The Ankler

Preview: The 14 Big Questions of Now

Why does only Chapek take it on the chin? What have we learned from Ukraine?

As we emerge (or emerge-ish) from the COVID nightmare, into the maw of the Great Streaming Wars, there’s plenty of geniuses about to tell Hollywood exactly what it should be doing on every little thing.

As is ever the case, a person could make a lot of money doing the opposite of whatever the trade media geniuses demand. But you can’t entirely blame them for being wrong right now. We’re at a moment where — take any direction from the crossroads — the highway trails off into the mists.

There’s a lot more questions than answers on the table right now. Some days it seems like there’s nothing but questions. So I thought it was a good moment to take a tour through some of the Known Unknowns — some big, some small — whose outcome in the months ahead will change just about everything.

1. Does Anyone Besides Bob Chapek Have to Speak Out on Florida?

Last I checked Disney isn’t the only company that does business in Florida. It’s not the only company with production in Florida. And it’s not the only entertainment company that writes checks to the Florida Republicans. And it’s not even the only studio that has a theme park there.

But so far as I can tell, Bob II is the only executive from whom a stand on Florida has been required, and an abject apology demanded when that stand wasn’t good enough. If Jeff Shell or Brian Roberts have brought down the Comcast hammer (Universal Studios Orlando is lovely this time of year), I’ve missed it.

Is backbone only required when you’re in Hollywood’s hazing corner? Only successors to sainted executive icons need take the tough stands on social issues? Let’s see which members of the press decide to take a roll call of our beloved leaders.


2. How Does Hollywood Work With a Smaller Globe?

Pre-Ukraine invasion, the bloom was already off the rose of Hollywood’s groveling relationship before the People’s Republic of China, but now we’ve entered an entirely different field of play.

For 30 years now, Hollywood’s policy has been not just an open door to all autocrats and dictators, but an open door lined with a red carpet, cheering fans, adoring stars and starlets and a gift bag with a free TiVo and Swarovski crystal unicorn waiting at the end.

There was no market too odious for us to try and insert ourselves into; no dictator too corrupt or brutal that we wouldn’t reach out to for financing, or accept a Picasso from as a birthday present.

Suddenly, after Ukraine, groveling out the feet of tyrants for a few crumbs from their table doesn’t look so terrific. And worse still — there’s the threat that people may be watching.

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