![]() They're just hiding behind a veneer of entertainment. People worry about how toxic and monetized Facebook is, but Disney is just as dangerous. I'm in my 40s, and I wrote a report about Disney in maybe eighth grade, and even then business reporters were calling Disney out for milking any cash cow they could find, borrow, or steal. And, sadly, it has been that way for decades. They want anything that will make them money. They don't care about making memories or entertaining you. Except Disney keeps buying studios and properties, creating a stranglehold on creative outlets. Just run the formula over and over and if someone wants to do something different, the can do it somewhere else. "Homogenized" is a good word for it, I guess. So, it'snot even good, but it sells becauseitsays "Disney" or "Marvelc on it. On a creative level, Disney aims to create a very specific experience, with no room for creativity or exploration. Bad working conditions, toxic management etc. There are countless stories of mistreatment from their theme parks, and low to middle level studio staff are treated as disposable. On a labor level, Disney treats workers horribly. Them owning 40 percent of the Intellectual property in the United States is alarming to a lot of people. They don't sue people who make replica props that they sell at conventions. They don't sue tattoo artists because those are one off art pieces. They aren't worried too much about the fan art that exists online and will even allow creators to sell it. Use their stuff on the side of a building and they will sue you to get it taken down. Use one of the songs they own accidentally on youtube and you will get a Cease and Desist. It was made clear that Disney will no longer be allowed do that, so they started using the easier to litigate trademark law, which says as long as they continue to use the design its protected.ĭisney is litigious over their IP and will sue everyone that tries to make money off of it. Everywhere else in the world its life of creator plus 75 years. Venture over to the business side of things and you will be shocked.ĭisney has managed to extend copyright protection in the US to 115 years after the work was originally created. Season tickets £40 (£32.50 concessions) for all the Celluloid Sorceress Joel Schumacher films available from Billetto, or direct from the Museum.Okay, you are focusing on the entertainment side of the company. TICKETS & PRICINGĪdvance tickets may be purchased from Billetto, or direct from the Museum by calling 020 7840 2200 in office hours. The film will be screened in the downstairs cinema.ĭoors open at 19.00, for a 19.30 start. Introduced by Rebecca Nicole Williams with a vintage support programme by DEEP ‘00s! Unavailable on blu-ray, The Celluloid Sorceress is excited to give the funny and exciting Bad Company an extremely rare outing on the big screen. ![]() The last major film production to shoot inside the World Trade Centre, under other circumstances Bad Company may have taken up a place alongside the popular buddy-buddy action comedies of the era, such as Rush Hour (1998) or The Rock (1996). In a summer dominated by the heroic New York spirit of Spider-Man, action thrillers failed to connect with audiences for whom the plot felt far too real. One of 45 films affected by the terrorist attacks of September 11th, like other action movies with a terrorist theme such as Collateral Damage, Bad Company was shelved, reworked and released in the summer of 2002, six months later than originally intended. Chris Rock is a chess hustler turned government recruit and Anthony Hopkins is a spook handling a mission to intercept a dirty bomb to be detonated by Czech extremists at Grand Central Station. The final screening of the year in The Celluloid Sorceress’ retrospective of Joel Schumacher is a rare opportunity to see the director’s least-known film, Bad Company (2002). ![]()
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