Text herein, and lambda sigil design, except for attribution, © copyright 2026,
Olympus Guys™
In memory of
Marc Christian
June 23, 1953-June 2, 2009
Marc needed a stable home, Rock needed to know he was still capable of being needed for himself;
the poor and the imprisoned have a common, supreme blessing; they know when they are loved for themselves.
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Perhaps her judgement presided at trial~
Some You Tube URL's of interest:
https://www.youtube.com/watch?v=Vjy_MH8IUwk
https://www.youtube.com/watch?v=48ZKaaRx9hk
https://www.youtube.com/watch?v=qa5pVdnq8Tg
Semi-Fantasy, above last
https://www.youtube.com/watch?v=fd8IFAzrwww
Detailing Marc Christian and the abuses faced
See, a partial biography of Nader's Hollywood destruction:
https://youtu.be/zv4Ijrsckzw?si=50nHtMrlDW5nW9dC
George Nader, Hollywood's Gay Scapegoat
Nota Bene-----
It is to be prayed that what is briefly herein referred to as 'the Nader/Miller axis' will ultimately be rationalized by history as attributed to two otherwise highly admirable men, flawed mortals though even the best of men be, under severe and unprecedented emotional strain, as well as the vestiges of self-dissimilation mandated by an earlier, uglier era. History may well offer their memories genuine respite from any possible turpitude, however unwitting, on their part for their silence in concealing from Marc Christian the true biological danger which had presented itself.
Perhaps, in retrospect, their frailty as mortal men can be summed up in Priam's words from the lore of the Trojan War:
"For so the gods have spun the thread of pitiful humanity, that the life of man should be sorrow, while they, themselves, are exempt from care"
Sub-title here taken from Bill Bast's script, The Other Side of the Mirror: A Modern Jekyll-Hyde Fable, unelated thereto, with this paramount difference:
The multiple Janusaries in this expose are NOT fictional neo-Gothic figments, but household names, or fated to become such, or to be reviewed as such through a projection vomit of intense publicity, profits-crazed industry executives, media scrutiny and its endless and investigational garbage sifting, endless self-interested parties watching of each others' backs, all fueled by the collective paranoia of the stupidity and reactionary attitudes of the earlier decades which reared them.
The ever-active wielders of sugary, censored scripture, as also their kith and kin, won't like any of this, for sure. We have long since come to know the need to dismantle all wielders of factoids.
The repeated years-long publishing of sugar-coated censorship by omission and endless subliminal catering to the apologist mindset regarding key elements in Rock's orbit had fooled many over time, except, notably, those of us who are masters at detecting such strategies.
Curiously, both societal and legal changes for the better resulted directly from the publicity debacle commencing in June of 1985 with the seismic revelations coming from Paris.
This is an account, reduced to admittedly meager numbers of paragraphs, which illustrate what was for decades the macabre naiveté of the American mindset and cinema audience, all too willing to self-intoxicate on the state-of-the-art technicolor fakery during which they sat, and drank in elaborately contrived corporate illusions and trickery, much as their economic and political counterparts were doing to the nation in general. Fundamentally, people get the culture they deserve, and, for the more enlightened, who succeed in evading the deceptions, there is a rare, blessed independence from mimicking the sick make-believe and remaining free from the strait-jacketed slow suicide of the 'normal' man's life. Art imitates life, and the blasphemous misnomer of that 'golden age' of cinema in reality claimed and produced more horror than beauty, history clearly discloses. To this end, one has only to view You Tube's nightmarish contents of the lives of Tom Drake , Stephen Boyd or John Smith.
See, for general history:
https://youtu.be/TptF3sXJ8xY?si=90iuXdnZWhP80b5-
Stephen Boyd : The Gay Secret Behind Ben-Hur’s Macho Star
https://youtu.be/aqIBe_5tM3o?si=VKS0183jNb5tK2et
John Smith: The Tragic Truth Behind Hollywood’s Blacklisted Cowboy Idol
The time finally came with the seismic shift of public tastes in cinema from James Dean onwards, in addition, of course, to the legal judgments against the studio system's monopolistic 'vertical integration' strategy of smothering trade competition, and the executive heads of the great names spinning out fantasy land's fairy stories suffered a collective fate almost reminiscent of Justinian's treasured empire of Byzantium, starting 541 AD, watching with his predatory eyes his entire domain rotting before him, not because of a wonderful, inspired revolution of the people's indignity, but rather a singularly, unrelentingly effective helpmate the moderns dub Yersinia pestis. In strange ways, history repeats itself, albeit in different modalities and chroniclers:
.png)
A Cautionary Footnote:
Byzantium, breathing its last
All considered, Rock's near-entire adult life was robotically reduced for decades to an ultra-mendacious investment instrument for profit, and obscene and endless public catering to commonplace dogmas, ultimately rendering it's central figure essentially unable at times to differentiate between the fantasy market image and the man.
The exhibitionists of the press have historically centered on Hudson's publicity machine, garnering every conceivable opportunity for bylines, time and again. After all the glitter was effaced by time, tragedy, due to the inexorable overtaking by new generations refusing the orthodoxy and conservatism of their earlier counterparts, the proverbial paparazzi, many themselves subliminal actors, continued to buck for center stage exposure like opening night primo huomos and prima donnas, finally voluminously lamenting with mordant, dewy-eyed obituarial parlance the tragic news of 1985, reminiscent of a Donizetti opera; going over their dusty archives to this day, one almost can hear the finale of Lucrezia singing in the background "Sul mio capo il cielo aventa il suo strale punitor."
The self-proclaimed biopic from 1990, Rock Hudson, based on Phyllis Gates' 2006 rather asymmetric book, almost mirrors the propagandistic style of 1950's and earlier cinema, with its unpalatable inclusions of the married nocturnal periods with Phyllis Gates, and the eventual, unflattering portrayal of Marc Christian later on, in which what should be depicted as warming love between the two men is skeletonized to what appears to be hopelessly amateurish drama school dropouts Thomas Ian Griffith and William R. Moses attempting some delineation of personal intimacy, and largely, stingingly parallel to the worse Dynasty episode, and the aborted kiss between Linda Evans and Hudson; in that, there was honest fear on Hudson's part of viral transfer, but the private hours shabbily reconstructed between these two aforementioned men by the equally untutored ham director John Nicolella and equally pointless writer Dennis Turner is a sharp slap in the face to any honest viewer. Feel this sting, and live and learn, boys!
The producers even have the audacity to flauntingly admit:
"Composite characters and resequencing of events have been used for dramatic purposes".
It is noteworthy to any informed mind that these tactics, including the infamously oft-used "names and events have been altered to protect the innocent" allow a torrent of doggerel for
the OMISSION and INVENTION of detail.
Sciscitor:
Rock Hudson (1990)
https://youtu.be/t8J2005qngM?si=w_NB8vfSsDsJjbzj
Even those in Hudson's orbit for decades were drawn into one last tragic melodrama scene with former producer Ross Hunter's wet-eyed lamentation upon the opulent grounds of 9402 Beverly Crest Drive, decrying he'd lost his best friend; one is brutally prone to point out that friends do not reduce friends to a strait-jacketed mockery of a life no more enviable than Tarantula catabolizing under the spawns of Pepsis.
In this monograph, I shall endeavor to minimize the morbid aspects of its history, and hopefully focus some light upon the overall reaffirmation of universal moral and ethical accountability all are ultimately answerable to, and highlight the key men caught in the ego cross-fire of all too-heeled personalities who came to light and were ultimately forced to reveal their true colors. Exceedingly copious amounts of exposés, disclosures and anecdotal accounts have enabled the reader to get a fair background perspective of the principal players involved, and the central focus here is the key outcome of the trial against the administrator of the Hudson estate.
Much of this must be taken in the fact that so many of Movieland's most touted personas, under their corporate masters, betokened an existence far more of tragedy than art. The notorious 'morality' clauses on actors' contracts in the 1950's, shackled actor's lives into sleepwalking nightmares, often allowing no respite from the pretense; Starting in 1946, Lewis Rosenstiel, an ambitious diaspore of a businessman, acquired controlling interest in Universal Studios and merged it with International Pictures. From then on, trouble, and an unsentimental observer might well indeed smell a 'damned, inexecrable dog' or two in the corporate shadows, with the vilest instincts of wolves, and from limited to Universal's hegemony.
Truly, Art imitates Life. Many an actor's life, then, especially, might almost be summarized by Canio's lament in Pagliacci:
Vesti la giubba e la faccia infarina.
La gente paga e rider vuole qua....
Ridi, Pagliaccio... e ognun applaudirà!
La commedia è finita!
Or, even worse, the Dutchman's monologue:
Die Frist ist um, und abermals verstrichen..
Doch ach! den Tod, ich fand ihn nicht!
The collective corporate infrastructure in addition to the collective de facto naive societal acquiescence to the studios' profit planning and image-making machinery---and their inexorable legal and business demise, and society's own painful reformation--- truly echo the classic Russian truism:
"The fish rots from the head down".
Where it began, "Magnificent Obsession", 1954
Mark Miller, perhaps preferring at that painful point in time to howl silently at Marc Christian in the court proceeding against the Hudson estate; his manner, described as arrogant, might, in best analysis, be attributed to both he and George Nader suffering protracted repressed hysteria over the tragic loss of a friend of many years, and this emotional pain, as is often with men, devolved to anger and general disgust He was fated ultimately to survive 13 years alone, after the death of his long-time partner in life, George Nader, a union which, ironically survived 55 years in supreme defiance of everything pseudo-Western culture's claim of supremacy---and the Sanhedrin of the studio judges and general society could hurl against their love, career-wise and in abstract societal judgement. A supreme reaffirmation that even the most upright of men have cracks in their armour, hidden inner demons, and that actions---and inactions---have consequences, and are subject to inevitable exposure, and history's judgement.
As to most of those around largely controlling things towards the end, an especially suspect element in this is Sara Davidson's Rock Hudson, My Story, supposedly composed between she and Rock during his last days; Marc Christian has gone on the public record as saying Hudson had no more short term memory capacity, and one time, on Davidson's entering his room to continue the book, Rock asked if she was one of the nurses! This, plus the fact that numerous authors solicited for the task refused the commission owing to their refusal to have their journalistic integrity smashed by having it controlled, and ultimately refusing to have their work ending up as mawkishly sugar-coated as a 1950's tear-jerker flick.
Both Nader and Miller---and others in their generational range---may have suffered the supremely self-emasculating amnesia of not remembering that a man doesn't choose with whom to be in love with, and a younger man especially, is highly sensate to wrongful aggressions against that love or his status in that pairing, in both the emotional and practical environment of their daily lives, and the rights---and assaults to the rights--- to equal courtesy and treatment which that mandates. The many years that follow Nader's and Miller's continuing lives together betoken a continued shared lifetime of experiences, trials and joys, but for some delving well below the surface there remains a taunting shadow element possibly framing their association as at least an unwitting de facto co-conspiracy, vis-a-vis, Marc Christian's legal actions against the Hudson estate.
The Universe has a way of balancing the scales, and, in retrospect, Mark Miller, fated to live 13 years after George Nader's passing, came to know the sting Marc Christian a now wealthy, but broken man, had endured since 1985 to his own passing in 2009. Marc did have the respite of a committed relationship of nearly a decade with Brent Beckwith, and this webpage is also in salute to him:
.jpg)
[Regrettably, even after Marc's passing in 2009, he still faced legal entanglements for Brent to receive his portion of the estate. See legal summary, Beckwith v. Dahl - CaseBrief Summary - Facts, Issue, Holding & Reasoning - Studiaca,com/case-briefs/case/beckwith-v-dahl ]
Beckwith v. Dahl
I offer here a theoretical assay of Nader's and Miller's minds in just a few angles; the two of them, formative years during a time of exceptional societal pressure against their lives together, may well have woven an especially taught fabric of concealment and calculated, deliberate dullness and separation from perceived 'outsiders', could well have formed a mindset of protecting Rock Hudson's image at all costs, including allowing them to keep vital medical information from Marc Christian on that basis, even though that dereliction, which has been corroborated in court, verges quite close to criminal negligence and reckless endangerment, which, had Miller perjured himself on the stand at trial might well have earned him a criminal referral.
Though, their hostility toward Marc Christian could no longer be explained by a desperate hope to protecting Rock Hudson's public image from the taint of his disease, which had become a worldwide revelation in Paris, days before his return to his home.
From my viewpoint, Nader and Miller's reactions betoken a total reversal of character for both of them in terms of their treatment of Marc Christian; Christian had come into the scene from a totally distant point, doubtless, as a boy, having watched Hudson's best know films, and likely indulged the fantasy of being with the man, and ultimately, having this manifest in the flesh years later by finally holding in his arms the idol of earlier times, only to suffer the living hell of it all being torn away by death. The apparent indifference to this agony is the most stinging aspect of the entire final act of Rock Hudson's life, and Nader and Miller's last notable presence in the public eye.
From the best that this author has been able to reconstruct, this all constitutes the one black mark against Nader's and Miller's total 55 years of committed relationship together. But like even the smallest spot on the cleanest surface, it's exceedingly visible, even after many years, to the inquiring mind.
Perhaps, from an even more psychiatrically-oriented point of view, Nader, especially, may have suffered a decades-long de facto repressed hysteria owing to a possible inner, malingering infatuation with Hudson, despite Nader's pronounced devotion to Mark Miller, and, toward the dramatic climax reunited the three at the end of Hudson's life, Nader might well have viewed the hansom young Marc Christian, not as a parasite, but a vehement love rival. Such irrational abstractions and extrapolations the human mind is capable of, especially with a combining of past traumas and evocations thereof with renewed traumas and stressors.
Rock Hudson in his early years was, by all admissions, a highly sexual and magnetic man.
Overall, it is now an acknowledged historic fact, that Nader's domestic career was systematically trashed by Universal Studios, contractually obligated to protect him, offering him up as a sacrificial offering to deter and substitute Confidential magazine's evidently undeniable massive dossier folder on Rock Hudson's private life, and this cold, calculated corporate maneuver was approved and allowed to preserve Rock Hudson, by 1955 the studios primary financial lynchpin and, in fact, an industry unto himself, estimated at a billion dollar worth for the studio at the time.
[HUBRIS AND PUNISHMENT The Greek word harmatia, often translated as “sin”, really meant “failure’, “fault”, or “error of judgement”. In ancient Greek thought, the word “sin” could only be ap praised in the context of very serious offences against the divine, which constitute hubris. This is arrogance in word or deed or even thought. Hubris is generated by koros – the complacency of the man who has done too well. Hubris is a primal evil: the type of evil within man, which drives him to violate the rights of others, especially the gods, and so it is the sin whose punishment is death4. Thus Greek poets warn that it is dangerous to be happy while alive5. The sin of hubris is the capital sin of self-assertion, punished inexorably by the stern and awful judge typified by Zeus of Greek mythology, who grudges his children their hearts’ desires. Hubris invites nemesis, which is divine punishment. This theme runs through many of the great Greek myths, perhaps because the striving to achieve heroic fame almost inevitably leads to hubris and hence to nemesis6. The origin of sin in Greek thought is established by Hesiod in two etiological myths which explain how the world became degenerate and evil. He presents the story of “Pandora” to explain the appearance of the external kakon (Greek, evil) and the “Five Ages of Man” to explain the ap pearance of hubris (Greek, arrogance), moral evil7. ]
Above text from
SIN, PUNISHMENT AND FORGIVENESS IN ANCIENT GREEK RELIGION: A YORUBA ASSESSMENT
Courtesy,
FOLAKE ONAYEMI, Ph.D Dept. of Classics University of Ibadan, Ibadan, Nigeria.
(Boldface italics passages mine)
The repeated years-long of publishing of sugar-coated censorship by omission and endless subliminal catering to the apologist mindset regarding these and other key elements in Rock's orbit had fooled many over time, except, notably, those of us who are masters at detecting such strategies.
Rock and Marc Christian, in happier moments before tragedy
Curiously, both societal and legal changes for the better resulted directly from the publicity debacle commencing in June of 1985 with the seismic revelations coming from Paris.
This is an account, reduced to admittedly meager numbers of paragraphs, which illustrate what was for decades the macabre naiveté of the American mindset and cinema audience, all too willing to self-intoxicate on the state-of-the-art technicolor fakery during which they sat, and drank in elaborately contrived corporate illusions and trickery, much as their economic and political counterparts were doing to the nation in general. Fundamentally, people get the culture they deserve, and, for the more enlightened, who succeed in evading the deceptions, there is a rare, blessed independence from mimicking the sick make-believe and remaining free from the strait-jacketed slow suicide of the 'normal' man's life. Art imitates life, and the blasphemous misnomer of that 'golden age' of cinema in reality claimed and produced more horror than beauty, history clearly discloses. To this end, one has only to view You Tube's nightmarish contents of the lives of Tom Drake , Stephen Boyd or John Smith.
See
https://youtu.be/TptF3sXJ8xY?si=90iuXdnZWhP80b5-
Stephen Boyd : The Gay Secret Behind Ben-Hur’s Macho Star
https://youtu.be/aqIBe_5tM3o?si=VKS0183jNb5tK2et
John Smith: The Tragic Truth Behind Hollywood’s Blacklisted Cowboy Idol
The time finally came with the seismic shift of public tastes in cinema from James Dean onwards, in addition, of course, to the legal judgments against the studio system's monopolistic 'vertical integration' strategy of smothering trade competition, and the executive heads of the great names spinning out fantasy land's fairy stories suffered a collective fate almost reminiscent of Justinian's treasured empire of Byzantium, starting 541 AD, watching with his predatory eyes his entire domain rotting before him, not because of a wonderful, inspired revolution of the people's indignity, but rather a singularly, unrelentingly effective helpmate the moderns dub Yersinia pestis. In strange ways, history repeats itself, albeit in different modalities and chroniclers.
All considered, Rock's near-entire adult life was robotically reduced for decades to an ultra-mendacious investment instrument for profit, and obscene and endless public catering to commonplace dogmas, ultimately rendering it's central figure essentially unable at times to differentiate between the fantasy market image and the man.
The exhibitionists of the press have historically centered on Hudson's publicity machine, garnering every conceivable opportunity for bylines, time and again. After all the glitter was effaced by time, tragedy, due to the inexorable overtaking by new generations refusing the orthodoxy and conservatism of their earlier counterparts, the proverbial paparazzi, many themselves subliminal actors, continued to buck for center stage exposure like opening night primo huomos and prima donnas, finally voluminously lamenting with mordant, dewy-eyed obituarial parlance the tragic news of 1985, reminiscent of a Donizetti opera; going over their dusty archives to this day, one almost can hear Lucrezia singing in the background "Sul mio capo il cielo aventa il suo strale punitor."
Even those in Hudson's orbit for decades were drawn into one last tragic melodrama scene with former producer Ross Hunter's wet-eyed lamentation upon the opulent grounds of 9402 Beverly Crest Drive, decrying he'd lost his best friend; one is brutally prone to point out that friends do not reduce friends to a strait-jacketed mockery of a life no more enviable than Tarantula's catabolizing endoparasitism under the spawns of Pepsis.
In this monograph, I shall endeavor to minimize the morbid aspects of its history, and hopefully focus some light upon the overall reaffirmation of universal moral and ethical accountability all are ultimately answerable to, and highlight the key men caught in the ego cross-fire of all too-heeled personalities who came to light and were ultimately forced to reveal their true colors. Exceedingly copious amounts of exposés, disclosures and anecdotal accounts have enabled the reader to get a fair background perspective of the principal players involved, and the central focus here is the key outcome of the trial against the administrator of the Hudson estate.
Much of this must be taken in the fact that so many of Movieland's most touted personas, under their corporate masters, betokened an existence far more of tragedy than art. The notorious 'morality' clauses on actors' contracts in the 1950's, shackled actor's lives into sleepwalking nightmares, often allowing no respite from the pretense; Starting in 1946, Lewis Rosenstiel, an ambitious diaspore of a businessman, acquired controlling interest in Universal Studios and merged it with Internal Pictures. From then on, trouble, and an unsentimental observer might well indeed smell a 'damned, inexecrable dog' or two in the shadows, with the vilest instincts of wolves.
The collective corporate infrastructure in addition to the collective de facto naive societal acquiescence to the studios' profit planning and image-making machinery---and their inexorable legal and business demise--- truly echo the classic Russian truism:
"The fish rots from the head down".
Where it began, "Magnificent Obsession", 1953
Mark Miller, perhaps preferring at that painful point in time to howl silently at Marc Christian in the court proceeding against the Hudson estate; his manner, described as arrogant, might, in best analysis, be attributed to both he and George Nader suffering protracted repressed hysteria over the tragic loss of a friend of many years, and this emotional pain, as is often with men, devolved to anger and general disgust He was fated ultimately to survive 13 years alone, after the death of his long-time partner in life, George Nader, a union which, ironically survived 55 years in supreme defiance of everything pseudo-Western culture's claim of supremacy---and the Sanhedrin of the studio judges and general society could hurl against their love, career-wise and in abstract societal judgement. A supreme reaffirmation that even the most upright of men have cracks in their armour, hidden inner demons, and that actions---and inactions---have consequences, and are subject to inevitable exposure, and history's judgement.
As to most of those around largely controlling things towards the end, an especially suspect element in this is Sara Davidson's Rock Hudson, My Story, supposedly composed between she and Rock during his last days; Marc Christian has gone on the public record as saying Hudson had no more short term memory capacity, and one time, on Davidson's entering his room to continue the book, Rock asked if she was one of the nurses! This, plus the fact that numerous authors solicited for the task refused the commission owing to their refusal to have their journalistic integrity smashed by having it controlled, and ultimately refusing to have their work ending up as mawkishly sugar-coated as a 1950's tear-jerker flick.
Both Nader and Miller---and others in their generational range---may have suffered the supremely self-emasculating amnesia of not remembering that a man doesn't choose with whom to be in love with, and a younger man especially, is highly sensate to wrongful aggressions against that love or his status in that pairing, in both the emotional and practical environment of their daily lives, and the rights---and assaults to the rights--- to equal courtesy and treatment which that mandates. The many years that follow Nader's and Miller's continuing lives together betoken a continued shared lifetime of experiences, trials and joys, but for some delving well below the surface there remains a taunting shadow element possibly framing their association as at least an unwitting de facto co-conspiracy, vis-a-vis, Marc Christian's legal actions against the Hudson estate.
The Universe has a way of balancing the scales, and, in retrospect, Mark Miller, fated to live 13 years after George Nader's passing, came to know the sting Marc Christian a now wealthy, but broken man, had endured since 1985 to his own passing in 2009.
I offer here a theoretical assay of Nader's and Miller's minds in just a few angles; the two of them, formative years during a time of exceptional societal pressure against their lives together, may well have woven an especially taught fabric of concealment and calculated, deliberate dullness and separation from perceived 'outsiders', could well have formed a mindset of protecting Rock Hudson's image at all costs, including allowing them to keep vital medical information from Marc Christian on that basis, even though that dereliction, which has been corroborated in court, verges quite close to criminal negligence and reckless endangerment, which, had Miller perjured himself on the stand at trial might well have earned him a criminal referral.
Though, their hostility toward Marc Christian could no longer be explained by a desperate hope to protecting Rock Hudson's public image from the taint of his disease, which had become a worldwide revelation in Paris, weeks before his return to his home.
From my viewpoint, Nader and Miller's reactions betoken a total reversal of character for both of them in terms of their treatment of Marc Christian; Christian had come into the scene from a totally distant point, doubtless, as a boy, having watched Hudson's best know films, and likely indulged the fantasy of being with the man, and ultimately, having this manifest in the flesh years later by finally holding in his arms the idol of earlier times, only to suffer the living hell of it all being torn away by death. The apparent indifference to this agony is the most stinging aspect of the entire final act of Rock Hudson's life, and Nader and Miller's last notable presence in the public eye.
From the best that this author has been able to reconstruct, this all constitutes the one black mark against Nader's and Miller's total 55 years of committed relationship together. But like even the smallest spot on the cleanest surface, it's exceedingly visible, even after many years, to the inquiring mind.
Perhaps, from an even more psychiatrically-oriented point of view, Nader, especially, may have suffered a decades-long de facto repressed hysteria owing to a possible inner, malingering infatuation with Hudson, despite Nader's pronounced devotion to Mark Miller, and, toward the dramatic climax reunited the three at the end of Hudson's life, Nader might well have viewed the hansom young Marc Christian, not as a parasite, but a vehement love rival. Such irrational abstractions and extrapolations the human mind is capable of, especially with a combining of past traumas and evocations thereof with renewed traumas and stressors.
Rock Hudson in his early years was, by all admissions, a highly sexual and magnetic man.
Overall, it is now an acknowledged historic fact, that Nader's domestic career was systematically trashed by Universal Studios, contractually obligated to protect him, offering him up as a sacrificial offering to deter and substitute Confidential magazine's evidently undeniable massive dossier folder on Rock Hudson's private life, and this cold, calculated corporate maneuver was approved and allowed to preserve Rock Hudson, by 1955 the studios primary financial lynchpin and, in fact, an industry unto himself, estimated at a billion dollar worth for the studio at the time.
The repeated years-long of publishing of sugar-coated censorship by omission and endless subliminal catering to the apologist mindset regarding these and other key elements in Rock's orbit had fooled many over time, except, notably, those of us who are masters at detecting such strategies.
Marc Christian, a party eventually meriting some genuine sympathy; the younger man treated like discard following Hudson's death by the clique overseeing matters of The Castle, both real property---up to a point---and the supremely malignant professional industry concoction of "Rock Hudson". The tears falling from his eyes on pronouncement of the jury rendering for him clear evidence of the mental assaults the man had been subject to up to that point, the most stinging element of which as the apparently indifferent attitude Nader and Miller held him in, the one real stain against the moral character of two men who could have garnered total moral acclaim for themselves, both from anyone personally familiar with them, as well as the course of world history. Agonizingly, it is unavoidable to hold these two in some measure at least momentarily accountable for the severe false steps and moral and practical derelictions nearing to and at the time of Hudson's passing.
Again, a possible psychological scenario for their evident Janusarial status in this regard could date all the way back to 1955, when Nader's career, and several other's, were sacrificed to the blood altar of Confidential magazine, which, it is now known, approached Hudson's agent, the infamous enabler/manipulator Henry Willson [sic] with a file Confidential provided him, on Hudson's double life, and that Universal Studios ultimately decided to sacrifice Nader's career in Hollywood to safeguard Hudson's ultra-profitable, near-kingship status, a move which may have festered in Nader's and Miller's subconscious for decades, coloring their actions invidiously at times, particularly those last years and months of Hudson's life. The word invidious is perhaps well used here, as the vast majority of conscious actions---especially patterned, sustained ones, have their genesis in the subconscious.
Conceivably, Nader, in particular, amidst his grief for a lifelong friend and the singularly tragic character of Hudson maintaining his public persona and the ultimate medical fate awaiting him, resulted in a grief that morphed into blind anger and frustration, and in an attempt to purge himself of its sting, launched the displaced anger onto the most convenient target---Marc Christian, the perceived outsider and fly in the ointment.
Or, finally, Nader's obsession with the thespian's art never quieted, and was carried on into the stage of real life, in which he would assume the persona---and function---of honor and beneficence with only a select, rarified group of heavily vetted ubiquitous associates and those potential benefiters upon whom to assume the role of sycophant. One hopes this especially naked and atavistic scenario did not bear weight in reality.
In any event, Rock surely had earned the right to separate himself from the studio-woven fantasy alter-ego, and finally be himself; this was rendered all but impossible by the systematic keeping of old, outdated social connections, which, on the surface, might have seemed benign and conventional, but which in this case continued him, slowly and invisibly, down the path to certain undoing in every sense.
The scenario apparently instilling itself through Nader's and Miller's psyches present an exceptionally morose ending; shared love of decades, which should conclude as their supreme shared dignity and joy---and their legacy--- devolved and debased into co-conspirators status.
Perhaps the only saving grace for Miller was on the witness stand when, under oath, he conceded Marc Christian's statement that Rock had told Miller "Take care of the boy; I might have killed him"
Both Nader and Miller at this juncture had reached a pivotal point in both their earthly lives, and legacy; two men who could have gone down in history as among the most admirable and courageous ever, yet, somehow, devolved to such a soulless level of opportunism---or fear--- as to render their memories loathsome for much time to come. It may well be perceived they do not rest as yet, but rather, are called upon for penance and much labor still until such point is reached as they are set free from the totality their earthly folies.
Even in the retrospect of decades afterward, it remains difficult to fathom why several key
players see fit to set themselves upon Christian, a man who clearly had lost everything, that no amount of effort or money could possible reverse or restore, and deign to add insult to injury by throwing him out of the only home he'd had in years, and declared to him he had no legal rights in the matter at all. But truth is great, and shall prevail, and it did in the precedent-setting suit Christian launched after.
The lingering memories of those many weeks, likely with Christian to the end, betoken with ugly reminders of how difficult it can be for two people to make a life together, even without the disgusting reliquaries of endless hangers-on of cardboard cut-outs of old Hollywood---and old America--- looming about like figments in drug-induced nightmares, which largely doomed Hudson's chances at lasting happiness, and their incessant presence.
Finally, Christian won his palimonial-style suit in court, affirming he had indeed been subject to willful abuse and the withholding of key health information potentially vital to his survival. Subsequent revelation to the public of collusion therein by several key personalities in Hudson's orbit further tarnish their reputations and form a most unenviable conclusion to their respective biographies.
For Hudson, and many of those in his orbit, a succinct collective metaphor---in chronological order--- might well be key draws from the Major Arcana of the classic Tarot deck:
and finally...
.jpg)
Additional historic bombasts against old Hollywood's manipulative Shylockry:
See
https://youtu.be/TptF3sXJ8xY?si=90iuXdnZWhP80b5-
Stephen Boyd : The Gay Secret Behind Ben-Hur’s Macho Star
https://youtu.be/aqIBe_5tM3o?si=VKS0183jNb5tK2et
John Smith: The Tragic Truth Behind Hollywood’s Blacklisted Cowboy Idol
Photo Montage Tribute:
https://youtu.be/o7I4nQ8ANoc?si=0tlurJt_qbLTPITi
In loving memory of Rock Hudson
Legal Overview:
https://www.deseret.com/1989/2/16/18795504/rock-hudson-s-lover-awarded-14-5-million/
ROCK HUDSON'S LOVER AWARDED $14.5 MILLION
Marc Christian Files Libel Suite Against Hudson Publicist Tom Clark
Marc Christian's
surviving partner, and his legal challenge
and, finally,
and, finally,
Final appellate court ruling: [Scroll past earlier paragraphs to final ruling, at bottom]
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Olympus Guys
