The FHM Magazine spread extended the transition in images which one found in the Rolling Stone magazine spread. First, Anderson was photographed apart from Duchovny. Thus the focus was not on Anderson as a part of the X-files team, but rather on the actress herself. While the magazine did make allusion to the television series, the photos themselves show a distancing from the persona of Anderson's character on the X-files. Second, the collection of images present an Anderson whose sexual being is more fully explored. More comments about this below.
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This picture is the fourth in the lingerie series. The same concepts hold true in all. Each eroticizes Anderson in a different way.
The next set of pictures are two series of two. The first set show Anderson in a rubber jumpsuit. The second set display Anderson in a see-through dress. Beneath this dress is the underwear exhibited in the above shots. What is remarkable about these pictures, aside from the different ways they continue the processes of eroticization, is the move into anger which is seen as the pictures go on. The left rubber picture shows a gaze into the camera which is almost defiant. The left black see-through dress picture is unambiguously hostile. Each one of these shots of anger is then followed by a second shot in which the expression is ecstasy, a very interesting contrast. The right see-through dress picture is complemented by a quote which both eschews immorality while using highly eroticized language.
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The final shot is Anderson in a halter top and skirt, with the top button of the skirt unbuttoned. Here anger and vice are mixed. The caption says (Unfortunately the text in this picture is not clear), "My first time was with a punk guy, who has since become a neo-nazi, it was awkward, stupid, unadulterated crap." Again, the marriage of anger and sexuality is highlighted by the caption which reinforces the look of cold hatred, coupled with the deep cleavage and provocatively unbuttoned skirt.
This opening picture is connected with the following picture as well as with the cover which is displayed on the previous page as well as this one. The Anderson here is far more eroticized, dressed in see-through underwear, and wearing dark makeup around her eyes.
This picture is a retouched photo of the picture on the left; the underwear has been removed to make this a far more revealing expose'. Much furor has been aroused because of this picture. Clearly it is a fake, but it is precisely because Gillian Anderson has come so close to the line so often in self-eroticization that exacerbated the possibility that it could have been real.
