history of film, filmmakers have often made films for blatantly selfish and blatantly selfless reasons. Some scripts have been born out of political think-tanks but packaged as the inspired culmination of one man's accumulated observations of life behind the counter of a video-shop after snorting cocaine.

Cinema Audiences Pine for Greater Outer-Space Diversity

Why must the diversity of creatures found in one's backyard, or in a tiny pond be much greater than the diversity of beings that (by way of films) issue forth from the furthest realms of reality?

One answer might be that the creators of Outer-Space Aliens and Outer-Space Monsters are often times more concerned about the use of Outer Space Beings as marketing tools. For example, ET needed to have a body that was roughly humanoid so that he could dress up like a women, learn basic English, phone home in a way that the audience recognized, raid the refrigerator, and thus promote the consumption of American junk food.

It was flattering to many Americans and silently reassuring to the most obese ones to think that a highly advanced being from outer space loved American junk food. It meant that their weaknesses and limitations were closer to being universal laws rather than personal failings.

How could Americans be blamed for having no culture or culinary sophistication if a highly-advanced being craved and gorged and quaffed the very same things American corporations want Americans to?  
 
Why must creatures resembling a lizard-human hybrid always speak the Queen's English? 

This tired tendency has even led to a popular urban-legend that the Queen of England and Keith Richards are both shape-shifting reptiles.  Is that meant to subconsciously parallel with Earth's previous British rock invasion?

It also raises the question, of whether England-  may have been colonized by reptilian creatures long ago.

Benign Aliens that may, or may not appear as monsters to invade this planet- always bring monologues full of the usual shallow, moralistic drivel- that always reminds me of some baritone man chanting some shallow, moralistic drivel at the end of a government financed movie from the 30s. 

Why then, if the benign aliens are so enlightened- do they threaten to reap havoc on us in a strangely familiar right-wing republican way- like George Bush's cowboy-film ultimatum to Sadam Hussein? 

If Evil Aliens wished to invade the earth- and they were intelligent enough to get here- there is as likely a chance that they would invade in a way that did not allow the average person to sense malice. With that having said, we may have been invaded long-ago. Perhaps (as some have suggested) we ourselves are the aliens, but then are intelligence level must have devolved- and that could be due to any number of variables- such as a negative reaction to a new and damaging level of solar radiation, radium from the earth's crust, viruses introduced by wildlife, etc.

Perhaps we are gradually evolving closer and closer to the level that got us here in the first place.

A Sci-Fi script exploring such a theme could consider the fact that certain pockets of youth the world over are starting to not pursue stranger fashions involving extensive body-tattoos, piercings and mutilation- but are beginning to act more disengaged from blatant reality and more myopic in the analysis of the purely rational and obvious. 

That could suggest that- the Evil Outer Space Aliens are actually compelling people to look and act more like them.

If imitation is the most sincere form of flattery, would not the Evils who thought of themselves as superior, prefer to slowly change us, rather than even temporarily conform to our standards- which are viewed as more base?  

The Outer Space Alien Monsters in the film War of the Worlds (originally written for radio by Orson Wells before TV existed) were pretty weird looking for their time- but no one thought to douse them with goo. Today, the use of slime and goo has enhanced the film alien fear factor greatly- but the time has come to start exploring other genres. And the audiences of today, demand more than Keanu Reeves as an alien graduate of Berkley that can speak fluent Chinese at McDonalds.

No self-respecting handsome, human-looking alien, or with a monstrous appearance that is made of plastic, rubber, or latex is sufficiently icky or scary.  Yet, some in the audiences respond better to Ick than to Scare. That is why a good writer must flit between the two, the way characters on Family Guy flit between loud farts and clever quips. Yet, what may appeal to one group, may completely alienate another group.

One must intersperse actions of the outer space alien in random doses such as: Seduction, Sex, Morph, Scare, followed by Ick.  Kind of like my honeymoon, just before my divorce.

Imagine just how terrifying a dry, ripped-condom might appear to a woman that was clearly not in the mood! In that respect- the SG factor is as important to non-conventional monsters ass it is to non-conventional sex.

In a modern world jaded by hundreds and hundreds of interpretations of the word scary we become jaded. What was considered a monster years before can now just be the guy working the counter at a Starbucks. (Those over-rated places that sell over-rated coffee at high prices).

After being away from the US a long time, one might conclude that the entire country has been invaded by alien-monsters- that have possessed human form- or morphed into one.

Consider the idea that outer space aliens, or aliens from another dimension can be invisible- as we imagine demons to be. Consider the idea of humans, possessed by invisible aliens, Consider the idea that real, flying saucer-like anomalies are collecting spirits and ushering them to other locations, or delivering them here for purposes that we are not aware.

Half of the people behind counters or providing phone services seem to be empty shells possessed by such creatures.

A world that requires one to accept that half of the people on a city bus may look and act like 
Freddy Kruger, or Edward Scissor-hands-  one will require new ways of being scared and will become jaded in the process.

We are jaded by humans possessed by monsters on a daily basis.

Why is it that in the USA particularly, there is a high level of individuals with phone-related jobs such as at reception operators for Long Distance Learning Programs, Tummy Tuck commercials at 3 AM, pizza delivery services, credit card assistance, etc.

THEY HAVE ALREADY INVADED.

Try buying a TracPhone and then initiating the service for over an hour, struggling to use an automated system and a computer-generated voice. You will find that the computer-generated-voice-persona always sounds much more kind and helpful and always speaks better English too.

It is better than having to deal with a real women who always seems to have "that time of month".  She will have to keep repeating herself over and over because of her Chicano, or Filipino accent and will get angry and impatient at you for not understanding her!

If she were in charge of charting some form of trajectory and communicating the exact location of an air-strike during war-  many thousands of innocent people would be dead Perhaps this at last in part- goes to explain some of the horrible accidents which occur from time to time in the US military?

Human-bodies serving as protective vessels for alien-monsters has been done by John Carpenter in THEY LIVE. One of the most fascinating SciFi films to date sporting one of the best one on one fight scenes to date- without the use of silly  Wire Fu effects- as first introduced on the stage and then film- before the Chinese predictably claimed ownership.

Whether real, or imagined, alien-monsters serve as useful metaphors  for the crazies and discontents, who manage to compromise or intrude upon our pursuit of happiness.

Some of them are Goth and need a severe cleaning up. They haunt places like Hollywood Blvd. like aas evidence that anyone could be next us. Some are well bathed and are driving expensive sports cars.

Another avenue that needs exploring is: Are the alien-monsters being created in a top-secret underground facility supervised by the same Chinese that construct our clothing and smart phones?

In the John Carpenter film THEY LIVE- America was being sucked dry of its truest, most redeeming values. Alien possessed yuppies under orders from subliminal advertisements such as, "You Are What You Own"  took over quietly as taxes and fees increased, fine print got smaller, laws got more complex and draconian, and people in general got more myopic.
 
More sophisticated domestically-made monsters exist as well and are melding with and confusing or ability to identify,  define and contrast them with outer space ones. Bad rap music could be at the core of this dilemma.

We are being corrupted and compromised by the ones we encounter and as laws insist- our tolerance of them only insures that the vortex of despair and social de-evolution will deepen.

Thanks to America's much more complex and intrusive society- we can get burned any way we turn without expensive legal advice or the appropriate fee for certification.  Thanks also to the  associates of  Oprah- the least informed masses with the greatest amount of expendable time- now represent the highest number of  activists.

Any violation of normalcy, or nature deserves a special psychological term to drum up higher levels of tolerance, tax-funded programs, sympathy where it may not be do, more expensive medications and fruit-cake-make-believe experts.

                                                    NEW FAD INVASION

As soon as the traffic light turns green a redneck in a rundown 70s muscle-car honks loudly. it It may or may not help you to know that he is a victim of FAD- Fucking Asshole Disorder.

For us to come to terms with how and when America became possessed by alien-monsters-        we must turn our focus back to the presence of alien-monsters in cinema as metaphoric and anecdotal tools of learning. 

Like the predatory behavior of assholes in bars and night clubs- progressive outer space alien monsters should know more about the gratuitous use of sex after arriving on this planet. Are they so advanced, or differently evolved, that they are only interested in having sex with David Bowie and Brian Eno?

After traveling the untold vastness of space, would an alien creature really care about gender, or even be able to recognize it? 

It has traveled a presumably long time through the untold vastness of space.

They are tied of coming here just to steal our resources, or eat us, lecture on nuclear disarmament, ecological problems, geopolitics, or international etiquette . A film could explore the idea that alien arrival on this planet were like unto the arrival of the USS Enterprise in Pattaya, Thailand. All hands on deck would be looking to get it on.

BEFORE SUCH THINGS AS SEX TOURS OF THE UNIVERSE COULD OCCUR...

There was... War of the Worlds- made in 1953.  It was a time when monsters (by way of some universal means of telepathic-empathy) were beginning to vicariously associate themselves with and assist cinema-going males with the fulfillment of their most wanton desires.  

Its introduction to the screen, ushered into the cinema- a better strategy for a man's attempt to somehow, someway, spill buttered popcorn down his date's blouse.  

The actions of the malicious alien assist the predator-male movie goer achieve his malicious goals, by appearing more benign when compared with the alien.  In that sense, alien predators are in a secret pact with the many human-male movie goers. 

Alien-monsters lacking in more tactful, social graces make even a sexual deviant appear charming. Isn't Hollywood wonderful?

Perhaps this is why so many households keep animals as pets. It might serves to- by way of contrast- make the man of the house appear less like an unruly beast. 

The Scary Prospect of 2 Brains Was Introduced by War of the Worlds.

In a world where scarce few world-leaders are capable of using even one brain, just think of the frightening possibilities of what an enemy with an unknown agenda sporting three brains working at full capacity could achieve!

On earth, even the most caffeinated brain only has an increased capacity of about 20%, unless Fox News is on. Then, ones mental capacity may drop to a level between a fried newt (no pun intended) or salamander.  

The best indication that aliens are more intelligent than us, is that they never show any interest in Central Asia.

They are not interested in Afghanistan, or Iraq.  They know it is an ancient and proven taboo for invaders; They knew that such leaders when deposed will be replaced by others just as bad.

Although aliens may travel distant light years to have lunch, take our resources, rape, pillage,or  plunder- they never make an initial landing in such places unless it is to hide something in a cave,or inspire the Jews to invent a dradal.

 
In War of the Worlds, a kind and lonely Catholic priest (the fact that he was horny is a given) learned that aliens were on the edge of town and imagine his glee when he learned they were only  3 feet high?

Secretly acting on that premise alone, the priest then proceeded to both scare and bore the hell out of the aliens by reciting the most negative writing from the Old Testament- in the sense that any time this verse is read- it signals and audience as well as the aliens know this.

Tho I walk through the valley of the shadow death, I will... BBBZZZAAAPPP!!!    

Imagine other scenarios that could have been introduced:

"Say, I'll bet you guys 'r hungry 'n could use a good home-cooked.." BBBZZZAAAPPP!!!     

"We're giving you ten seconds to come out with your tentacles up." BBBZZZAAAPPP!!!   

"...as members of da Lollypop Guild we welcome you to Munchkin Land!" BBBZZZAAAPPP!!!

ENTER: Actor Gene Berry as a '53 Jeff Goldblum.
 
A kindly-looking guy in turtle-shell glasses (Gene Berry) like so many protagonists when the world is in danger- had the presence of mind as a college student- to become a genius equipped with  quick and clever quips and observations dealing with basic scientific analysis, and the ability to get away fast when need be.  To insure this, like so many heroes, he became a never-busy astrophysicist with a pilot's license on holiday.

 
The inevitable cinema-moment when fear requires hugging, groping and kissing between principal actors- is indicative of  how important aliens are to the human libido, and the prospect of a man getting laid by his date to the cinema. 

Even plain Joe astrophysicists on a solitary fishing trip cannot resist foreplay during a major alien invasion.

War of the Worlds introduced the concept of aliens bearing dreadful, long tentacles served to implant the suggestion to a woman that- a human phallus by all relative standards, no matter what the shape, or color- would be much more welcome acceptable that evening.

Their luminescent, emerald-green,  spaceships levitate above a bleak landscape of familiar Americana, circa 1960, full of hubba-hubba actress-hopefuls.

As audiences may have learned from more benign invasions dependent upon some level of  government cover-up- such as in the movie Close Encounters of the Third Kind, or ET- aliens from distant galaxies not just crave our women, but our most deplorable junk foods. 

It is a corporate conspiracy to assume that alien life-forms could have the microbiological construction to survive the consumption of Little Debby's, Cheetos, Slim Jim's, Captain Crunch, or Count Chocula.


A Need Exists for More Invigorating Invasions


Was the experience worth it?

Did I adequately lower or raise my standards of perception?

Why do the alien invaders of late, use jet propulsion?

WHERE CINEMA AND THE REAL WORLD CONVERGE

In this day and time with access to many forms of alternative news, we must learn to accept the idea that not everyone that appears to be a monster is.  Whether an enemy is an Israeli, Palestinian, or Iranian... the primary pursuit of that species is to survive, live and love.

Isn't it about time to be much more truthful with ourselves and realize that to date- the worst threats of all to arrive on Elm Street have not arrived in saucers from outer space, but have been communicated to us by little men who hide behind a curtain?

And why does a dog- like Toto always know?

The real alien-monsters may not be in the form of shape-shifting reptiles either. From all accounts, it appears that they have taken the form of profiteering spin-doctors and power-crazed politicians. However, they pose no less a threat to our survival and our pursuit of beneficial dreams.
 
However, when it comes to the point where no candidate is the right one, we continue to be puppets controlled by unseen forces from where, ... we know not.  

     Invasion of The  Movie  Alien     -           Monster-Metaphors               

Science Fiction film had its roots in highly creative, radio-shows that provided the live performances of voice actors, sound effects specialists and sometimes even small, studio orchestras. Science Horror programs- were the most innovative form of radio entertainment of the 20s and layed the foundation and framework for the American Movie Alien Monster Metaphors. Modern Day Bugaboos that were analogous to older, oftentimes ancient menaces from dark forests, or underground.

 By the early 30s, as many of Europe and America's  scientific knowledge turned toward its relevance in the advent of and eventual involvement in  world-war- motion pictures provided objective information, propoganda and diversions.

During World War 2,  major film themes were for the most part- non-controversial and centered around elements of unquestioning patriotism and romance- during a time when grey areas were troublesome issues best avoided. During and after World War 2, motion pictures promised to further American freedom, but paradoxically- were sometimes used as vehicles to inspire fear, dread, and a more  non-questioning form of compliance with authority. 

Even during the 50s, there was little encouragement for- and virtually no means to wage complaints toward government, or challenge popular- but backward thinking within the ranks of a major, Hollywood film.  Films like To Kill A Mockingbird and Citizen Kane layed a foundation for intelligent inquisition, but had little appeal to blue-collar America- aka: Most movie goers.

 American movies, it was decided, should present the pleasurable asides and diversions of a well shaded park in a world of scorching reality.  Romance as a normal step toward matrimony- laced with gratuitous chases, slapstick and cliff-hanging was a winning combination- but would with the advent of science posing more questions and uncertainty- could not suffice as the only movie modem for long.  

America's encounter with such mentally-disciplined adversaries as the Japanese and Germans during WW2- layed a greater foundation upon which to base fears of a Soviet attack. All of such variables- followed by increases in space exploration, the breaking of the atom, the unfortunate use of the atomic bomb on two occasions- ushered in a new and complex world where linear thinking in itself could pose great risk- if only great leaders would dare to notice.    

The youth of society, both fascinated by the progresses of science and loathsome of the threats it had also ushered in- were ready for films which thrust their interest in pontification of other worldliness.  Things were changing quckily all around- a stress-overload-dilemma was closing in and pretending our greatest threats may be posed by the doors of science creeking open more and more became a fashionable theme. 

Would nature- ourselves- or other beings from far away punish us for tampering with  the atom?

Would our scientiic advancements cause us to invade the domain of dangerous beings?

Would our scientific advancement cause benign or malicious beings to take interest in us?

Would some race of beings from another planet be wise enough to solve our problems?

Would they be coming to destroy us?

Was there some threat from afar that was greater than the threat of communists?

How would outer space effect our view to all such conce rns?  Are we alone?

While 50s SciFi films provided fear-as-fun for cringing youth seeking closeness in the cinemas, they were also exploring the deeper questions of what will radiation do to us? Will giant tomotoes begin to plot our demise? Will dinosaur-like-insects take over the world with us on their menu?  Will strangle Anglo-Saxon men- who parted their hair like our dads and wore hair jel- fly light years to lecture us as though they were former Sunday School teachers?   

In the 60s, Gene Rodenberry's Star Trek (although full of amazing insights and invigorating challenges to the imagination) tended to often present a moral basis not unlike a SciFi "Pilgrim's Progress" where potentially messy analogoies could be thrust into the fascinating backdrop of space where reptilian monsters with Oxford accents- could represent groups of individuals on our planet who could not be talked or reasoned with directly.

Rodenberry created an outer space which provided a safe haven for ideas and critisisms that were too close to home.   

Semi-controversial parallels at best were drawn between earth-based conflicts- such as the Middle East crisis- or the Empire of the Roman Republic pitted against the Hebrew Theocracy of Judea with their hard-wired contention that being on God's right side- required one to have Jewish blood.

Such analogies were planted with a disappointing assumption that strangely American-acting people aboard a huge spacecraft on a five year mission- were correct in expecting all manner of beings- from any number of light years away- to respect Judeo-Christian ethics?

*Klingons in their corner of the universe represented the Arabs with all others as "infidels". 

*Romulans in another corner represented "Gentiles = Heathens" (Romans, etc.);

*The always intervening USS Enterprise (used in this case as analogous to the doctrine of Manest Destiny on a larger scale- is depicted much like a nuclear-powered-Alamo brimming with a strangely 20th century-style of American hubris.

It streams through space to deliver a pay-load of monologues that are usually built around secularized Judeo-Christian values from a future vastly enlightened by science and technology?

The USS Enterprise inevitably allows itself to interfere in the cultural affairs of the other worlds- despite space laws to prevent it. What kind of adventure based on thinly veiled American hubris would settle for less? Anything less would be viewed as weak- (and just plain boring) by arm-chair advocates of foreign adventurism- who took relish in the idea of a giant spacecraft capable of destroying an entire planet with a beam of energy. 

Why was a rigid and shallow and exploration of East-West relations always performed without exploring the dangers of extremism presented by both Right-Wing and Left-Wing mindsets? Those and other equally messy subjects should be capsulized in science-fiction- as the microscope of safer and more entertaining analysis.

The French writer Jules Verne is thought by some to be the father of Science Fiction. His fascination with gadgetry and gizmos combined with a pension for swashbuckling characters treading on the very edge of known perceptions provides the rationale.  His British competition it could be said- HG Wells-  also shared the same interests and styles of expression.

As books and as films- Vernes 20,000 Leagues Under the Sea and Wells' Time Machine both served up great action within a swirling array of conflicts. Both also allowed audiences to question man's ability to control nature and nature's ability to defy that control. However, Wells  introduced a more psychologically entertaining enemy in that the Morlocks were the future negative results of man's past negative actions. Thus, Wells, not Verne, created the most dynamic incubus for Sci-Fi-Film-Monsters to evolve.  

THE MOTHER OF SCI-FI

Prior to the publishing of The Time Machine- Mary Shelly's book- Frankenstein- introduced the theme of a "man created (or resurrected) by science perceived as a monster." Her book presented a rich potential for motivational study centered upon the theme of New Science Vs. Man's Fears, Ignorance, and Intolerance.  

Shelly's book was capsulized in film-script at least four times before The Time Machine. Frankenstein's monster (some believe whose name was Victor). He reflected the potential of human's for brash, mass-actions and lynch-mob justice as the true "monster" with Victor purely as the innocent catalyst and victim. Within a theme of Good Vs. Evil the victim was thus- The Victor- a pitiful and tragic Promethius.    

 Thanks to the creative insights to the human-condition- Mrs.Mary Shelly- at a time when men were reluctant to share the reins of a horse-drawn cart with women- the foundation had been laid for more challenging and entertaining Sci-Fi film monsters. That she influenced the works of Verne and Wells is evident. Verne and Wells were the fathers of unique styles of Sci-Fi genre which would evolve, but clearly, Mary Shelly was the founding "mother" of Sci-Fi.  

Orson Wells controversial tale War of the Worlds (WW) created a very significant new genre of what would be later termed Sci-Fi. He would be responsible for a revolution of thought. Suddenly, the term alien would not necessarily conjure up the narrow-minded parody of a Mexican slipping across the border into the US.

War of the Worlds would inspire the publishing industry and the film industry to reinvent the term "alien" to mean either a menacing nemesis from outer space, or a creature (usually humanoid) like unto a paternalistic angel- super-invigilated by advanced technology. It would provide a superfluous stream of themes built upon metaphors along the lines of Little Green Men as Leprechauns.

Either way, the "aliens" only by way of creative script-writers- would surely entertain us, but would also challenge our concepts of everything which they represented in metaphor- causing us to reflect upon the human-condition- inside and outside of theological traditions and dictates.

WW was written for radio and presented on Halloween night in 1938, inspiring near anarchy in parts of America. It served  as an omnibus- of creative and plausible ideas extracted from Science Horror radio shows of the 20s. it would provide a wealth of philosophical catch-phrases and anecdotal remedies for outer space aliens who like a greasy-haired Latino waving a switchblade- or an ideologically-infested Asian waving an AK-47 could threaten to disrupt the most familiar aspects of our comparatively sleepy little towns.   

WW to date stands as a creative Rosetta Stone regarding man's preparedness for an encounter with outer space unknowns.  Orson Wells introduced cutting-edge scientific ideas for his time and blended them with plausible fears and considerations. He found the fifth wall and broke through.  

WW was unique for its time because of the new concepts it introduced.  The use of electromagnetic force to produce levitation was the radical, new invention of Nicoli Tesla- an Estonian -American- twenty years before!  His and a few other writers' knowledge of that inspired the idea of outer-space craft propelled and levitated by manipulation of the effects of earth's gravity by way of the alien's mastering of electromagnetic energy..

He was the first writer to introduce the concept of outer-space aliens as a humanoid with reptilian and insect characteristics. Naturally, such an appearance would breed the expectation of dangerous behavior and it would become a staple of Sci-Fi. The contrast and comparison of the superior aliens with the relatively primitive humans- further stimulated metaphoric associations (and blurred distinction) between magic, miraculous intervention (from benign aliens) and high-science.

WW also introduced the concept of outer-space aliens with telepathic abilities for communication and perhaps manipulation of other beings. That creates a metaphoric representation for "human prayer" as a means of communication with higher beings- again potentially blurring the distinction between benign outer space aliens and angels of mercy, or the distinction between- malicious outer space aliens and fallen angels, or demons.  

The conflict of earth's invasion by aliens was resolved by their immune systems inability to cope with new viruses in our atmosphere.  Such a concept would be reverse engineered by Michael Crichton in his book and film The Andromeda Strain- with earth invaded by an outer-space virus.  As a logical twist to break out of the established box- scientists in the story would question whether the virus was an alien civilization's attempt to destroy us, or purely a naive, but unintentionally harmful way of saying "hello".

SCARY MONSTERS VERSUS SCARY NEW IDEAS.

A recent survey indicated that WW ranked 27th in the order of scariest of Sci-Fi monsters to date. Presumably the survey included films from the Golden Age of Cinema to the present day.

I find this knee-jerk association between aliens and monsters to be confusing and unfair.   After all, the traditional meaning of the term alien means a person that is a foreign national in a country other than their own. Of course, in pop-culture- particularly where film is concerned- the term alien has been expanded to mean-  foreigners from outer-space.

Naturally, it is possible for traditional aliens to behave, or look even worse than the best behaved, or best-looking outer-space aliens. Many of them present outer-space aliens with a formidable challenge.

Even after traditional-aliens have been naturalized, granted a green-card whatever- they maintain habits which are considered "alien" or simply disturbing to the some locals. For example, Naturalized-Aliens from most areas of East Asia tend to run businesses providing at least two main services which sometimes can seem to present a conflict of interest such as: Wing-Ding's Pedicure Salon & Restaurant.

The thought of ordering a salad, sandwich, or any item of food from someone who is alternating between handling and preparing food in a kitchen, massaging people's feet, cleaning and cutting toenails (and who knows what kind of massages on the side) somehow (for me) diminishes the appeal of that businesses restaurant-appeal. Call me finicky.
 
I would also cringe at the thought of Outer-Space-Aliens who pick their noses as much as the average East Asian. It is frightening to think America could be invaded by them and makes one think soberly about whether to ever go to another Asian restaurant. 

To better understand Outer-Space Aliens and the role they play not just in cinema but in helping to define and critique our possible development or destruction by real involvement with them we should place OSA- Outer-Space-Aliens into three working categories:

1. GOSA
2. EOSA
3. OSAM

GOSA- refers to a Good-Outer-Space-Alien who almost always wants to do one or more of the following: teach earthlings something, retrieve something, help one of their own, get back to where they came from, etc.  Often times, they espouse a suspiciously Judeo-Christian philosophy which simply bores the hell out of a lot of people and has an anti-climactic effect on the overall plot.

Evil-Outer-Space-Aliens who may, or may not look evil, but they eventually prove to be evil. They often times are assumed to be, or pretend to be good before being found out. It is rare for EOSAs to have a change of heart, or learn anything from earthlings because the type of script-writing skills such a challenge would require would also bore the hell out of most any audience.

OSAMs are Outer-Space-Alien-Monsters that look like bad news from the very start and continue to be. However, just what is meant by the term "monster" necessitates some exploration. Thanks to the evolution of pop-film- the term monster- just like the term alien- has sometimes been misused.

In film, a monster "should" mean a creature that either looks dangerous- but is discovered not to be- or is as dangerous as it looks. Although monsters are usually large- as its adjective form of "monstrosity" is often used to describe-  it can denote a small and terrible looking creature that poses dangers- such as the puppet-like creatures used by Steven Spielberg in Gremlins- to inspire additional profits from toys bearing the same likeness.

Outer space alien monsters are never cute and cuddly and are always devoid of any moral guidelines that are like ours. The are predators, or even scavengers, or parasites which can evolve and morph. They seemingly  exist only to consume, or destroy. Some want to use our bodies, take our thoughts, emotions, but non are so treacherous as a spiteful, recently divorced women seeking her ex-husband's wealth, or property.

A monstrous-looking being that turns out to have only benign interests in our planet- is in the final analysis- not an OSAM- but merely a good outer space alien that is having conflicts with humans. Our initial misinterpretation of such a being- is usually due to the fact that they are capable of detecting which humans need "offing" and which ones are their to help them get back to their own planet, etc.  Such a theme was established by Spielberg in ET and in his more recent film Super 8.

In the classic film Frankenstein starring Boris Karloff- the monster was never given a personal name- and was only a monster in the sense that he defied normal standards of appearance which vastly limited his range of social interaction. The film serves as a study of what are perceived as acceptable limitations of science in regard to biological experimentation.

Specific to any intended theme revolving around the story of Frankenstein- is the revelation that the intolerance and fearful rage of the villagers posed the greatest threat to social stability- with  Dr. Frankenstein's creation as a monstrosity, but still a tragic and innocent victim. He was no-less than a Promethius- shaving committed no sin- struggling to break loose from his bindings.

If Dr. Frankenstein had endeavored to construct a beautiful bar maid rather than a very awful looking man who- happened to consist of an accumulation of body parts from different corpses- we can suspect that the village would have- rather than in a state of panic and chaos- would have discovered itself with vastly improved night-life and increased revenues.

The true monsters- in the sense of impending threat and danger- were the villagers who posed all the actual threats to social stability- while Dr. Frankenstein's created life-form- only strove to defend himself as anyone might do in similar circumstances. Thus, the film Frankenstein- to the tacitly aware- has its theme in the evils which spring from societal rigidity as the end result of religious, superstitious, and politically bred ignorance and intolerance.

FILM MONSTERS CAN BE THE SAD VICTIMS OF BAD P.R. & PRESENTATION.

Outer Space Aliens that appear as monsters are often  found in dark-areas throughout a film.   They less you can see of something- the more frightening it can become. As convenient as the scare-factor of an imagined threat we are always told about, but never actually focus on- or have the freedom to verify for ourselves.   The less-is-more theory used to be not only a cost savings device for film, but a psychologically effective means of utilizing the best special effect every created: our imaginations and inherent fears.  

In that sense, the overuse of digital SFX to embellish such monsters always diminishes their fright-factor- demoting them from horrid entities from outer space, or inner space can demote potentially frightening beings into nothing more than- Ugly-Action-Figures.   One must be careful not to allow over zealous advocates of digital imagery to  destroy a film's bid to be as  psychologically effective as possible.

The mere presence of more high-tech imaging techniques should not always necessitate their use. Mere possession of a sledgehammer does not justify using it to open something requiring delicate precision. 

The film Van Helsing- could have been a wonderful film in many ways, but the overuse of rough-shod effects beginning with the Jeckle & Hyde character and getting worse with Dracula's fair maidens confirms this.  For special effects imagery to contribute appropriately to a film that is intended to be scary- there must be realism.

The inappropriate use of jet propulsion sounds added to this- perhaps making some of the relatively good visuals seem absurd by way of sound-associations that conjured up being on an aircraft carrier, but not a spooky place in Romania.

Just to carry things to more absurd levels- some films now force us to view flashbacks, or fast camera pans also endowed with jet engine sounds.  Who are the fools that think of such bullshit?  

What could have been a truly Uber freaky scary film- ended up seeming more like a Transformers set in the mid-ages.   

They were unrealistically- if not purely undesirably fast. Traditional themes which nurture fright almost always rely upon the use of slow monster actions encased in a time frame that threatens to prevent the protagonist from fleeing in time.  Seemingly jet=propelled bat-women and goblin-like creatures which inspire the Battle Over Britain- cannot accomplish an adequate level of dred and fright. 

Why should flying vampires-make jet-propulsion sounds as they swoosh to and fro? It is simply not scary and are insulting to the intelligence of anyone who knows (or remembers) more effective filming techniques. Somehow, in the film The Wizard of Oz- dozens and dozens of flying monkeys (using wire techniques which the Chinese want us to think they developed) managed to complete their tasks without the invigilation of jet propulsion sounds. 

Extremely fast camera panning movements also should not require these inappropriate jet-propulsion sounds. Must even purely biological monsters subconsciously compound the idea that movement of all kinds requires the use of combustion engines which use petroleum-based fuels?

LESS IS MORE UNLESS...

Hitchcock and others proved, aspects of actions which an audience are intended to dread  are left at least partially unseen almost always become well enhanced by the imaginations of the viewers. In the respect, modern-films that are aided by wanna-be digital- effects gurus- often diminish or destroy what was originally intended.  

In the film The Day the Earth Stood Still- released in 1951 (two years before WW)- the Outer-Space-Alien known as Klaatu turned out to be a good alien even though his robot-side-kick inspired fearful awe.

Klaatu looked down his (Roman-looking) nose at the earth's chaos and consternation like some tuxedo-clad socialite stuck in a Salvation Army soup-kitchen. To the sensibilities of educated 21st-century audiences,  Klaatu was no much less outer-space-like than Oprah.

Such good aliens were no doubt put into the Sci-Fi films of the 50s in order to promote a surprisingly Anglo-Saxon-style of Judeo-Christian idealism- during a time when the American  government began making greater attempts to exaggerate the threats of both communism and  recreational drug use- other than alcohol as the most widely-used, most socially destructive and obviously legal one. 

Perhaps it was reasoned that America's teenagers would be more prone to listen to preachy "Reefer-Madness-style monologues" if after gratuitous levels of a new, more intriguing form of entertainment (accompanied by date-cuddling) was delivered by a man (who despite his appearance, British accent, and general mannerisms) seemed completely human- but nevertheless claimed to represent a superior-race from outer-space.

It is important to bear in mind that War of the Worlds invaded America's radio-waves long before Klaatu invaded with his list of demands and bland diatribes. The arrival of War of the Worlds as a film with its distinctive-breed of EOSAs marked the dawning of new possibilities for earth invasion.

That the writer's of  War of the Worlds- had the presence of mind to consider that mode of perception also served as a hallmark for more open-minded scripts on Evil-Outer-Space-Aliens. It raised a question that could easily be transposed within the sphere of our own troubled geopolitics:
We think they are evil, but what do they think of themselves and us?"

in their flashy gravity-defying vessels- glowing emerald-green like luminescent sting-rays- the outer-space aliens in WW as higher life forms- manifested a sterile, dispassionate objective to exterminate earthlings in a manner that made the My Lai massacre and others like it- seem chaotic.  Yet, from the viewers perception the label of Evil-Outer-Space-Aliens serves to define our perception- not that of the invaders who- to themselves were no more evil than bluejays raiding robin's nests.

War of the Worlds offered 50s viewers a brazen,  dispassionate, utilitarian enemy within a Human Nature Vs. Non-Human-Nature conflict. That morality was not preached, but merely attributed as a perception relative to the needs and orientations of every being regardless of their origin in an endless sky-was highly significant. lt was no less significant in the film version of WW in  1953- as it was in the radio-version of WW- which was believed by who had tuned in late on  October 30th, 1938- to be a real, emergency broadcast of an invasion from outer space!

The silliest mission which good aliens (or bad aliens turned good) could pursue was the worn-out quest to learn the meaning of a strange human emotion called  "love".  It served as a great intro for kissing scenes which could gave ticket purchasers on dates the necessary level of chutzpah to fulfill any ulterior motives. The love-research angle for outer-space aliens was also a form of human self-flattery: It enhanced our cumulative pride and self-esteem as earthlings as the most unique beings in a ghetto-like universe of much trashier emotions .
 
That good and even bad Outer-Space Aliens were- and from time-to-time still look Caucasian or Anglo-Saxon is frustrating and disappointing particularly if they come in the form of Keanu Reeves saary if. That is why WW helped define a new genre of  sci-fi film, and even pioneered several significant aspects of monster-presentation.


VALUE PROJECTION FROM BEYOND

Outer Space purveyors of Good News became deeply challenged after the 50s. America's increasingly ugly and invasion of SE Asia played a fundamental role to this change.  GOSAs
as angelic bearers of enlightenment would be viewed as no more exotic than government operatives with strange cologne.  Their philosophies and demands for earthlings became revealed as capitalist jingoism disguised in the flashing lights of a night sky.

An era when script writers could inspire better behavior from youth would be opposed by greater resentment and less trust for political leaders whose Klaatu-like speeches were delivered in a manner similar to how outspoken white-cultures have persisted in doing even in a post-colonial era. 

It is strange that in the past, good aliens from outer space were always not only human, but were white and adhered to a kind of Hallmark-card level perception of Judeo Christian ethics.

EVIL ALIENS & THE HUMANS THAT SELL OUT TO THEM.

A  more complex and modern time calls for a more complex and modern interpretation of all manner of outer space aliens. They could assist earthlings in discovering ways to expand their mortality by way of greater morality. Developing a direction contrary to that established by good but boring aliens from cinema-past- requires a protagonist to violate our expectations.

In his film They Live- John Carpenter took the concept of an largely unnoticed- veritably invisible invasion- no doubt already explored by Rod Serling and done over again by The Outer Limits- in a manner that would require the aliens have special morphing or disguising technology. It went beyond where the bounds of 50s and early 60s films rarely "if ever" tread.

It managed to address the interests, angst and suspicions of an increasingly isolated and disenfranchised American (and international population) under the shadow of a more intrusive government- at a time when America's corporate defense complex (spread the world over) with a vastly increased number of M&P contracts were starting to be manufacture high-tech components in such a highly compartmentalized fashion that , the average line-operator,or line-technician (regardless of his or her moral or political convictions) were simply unable to learn the nature or use of.  

Almost forty years after WW- wrestler-actor Roddy Piper- playing the role of  a quiet, construction  worker who is drifting to where work is available. When he arrives in the gloomy vortex of an LA-based shantytown- he ushers the audience through the ramifications of an unseen alien invasion that takes advantage of the desperation and anger the gradual rotting away of an economy can create.

They Live- successfully exposed the Sci-Fi viewer to outer-space aliens who were capable of cloaking their hideous-skeleton-like appearance with the bodies of humans who "sold out" to them by discarding their human morality and social conscience- for the higher level of wealth and comfort joining the alien-alliance could offer them.  Sounds a bit like globalization.

They Live was a witty melding of traditionally overt outer-space invaders with the popular interest in international secret societies- which are said to permeate the top-levels of government and industry worldwide.   

COSMIC BALANCE: EVERY EXTREME NEEDS ANOTHER

In a universe full of economic. political, and moral dualism- the Good Outer Space Aliens require an antithesis- Evil Outer Space Aliens. Where any evolutionary process exists- lesser evolved species will poss a threat to more evolved species and visa-versa. Factor in vast distances, vastly different biological structures and requirements, perceptions and goals, and virtually all living (or non-living?) beings can have the potential of posing a great threat to all others. 

An Evil Outer Space Alien could establish the idea that Good is what propagates humanity's survival, as a way to lure them is- just the way ridiculous aliens who looked just like men from the 50s tried by manifesting strangely droll-looking American hairstyles. They wanted to come across as wise fathers full of witty truisms for the Beaver and not as horny playboys out for a good time.   

If earth men do in fact think about sex every 8 seconds as someone has said, then it's just ass likely that aliens would come to earth for steamy sex with us, or various breeds of wildlife they fancied even more- rather than to lecture us, or consume us.

The crux of a creative script with that perspective has yet to be done.

TV scripts, a human-protagonist has managed top jam some outer space alien's computer's circuits- or like an illustrious lawyer with an acerbic wit confuse the outer space aliens with an endless quagmire of contradictory terms logical dilemmas.   

This has also been explored by Federal Agencies of the US government to further confound the nerve-racked general public in pursuit of  the proverbial Form A  which cannot be obtained without the proverbial Form B- which requires the possession of an approved Form A.
 
It is no secret that throughout the history of film, filmmakers have often made films for blatantly selfish and blatantly selfless reasons. Some scripts have been born out of political think-tanks but packaged as the inspired culmination of one man's accumulated observations of life behind the counter of a video-shop after snorting cocaine.

Cinema Audiences Pine for Greater Outer-Space Diversity

Why must the diversity of creatures found in one's backyard, or in a tiny pond be much greater than the diversity of beings that (by way of films) issue forth from the furthest realms of reality?

One answer might be that the creators of Outer-Space Aliens and Outer-Space Monsters are often times more concerned about the use of Outer Space Beings as marketing tools. For example, ET needed to have a body that was roughly humanoid so that he could dress up like a women, learn basic English, phone home in a way that the audience recognized, raid the refrigerator, and thus promote the consumption of American junk food.

It was flattering to many Americans and silently reassuring to the most obese ones to think that a highly advanced being from outer space loved American junk food. It meant that their weaknesses and limitations were closer to being universal laws rather than personal failings.

How could Americans be blamed for having no culture or culinary sophistication if a highly-advanced being craved and gorged and quaffed the very same things American corporations want Americans to?  
 
Why must creatures resembling a lizard-human hybrid always speak the Queen's English? 

This tired tendency has even led to a popular urban-legend that the Queen of England and Keith Richards are both shape-shifting reptiles.  Is that meant to subconsciously parallel with Earth's previous British rock invasion?

It also raises the question, of whether England-  may have been colonized by reptilian creatures long ago.

Benign Aliens that may, or may not appear as monsters to invade this planet- always bring monologues full of the usual shallow, moralistic drivel- that always reminds me of some baritone man chanting some shallow, moralistic drivel at the end of a government financed movie from the 30s. 

Why then, if the benign aliens are so enlightened- do they threaten to reap havoc on us in a strangely familiar right-wing republican way- like George Bush's cowboy-film ultimatum to Sadam Hussein? 

If Evil Aliens wished to invade the earth- and they were intelligent enough to get here- there is as likely a chance that they would invade in a way that did not allow the average person to sense malice. With that having said, we may have been invaded long-ago. Perhaps (as some have suggested) we ourselves are the aliens, but then are intelligence level must have devolved- and that could be due to any number of variables- such as a negative reaction to a new and damaging level of solar radiation, radium from the earth's crust, viruses introduced by wildlife, etc.

Perhaps we are gradually evolving closer and closer to the level that got us here in the first place.

A Sci-Fi script exploring such a theme could consider the fact that certain pockets of youth the world over are starting to not pursue stranger fashions involving extensive body-tattoos, piercings and mutilation- but are beginning to act more disengaged from blatant reality and more myopic in the analysis of the purely rational and obvious. 

That could suggest that- the Evil Outer Space Aliens are actually compelling people to look and act more like them.

If imitation is the most sincere form of flattery, would not the Evils who thought of themselves as superior, prefer to slowly change us, rather than even temporarily conform to our standards- which are viewed as more base?  

The Outer Space Alien Monsters in the film War of the Worlds (originally written for radio by Orson Wells before TV existed) were pretty weird looking for their time- but no one thought to douse them with goo. Today, the use of slime and goo has enhanced the film alien fear factor greatly- but the time has come to start exploring other genres. And the audiences of today, demand more than Keanu Reeves as an alien graduate of Berkley that can speak fluent Chinese at McDonalds.

No self-respecting handsome, human-looking alien, or with a monstrous appearance that is made of plastic, rubber, or latex is sufficiently icky or scary.  Yet, some in the audiences respond better to Ick than to Scare. That is why a good writer must flit between the two, the way characters on Family Guy flit between loud farts and clever quips. Yet, what may appeal to one group, may completely alienate another group.

One must intersperse actions of the outer space alien in random doses such as: Seduction, Sex, Morph, Scare, followed by Ick.  Kind of like my honeymoon, just before my divorce.

Imagine just how terrifying a dry, ripped-condom might appear to a woman that was clearly not in the mood! In that respect- the SG factor is as important to non-conventional monsters ass it is to non-conventional sex.

In a modern world jaded by hundreds and hundreds of interpretations of the word scary we become jaded. What was considered a monster years before can now just be the guy working the counter at a Starbucks. (Those over-rated places that sell over-rated coffee at high prices).

After being away from the US a long time, one might conclude that the entire country has been invaded by alien-monsters- that have possessed human form- or morphed into one.

Consider the idea that outer space aliens, or aliens from another dimension can be invisible- as we imagine demons to be. Consider the idea of humans, possessed by invisible aliens, Consider the idea that real, flying saucer-like anomalies are collecting spirits and ushering them to other locations, or delivering them here for purposes that we are not aware.

Half of the people behind counters or providing phone services seem to be empty shells possessed by such creatures.

A world that requires one to accept that half of the people on a city bus may look and act like 
Freddy Kruger, or Edward Scissor-hands-  one will require new ways of being scared and will become jaded in the process.

We are jaded by humans possessed by monsters on a daily basis.

Why is it that in the USA particularly, there is a high level of individuals with phone-related jobs such as at reception operators for Long Distance Learning Programs, Tummy Tuck commercials at 3 AM, pizza delivery services, credit card assistance, etc.

THEY HAVE ALREADY INVADED.

Try buying a TracPhone and then initiating the service for over an hour, struggling to use an automated system and a computer-generated voice. You will find that the computer-generated-voice-persona always sounds much more kind and helpful and always speaks better English too.

It is better than having to deal with a real women who always seems to have "that time of month".  She will have to keep repeating herself over and over because of her Chicano, or Filipino accent and will get angry and impatient at you for not understanding her!

If she were in charge of charting some form of trajectory and communicating the exact location of an air-strike during war-  many thousands of innocent people would be dead Perhaps this at last in part- goes to explain some of the horrible accidents which occur from time to time in the US military?

Human-bodies serving as protective vessels for alien-monsters has been done by John Carpenter in THEY LIVE. One of the most fascinating SciFi films to date sporting one of the best one on one fight scenes to date- without the use of silly  Wire Fu effects- as first introduced on the stage and then film- before the Chinese predictably claimed ownership.

Whether real, or imagined, alien-monsters serve as useful metaphors  for the crazies and discontents, who manage to compromise or intrude upon our pursuit of happiness.

Some of them are Goth and need a severe cleaning up. They haunt places like Hollywood Blvd. like aas evidence that anyone could be next us. Some are well bathed and are driving expensive sports cars.

Another avenue that needs exploring is: Are the alien-monsters being created in a top-secret underground facility supervised by the same Chinese that construct our clothing and smart phones?

In the John Carpenter film THEY LIVE- America was being sucked dry of its truest, most redeeming values. Alien possessed yuppies under orders from subliminal advertisements such as, "You Are What You Own"  took over quietly as taxes and fees increased, fine print got smaller, laws got more complex and draconian, and people in general got more myopic.
 
More sophisticated domestically-made monsters exist as well and are melding with and confusing or ability to identify,  define and contrast them with outer space ones. Bad rap music could be at the core of this dilemma.

We are being corrupted and compromised by the ones we encounter and as laws insist- our tolerance of them only insures that the vortex of despair and social de-evolution will deepen.

Thanks to America's much more complex and intrusive society- we can get burned any way we turn without expensive legal advice or the appropriate fee for certification.  Thanks also to the  associates of  Oprah- the least informed masses with the greatest amount of expendable time- now represent the highest number of  activists.

Any violation of normalcy, or nature deserves a special psychological term to drum up higher levels of tolerance, tax-funded programs, sympathy where it may not be do, more expensive medications and fruit-cake-make-believe experts.

                                                    NEW FAD INVASION

As soon as the traffic light turns green a redneck in a rundown 70s muscle-car honks loudly. it It may or may not help you to know that he is a victim of FAD- Fucking Asshole Disorder.

For us to come to terms with how and when America became possessed by alien-monsters-        we must turn our focus back to the presence of alien-monsters in cinema as metaphoric and anecdotal tools of learning. 

Like the predatory behavior of assholes in bars and night clubs- progressive outer space alien monsters should know more about the gratuitous use of sex after arriving on this planet. Are they so advanced, or differently evolved, that they are only interested in having sex with David Bowie and Brian Eno?

After traveling the untold vastness of space, would an alien creature really care about gender, or even be able to recognize it? 

It has traveled a presumably long time through the untold vastness of space.

They are tied of coming here just to steal our resources, or eat us, lecture on nuclear disarmament, ecological problems, geopolitics, or international etiquette . A film could explore the idea that alien arrival on this planet were like unto the arrival of the USS Enterprise in Pattaya, Thailand. All hands on deck would be looking to get it on.

BEFORE SUCH THINGS AS SEX TOURS OF THE UNIVERSE COULD OCCUR...

There was... War of the Worlds- made in 1953.  It was a time when monsters (by way of some universal means of telepathic-empathy) were beginning to vicariously associate themselves with and assist cinema-going males with the fulfillment of their most wanton desires.  

Its introduction to the screen, ushered into the cinema- a better strategy for a man's attempt to somehow, someway, spill buttered popcorn down his date's blouse.  

The actions of the malicious alien assist the predator-male movie goer achieve his malicious goals, by appearing more benign when compared with the alien.  In that sense, alien predators are in a secret pact with the many human-male movie goers. 

Alien-monsters lacking in more tactful, social graces make even a sexual deviant appear charming. Isn't Hollywood wonderful?

Perhaps this is why so many households keep animals as pets. It might serves to- by way of contrast- make the man of the house appear less like an unruly beast. 

The Scary Prospect of 2 Brains Was Introduced by War of the Worlds.

In a world where scarce few world-leaders are capable of using even one brain, just think of the frightening possibilities of what an enemy with an unknown agenda sporting three brains working at full capacity could achieve!

On earth, even the most caffeinated brain only has an increased capacity of about 20%, unless Fox News is on. Then, ones mental capacity may drop to a level between a fried newt (no pun intended) or salamander.  

The best indication that aliens are more intelligent than us, is that they never show any interest in Central Asia.

They are not interested in Afghanistan, or Iraq.  They know it is an ancient and proven taboo for invaders; They knew that such leaders when deposed will be replaced by others just as bad.

Although aliens may travel distant light years to have lunch, take our resources, rape, pillage,or  plunder- they never make an initial landing in such places unless it is to hide something in a cave,or inspire the Jews to invent a dradal.

 
In War of the Worlds, a kind and lonely Catholic priest (the fact that he was horny is a given) learned that aliens were on the edge of town and imagine his glee when he learned they were only  3 feet high?

Secretly acting on that premise alone, the priest then proceeded to both scare and bore the hell out of the aliens by reciting the most negative writing from the Old Testament- in the sense that any time this verse is read- it signals and audience as well as the aliens know this.

Tho I walk through the valley of the shadow death, I will... BBBZZZAAAPPP!!!    

Imagine other scenarios that could have been introduced:

"Say, I'll bet you guys 'r hungry 'n could use a good home-cooked.." BBBZZZAAAPPP!!!     

"We're giving you ten seconds to come out with your tentacles up." BBBZZZAAAPPP!!!   

"...as members of da Lollypop Guild we welcome you to Munchkin Land!" BBBZZZAAAPPP!!!

ENTER: Actor Gene Berry as a '53 Jeff Goldblum.
 
A kindly-looking guy in turtle-shell glasses (Gene Berry) like so many protagonists when the world is in danger- had the presence of mind as a college student- to become a genius equipped with  quick and clever quips and observations dealing with basic scientific analysis, and the ability to get away fast when need be.  To insure this, like so many heroes, he became a never-busy astrophysicist with a pilot's license on holiday.

 
The inevitable cinema-moment when fear requires hugging, groping and kissing between principal actors- is indicative of  how important aliens are to the human libido, and the prospect of a man getting laid by his date to the cinema. 

Even plain Joe astrophysicists on a solitary fishing trip cannot resist foreplay during a major alien invasion.

War of the Worlds introduced the concept of aliens bearing dreadful, long tentacles served to implant the suggestion to a woman that- a human phallus by all relative standards, no matter what the shape, or color- would be much more welcome acceptable that evening.

Their luminescent, emerald-green,  spaceships levitate above a bleak landscape of familiar Americana, circa 1960, full of hubba-hubba actress-hopefuls.

As audiences may have learned from more benign invasions dependent upon some level of  government cover-up- such as in the movie Close Encounters of the Third Kind, or ET- aliens from distant galaxies not just crave our women, but our most deplorable junk foods. 

It is a corporate conspiracy to assume that alien life-forms could have the microbiological construction to survive the consumption of Little Debby's, Cheetos, Slim Jim's, Captain Crunch, or Count Chocula.


A Need Exists for More Invigorating Invasions


Was the experience worth it?

Did I adequately lower or raise my standards of perception?

Why do the alien invaders of late, use jet propulsion?

WHERE CINEMA AND THE REAL WORLD CONVERGE

In this day and time with access to many forms of alternative news, we must learn to accept the idea that not everyone that appears to be a monster is.  Whether an enemy is an Israeli, Palestinian, or Iranian... the primary pursuit of that species is to survive, live and love.

Isn't it about time to be much more truthful with ourselves and realize that to date- the worst threats of all to arrive on Elm Street have not arrived in saucers from outer space, but have been communicated to us by little men who hide behind a curtain?

And why does a dog- like Toto always know?

The real alien-monsters may not be in the form of shape-shifting reptiles either. From all accounts, it appears that they have taken the form of profiteering spin-doctors and power-crazed politicians. However, they pose no less a threat to our survival and our pursuit of beneficial dreams.
 
However, when it comes to the point where no candidate is the right one, we continue to be puppets controlled by unseen forces from where, ... we know not.  

As the last photo in the above series suggests...  many of the most eager participants in the Red Shirt stand-off were simply too young to consider any short-term- let alone long-term consequences of their actions.

It is important to note that most of the world's developing counties mirror this condition.

All around the world are desperate people caught up in the process of trying to be part of a group that they hope can best represent their interest to pursue life as painlessly as possible. Most are incapable of calculating the hidden, or unfounded contentions of their shadow-puppet-masters, consider the deeper consequences of and ramifications of political grid-lock, or the seemingly indifferent corporate specter that shadows their homes made of found-objects. 

The drone of tired metaphors built on self-imagined heroics was becoming deafening as the "Red Shirt happy-hour" moved into its third or fourth hour. I must have heard the name "Rambo" tossed around no less than a dozen times the first hour I was out. For many, it seemed to be just another action film set in Thailand. 
 
For other groups, the whole affair was a coming of age fest, or a proving ground to equally out-of-touch and penniless crooks and opportunists posing as vigilantes guided by a tiny voice of pseudo-morality over one shoulder.

Were they addressing a justifiable anger, or were they the victims of a rare set of solar flares? 

Judging from the aroma in the air within close proximity of Red Shirt encampments, it is nothing but fair to assume that for many- this was all a warming up exercise to justify another raid on a nearby liquor store But then, this gets back to the whole movie image thing again doesn't it?

Would-be swashbuckling heroes in need of a musketeer's sword in one hand and a bottle of rum in the other.  

It seemed that the bottled bravery was helping them to more seriously consider more strategic grounds to air their political debate from such nearby jewelry stores, appliance shops and ATMs.

Danger! Restricted Access to the Dimension of Flash, Dazzle, Glitter & Bling!

Uneducated, outsiders must wear a visitor's badge & be escorted by a wealthy family member, or friend!

Some say it all began as a protest. A grassroots political movement calling for fair elections. Imagine if the Bush-Gore debacle had ended this way!

In my humble opinion, the reason why this has happened in Thailand- and to date- not in the USA- is because Thailand allowed a wider gulf to grow between the haves and the have nots with little recourse or alternative means of self-improvement for those less educated and less alienated within the low and efficient hum of a modernizing metropolis of temptations that threatened to become nothing less than a juggernaut to the most frail and voiceless.

People must be made to understand why they "have not" and how they can- with seed-money provided by taxes- set a self-improvement course to correct the matter. Is that communist pinko?

Liberal, or what?

Not everyone is born lucky. Not every one has successful family members to lift them up when they need it most.

The poor waiter one forgets to tip is the one who picks the steak-knife up from the table.

Why not spend more government seed-money for job creation? Is it really blatant spending of tax money to prevent a bigger disaster than unpopularity at the polls, or radicalized masses armed with idiotic hearsay?

Such spending is not so much charity as it is an investment in the infra-structure of a growing nation. If anything, it is a wise investment- an insurance policy that collects dividends along the way.

Give people valid hopes that can be diligently monitored!

This means, giving all people access to the basic requirements to contributing to society by way of state-sponsored community access education programs and self-help centers.

The human brain requires about 30 grams of protein to work properly. In the tropics proper public service announcements must make it clear that- hydration is an essential ingredient to healthy mental activity. The use of drugs and alcohol as the most commonly abused drug must be identified as a prime cause for many negative economic and social phenomenon.

Tax money allocated to curtail poverty-related disasters must be accounted for diligently by the government to insure that only the required essentials of nutrition, shelter and education are being provided for and not non-essential extras. 

A COUNTRY IS ONLY AS STRONG AS ITS WELFARE PROGRAMS, Saith the anti-American socialist pinkos!

The above statement does not refer to President Roosevelt- the staunch republican advocate and creator of America's Socialist Security System of  course.

Imagine spending untold billions of dollars to defend a country- from sometimes largely imaginary enemies (or at least one's that we have effectively alienated over the years) while your country rots from the inside due to ignorance, poverty and corruption.

It is important to note that: the age-old argument that corruption is fathered by poverty may not always be so valid. Sometimes, corruption is the very cause of poverty and the ignorance that keeps the vortex swirling.

The larger a sub-group of mumbling-basket-weavers is allowed to grow- the higher the eventual cost to the entire society in terms of taxes spent, in terms of productivity lost as it becomes fused within a cause and effect matrix of laws built upon course-stereotypes and not out-of-the-box inventiveness that allows a society to evolve mentally and emotionally.

The responsibility to alter a course built on anger and desperation fueled by ignorance, falls into the lap of a government's diligent appropriation of taxes to insure a helpful infrastructure of self-help knowledge in this Information Age.

GIVE THE PEOPLE HOPE

March 18, 2010. Yes, I took all of these pictures as Al-Jazerra and CNN reporters (all wearing flack jackets and helmets) usually stood behind me. They must not be getting paid very well.

Under the circumstances, the current government is showing respectable restraint.

 A drunk and determined red-shirt puts on a death-defying performance for all.

(Addendum: May 10, 2012) Could it be that he knew what many of them knew: That he was facing no actual risk- because the "sniper" was actually a Red Shirt hiding out with firecrackers?)

May 17: A standing ovation was in order just after happy hour went into its third inning. 

Before then, everyone was already convinced that "a sniper" was in an adjacent building.

(This Addendum: May 09, 2012) The "sniper" turned out to be one of the Red-Shirts with access to huge firecrackers- that was hiding out in an abandoned building nearby. I saw him as the whole circus tent was going down and the burning tires were being dossed with water by the Bangkok fire department.

Red-shirt-front-liners are doing the dirty, dangerous bidding for their politically elite mentors. The front-liners appear to be the kind of common-folk desperadoes who feel they have nothing to lose and little to gain. The U.D.D. supporters however, are not all sleeping on the sidewalks off Rama 4 Road tonight.

Those well-to-do secret comrades of the red-shirts- sleep in   guarded silence- careful not to give even vague lip-service to the easily manipulated dogs of war. It is a short sided struggle- but a familiar one-  which plays the untold ends against  middle for power and profit. 

It is not wrong, nor is it right to contend that the red-shirts are comprised of Thailand's most disenfranchised masses- pining for iPods, MP3s, lap tops, and the lush lifestyle they see adverts for everyday. It is so painfully obvious to them that it somehow goes beyond any question of wrong, or right. 

It could be argued that these disenfranchised masses know as little about corporate society and geopolitics as they do about the skills and connections required to obtain the kind of slightly more comfortable lives they pursue.

Imagine, dreaming of getting paid to open the doors of the same 5 star hotel which provided a dark, damp alley for you and your family to squat in with found objects for a walls and roofs?

They way things look- it is easy to conclude that Thaksin may have footed the bill for the initial demonstrations, in hopes of returning to power. But hasn't it gone beyond that now? New players have emerged on the field grappling to get a piece of the 2nd strongest economy in the region.  Who are they though?

The front-line defense mobsters must imagine Thaksin as some kind of deposed Santa Claus who still plots a return from somewhere in the magic, white-north.

To complicate things even more, evil, little elves have been seen roaming about Bangkok apparently intent upon derailing the confidence of both sides in any negotiations. The are being referred to as the MIB- Men In Black. Such agent provocateurs, guns-for-hire, maverick opportunists, or whatever they really are) are "rumored" to have affiliation with either the current government.

Rumors are abounding though and considering some of the sources I have talked with- have little footing in reality. I was informed by one very drunk individual that the US Marines were about to attack and defend the Red Shirts! Another quizzed me regarding just when the UN would send their peace keeping forces to "protect the Red Shirts".

I have also wondered if someone (for political reasons) wants to create (at least the fleeting illusion) that the red-shirts (for now) possess a great deal of sophisticated weapons and an  advanced infrastructure. Next thing we know, Fox News will be speculating about Al Qaeda's involvement in destabilizing the Thai government.  That actually does not sound so very far fetched at all actually, considering how much of their shell-game funding has come through "Dubai-based entities" in recent years.

The purpose of painting such a picture would be to justify a wide-spread attack of lethal force by the police and army against the red-shirts in order to quickly restore order and not loose face with the international community.  Of course, if the world perceives the red-shirts as down-trodden underdogs- the Thai government will have hell to pay.

It will be hard to quickly put down the red-shirt movement if they are perceived as ignorant romantics, or  politically naive vagabonds- armed with  only bamboo sticks and firecrackers. But if the international community can be convinced that the reds are a rapidly growing, population of terrorists bent on threatening the lives of innocent men,  women, and children, then the world will obediently turn a blind eye while the Thai police and army indiscriminately kill off the red-shirts... just in time to usher in a new, commemorative, postage stamp.      

JBBaker   

BKK. Retaken But Not Re-Tahksin! Monday, Oct 25, 2010 9:48AM / News

很久很久以前，有一个美丽的，成功的，中国女演员。
而苦苦挣扎，破旧，美国编剧，演员和导演与多动症。

她看见他的秘密2年的婚姻合同的广告。
他们都开发了自己的自私的梦想和期望。

她可能不知道，他希望她支付所有的账单和未婚夫他的电影理念。