CLICK HERE to Watch the Series Trailer  Moviemakers have been turning the cameras on themselves since the beginning of the industry--even before the industry coalesced into its present form. Maurice Tourneur's A GIRL'S FOLLY offered an enchanting snapshot of the New Jersey film industry, circa 1916. As the Southern California studio system solidified over the course of the 1920s, silent satires like SHOW PEOPLE (1928) and the now-lost HOLLYWOOD (1923) gave movie-mad audiences an intimate look at a world they only knew through fan magazines. The coming of sound provided a new dimension of behind-the-scenes realism (or its studio-sanctioned facsimile) in films like WHAT PRICE, HOLLYWOOD? (1932), A STAR IS BORN (1937), and IT HAPPENED IN HOLLYWOOD (1937). When Hollywood looks at itself, the glance is never straight on: the tension of the creative process is refracted and transformed, displaced and deranged. 'Hollywood Mirror' spans madcap industry comedies, knowing critiques of studio politics, and otherworldly fantasies where the dream kicks back. David Lynch's MULHOLLAND DRIVE is an alchemical triumph as unlikely as the careers of its moviestruck heroines: beginning life as a rejected TV pilot in the wake of TWIN PEAKS, MULHOLLAND DRIVE twisted in on itself until it emerged as a prismatic meditation on performance, desire, and betrayal. Vincente Minnelli's THE BAD AND THE BEAUTIFUL is a poison pen valentine from the heart of MGM, a no-holds-barred melodrama that oscillates between class and trash as if changing costumes. Robert Townsend's independently-produced HOLLYWOOD SHUFFLE pulls no punches in cataloging the evergreen stereotypes that stifle Black talent in the industry and delivers a satire that's equally hilarious and relevant over three decades later. Frank Oz's BOWFINGER takes a lighter approach, but this winning Steve Martin-Eddie Murphy romp uses the most threadbare blockbuster approach to raise durably profound/absurd questions about modern celebrity: can the publicity machine conjure a star performance from nothing at all, with the star's consent optional? Robert Zemeckis's WHO FRAMED ROGER RABBIT charts nothing less than an alternate history of Hollywood, where cartoons and live-action stars live side-by-side and Los Angeles boasts the most robust public transportation system in the country.

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