The hairdresser of Galleria’s mom, Pepto B., gets a tip. Kahlua, the teenage R&B diva whose last single topped the charts, is coming to town. The Cheetahs hatch a plan—“Mission Kahlua”—in which they rock Pepto B.’s salon with their newest song, “More Pounce to the Ounce.” Kahlua hooks up a meeting with her record label executives in Hollywood. The girls snag a record deal and are ready to prove to the world that every cheetah has its day!

Kahlua, the teenage R&B diva, is coming to town and the Cheetahs plan to have her hear their newest song. Kahlua hooks up a meeting with her record-label executives in Hollywood. Are the Cheetah Girls about to get a recording deal?

A humorous critique of the Hollywood liberals from the New York Times bestselling author of Obama Zombies. THE BOOK YOU’RE ABOUT TO READ WILL PISS YOU OFF. Are you sick of self-important celebrities preaching against “global warming” yet flying private planes to their countless homes? Fed up with lectures about charity and philanthropy from miserly rockers who will do anything for a tax break? Disgusted by leftist stars decrying the evils of the Second Amendment as their personal bodyguards pack more heat than a Chuck Norris kick to the face? You laughed as you watched gonzo journalist Jason Mattera “punk” some of the Left’s biggest icons. You cheered as he rattled a generation from their unthinking liberal slumber in Obama Zombies. Now, in his shocking latest New York Times bestseller, Mattera sets his sights on his biggest target yet, ground zero for liberal lunacy, the Left’s Holy Land: .Hollywood.

This December, America's favorite animated, terminal adolescents will reach new heights of fame when they jump to the big screen in their first-ever motion picture, Beavis & Butt-head Do America. To tie in with this monumental event, Beavis & Butt-head: Huh Huh For Holywood is, in Butt-head own words, "the untold expose of how we became famous and made movies that didn't suck and got rich and scored with lots of hot celebrity chicks".

Moving to Los Angeles to pursue an acting career, Midwestern girl Callie Lambert endures a grueling schedule of waitressing and auditions before landing a role that she hopes will be a big break only to encounter new challenges in the form of murder, betrayal and love.

First published in English in 1974, Hollywood and After presents contemporary cinema in all its complexity, describing and analyzing the various factors which, in the sixties and seventies, brought so many changes both inside Hollywood and throughout the film industry of the USA. The film industry has been restructured. No longer independent, it now forms only a part, sometimes only a small and secondary part, of large diversified corporations. Formerly rivals, today cinema and television not only coexist, but are forced to cooperate closely in a world of technical developments such as videocassettes, cable TV, and satellite transmissions. The main part of this book is dedicated to artistic and creative questions. A new generation of film makers is making films for a new generation of film goers who are looking for fresh values on the screen. More and more the cinema mirrors the reality of American life: complicated, uneasy, shaken by violent outbursts, charged with a multitude of controversies and conflicts. The rose-tinted American dream, which Hollywood peddled, is a thing of the past. Today the US cinema offers a variety of artistic, political, and social approaches and a wide range of highly individual styles. In the world of social media, OTT platforms, and AI, this book is an important historical reference for scholars and researchers of film studies, film history, and media studies.

In the 1930s as the capitalist system faltered, many in the United States turned to the political Left. Hollywood, so deeply embedded in capitalism, was not immune to this shift. Left of Hollywood offers the first book-length study of Depression-era Left film theory and criticism in the United States. Robé studies the development of this theory and criticism over the course of the 1930s, as artists and intellectuals formed alliances in order to establish an engaged political film movement that aspired toward a popular cinema of social change. Combining extensive archival research with careful close analysis of films, Robé explores the origins of this radical social formation of U.S. Left film culture. Grounding his arguments in the surrounding contexts and aesthetics of a few films in particular—Sergei Eisenstein's Que Viva Mexico!, Fritz Lang's Fury, William Dieterle's Juarez, and Jean Renoir's La Marseillaise—Robé focuses on how film theorists and critics sought to foster audiences who might push both film culture and larger social practices in more progressive directions. Turning at one point to anti-lynching films, Robé discusses how these movies united black and white film critics, forging an alliance of writers who championed not only critical spectatorship but also the public support of racial equality. Yet, despite a stated interest in forging more egalitarian social relations, gender bias was endemic in Left criticism of the era, and female-centered films were regularly discounted. Thus Robé provides an in-depth examination of this overlooked shortcoming of U.S. Left film criticism and theory.