For the sake of cinema, the Disney’s screen strangle-hold needs to be broken up

The studio has been consuming its rivals – and creating a film industry devoid of the innovation championed by its founder

EXCERPT:

This kind of Hollywood imperialism is not encouraging news if you fear that reduced competition begets reduced creativity, even as Disney’s substantial fanbase – umbilically bound by the childhood nostalgia in which the corporation trades – zealously cheers it on. What other acquisitions are on its wishlist? Are we seeing a return to the rigidly controlled Hollywood studio system of the 1940s and 1950s – only with one studio effectively as the system? If so, a movement not dissimilar to the demands to break up big tech currently rippling towards Silicon Valley might be in order.

Yet Disney has rather cunningly advertised itself less as one monopolising entity than as a contrasting collective of minds and voices, as tellingly suggested by distribution president Cathleen Taff’s statement

How Marvel and Corporate Comics Are Failing the ‘Vulnerable’ Creators Behind Their Superheroes

Behind the veil of billion-dollar movie franchises and rotating comics series, creators often struggle with low pay, no labor protections, and harassment. And no one seems to care.

White hero, sidekick of color: why Marvel needs to break the cycle

A roughly 100 year old-plus White Savior trope in Western adventure/superhero stories, designed to cast the hero as a friend to all peoples, and the (white) reader/viewer to feel similarly to the hero without actually fully developing the sidekick beyond being a tool that imparts information to the hero and further defining the White Savior’s mission and even domestic/romantic life elsewhere in the series.

Shattered Glass: why we need to stop deconstructing our superheroes

This weekend sees the release of M Night Shyamalan’s Glass, the long-awaited follow-up to his 2000 superhero drama Unbreakable and his 2017 thriller Split. Like Unbreakable, Glass is interested in deconstructing the figure of the comic book superhero (and supervillain), calling attention to the tropes of its own genre while placing them in a larger historical and pseudo-scientific context. But whereas this meta-narrative examination felt fresh and exciting in Unbreakable, it now proves to be an utter bore.