To say “Star Wars” fans have a love/hate relationship with the series’ creator, George Lucas, is to state the obvious.

Heck, they made an entire film on the subject – “The People vs. George Lucas.”

Fans critical of Lucas’ incessant tinkering on his six “Star Wars” films should be comforted by the fact that Lucas has heard you. He’s just not taking your comments seriously.

Lucas, on the promotional circuit to draw attention to his latest project, the World War II film “Red Tails,” says “Star Wars” fans can only blame themselves for ending the franchise.

On the Internet, all those same guys that are complaining I made a change are completely changing the movie,” Lucas tells the New York Times in a new profile, referring to YouTube fans who have re-cut his films in retaliation for the small changes he has made. “I’m saying: ‘Fine. But my movie, with my name on it, that says I did it, needs to be the way I want it.’”

Combine that experience with the cool reception the three “Star Wars” prequel films received in the late 90s and early 2000s, and Lucas says he’s done making new films in the canon.

“Why would I make any more,” Lucas says, “when everybody yells at you all the time and says what a terrible person you are?

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ABC has relented to objections from the Gay & Lesbian Alliance Against Defamation and cancelled the unbelievably bad comedy “Work It” after only two episodes.

It’s my guess that with the protests from GLAAD gearing up, ABC felt it would be hopeless to try and defend (note to Canada, you can probably take Detroit).

It also bespeaks a certain prejudice inside of GLAAD who has never said a word about Tyler Perry, Martin Lawrence or Eddie Murphy (who was once known to be quite transvestite-friendly despite his transvestite comedy). Of course, GLAAD has never been terribly courageous about confronting the black community. Political correctness forbids crossing racial lines.

This might reveal a hint as to why GLAAD felt empowered to attack “Work It.” The plot revolved around two men who are forced into women’s clothing just to get a job. Don’t they know that only women are discriminated against in the workplace (and only make three-fourths of a man’s salary)? Perhaps the writers’ ignorance of Women’s Studies 101 made GLAAD think it had been written by conservatives. (more…)

We already learned that women working for “The Late Show with David Letterman” sometimes get more than just a weekly salary.

Now, we’re finding out why so few female comics grace Letterman’s iconic stage.

Letterman’s comedy booker, Eddie Brill, has been fired for suggesting in an interview that female comedians aren’t as funny as their male counterparts. That, combined with the fact that the show booked only one female comic last year, sealed Brill’s fate with the program.

Brill’s appraisal of the state of female comedy didn’t go over so well at the newly launched Mirth Magazine, whose editorial condemning Brill subsequently sparked a discussion between readers, female comics who participated in the Times profile, and eventually Brill himself. At first, Brill claimed to have been quoted out of context—a claim that was quickly refuted by the interviewer, Jason Zinoman—but hours later, Brill came around to recognizing that he “should have been more accurate with my words and feelings in the interview,” and admitted, “It is time for me to accept the consequences of my printed words.”

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FX’s modern-day, marshal-come-to-town western “Justified” is another bullet in the chamber for cable television and another bullet in the gut for network prime time crime drama.

The basic cable channels born of reruns and old movies have stolen the shield from powerhouse networks that once delivered innovative, complex dramas such as “Hill Street Blues,” “NYPD Blue” and “Miami Vice.”

While FX – along with partners in crime TNT and AMC – has honed its crime-story skills with sharp characters and combustible, yet sensible, story arcs, the old (lets say “aging”) networks are turning out the flabby, doughnut-eating beat cops of crime drama.

There are no gimmicks in “Justified.” Our hero can’t see the future, talk to ghosts, or magically tell if someone’s lying. His stories aren’t “ripped from the headlines,” and he doesn’t plunk evidence into the science machine to track down bad guys. He’s just a good man trying to make sense of a moral morass where his quest for justice and order is challenged by complicated relationships and hometown loyalties and allegiances.

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Ricky Gervais doesn’t want to offend anyone. He’s just following orders.

Gervais returns to host the annual Golden Globes telecast at 8 p.m. EST tonight, and Big Hollywood wants to hear your reaction to the evening’s festivities. Did the right actors win the spherical trophies? Can Gervais up the ante on celebrity mocking? Will any film emerge as an Oscar front runner, assuming the Golden Globes still have some clout within Academy Award member circles? Or, is it still impossible to shake the image of Pia Zadora walking away with the Golden Globe for Best New Star over Kathleen Turner, Howard Rollins and Elizabeth McGovern?

Let’s hope the folks behind the upcoming A&E series “Bates Motel” have watched the recent “Halloween” reboot and “Hannibal Rising.”

Those clunkers showed precisely how NOT to illustrate the birth of a movie monster.

A&E’s push to expand their reality show lineup with scripted fare may hinge on how dutifully they can reproduce Anthony Perkins’ iconic screen role. the twitchy, murderous Norman Bates from “Psycho.” Here’s the channel’s description of the program in question:

“Bates Motel” serves as a prequel to the most famous fright film of all-time, “Psycho.”  A&E is currently in script development. “Bates Motel” will give viewers an intimate understanding of how Norman Bates’ psyche developed from his childhood through his teen years. Fans will have access to the dark, twisted backstory and learn first hand how his mother, Norma, and her lover damaged Norman, helping forge the most well-known serial killing motel owner in history.

The aforementioned “Halloween” and “Hannibal Rising” features tried to extend successful franchises by plumbing the depths of the characters’ early days. But audiences didn’t care if Michael Myers was an abused child who finally struck back against society, or that Hannibal Lecter was once young, charming and didn’t crave human flesh.

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The Comedy Central series “Key & Peele” doesn’t debut until Jan. 31, but a sneak peek at their content suggests it’s yet another humor program protecting The One.

“Key & Peele” stars comics Keegan-Michael Key and Jordan Peele in a new sketch comedy series that fills a void left by the old “In Living Color” series. “Saturday Night Live” has featured a mostly white cast for decades, but having two black performers front and center could open up some new comedic possibilities.

But how will the show treat the first black president?

If this clip is any indication, the answer is – with deference and defense. [warning: offensive language]

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Democrats rallied ’round Vice President Al Gore in 2000 even if Captain Global Warming was as dull as a power point presentation.

Now, looks like comedians are prepping the Dull Card to play against potential presidential candidate Mitt Romney.

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Tina Fey and Jimmy Fallon both played the card – hard – Tuesday during a skit on Fallon’s NBC “Late Night” program.

The bit involved a game show segment where the participants had to imitate famous people. For Michelle Obama, Fey started flexing her arms – Fey’s partner thought she was doing the Hulk. Ha ha.

When Fey drew Romney’s name, she said, “This is a really boring Republican guy who might be president.” Later, when the game required only visual clues, Fallon started moving stiffly, like a robot politician motioning to an unseen crowd.

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As is apparent from perusing Big Hollywood for any given amount of time that the current crop of Prime Time Television shows leave quite a bit to be desired. There is also nothing new under the sun, plots are rehashed, and even series’ are being recycled. Occasionally, though, an old dog can be taught new tricks. So it is with the BBC’s Sherlock.

Sir Arthur Conan Doyle’s most famous creation has been a regular in all known forms of media. From the Strand magazine where Holmes got his start, through radio and television and on to the big screen, the great detective has spanned the generations. He is considered the most played character in all of media, with at least 75 different actors taking on the role.

While American audiences have most recently been treated to Robert Downey Jr.’s performance on the big screen, the real gem of modern mystery is the BBC’s mini-series Sherlock. Now entering its second season, it is a luscious masterpiece.

The most fantastic part of the series is that it isn’t new. Each episode works with an existing Holmes story but takes it to another level. Each episode is more of a movie, running for ninety minutes, allowing the plot to build and the characters to gain more depth.

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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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Late-night host Conan O’Brien takes aim at President Obama’s plans to “streamline” the military through reduced defense spending while the rest of the Congressional budget inflates.

From Team Coco:

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OK, David Cross, we get it. You really, really wish you hadn’t signed on for “Alvin & the Chipmunks: Chipwrecked.”

Cross has been more than vocal about how much he hated both filming the new kiddie flick as well as the finished project. But when he sat down on the Team Coco couch last night, Cross found a new way to insult the film’s executive producer.

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“In all honesty it was the most miserable experience I’ve ever had in my professional life.” The star, who was raised Jewish but now identifies as an Atheist, then made a comment that could raise a firestorm — if he weren’t a comedian and crossing a line weren’t his job.

Complaining that he was forced “at legal gunpoint” to spend a week on a cruise ship to film scenes in which he is covered, head to toe, in a pelican mascot costume, Cross called the exec behind the awful ocean ride “The personification of what people think about when they think negatively about Jews.”

The Huffington Post’s account of the exchange tried to do some damage control on Cross’ behalf:

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The best description you’ll read of HBO’s beautifully produced original series “Boardwalk Empire” didn’t come from me. It’s actually something I’ve read in many places and the perfection of the description comes from the simplicity: good television that could be great. With a huge budget (the pilot reportedly cost $18 million), the directorial credentials of Martin Scorsese and creative credentials from a number of “Sopranos” veterans, this is the kind of television that can’t go wrong and, to be fair, it doesn’t. It just isn’t what it could be.

Based on the real-life “Nucky” Thompson, a political and crime boss who controlled Atlantic City during prohibition, the first season’s thirteen episodes start off quite strong through the efficient introduction of numerous  characters, their multi-layered stories, and an impeccable production design and cinematography that’s as good as anything you’ll see in a big-budget theatrical film. A slightly brighter “Road to Perdition” springs to mind.

If nothing else, the producers did a superb job of not only meticulously recreating an era many of us are already familiar with through films and photographs but also casting a feast of outstanding actors who actually look as though they belong there. Let’s face it, there aren’t many actors today who don’t come off as Bugsy Malone-ish in a fedora. But creator Terence Winter and his team definitely chose well in the casting department.

As personified by the great Steve Buscemi, Nucky Thompson is a brutal, put upon, wise-ass willing to do anything to hold onto power — a power increased ten-fold with the passage of prohibition. Complicating his life is his dumber, ambitious brother Eli (She Whigham) and his ward Jimmy (beautifully played by Michael Pitt), who’s also ambitious, a little bloodthirsty, and a little nuts. Naturally, rival gangs regularly stick thorns in Nucky’s side, including what will someday be the Capone Gang out of Chicago and New York’s Lucky Luciano.

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There’s no denying Don Cheadle’s charisma and talent as an actor. He’s born to do what he does. Much like Kenneth Branagh, when he speaks we don’t really want to see or hear anything else. He owns the area around him. We sense an ease in what he’s doing. He’s a chameleon who captures the voice and movements of any character thrown at him. But even Cheadle’s charisma can’t save a slightly typical and slightly partisan show premiering on Showtime tonight.

“House of Lies,” debuting at 10 p.m. EST, follows a team of management consultants led by lethal-in-a-board-room Marty (Don Cheadle). The supporting characters, however, simply fill out stereotypes. The two other men on Marty’s team exist for little more than to give some cheap, sitcom like laughs, and Kristen Bell exists as a foil for Marty. There’s supposed to be a sexual tension or, at least, tension between the two, but the script never sells the chemistry and neither do the two actors (mainly Bell, who still looks like she belongs in high school).

The show begins by thrusting us into the hectic mess that is Marty’s life. We are introduced to his ex-wife, whose management consultant team is number one (Marty’s is number two). We are introduced to Marty’s shrink father, his son who’s going through a very strange gender crisis, and Marty’s clients. Once we enter the business world Marty inhabits, the writing gets wooden and the politics go left… way left. (more…)

Because of Hollywood’s default liberal culture, it’s almost impossible to watch comedy that has any social or political relevance that doesn’t go squarely after conservative targets with gleeful and mean-spirited offensiveness. For the most part, conservative comedy lovers would just do well to fasten their seat belts and get ready for the bumpy ride, because attack comedy on right-wing targets is just part of the territory.

But does it have to be that way? Imagine a sketch comedy show that pokes fun at clueless liberal mayors, politically correct feminists, and entitled hipster butt-inskys. Sound impossible in today’s climate? Surprisingly, the most politically incorrect comedy show out there right now might just be IFC’s “Portlandia.” All six episodes of the first season of the show are currently available for streaming on Netflix, and the second season starts January 21^st on IFC.

“Portlandia” is the brainchild of “Saturday Night Live”’s Fred Armisen and musician Carrie Brownstein. It’s a half-hour show set entirely in the left-wing magnet city of Portland, Oregon. In the very first episode, they say that Portland is a city where the 1990s never ended (it’s “a place where young people go to retire”) and sure enough, Armisen and Brownstein have created a cast of Portland-based characters with the requisite tribal piercings, chin beards, and indigenous pantsuits. (more…)

Director David Fincher and two-time Oscar winner Kevin Spacey are ready to change the way we think about Netflix – and the TV landscape at large.

The pair are teaming up for the new political thriller “House of Cards,” a 13-episode series created specifically for Netflix. Spacey will star and produce the show, while Fincher (“The Social Network”) will share producing credits and direct the pilot episode. Maryland Gov. Martin O’Malley announced today the show will start shooting in his state starting this spring.

The series is based on the novel and British miniseries of the same name dealing with political ambition and intrigue.

Media consumers won’t have to wait much longer to sample the kind of original fare Netflix has in mind as it broadens its content base.

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And you thought only movie studios were out of fresh ideas …

The upcoming TV season – and beyond - will feature plenty of shows that sound awfully familiar. Expect reboots of old TV favorites like “The Munsters,” “The Flintstones,” “Bewitched” and “The Rifleman.”

Other programs will be “inspired” by existing films, all the better to bank on brand names that are the coin of the realm for modern marketers.

“Source Code,” the smart 2011 sci-fi thriller, will be hitting the small screen, and “Hannibal” brings back everyone’s favorite flesh eater for a few more chills – and Chianti. “Romancing the Stone” will try to replicate the sexual chemistry between Michael Douglas and Kathleen Turner from the 1984 film.

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Fascinating analysis. Four key points have been cherry-picked by me, but you’ll want to read the whole thing.

THR:

1. “We believe 2012 will be a watershed year for the media industry and serve as a historic inflection point for traditional TV consumption,” Greenfield wrote. “While TV viewing has consistently risen as choice (channels) and access (VCR/DVR) expanded, we believe consumers have reached a breaking point. There are simply not enough hours in the day for online activities to be purely incremental.” …

2. Movie-going is also “less and less compelling,” meaning that attendance will remain in secular decline, he argued. “3D, IMAX, XD – are they really worth the extra money? Maybe for a one or two movies a year, but Hollywood is increasingly looking to premium exhibition formats as the solution to falling top-line revenues (as home entertainment profits drop),” he wrote. “Unfortunately, bad movies at premium prices are still bad movies and end up alienating your best customers.” …

3. Digital video platforms could benefit though as Greenfield predicts that Google’s YouTube will increases its video spending 10-fold and enable some subscription offerings, while Amazon.com will launch a stand-alone subscription video streaming service, and Facebook will become a video platform. …

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Here at Big Hollywood we often take the entertainment industry to task for its outrageous liberalism, and rightfully so. Of course it’s our job to look for the worst cases to alert you all about the nagging left-wing bias. But occasionally there are stories that are good ones and it is incumbent upon us to report those, too. This is one of those stories.

More often than not when we have news out of Hollywood about life issues it is invariably a pro-abortion tale and in the case of scientific studies, it is usually some denizen of Tinseltown coming out forcefully for unethical fetal stem cell research. The destruction of life is de rigueur out there, unfortunately.

But not this time.

You might say that this celebrity has boldly gone where no Hollywooder has gone before. You also might wince at my horrible attempt at humor when you find out that we are here today to celebrate the efforts of Eugene W. Roddenberry Jr., the son of Gene Roddenberry, the creator of “Star Trek.”

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The Queen of Nice is now the Queen of Low Ratings.

Rosie O’Donnell’s OWN talk show is hardly helping Oprah Winfrey’s new network overcome its ratings woes. “The Rosie Show” quickly dropped 49 percent after its debut in October, and given the network’s overall lousy performance it doesn’t seem to be having a positive impact on the rest of the lineup.

The press appears disinterested in O’Donnell’s fall. Shouldn’t a celebrity with a track record of talk show triumphs – both on her own syndicated program and as part of the successful gab-fest “The View” – be a safe bet for a home like OWN?

Could it have anything to do with O’Donnell’s vitriolic transition from fuzzy talker to 9/11 truther?

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