What Disney Will Destroy Next

We don’t much like giant media conglomerates around here – they make art inaccessible to the poor and abuse the copyright system to steal from the entire human race. But if I could smash just one of the huge corporations that dominate the entertainment industry, it would be Disney, no question. The Walt Disney Company is now the second-largest media conglomerate in the world following its acquisition of Fox, just behind AT&T. It is by far the largest film company in the world, collecting over a third of the global box office this year alone. And it’s a terrible, evil company that can’t be trusted with the power it’s acquired.

The merger’s first victims – after the thousands of people who lost their jobs because of it – were independent cinemas. Disney has a unique policy about who can screen its new and old films. It divides theatres into commercial theatres (which can show new Disney films, but not old ones) and repertory theatres (which can show old Disney films, but not new ones). Most independent theatres don’t fit this binary, of course. Many will screen some new releases so their foot traffic can subsidise smaller films or releases. After the merger, Disney extended this policy to the 20th Century Fox back catalogue, with disastrous implications for independent theatres. Disney is arbitrarily ruling theatres commercial or repertory, often without communicating this fact to their management, so they only learn when an attempted booking goes nowhere. The Fox catalogue contains loads of classic films whose well-attended rereleases are the financial backbone of many independent theatres: Young Frankenstein, Alien, Raising Arizona, Butch Cassidy and the Sundance Kid, Die Hard. Without them, independent cinemas will struggle to survive. (There is a purported exemption for The Rocky Horror Picture Show, for unexplained reasons.)

But it won’t stop there. Disney doesn’t care about the collateral damage of its endless pursuit of profit for its own sake. The people who run it are perfectly willing to lay waste to anyone who delays them even one second on their way to the next billion dollars. Disney will only grow more and more powerful unless it’s broken up by state action.

Until then, here’s some other things Disney will destroy.

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Deconstructing Louis CK, Part 1

For the last several years, an increasing number of celebrities and other powerful figures – mostly but not exclusively men – have been exposed for sexual assault and harassment. People call it the #MeToo “moment” and it’s fair to say the outing of Harvey Weinstein as a serial sexual predator in the pages of the New York Times and New Yorker was a kind of tipping point. But it was a tipping point in a trend that’s been growing for years and many of the people exposed since Weinstein are people whose behaviour were the stuff of rumour for a while before. Sometimes, people ask me why I’m so willing to believe accusers when they speak out when it’s all just “he said, she said”, and there are a lot of reasons, but one is definitely that I’d been hearing things about several of the people recently exposed years before anyone came forward. I’m not some celebrity insider or anything. I’m just some guy from a small town in Ireland who’s never met a famous person I couldn’t fail to make small talk with before falling completely silent and walking away mumbling to myself, as Father Ted’s Ardal O’Hanlon could attest if our encounter in a pub in Galway had been memorable in any way whatsoever. I’m not connected. But if someone had asked me to name sexual predators in Hollywood a year before the Weinstein story broke, I could have named at least a few of the men whose crimes were about to be dragged into the light: Bryan Singer, John Lasseter, Louis CK.

These past few years have raised a lot of challenging questions about how to relate to artistic works made, at least in part, by sexual predators. I’ve written about some of these questions before, and I will probably write about them again in the future. They’re not questions with easy, straightforward or final answers, if they have answers at all. An argument that might persuade you in one case could fail in another: when people say Woody Allen’s movies are inseparable from the man and his crimes, something about it just rings truer to me than when people say the same about the songs of Brand New, whose lead singer Jesse Lacey admitted to sexually exploiting teenage girls while he was in his twenties, and it’s hard to pin down why. Why can I listen to Brand New without guilt but just the thought of listening to Lostprophets, whose lead singer Ian Watkins is a convicted child rapist, turns my stomach? Why do Lostprophets songs turn my stomach when I was recently able to watch multiple episodes of Glee starring Mark Salling, who plead guilty to possessing child pornography before hanging himself, with minimal discomfort? The details differ, obviously, but all four of these men hurt children. What makes me want to take back Brand New’s music from its association with Jesse Lacey but not Lostprophets’ from Ian Watkins?

I’m not sure and may never be. Certainty may not even be the point. Perhaps constantly questioning ourselves and our judgement is the response these issues require. Not to the extent that we suspend judgement indefinitely and let ourselves off the hook from making decisions, obviously, but maybe a satisfying answer shouldn’t be the goal.

Let’s talk about Louis CK.

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The Best of The Sundae #3

It’s been a banner year for The Sundae and we’re only halfway through. We got a shout out from Todd in the Shadows, took the New Zealand drag community by storm and did an objectively better job of rewarding the best films of 2018 than the Oscars by sheer virtue of not nominating Bohemian Rhapsody for anything. We also wrote some really good shit. And, for the first time ever, our best-of round-up contains two pieces from a pair of fantastic guest contributors.

So, if you’re a long-time reader, revisit some of our greatest hits. If you’re a recent reader, catch up on some stuff you might have missed. If you’re a brand new reader, take a chance on something a little different. And, if you like what you see, drop a tip in the jar so we can continue our mission of publishing independent cultural criticism unbeholden to the hot take cycle, and destroying the Walt Disney Company.

Here’s the best of The Sundae so far. Again. (Again.)

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On Cinema(s)

In 2018, Ireland had the highest per-capita cinema attendance of any country in Europe, averaging 3.3 visits per person and just edging out France’s average of 3.2. This really surprised me, because I go to the cinema a lot more than that. I go to the cinema most weeks, and it’s not unusual for me to see two or three films in a row on the same day. Last year, the Pálás cinema in Galway had a Jeff Goldblum day, and I went to see The Big Chill, The Fly and The Adventures of Buckaroo Banzai Across the 8th Dimension and really regretted not seeing Independence Day because I was at such a loose end, and I don’t even like Independence Day. I once saw Justice League, Murder on the Orient Express and Suburbicon on the same day for some reason. I pretty regularly miss out on seeing films in the cinema that I’m interested in, and yet I regularly beat the Irish annual average in a week without even thinking that I’ve been going to the cinema “a lot”.

This means that just by myself, I’m skewing that average up a bit. I can’t imagine going to the cinema three times a year, but there are obviously loads and loads of people that go far less than that. I think for some people, going to the cinema is something you mostly do as a child, the way lots of people think of libraries or bowling. It makes me sad.

Cinemas are special places, and they offer a special experience. And I’m terrified of them dying.

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It’s Not Your Art, It’s Ours

Last month, James L. Brooks announced that The Simpsons had decided to pull “Stark Raving Dad”, its classic episode guest starring Michael Jackson. Speaking to The Wall Street Journal, Brooks said that he and fellow producers Matt Groening and Al Jean agreed to stop airing the episode in reruns, drop it from the show’s streaming service and cut it from future DVD releases. HBO/Channel 4 documentary Leaving Neverland has brought renewed attention to the accusations against Jackson of serial child sexual abuse, and many have had to answer difficult questions about how to relate to Jackson and his work. Brooks et al. apparently felt this was most appropriate for a show that had collaborated with Jackson.

“I’m against book-burning of any kind,” he explained. “But this is our book, and we’re allowed to take out a chapter.”

Whether you agree or disagree with their decision, most people would instinctively concede that the producers are perfectly entitled to do with their property what they will. But that’s exactly where they were one hundred percent unequivocally wrong.

The Simpsons doesn’t belong to them. It belongs to us.

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Digitally Reanimated Corpses

In the second season of Bojack Horseman, Bojack is cast as the lead in a film: initially it’s a serious drama, but it’s changed significantly to test better with audiences, and so Bojack ends up going AWOL from production for months. When he returns to LA, he discovers the film has been finished without him: they created a computer-generated version of him based on a full-body scan he was made to take at the start of filming. Not only was the CGI Bojack used in additional scenes filmed when Bojack disappeared, but it was inserted into every frame filmed with the real Bojack to replace him. In the end product, Bojack doesn’t appear at all, just a digital copy of him.

The critics call it the best performance of his career.

When I first watched this episode in 2015, it seemed like comic exaggeration. When actors sign up to big movies, they often sign away much more than just their performance – like their likeness to be used for toys and merchandise – and have no recourse when the film they thought they were making turns out to be something else entirely. It was funny because, like most of Bojack Horseman’s best jokes, it was absurdist with a current of real-world melancholy underneath.

A year later, Rogue One: A Star Wars Story came out.

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Fan Boys: The Phantom Menace

People tend not to have a great sense of scale, which isn’t the best quality when we’re so prone to making grand proclamations about entire populations of people. For example, a common refrain since the 2016 US presidential election has been variations on “we now live in a country where nearly half the people voted for Trump”. Now and then someone will point out that, with 60 percent turnout, it was more like a quarter. But that’s still not right. It was 46.1 percent (vote share) of 60.2 percent (turnout) of 71.6 percent (eligibility) of the US population in 2016, or just under 20 percent. This isn’t to minimise the horror of the election result or Trump’s presidency in any way. Every evil thing, every atrocity, that has occurred in the past two years still happened, and, if anything, it just makes it more fucked-up that it didn’t even take a majority to happen.

That’s why it bothers me when I hear this “we now live in a country…” thing, whether about Trump or Brexit or any of the other awful election results of the past several years. If your main political opponents actually comprise less than 20 percent of the country, but you react as if it was half, you can’t possibly be responding in the most effective way. Accuracy matters, especially with something as high-stake as the fate of democracy, and it’s frustrating to constantly see well-intentioned people be so sloppy with reality. Not that low stakes should let people off the hook: standards of research and fact-checking in entertainment journalism are in the gutter and it drives me up the wall. And while it’s obviously not as significant as the rising tide of fascism (though it’s often presented as comorbid with it), when it comes to misrepresenting the scale of a social problem, there’s little critics and journalists have fucked up more than their coverage of “fan boys” and their allegedly toxic effects on society.

Normally, I find articles like this difficult to write, because it requires me to cite specific examples of bad writing and I don’t enjoy going off on other writers, for the most part. But this one will be super easy, because, for once, I can shit on the writing of someone whose writing I already constantly shit on.

This is a callout post. For myself.

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The Redistribution of Art

If you read a lot of pop culture criticism, you’ll very quickly come across three words: vital, essential and necessary. Critics, especially film and TV critics in my experience, love to describe the very best art in the same way most people describe things like food, shelter and healthcare. The instinct might be to treat this as hyperbole, but I like to take people at their word, and besides, there’s no shortage of writing out there that makes explicit what’s merely suggested in most uses of “vital”, “essential” and “necessary”. Moreover, I agree completely: art is an essential part of life.

There are as many explanations for why art is vital, essential and necessary as there are thinkpieces explaining why. Art is how we understand each other when we can’t see inside each other’s skull prisons. Art has profound social value, capable of transforming how people see the world by forcing them to confront unfamiliar realities or new perspectives on age-old issues. Art and the appreciation of art is what makes life meaningful at all for lots of people. I don’t disagree with any of those points of view, but they’re all a bit piecemeal for my taste, failing to provide a universal justification for why art is necessary.

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The Problem with Netflix Originals

Netflix is a very successful business, and I don’t know the first thing about business, so far be it from me to tell them what they should do. (I know so little about business that I can’t understand why owning a company that has never made a profit has made Jeff Bezos, the Amazon guy, the richest person on the planet.) But I do co-run this blog about pop culture, and Netflix has been one of the most important and transformative forces in film and TV (mostly TV) in recent years. The effects of that have been a mixed bag, but it’s hard to deny their sheer scale.

This kind of scares me, because Netflix’s share price does not seem at all proportionate to its profits, and while I don’t know anything about business I have seen Enron: The Smartest Guys in the Room, so a part of me is convinced that Netflix will suddenly and unceremoniously collapse one day. Which, aside from anything else, means all the art made exclusively for Netflix might just… disappear? The archival implications of the streaming model are pretty terrifying if you think about it for more than a minute, which is why I’m one of the few people my age that spends her money buying second-hand DVDs.

But, like I said, I don’t know the first thing about business, so that might be nonsense, and my DVD collection might be no different from stockpiling tins of food in a bunker in case the Cold War turned nuclear. But I do think I know a small bit about film and TV, and film and TV is Netflix’s business. So, on that basis I would like to make this humble suggestion to Netflix HQ: stop making so much fucking original content.

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The Real Lesson of Get Out’s Success

Get Out is one of the best horror films this year, and it’s been a particularly good year for horror. The directorial debut of comedian Jordan Peele, Get Out is the story of Chris Washington, a young black photographer who reluctantly agrees to meet his white girlfriend’s family for the first time. Bad things happen. As well as being really, really good, Get Out was phenomenally successful, grossing $254 million over a $4.5 million budget.

If a movie is critically acclaimed, financially successful and not a blockbuster, chances are that its financial success will be followed by a series of articles on what lessons Hollywood should take from its success. This isn’t a hard and fast rule, but it’s predictable enough that I wasn’t surprised when it happened to Get Out.

I hate these articles.

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