I am a filmmaker because of “Star Wars.” Plain and simple. After my first viewing of the film in 1977, I turned to my father and announced my future job plans. I was to be a Jedi Knight. Undeterred by the revelation that Jedis weren’t real, I simply moved to my back up gig; X-Wing pilot for the Rebellion.

After a longer explanation from Dad, I switched my focus to making movies. I wasted a ton of money processing Super-8 film and spent my weekends at the the local mall theater and the library. I would pour over books about filmmaking and filmmakers. While most pre-teen boys were asking their parents about the birds and the bees, I would quiz mine on how dual system audio worked.

I owe my life-long obsession with film to George Lucas. It was only fitting that he presided over my graduation from USC Film School. That’s right, Lucas and some guy named Steven Spielberg actually handed me my diploma. So, I hope that you can appreciate the inner turmoil, the momentous struggle that I have endured in deciding to write this.  However, duty compels me, and this must be said.

Lucas must be stopped.

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Most of our work on this site involves pointing out the shocking bias, political and economic ignorance, and general bad behavior of Hollywood movers and shakers.  Imagine my shock, surprise and glee to run across this excerpt from a recent GQ interview with the Marine Corps’ favorite actress…

…Mila Kunis:

GQ: Your new movie is called Friends with Benefits. Ever been in one of those relationships?

Mila Kunis: Oy. I haven’t, but I can give you my stance on it: It’s like communism — good in theory, in execution it fails. Friends of mine have done it, and it never ends well. Why do people put themselves through that torture?

Wait, did a young, on the rise actress just call Communism a great failure?  Did she just say that it may sound good in practice but never works?  By golly, I think she did!

And that’s pretty awesome.  From this quote can we determine that Ms. Kunis is a Randian Libertarian?  We know based on her selection of film work and various photo shoots that she most likely isn’t a member of the Family Leaders crowd.  Should we make a YouTube video and offer her a blog spot on Big Hollywood?

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At the State of the Union address, our President attempted to recapture the magic of “Yes, We Can” by coining the phrase “Win the Future.”  His path to victory included high speed rails, more wealth redistribution, more powerful unions, and less civil liberties.

Charlie Sheen has different ideas.

It’s early March, but I don’t think it’s too soon to declare 2011 “The Year of Charlie Sheen.”  That may actually prove to be an understatement.  Decades from now, our president, “The One,” will be a mere footnote, while Charlie Sheen will have volumes dedicated to his historical impact.

Charlie Sheen’s recent monologues and interviews, dubbed “meltdowns” by the press, have illuminated the conflicts in our culture and society.  It is a tipping point in our culture.   Let’s examine how,  shall we?

Group Think is the New Normal 

Despite all their ramblings about “freedom” and “democracy” and “individuality”, Hollywood, the left, and the youth of our nation represent the biggest bunch of robot clones to ever walk the face of the earth.  We’re supposed to think that Charlie boy is “crazy” because….why exactly?  He’s absolutely correct that he is the reason for his show’s success.  He really does turn their “tin cans into gold.”  He’s worth every cent that he’s paid.  No, he’s “crazy” because he gets on T.V. and has the balls to admit that.  His hilarious, megalomaniacal rants are downright refreshing.  Charlie Sheen sounds like an Ayn Rand character written in the vernacular.  It’s like a Howard Roark speech written by Hunter S. Thompson.  No wonder the left, who is so quick to champion “rebels” like that tool Alan Grayson or  Michael Moore, is doing its best to minimize and marginalize Charlie Sheen. Yes, he is worth the money.  Yes, he is incredibly talented.  Yes, he can do more blow than the average human.  Yes, he can simultaneously satisfy two porn stars.  He is probably better than you and he’s willing to say that.  How dreadful.  Charlie Sheen is a true rebel.  Instead of attacking “soft targets” like Christians, Sarah Palin, and “Islamophobes,” he really is “speaking truth to power.”

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If you’re hip to the movie news, by now you know that British actor Henry Cavil has been cast as Superman in Zach Snyder’s upcoming reboot.  That’s right, a man born and raised in the British Isles will be portraying an American icon.  When it was announced, many in the blogosphere assumed that we “wingnut fascists” would be outraged at the thought of an non-American playing the Man of Steel.  They assumed that our narrow-minded jingoism would prevent us from endorsing a solid actor nabbing the lead role in a highly anticipated film.  As usual, they were wrong.  We true film buffs could care less where the actor hails from, we just want a movie that is true to the character and kicks some ass.  Bryan Singer’s “Superman Returns” had an American Superman, but failed miserably in the aspects that mattered most.  It wasn’t true to the character and didn’t really kick any ass.

But the casting does reveal a couple of interesting things.

Contrary to the propaganda coming from the Hate-America crowd, we are far more open to such things than other cultures, especially the British.  There was a lot of snark when Gwyneth Paltrow and Renee Zellweger applied their best British accents to their portrayals of Emma and Bridget Jones.  Plus, I doubt that the producers ever entertained the idea of casting an American Harry Potter or a Dr. Who born in Iowa.  What about James Bond?  Not only have they never considered Americans for the lead role, but they’ve turned down both Steven Spielberg and Quentin Tarantino as directors.  Every Bond director has hailed from a Commonwealth nation.  Apparently, it’s okay for other countries to maintain “national treasures” and “cultural icons,” but for Americans to suggest doing the same means we’re racist, nativist, and generally close minded.  You see, to the rest of the world, we don’t actually have a culture.  How can we?  We are a nation made of other nations, a population of hyphenates who lack a common identity.

Well, this Prussian-American filmmaker calls foul.

Not only is Superman a Brit, but as NBC points out, so are Batman, and Spiderman.  NBC mistakenly lumps Wolverine into the group, but any geek worth their salt knows that Wolverine a.k.a. Logan is Canadian.  And Hugh Jackman who plays Wolverine is Australian, not British.  Oh, well, more quality fact-checking from NBC.  We should be used to this by now. (more…)

If you don’t know who Armond White is, you’re missing out.  Dubbed the “Internet Troll” of movie critics, the eloquent and controversial critic for the New York Press recently received mainstream attention after his performance as the host for the New York critics award ceremony.  White was called out by other publications like EW and the Village Voice for his performance, where he brought his controversial opinions on the films being award on stage with him.

White rose to prominence, and Internet infamy, when he became the only critic to give a big “thumbs down” to “Toy Story 3.”  That act of blasphemy inspired people to look at his other reviews.  When they did, they were shocked, shocked I tell you, to see that he had given the critical whipping boy “Jonah Hex” a glowing, and introspective review.  Intrigued by the controversy, I decided to read through dozens of White’s reviews.  You see, I don’t take the media at face value.  Decades of being lied to have taught me to research on my own and develop my own, educated opinions.  Is White simply an Internet troll, purposely dissing what others praise in an attempt to gain attention?  Or is he something more, a critic not only of film, but of the entire media?  And, in what is truly relevant to Big Hollywood, what do White’s reviews and media criticisms tell us about the ingrained leftist thought in the Hollywood/Media complex?

My research revealed that White may be the last, best hope for real, intellectual film criticism left in the age of the Internet.  We’ve talked at length on this site about how relevant film critics are nowadays.  Everyone has a voice online, and for the low cost of $50/month, some free time, and a free website template, anyone can be Roger Ebert.  But film criticism, true film criticism, is much more than that.  When we think of film critics, we think of Ebert, or Leonard Maltin, or Pete Travers.  At best, these guys are “populist” critics, giving their opinion like a sort of Consumer Reports for movies.  Is it worth your $10 bucks?  But true film criticism, practiced by the likes of Pauline Kael, Andre Bazin and Francois Truffaut is an entirely different animal.  It is an educated pursuit, one that examines film like a literary text, pulling it apart and analyzing individual films on multiple levels.

White’s writings ask many questions.  Should our opinion of a film be colored by it’s marketing approach?  Should how much a film costs affect our expectation of its quality?  Just because a film comes out of Sundance, should we consider it an “art” film when it may not be worthy of the title?  Likewise, can a B horror movie actually contain more substance than the latest winner of the IFP spirit awards?  Should we consider a film to be “adult” or “intellectual” simply because it has a coded style that differentiates it from television or other studio films?  And politically, should we accept leftist film as “truth” without examining how well or effective the film makes its case based on its own narrative and internal logic? (more…)

One of the most frustrating things about writing blogs or trying to win over hearts and minds is the slow realization that the opposition actually possesses a different thought process.  It’s not just about laying out the facts, pointing out data, and drawing reasonable conclusions, it really comes down to the way the left looks at the world and parses data.

The other day, I clicked the link at the top of Big Hollywood that led me to a commentary by Michael Lee at “The Wrap.” Mr. Lee takes aim at John Nolte’s commentary about the Ricky Gervais performance at the Golden Globes.  As I waded  through the piece I quickly realized that Mr. Lee didn’t understand the basic points that John made.

And this, unfortunately, is typical.

John Nolte made the astute observation that Gervais‘ performance was awesome because he took the witty, acidic, and mean spirited humor that is usually aimed by Hollywood at the American populace and turned it on the sanctimonious, self-righteous entertainment community.   Had Gervais been ten times more vulgar but aimed it all at Sarah Palin, George Bush, and people who believed in God, there would be no discussion.  There would be no outrage.  There would be absolutely zero press.  Gervais would probably be paid double to return next year. (more…)

It seems that the consensus is that 2010 was the worst year ever for movies and music.  That is, until 2011 comes to an end.  Every year is “the worst.”  I mean, really, what came out in 2007 that was worth while?  Or 2001 for that matter?

As entertainment falls further under the thumb of big business, we’re going to have fewer and fewer “movements” in media.  The grunge music of Seattle in the 90s, the pure funkadelic madness that came out of Minneapolis in the 80s, and the string of fun fantasy and sci-fi films produced by Steven Spielberg between 1981 and 1987 are a thing of the past.  The industry is more diverse, with studio executives throwing random things at the dart board, hoping something sticks.

A few things from 2010 will stick.  Here are the five albums and five films that rose above the dreck of the year.  I guess this was the worst year ever for entertainment.  Unless you count 1997.  Boy, did that year suck.

Music

I have a simple rule for music.  If it rocks, it works.  Genres are insignificant.  My ipod playlist makes no sense.  It may be the only place, besides the red carpet at the Grammys, that you can find Snoop Dogg next to Toby Keith. (more…)

Wesley Snipes is in jail.  That’s right, Blade is behind bars.  Passenger 57 is now known as Inmate 224567.

And this friends, is a travesty.

It’s not just a travesty because we’re going to have to wait at least three years for the next poorly conceived direct-to-video action film starring the Shotokan Karate master. It’s a travesty because of the deafening silence surrounding his trial and incarceration.

Where are the legions of race hustlers and political opportunists who can’t wait to make every issue in our society about racism and social justice?  I haven’t heard much from Reverend Al or Jesse Jackson.  And where is the outcry from Snipes’ co-stars and the usual suspects like Danny Glover and Susan Sarandon?  Both of those actors, for instance, have been quite vocal in their support of convicted cop killer Mumia Abu-Jamal.  Yet, when they frog march Simon Phoenix nobody says a word.

It’s not surprising that the automatons in Tinsel Town are mum on the subject.  After all, they usually reserve their impassioned pleas and soap box orations for child rapists and wife beaters.  Wesley Snipes got into this mess not because of a shady accountant or a “rounding error.” He didn’t even use Turbo Tax.  No, Wesley Snipes is actually a tax protestor.  His legal and accounting team challenged not the amount Mr. Snipes owed, but the legitimacy of the Federal Government collecting ANY income tax.  Mr. Snipes is a card carrying member of the “taxes are illegal, and immoral” crowd. (more…)

I’m sure you’ve heard about the Juan Williams/NPR debacle. You may also know that Senator Jim DeMint has vowed to introduce legislation that will deprive NPR, as well as public television, of taxpayer funds. It seems that in this political climate, asking a candidate where they stand on funding public broadcasting or the arts has become the new litmus test, replacing questions about abortion and gay rights.

In other words, it’s Christmas everyday for Libertarians.

There seem to be three consistent arguments in favor of tax dollars being spent on public broadcasting and government subsidies for “art,” First, the defenders question the amount of money actually on the table. After all, these programs are but a teeny-tiny piece of our ever expanding government. Secondly, dispensing taxpayer cash on media is “in the public interest.” In the unholy pursuit of “profits,” private broadcasters and artists often compromise their work to make money. Private news organizations like FOX and MSNBC sensationalize the news and have become hyper-partisan in order to increase ratings and advertising dollars. We need outlets that are free from the restraints of the free market. And, of course, there is the elephant in the room, which in this case is a giant yellow bird. “Sesame Street.”

What kind of Islamophobic, racist, evil, baby-blood-drinking fascist wants to send Elmo to the unemployment line?

The first argument is simply ridiculous. We’ve all had to, at one point or another, examine our household budgets and look for spending cuts. We write down a list of our expenses, organizing them in order of both cost and importance. At the top is stuff like rent/mortgages, utilities, car payments etc. Towards the bottom is the fun stuff like vacations, extra cable channels, and faster internet. Everybody always starts at the bottom. Nobody starts at the top. “Hey, let’s ditch the house and keep our annual trip to the Wisconsin Dells?”  My girlfriend always likes to try and sneak cigarettes and scotch into the non-essential category. Nice try. I always push for more mac and cheese in order to keep my subsidies of R.J. Reynolds and Pernod Ricard intact. But I digress. (more…)

When word hit that Zack Snyder would be directing a Christopher Nolan produced, David Goyer written version of “Superman,” many a geek heart rejoiced. Images of super slo-mo action, desaturated color palettes, and snappy and powerful one-liners filled our heads. All was good in the Geekosphere.

Then, alas, came word that the script for the film was “a mess.” The oddly named “Vulture” dropped the bomb that Snyder had been hired because the studio wanted a director capable of putting together a hacky “rush job” so Warner Brothers could keep the rights to the Man of Steel. Director Darren Aronofsky, fresh off the buzz of his upcoming film “The Black Swan” passed on the project because it was in such disarray and reeked of a studio cash grab…. Great Ceasar’s ghost, what’s going on here?

If you haven’t been reading Big Hollywood, or living on Planet Earth, you might not know that Hollywood has a leftist bent to it. You also may not know that the Hollywood press is just as corrupt, self-serving and leftist as their cousins in the mainstream media. The reports of “Superman’s” death are greatly exaggerated. This is nasty spin, aimed to take down two of Hollywood’s new school power players while boosting up a critical darling who has little appeal outside the coastal critics community. It also has a lot to do with politics and ideology.

One has to feel for Darren Aronofsky. I like his films to a certain degree, but don’t think that he is a ground-breaking visionary the way that many film students, mainstream critics, and hipsters claim him to be. “Requiem for a Dream” is not some seminal milestone in the history of film. I do think he is capable and incredibly talented. He has been attached to several high profile projects, and it seems that whenever a film is hunting for a director, his name pops up. He was attached to “Batman” before Nolan and has long been rumored to be the man behind the camera for the “Robocop” reboot. Yet, instead of those films, he continues to do well received, smaller, art house projects like “The Wrestler” and “Black Swan.” (more…)

So my good friends, the labor unions, have decided to pick a fight with Peter Jackson and his upcoming production of “The Hobbit.” Of course, they are not my good friends, I say that sarcastically. Unions in general are bad news these days. The idea of “protecting the worker” has somehow morphed like a T-1000 into huge, multi-billion dollar corporations that stifle economic growth while using illegal methods of coercion to blackmail money from employers. The fact that they are a de facto wing of the Democratic Party also compels me to deny their friend requests on Facebook.

The entertainment industry guilds are particularly pernicious. They have singlehandedly forced film production out of California, and now, ultimately, out of the country. Their bullying knows no bounds. They are quick with a nasty press release (as in the case of “The Hobbit”) but have no qualms about making threats to commit illegal actions to get what they want. One of Mr. Jackson’s studios burned to the ground shortly after the release of his retaliatory statements. Far be it from me to suggest arson. And no, this isn’t somebody repeating hearsay or parroting talking points. This is from someone who has had union organizers say, with a straight face, that physical violence and vandalism are not out of the question. I’ve lived to tell the tale because in some cases I’ve responded with a steely “bring it” and in other cases, I’ve made compromises or concessions that I could live with. In the cases where I told them to pound sand, I won. In the cases where I paid them off, they’ve won. In no case, however, have the actual workers won. In every instance, their conditions haven’t changed one iota. Perhaps they made an extra $5 a day, but the euphoria of extra money for a Happy Meal was quickly replaced by the misery of union dues, rules, and the inability to take work when the desperately need it. To make matters worse, the holy grail of “health care” is often out of reach for new members and the qualifications for full coverage are extremely onerous. Ultimately, the entertainment unions fail to do what is their mission: to protect the careers and working conditions of their members. (more…)

A lot of fun and exciting things happened recently related to feminism and the role of women in American society. The always brilliant Camille Paglia published her awesome take down of Lady Gaga and the end of the Sexual Revolution. Actress Gemma Arterton lamented that Hollywood only thinks of her as a “piece of ass,” Plucky Tea Party favorite Christine O’Donnell beat Democrat Mike Castle in the Delaware Republican primary. “Comedian” George Lopez hypothesized that Sarah Palin may destroy the world. And, Big Hollywood was graced with some musings on feminism by certified bad-ass Lexi Alexander.

A lot of seemingly unrelated things. But together, they all lead to a stunning conclusion.

Let’s start with the stunning Ms. Arterton. The former “Bond Girl” and star of films like “Prince of Persia” and “Clash of the Titans” told a British paper that her treatment and roles in Hollywood films were demeaning. She resents being treated like a “piece of ass.” Her complaints seemed to indicate that she was the victim of a much larger problem.

Next to Ms. Arterton’s “Clash of the Titans” on the theater marquee this summer was a film called “Salt.” It starred Angelina Jolie. The lead role was originally written for a man. In fact, Tom Cruise was once attached to the project. The film was a huge success. It’s one of the biggest hits of the year. Somehow, perhaps through pagan magic cast by Christine O’Donnell, Ms. Jolie managed to not only land the part, but carry a major studio action film without suffering the fate of being “just a piece of ass.” (more…)

Power up your TARDIS, turn on your lightsaber, and set your phasers to stun because we are about to geek out kids.

Not content with making over $2 billion worldwide, James Cameron is re-releasing “Avatar” in theaters. Supposedly, a lot of people couldn’t see it in 3D because there were other films in theaters at that time hogging up half the screens. How dare they? Who do those people think they are?

In the same L.A. Times interview where Mr. Cameron explains his re-release rationale, he opines that he is making a franchise with “Avatar” that will compete with the works of Tolkien. He thinks the story of the Cat Smurfs will have the same staying power as “Star Wars.”

This die-hard film geek and sci-fi fan begs to differ.

Great franchises need amazing worlds, rich characters, and far reaching themes. They also need to have a first episode that strikes a deep chord in the fan community. You know, the complete opposite of “Avatar.”

Part of what makes a franchise successful is that the audience doesn’t merely want to watch the world of the film, they want to live in the world of the film. Who wouldn’t want to go to Hogwarts and learn to cast spells? Who hasn’t picked up a flashlight and spun it around, humming, like it was a lightsaber? Who wouldn’t want to serve aboard a starship commanded by James T. Kirk, traveling to the far corners of the galaxy? Well, as long as you’re not wearing a red shirt that is… (more…)

There was a lot of cool news out of Comic Con last week. The “Avengers” has a great cast, with the addition of Mark Ruffalo as Bruce Banner, and a great director in Joss Whedon. The images from Zack Snyder’s “Sucker Punch” look awesome. “Scott Pilgrim vs. The World” was screened and people love it. Oh, and the upcoming “Captain America” film won’t be “about America so much as it is about the spirit of doing the right thing.”

Say what?

National Treasure foreign receipts: $174.5 million
National Treasure 2: $237.4 million

That’s right kids. Captain America will be out there fighting the real evil of the world: corporations, Tea Partiers, global warming, and those who oppose gay marriage.

Even the L.A. Times notes that the decision to not make Captain America “jingoistic and flag waving” is a personal choice by the filmmaker. After all, it’s hard to demand that change in the name of commerce. Marvel’s own decidedly libertarian franchise “Iron Man” has earned nearly two billion dollars world wide. (more…)

Apparently Mel Gibson had another racist meltdown. This time instead of blaming Jews for everything, he dropped an unfortunate “N-bomb” while berating his Russian baby mama. This is sad.

It’s sad because Mel Gibson clearly has some issues. Racism is probably one of the least of his problems. His taste in women and failure to understand the limitations of public life appear to be even more dramatic than his resentment of women, homosexuals, and minorities. He’s an immensely entertaining actor and a truly gifted director. Whenever true talent is stifled by human limitations, the entertainment consuming public loses.

What is truly tragic, not just for Mel, but for all of us, is that the mere utterance of a single word has become the death knell for entire careers. By merely speaking the word n***er (see, I can’t even type it), either in anger or jest, one can find themselves ostracized from society.

Simple laws of supply and demand teach us that the less of something there is in the world, the more valuable it becomes. The same can be said for words. By making something taboo, we give it power. If we really want to rid the world of hurtful and demeaning buzz words, we should use them excessively, but in a different context. We should all adopt the use of the word enjoyed by rappers for decades. If calling somebody a n***er was a signal of trust and affection, future generations would scoff at the true etymology of the term. (more…)

A lot has been written about state tax credit programs on this site and many others. I’ve produced and/or directed seven feature films that have used state tax credits as part of their financing structure. I feel it necessary to impart a little wisdom and clear up some misconceptions.

As a businessman, libertarian, and someone who understands economics let me flatly state that I am against excessive taxes. That’s a pretty simple and popular position. Lowering and eliminating onerous taxes would be ideal. My first choice would be to cut taxes across the board. Put more money into the hands of the private sector.

Film tax incentive programs are not the same as “corporate welfare.” They are, in fact, a sneaky conservative or libertarian style way to circumvent the excessive taxes that government loves to heap on us.

Let me explain how they work and why they are a good thing.

Let’s say my film has a $15 million dollar budget. Now, the critics would lead you to believe that the state (in my current situation, Connecticut) would simply cut me a check for $5 million out of the state treasury. Not so. Not so by a long shot. (more…)

It’s a beautiful Sunday afternoon here in Malibu, California.  A school of dolphins frolic in the ocean, visible from the deck of my two story beach house.  I’ve invited over my good friend; author, television personality and all around swell guy Greg Gutfeld to talk about his new book “The Bible of Unspeakable Truths.”  My Laotian pool boy Hugo has just finished freshening our pina coladas and it’s time to dig into the interview.  [Editor’s Note:  This interview was conducted via email.  Mr. Scott has never met Mr. Gutfeld.  Mr. Scott demanded this bogus intro citing the Vanity Fair style guide and insisting that the imagery would make the interview "more interesting for the reader."  Whatever.]

Greg, thanks for stopping by.  Let’s get into it. 

1)  Why write a book of all things?  I mean, you’re on TV and you are a King of the Internets.  Isn’t a book a technological step backwards?  What can we expect next, a hieroglyphic stone tablet or something over the telegraph?

Originally, I had planned to do the book purely via the classic child’s game called “Whisper Down the Lane.” I begin speaking a passage of the book, to one person, who then repeats the passage to someone else. While I’m doing this of course, I’m also beating your naked back with a splintered AFX racing track. It adds a whole dimension to the game, and to your back.   (more…)

A few weeks back, Big Hollywood editor John Nolte asked me for my address. He wanted to send me an advanced copy of Greg Gutfeld’s new book “The Bible of Unspeakable Truths.” I thought “sweet, free book.”

But if you’ve ever read, as I have, Milton Friedman you would know that there is no such thing as a free lunch. Everything has a cost. This is a simple fact. A fact I wish people who supported Obamacare understood.

Anyway, he wanted me to read the book and review it. A ha…not so free anymore is it?

Book reviews have always bothered me. Reviewing a movie or an album is okay because the written review criticizes a different medium. Whenever I read a book review, I can’t help but wonder how bitter the reviewer must be. After all, who wants to write 1000 word reviews of books for loser papers like the New York Times? Wouldn’t the same person, a person who has dedicated their life to wordsmithing rather have their thoughts printed in a fancy hard covered edition? Instead, their stuff is printed on something you use to pick up the presents that Fido leaves on the neighbor’s lawn. Book critics are bitter losers. I’m glad I’m not one of them.

This review is particularly strange because instead of reading this, you could have already read one of Greg’s amusing and insightful observations and anecdotes. Unlike most books, his is a collection of short little parables that use humor to make a point. Some of them are a page. Some of them are a few sentences. All of them are really funny and smart.

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For most of the American Revolution, the bold patriots who demanded liberty were at a disadvantage. It’s easy to look back now and talk about how we won our independence, but we must always remember that the outcome was not certain for those who actually lived it. Up until the battle of Saratoga, people like Jefferson, Washington and Franklin didn’t know if they were the founders of a great nation or the next batch of traitors to die at the end of a noose.

Similarly, it is difficult at times to know if we are winning the great battle that faces our nation and world right now. We think we make progress, then a poll comes out indicating that a ridiculous number of Americans don’t like Capitalism. And hey, who are those 4 in 10 people who think Obama is doing a great job?

But we are winning. Every day, the tide shifts a little. The fight over Hollywood and the media is the first and biggest battle that we must win. The conflict over information and public opinion is paramount to securing a prosperous and free America. (more…)

Have you seen the new music videos by Miley Cyrus and Christina Aguilera? If you haven’t, let me save you nine minutes of precious time. Both videos feature the young, attractive, talented singers clad in lingerie dancing, gyrating and engaging in simulated sex acts with both men and women.

In a word, boring.

Rather than hit these two from the completely legitimate position of criticizing their moral bankruptcy (especially in the case of the the underage Cyrus), let’s have some fun and hit them from the other side. That’s right, let’s talk about “art” and “feminism”.

Sure ladies, your new videos are “edgy,” “stylish,” “provocative,” “liberating” and “artistic”….for 1985. Fact is, we’ve seen this all before. The crazy wardrobe, stylized lighting, racy sexuality, blah, blah, blah. Madonna was doing this stuff 25 years ago. I have to laugh when people point out the obvious comparisons between the new Xtina video and Lady Gaga’s recent video achievements. Both of them are simply poor imitations for the “Grandmother of Smut” herself. Taking Xtina to task for ripping off Lady Gaga is like criticizing a Tarantino parrot without acknowledging the wealth of films that QT has paid “homage” to himself. (more…)