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You can hear the words being muttered under people’s breath.

Those who reside in and around Pretendland (that’s Hollywood to those who live there), are again cursing the name of this upstart troublemaker who was born in the United States but was raised in Australia.

“How could he again be so pretentious,” they say. “He was supposed to take our wrath and scorn and sulk away into the corner like the kind of child who had to be disciplined because he thought something different than his teachers or the rest of the class.”

And Mel Gibson has had this scorn-drenched rhetoric focused on him for some time.

Early on in his acting career, Mel was a good boy. Making “Mad Max” and “Lethal Weapon” movies that were filled with Pretendland-approved violence, profanity, sex without consequences and the like. But then something happened to Gibson that he couldn’t quite grasp.

God was trying to tell him something. Yes, I said God.

Gibson had reached the end, as he told Diane Sawyer three weeks ago on ABC News. And in doing so, he had thoughts of suicide. He was financially successful, but personally unfulfilled. Then something happened – the details of which the public still have never been told in depth. But God found Mel – and this would be his ultimate ruin.

Not just yet though, his version of “Braveheart” was still violent enough to cause Pretendland to bestow the highest Pretendland honor upon it and so they did. But that was definitely the last thing Pretendland ever sanctioned by Mr. Gibson.

There has been much fuss over Gibson’s newest project, but when one looks at the path that Gibson has been on for some time, “The Passion of the Christ” is the natural result of where he has been led. The themes of Gibson’s long line of movies following “Braveheart” have caused the socially haughty and the philosophically elite to whisper behind Gibson’s back at Pretendland gatherings and though his movies have been of the highest caliber and extremely financially successful, Pretendland has shut him out of any consideration since.

But why shouldn’t they? The gall of Gibson! Sheesh …

In “Braveheart,” he had the nerve to promote the idea of freedom as perhaps the highest moral virtue that a society can grant, and the fact that it is worth dying for. Add to this the fact that Gibson’s character was seen defending the “honor” of his wife. I mean, aren’t we enlightened twits supposed to know that with the feminist movement afoot that wives should just be left to die like roadkill?

In “Ransom,” he plays a father who refused to cooperate with terrorist-kidnappers who took his son. He even ends up taking the life of the man who tried to harm his boy. Now that is simply uncalled for.

In “The Patriot,” he had the self-righteousness to defend his historical adaptation of allowing young sons to use guns in the attempt to rescue their brother from the British troops. I mean, you can get away with a lot of stuff and letting boys play with guns is bad enough, but then you have to go show the boys actually shooting other people. Courage in the face of horror – what injustice, what insanity, what outrage!

In “What Women Want,” Gibson went from violent to hypersensitive. How dare he produce a movie that esteems the tenderness and goodness of women. How dare he say that women should be treated fairly and honestly? It defies belief that in this pro-feminist day in which we live that anyone could produce a film about treating women with dignity. What a scumbag!

In “We Were Soldiers,” Gibson dared to defy John Kerry. I mean, Gibson actually had the nerve to portray a military officer who served in Vietnam and did not commit atrocities, nor did he break his promise to his soldiers that any would be left behind. It is obvious that Gibson’s character – which supposedly was based on a true story – did not fight in the same war that John Kerry did. Because we all know that every military person in Vietnam turned into the worst kind of devils right after Kerry left the war. So, come to think of it, Gibson must have made the entire story up. How funny – a military man who had integrity with his troops.

In “Signs,” Gibson gave Pretendland some hope. His character turned his back on God, but of all the crazy things, he finds it again. And in perhaps the darkest hour of the story, his character gives the most profound monologue on what it means to believe. And not just to believe in some wild mystical force, but actually to believe in God.

Of course, belief in God is just a short stone’s throw away from saying God existed and that He was real and all sorts of other hate speech. That is why Pretendland all but disowned him when he started talking about his ideas for “The Passion of the Christ.” It was as though Gibson had once again become that 18-year-old out-of-work actor trying to land his first gig. Pretendland shut door after door.

So, he decided he would finance it himself. He was intensely focused about the elements of the movie – he made his actors learn Aramaic and Latin. He didn’t want people taking the story in a lot of extra-biblical directions, so he oversaw the crafting of the script and made the final decision on every edit. Then just to be sure he was really hateful, he showed copies of the movie to people like James Dobson and Franklin Graham. And to be sure that he really insulted the good grace of Pretendland, he even showed it to faithful Jewish personalities like Michael Medved and Dennis Prager.

Fast forward to the night he sat down with Diane Sawyer for his ABC interview to discuss the film. Because of all the “anti-Semitism” buzz that had been gushing out of the flotsam that is Pretendland, Sawyer asks Gibson what she believes will be the killer question.

“So, who killed Him … did the Jews kill Christ,” she ponders, then looks intently at Gibson hoping to force the beads of sweat to burst from his forehead in the one last chance that Gibson would blurt out.

But he didn’t.

“When I was shooting the movie, I made sure that it was my hand that drove the nail into Jesus’ hand,” Gibson replied. “Diane, we all killed Christ. We all sinned. It was all of our sin that put him there.”

So you see its true Gibson has lived the last few years of his life producing movies that dealt with the menial and unimportant subjects such as freedom, courage, dignity, integrity, belief in God – and, as you heard him admit personally, “he killed Christ.”

No wonder Pretendland has such little use for this hatemonger.

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