Mark Steyn is never one to hold back an opinion:
I was barely aware of The Interview until, while sitting through a trailer for what seemed like just another idiotic leaden comedy, my youngest informed me that the North Koreans had denounced the film as “an act of war”. If it is, they seem to have won it fairly decisively: Kim Jong-Un has just vaporized a Hollywood blockbuster as totally as if one of his No Dong missiles had taken out the studio. As it is, the fellows with no dong turned out to be the executives of Sony Pictures.
I wouldn’t mind but this is the same industry that congratulates itself endlessly — not least in its annual six-hour awards ceremony — on its artists’ courage and bravery. Called on to show some for the first time in their lives, they folded like a cheap suit. As opposed to the bank-breaking suit their lawyers advised them they’d be looking at if they released the film and someone put anthrax in the popcorn. I think of all the occasions in recent years when I’ve found myself sharing a stage with obscure Europeans who’ve fallen afoul of Islam — Swedish artists, Danish cartoonists, Norwegian comediennes, all of whom showed more courage than these Beverly Hills bigshots.
While I often find Mark Steyn’s comments amusing and insightful, the real lesson here may not be the spineless response of Sony, but the impact of a legal system on the otherwise free actions of individuals and organizations: if Sony had gone ahead with the release and someone did attack one or more of the theatres where the movie was being shown, how would the legal system treat the situation? As an act of war by an external enemy or as an act of gross negligence by Sony and the theatre owners that would bankrupt every single company in the distribution chain (and probably lead to criminal charges against individual theatre managers and corporate officers)? While I disagree with Sony’s decision to fold under the pressure, I can’t imagine any corporate board being comfortable with that kind of stark legal threat … Sony’s executives may have been presented with no choice at all.
I see that, following the disappearance of The Interview, a Texan movie theater replaced it with a screening of Team America. That film wouldn’t get made today, either.
Hollywood has spent the 21st century retreating from storytelling into a glossy, expensive CGI playground in which nothing real is at stake. That’s all we’ll be getting from now on. Oh, and occasional Oscar bait about embattled screenwriters who stood up to the House UnAmerican Activities Committee six decades ago, even as their successors cave to, of all things, Kim’s UnKorean Activities Committee. American pop culture — supposedly the most powerful and influential force on the planet – has just surrendered to a one-man psycho-state economic basket-case that starves its own population.
Eugene Volokh makes some of the same points that Steyn raises:
Deadline Hollywood mentions several such theater chains. Yesterday, the Department of Homeland Security stated that there was “no credible intelligence” that such threatened terrorist attacks would take place, but unsurprisingly, some chains are being extra cautious here.
I sympathize with the theaters’ situation — they’re in the business of showing patrons a good time, and they’re rightly not interested in becoming free speech martyrs, even if there’s only a small chance that they’ll be attacked. Moreover, the very threats may well keep moviegoers away from theater complexes that are showing the movie, thus reducing revenue from all the screens at the complex.
But behavior that is rewarded is repeated. Thugs who oppose movies that are hostile to North Korea, China, Russia, Iran, the Islamic State, extremist Islam generally or any other country or religion will learn the lesson. The same will go as to thugs who are willing to use threats of violence to squelch expression they oppose for reasons related to abortion, environmentalism, animal rights and so on.