Michael Moore became an industry hero and the most visible symbol of the Hollywood left.
Michael Medved
Arnold Schwarzenegger's gubernatorial campaign raises a series of fascinating questions, the most perplexing of all being why an international star of his stature would ever want to run in the first place.
A quick glance at the American left reveals a movement in the midst of a nervous breakdown, displaying behavior that goes beyond inconsistency into the realm of bipolar moods and multiple personality disorders.
We spend too much time fretting over the way the industry produces programming, and too little worrying about the way the public consumes it.
The truth about Hamas and Islamic Jihad is that they don't prevent Israel from existing or even flourishing, they prevent Palestine from coming into existence.
Ronald Reagan, of course, was a Republican governor of California who went through a painful defeat in the 1976 presidential race before winning four years later.
The standard entertainment industry reaction to Hollywood's box office slump reveals the same shallow, materialistic mindset that helped create the problem in the first place.
The left-leaning thinking that dominates the movie business follows a common liberal instinct to deny the spiritual dimension to every problem, thereby profoundly compounding the difficulties.
This same habitual blindness to spiritual, substantive dimensions of every significant challenge continues to handicap Hollywood.
Simultaneously, the movie business now experiments with a colorblind approach to casting.
Savvy observers occasionally note television's resemblance to the weather: Everybody loves to complain about it, but nobody can do anything to fix it.
Conservatives, despite their increasingly powerful presence on cable TV and talk radio, feel excluded and disregarded by the longstanding preponderance of liberal voices on public television.
