Four high-profile shows have just had their season finales – well, three did while the other (AMC’s “The Walking Dead“) instead invented the concept of a “mid-season finale,” a phenomenon that is even less necessary than the Jon Huntsman campaign. If that’s possible.

The Walking Dead, HBO’s “Boardwalk Empire,” Showtime’s “Homeland” and Fox’s “Terra Nova” could not be more different in concept, tone or execution, but what they have in common illustrates the biggest threat to Hollywood – and the solution to Hollywood’s problems.

The industry faces unprecedented technological challenges and dwindling audiences, but those alone won’t close down the Glitter Factory. Hackneyed plots, unquestioned political premises and disrespect for the audience will.  But great storytelling, fine acting and technical work – those can save it.

This is written as a fan, as someone who wants these shows to succeed, who wants the hundreds of people who are employed by them to keep working. Please note that spoilers will run free and without restraint throughout, flowing unhindered like stupid ideas from Ron Paul’s Fed-hole.

“Boardwalk Empire” is a near-great show, adult fare not only on account of the complex themes of loyalty and greed that it explores but also in the sense that it packs more female nudity per episode than a drunken Disney teen star’s hacked cellphone camera.  (more…)

From AFP:

Danish film director Lars von Trier stunned his audience at the Cannes film festival on Wednesday by saying that he sympathized with, and understood, Adolf Hitler. “OK, I’m a Nazi,” he told a news conference, which reacted with nervous laughter and surprised silence.

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Brad Thor’s new thriller, The Athena Project, may at first glance seem so far-fetched — the U.S. government is training a cadre of smokin’ hot, kick-ass female Delta Force ops; yeah, right — that you might be tempted to dismiss it as just another Hollywood fantasy. Not only would you be way wrong, you’d also be missing out on one of the year’s great action-adventures.

The plot of the novel (don’t worry, I won’t give anything away) involves a Delta team of four hot chicks, an Italian terrorist financier, long-lost Nazi technology and even a cameo appearance by Thor’s regular hero, Scot Harvath, who’s the lucky guy who supervises the Fox Force Four in the field.  But there’s a lot more than simple plot going on in Brad’s work, as well as in the work of all the best thriller writers, and that’s what I want to talk about.

While it’s true that every story begins with the writer asking himself the question, “What if…?” in the thriller business there’s an added component, which is the factual basis for asking the question in the first place. That is, whether it’s Brad Thor, Vince Flynn, Tom Clancy or the other terrific writers currently working the field, the story is generally firmly grounded in actual fact: some of this stuff you can’t make up, because it already exists.

Let me give you an example. The Athena Project opens with a reference to the DARPA program — the Defense Advanced Research Projects Agency, otherwise known as the toy department.  Ian Fleming’s fictional “Q” — you remember him, the slightly nutty guy played in the movies by Desmond Llewelyn and John Cleese — has nothing on DARPA, which is tasked with coming up with weapons of the future. Now you may think that a semi-obscure outfit that combines the military and the private sector, that is constantly rotating personnel to keep it fresh and imaginative, and which combines hard-headed science with imaginative science fiction is strictly the stuff of fiction. On the contrary, DARPA exists and does it exactly what Thor says it does.

Ditto the existence of the female Delta ops.

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World War II was my war. We fought the Germans. They were the enemy. There was a German problem. Of course, if we had stopped to think about it, which we didn’t because we were too busy trying to win the war, we would have realized that not every German wanted to fight us; maybe not even a majority of them did. But they didn’t oppose the Nazi extremists who had taken over their government and attacked us in the name of German racial superiority. I’m sure a lot of Germans agreed with Hitler. But those who were against him, didn’t dare speak up. A few did, of course, like the great German patriot Reverend Dietrich Bonhoeffer. He spoke out against the Nazi thugs. For his pains he was put into a concentration camp and died there.

Jihadist thugs are now attacking us in the name of Islam. No doubt there are a lot of Islamic believers who don’t support this. But like the Germans in World War II, they are not speaking up… for good reason of course, as there was a good reason back in the days of the Third Reich. But because they aren’t speaking up to oppose what is being done in their name, the world has a Muslim problem. Everybody knows this. Not many public figures dare to say it out loud. Some public figures don’t want to know it, much less say it out loud.

Bill O’Reilly, who has taken great pains in recent years to position himself as a centrist, has now had the courage to say out loud what everybody knows. The predictable cries of outrage have ensued. Juan Williams, a true blue liberal who has no doubt outraged his bosses at NPR for years by appearing on Fox, even if it was to espouse their cause, is now paying the price for O’Reilly. They couldn’t fire him; he doesn’t work for them. Juan does, so out he went. (more…)

The script of the upcoming remake of the infamous America-conquered-by-Commies movie Red Dawn (1984) raises an intriguing question – can Hollywood actually still produce a movie where it takes America’s side?  The answer is “Sort of.” 

“Wolverines!”

There are some welcome ideological surprises lurking within the script’s 104 pages.  Shockingly, Hollywood actually seems to accept the premise that if the Chinese and Russkies invade the United States we are justified in fighting back with hot lead instead of teach-ins and choruses of Kumbayah.  But the script also displays a bit of the moral illiteracy we’ve come to expect from the Hollywoodoids – naturally, the script has to imply that we kinda brought the invasion on ourselves and that resisting tyranny somehow means becoming just as bad as the tyrants.

The re-imagining of Red Dawn will be released later this year and does very little actual re-imagining of the original’s simple plot.  We first meet some all-American teenagers.  They play high school football, party, and talk and look like CW series cast members – not real bright, but pretty (the pretty part in the script).  For some reason, the Soviets (replaced here by the Chinese with a Russian assist) invade America and seize their hometown.  Their town’s tactical significance appears to be that invading it advances the plot.  Anyway, the teenagers go up into the mountains, score some of the firearms our prescient Founders ensured we’d always have the right to keep and bear despite the best efforts of those gun control-loving wusses, and launch a bloody guerrilla war against the invaders.  (more…)

The name was Fleming, Valentine Fleming. But to his four young boys, Bond creator Ian Fleming among them, he was “Mokie” — a baby-talk bastardization of “Smokie,” so called because he always had a pipe dangling from his lips, the same way Sean Connery would one day sport a cigarette in his debut appearance as James Bond in Dr. No. Curiously, no one in turn-of-the-century England thought to arrest Mr. Fleming for smoking in the presence of his children, nor did social services batter down his door to cart the poor cancer-threatened kids away. He was their Pop, and they adored him, smoke and all.

Child-abusing barbarians, I know.

They were rich, the Flemings. Grandfather made his fortune pioneering investment trusts, and when Valentine came of age he inherited hundreds of thousands of pounds. Thus it was that his second son Ian, born in 1908, grew up in a world of wealth and privilege. Mother was a typical socialite, a lover of status and all the good things that money could buy, but Father was different. He ran for government office as a conservative, and was by all accounts a thorough patriot of crown and country much admired by everyone who met him. When war became imminent, there was never any question whether he would use his money and influence to weasel out of the fight. Valentine joined the Queen’s Own Oxfordshire Hussars of his own volition and trained for combat, counting among his friends a fellow officer named Winston Churchill.

Ian and his family watched with dread as their Dad headed off to the front in 1914, and for the next three years they saw him but seldom. Valentine sent his family cheery letters to lift their spirits, but his missives to Churchill laid bare the truth: (more…)

Now, there’s always a scene in zombie movies, when one non-zombie character will turn to another, and say, “If I ever turn into that, I want you to kill me.” Then they make love, and reload.

Well, I want you, dear viewer, to make the same promise to me. Except instead of killing me if I become a zombie, I want you to kill me if I ever turn into Dylan Ratigan.

I am not joking. If you see symptoms of me frothing, twitching, or ranting until my eyeballs pop out and roll across the floor – I want you to hack me to pieces with a hatchet. Try to make it quick.

See, there is a reason why no one should ever be Ratigan. He has a hard time being himself. Check him out interviewing a Tea Party leader, Mark Williams, as if Williams himself ran a concentration camp in the 1940’s. (more…)

In November 1974, Werner Herzog received a most distressing phone call. Lotte Eisner, the beloved doyenne of German cinema, was dying. Part film historian, part published critic, part heroic preservationist, and part muse to the filmmakers struggling to piece together the broken shards of German culture left in the wake of the Nazis, Eisner was a legendary figure in Herzog’s eyes, and had inspired him to persevere through a decade of near-poverty as a struggling director. Now, at seventy-eight years old, she was deathly ill and not expected to survive.

Herzog was in Munich, Eisner in Paris, and their mutual friends implored the thirty-two-year-old director to fly to France post-haste so that he might say his goodbyes while there was still time. But Herzog would have none of it. “This must not be,” he remembered thinking. “German cinema could not do without her now. We would not permit her death.” And so, suddenly afire with what he once called in another context “the fervor and woe of pilgrims and prayers and hopes,” Herzog made a momentous decision: he would set out from his apartment in Munich and walk the five-hundred miles to Paris “in full faith, believing that she would stay alive if I came on foot.”

Days stretched into weeks as he trod alone through the winter sleet, sometimes breaking into barns or empty cottages to survive the cold nights and taking only a single detour, “to the town of Troyes, because I wanted to walk into the cathedral there.” Finally he arrived exhausted at Eisner’s Paris apartments to find her “still tired and marked by her illness,” but recovering against all odds. She would live nine more years, until at last, “when she was nearly blind, could not walk or read or go out to see films,” she called Herzog back to Paris and told him, “Werner, there is still this spell cast over me that I am not allowed to die. I am tired of life. It would be a good time for me now.” Herzog recalls that, “Jokingly I said, ‘OK, Lotte, I hereby take the spell away,” and three weeks later Lotte Eisner died. (more…)

Some highlights form today’s must read article on Oliver Stone’s new Showtime project from the Hollywood Reporter’s Live Feed:

Director Oliver Stone’s upcoming Showtime documentary miniseries “Secret History of America” promises to put mass murderers such as Stalin and Hitler “in context.”

“Stalin, Hitler, Mao, McCarthy — these people have been vilified pretty thoroughly by history,” Stone told reporters at the Television Critics Association’s semi-annual press tour in Pasadena.

“Stalin has a complete other story,” Stone said. “Not to paint him as a hero, but to tell a more factual representation. He fought the German war machine more than any single person. We can’t judge people as only ‘bad’ or ‘good.’ Hitler is an easy scapegoat throughout history and its been used cheaply. He’s the product of a series of actions. It’s cause and effect … People in America don’t know the connection between WWI and WWII … I’ve been able to walk in Stalin’s shoes and Hitler’s shoes to understand their point of view. We’re going to educate our minds and liberalize them and broaden them. We want to move beyond opinions … Go into the funding of the Nazi party. How many American corporations were involved, from GM through IBM. Hitler is just a man who could have easily been assassinated.” (more…)

You have seen John Nolte’s countdown of the Top 25 Christmas Movies, but this list is something else – a list of movies worth watching that take place in or around Christmas but aren’t about Christmas itself.  They don’t necessarily embrace the spirit of the season – as to some of them, that’s putting it mildly – but each one is guaranteed to provide you at least a couple of hours blissfully sheltered from the mindless socialist rants of the health care demolition crew, from the lame excuses and transparent equivocations of the climate change scammers, and from Howard Zinn-scripted commie nonsense spouted by ignorant Hollywood nitwits.

Here they go, in no particular order:

10. Die Hard (1988): You’ve seen Die Hard probably a hundred times.  See it again, preferably uncut and not sanitized for TV.  Bruce Willis is a cop trapped alone while the incredible Alan Rickman and his band of fashion plate terrorists grab Nakatomi Plaza during the annual Christmas party.  The plot is simple, but the execution is simply awesome.  This movie is the archetype, the template  for a hundred subsequent movies that were pitched as “Die Hard in a (fill in the blank).”  For more fun, try my Die Hard-themed drinking game – take a pull on a Dos Equis every time something happens that creates or reaffirms a classic action film cliché.  Wisenheimer renegade cop who play by his own rules – gulp!  Lots of MP-5s and other (then) hi-tech armaments that fire a ton of rounds but rarely hit anything – gulp!  Villain who rises from the dead to be killed one last time – gulp!  You may want a designate a driver – cue Argyle, the streetwise sidekick in the limo (gulp)!   (more…)

“Objectivity is impossible,” self-styled “peoples’ historian” Howard Zinn once remarked, “and it is also undesirable. That is, if it were possible it would be undesirable, because if you have any kind of a social aim, if you think history should serve society in some way; should serve the progress of the human race; should serve justice in some way, then it requires that you make your selection on the basis of what you think will advance causes of humanity.”

History serving “a social aim,” rather than chronicling the past in a detached manner, is what readers get in A People’s History of the United States. With any luck, “The People Speak,” the History Channel documentary based on the book that premieres this Sunday, will be, like so many Hollywood productions, unfaithful to the original. Given A People’s History of the United States’ infidelity to facts, this might be the only chance viewers have of seeing anything resembling an accurate retelling of history.

Through Zinn’s looking-glass, Maoist China, site of history’s bloodiest state-sponsored killings, transforms into “the closest thing, in the long history of that ancient country, to a people’s government, independent of outside control.” The authoritarian Nicaraguan Sandinistas were “welcomed” by their own people, while the opposition Contras, who backed the candidate that triumphed when free elections were finally held, were a “terrorist group” that “seemed to have no popular support inside Nicaragua.” Admitting some human rights abuses, Zinn writes that Castro’s Cuba “had no bloody record of suppression.”

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Thanksgiving is a uniquely American holiday.  Sure, Canada and a couple other nations have adopted their own weird versions of it too, but the notion of a nation setting aside a day to give thanks for its blessings could only arise in a nation that has been so abundantly blessed.  In its land, its people and its animating spirit, America has much to be thankful for even in a time of war, economic blight, and a government that too often seems to see its blessings as curses and its greatest strengths as flaws.

– 

But America’s abundance does not apply to movies about Thanksgiving.  Certainly some exist, but if you review a list of movies about Thanksgiving, the sad fact is that there are very few good ones.  Many are PC retellings of the original Thanksgiving story – one guess as to who the villains are (Hint:  It’s the dudes with buckles on their hats).  Others are tiresome melodramas about “quirky” families that reaffirm their bonds over plates of turkey, with “quirky” — meaning “annoying.”  (more…)

Once upon a time Hollywood movies were often about American heroes vanquishing our enemies. Now they make movies attacking Americans while ignoring the real people who attack America.

Once upon a time Hollywood had no problem distinguishing our enemies from our allies. Now our allies are often shown to be feckless and evil while our enemies are either ignored or made out to be mere puppets of our evil leaders.

For example, last season of “24″ had an African dictator’s troops invading the country and trying to unleash a deadly virus, but of course, they were working for an evil Blackwater type military contractor run by a right-wing “patriot.” Patriot is Hollywoodese for crazy nut job. The same kind of villains were used in this year’s “State of Play” which had evil government contractors murdering people to cover up their evil conspiracy. Or last year’s “Body of Lies,” also starring Russell Crowe, which showed the CIA as a bunch of lying killers who have Arabs picked off with abandon for the aims of US policy. And let’s not forget 2007’s “Valley of Elah” in which American soldiers are portrayed as soulless killers made that way because they were exposed to combat. Or how about “Syriana”, in which a fat George Clooney wanders around the Arabian desert learning how evil the US is while boring the audience with an obscure plot. (more…)

Double Dosage!!! Sorry, I got a bit behind on Shhhtuff, so I hope I can do a lil’ catch up with ya! Here’s me lookin’ out for my womens like Sarah Palin, and a vid lookin’ at naughty Nidal after the jump.

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Editor: This is the second part of a two-part series. You can read part one here.

The 1970s showed the once-invincible comic book super-heroes to be losers, in attitude and sales. Watergate had disillusioned the super-patriot Captain America with a storyline implying Nixon was the head of a terrorist group. The Captain trashes his outfit and becomes Nomad, The Man without a Country. My 11-year-old mind thought this was ridiculous, as Cap was originally a Depression-era 98-pound weakling until given a Super Soldier serum to bulk up and fight Nazis. It was unlikely that one of the “Greatest Generation” would bail on his country so readily. Even then I realized that this development merely mirrored a hippie writer’s attitude more than staying true to a character’s origins. 

Super-heroes became bleaker and even homicidal in the 1980s. The Punisher, a murderous vigilante, has become a top Marvel character. The Dark Knight Returns, a re-imagining of Batman, introduced an elderly caped crusader fighting the corrupt U.S. government represented by a stoogish Superman. Watchmen was set in a dystopic alternate reality where Nixon is still president and the super-group is made up of, among other miscreants, a rapist and mass murderer. It was a transmutation of established super-heroes from the 60s with Steve Ditko’s Objectivist hero The Question recast as the psychotic Rorschach.  (more…)

Sir Ian:

“It was illegal for me to do (things) as a private person. Outside London, where I lived, there was no gay pub or bar you could go to. And even if you found one, it was, ‘Knock three times and ask for Louis’. It was horrible living this secret life. You could feel a little bit what it was like to be a Jew in central Europe during a certain period. It was horrible.”

“The essence of propaganda consists in winning people over to an idea so sincerely, so vitally, that in the end they succumb to it utterly and can never escape from it.” Joseph Goebbels

There is no shame in artists receiving monetary compensation to sell ideas, products or a presidential agenda. When everything is transparent and contracted aboveboard, this is called advertising. When this process is whispered into being, strategized and set into motion from the shadows of government and from behind closed doors, it is propaganda.

From Sun Tzu to Psy Ops, propaganda has won wars, toppled cultures and changed civilizations. As a self-identified enlightened and educated culture, we  thought ourselves beyond such base manipulation. We were wrong.

Where were the voices of dissent on the NEA conference call when so called “artists” were asked to further the President’s agenda?

I have danced ballets and I have done commercials; one side art, the other side business. What side were the NEA recipients on? (more…)

So another Rambo flick is on its grimy, sweaty way and this time the villains are human traffickers and drug lords. To make them even more despicable, they’ve kidnapped a young girl and are probably ignoring her strict vegan needs.

Look, I applaud Sylvester Stallone’s heroic stance against human traffickers and kidnappers – for I know there will be quite an outcry especially from the large and very influential human trafficking and kidnapper lobby.

Of course, this movie comes on the heels of two other edgy ventures: The G.I Joe flick – which turned a gritty American icon into an airbrushed Benneton ad, and “Inglourious Basterds” a fantasy that has average Jews hacking Nazi soldiers to pieces.

These three movies have two things in common:
1) They avoid present, real danger in the world and instead choose villains that are not just safe, but politically correct to hate. You’d think it would be easy for Quentin Tarantino to find a present day enemy for the Jews (like, say, a terrorist group that denies the Holocaust and wants to wipe Israel off the map), but maybe none exist! And what of those guys who flew planes into the World Trade Center? I suppose in the era of the “unclenched fist,” we must be more sensitive to “backlash” than barbarism. (more…)

Remember the children’s magazine, Highlights? Its motto is “fun with a purpose.” The motto for Quentin Tarantino’s latest flick, “Inglourious Basterds,” should be “violent with a purpose.”

It’s 1944 in Nazi-occupied France. Joseph Goebbels’ (Sylvester Groth) latest film triumph starring Germany’s latest hero, Fredrick Zoller (Daniel Brühl), is set to premiere for the top brass of the Third Reich – including the big cheese himself, Adolf Hitler – and their guests. Funnily enough, the premiere is to be held in a cinema owned by Shoshanna Dreyfus (Mélanie Laurent), a Jewish refugee with her own obvious reasons for hating the Nazis. Naturally, she plans her revenge for the fateful night.

Meanwhile the Basterds, a crack group of Jewish-American soldiers under the leadership of Lt. Aldo Raine (Brad Pitt), is undercover in France and “in the business of killing Nazis, and business is booming.” Those Nazis who manage to escape death are given meaningful souvenirs of their time with the Basterds. The paths of these two groups cross in a way that only Tarantino, master of gory coincidence, could imagine.

A good ol’ boy and Jews brutally mowing down Nazis. What’s not to like? It’s probably one of the few times you’ll see a redneck positively portrayed in Hollywood. (more…)

So Barney Frank finally found someone he could beat in a debate. The Congressman was speaking at a town committee meeting at Dartmouth, Massachusetts, when a crazy lady approached the microphone with a quivering rant – linking Obama’s health care plan to the Nazis. This was a lay-up for Frank, for the bug-eyed woman was a LaRouche follower, a member of a group of far-left conspiracy chuckleheads – who, like cockroaches, never go away despite the bug spray. These poor folks need medical help, not publicity, but Frank didn’t see it that way. It was his lucky day: he could speak truth to power, even if the power might have been a lonely shut-in.

Now, I am not saying this crackpot was a plant – I’ll leave that to Barbara Boxer. But the provocation was. You could practically see Barney winding up for the pitch, and he even acknowledged the Obama flyer she was carrying. See, he knew where this was going – it was a chance for him to shine with a well-rehearsed line. So while the media paints this as brave Barney standing up to white, racist Obama-haters who’ve hijacked the health care debate – to me he’s Lebron James slam-dunking Steven Hawking. (more…)