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The author, Miles Mathis, critically analyzes the television show The X-Files and the television series Californication, arguing they are propaganda vehicles designed to instill fear and manipulate the public. Mathis expresses his long-standing aversion to The X-Files, which he claims to have never watched until recently for the purpose of deconstruction. He criticizes the actors David Duchovny and Gillian Anderson for their continued involvement in what he deems “low-level crap.” Mathis scrutinizes Duchovny’s education, suggesting his academic achievements from Princeton and Yale are suspect, and compares him unfavorably to actors like Richard Gere and Patrick Dempsey. He also dismisses Duchovny’s Californication role and his earlier work, including his appearance in Queer Duck and Twin Peaks, as derivative and lacking substance.
Mathis finds the premise of Dr. Scully’s physics undergraduate thesis on Einstein’s twin paradox in The X-Files implausible and indicative of a controlled narrative regarding scientific inquiry. He claims the show’s creators may have foreseen his critique, citing the inclusion of characters named Billy Miles and Detective Miles. The author connects the show’s “black oil” plotline to vaccine narratives and the Phoenicians. He further delves into alleged connections between the show’s cast and crew, and various prominent families, serial killers like Gary Ridgway and Ted Bundy, and historical figures, suggesting a deeply entrenched elite manipulating public perception. Mathis dismisses the show’s “monster-of-the-week” episodes as fear-mongering and notes a perceived agenda to make women fearful of private spaces like bathtubs, linking Gillian Anderson to Janet Leigh and the murder scene in Psycho.
The author criticizes Chris Carter’s writing, citing specific episodes like “Space,” “Shapes,” “Eve,” and “Gender Bender” as examples of poor scripting, government propaganda, and “blackwashing” of groups like the amish and Earth First. Mathis also analyzes the show’s opening theme, suggesting it is an attempt at hypnosis through its 666 musical pattern. He contrasts the perceived CIA-driven narratives of The X-Files with what he considers genuine cultural touchstones like Cheers, Friends, and Seinfeld. He also critiques Californication for its gratuitous nudity and perceived anti-Christian sentiment. Mathis expresses skepticism about the authenticity of court cases, mentioning Supreme Court Justice Sotomayor and Covid, and the managed nature of events like the Djokovic saga in Australia. He concludes that The X-Files was a CIA production designed to destabilize the populace and promote fear.