Yesterday the 2021 Hugo Award nominees were announced. There’s a lot of interesting stuff on it. Harrow the Ninth and The City We Became are both high up my to-read list. Aliette de Bodard is one of my favourite authors in general – I’ve previously written about her books and I’m very tempted to dig up “The Inaccessibility of Heaven” soonest for all of the Hugo nominated print fiction on offer this year.
I am also very excited to read Beowulf: A New Translation, by Maria Dahvana Headley Moving out of print work, dramatic presentation, Long Form, includes the best comic book adaptation to come out in the last few years with Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) and another very strong contender within the category with The Old Guard – a movie I enjoyed perhaps not as much as Birds of Prey, but would still consider one of the best genre entries of 2020.
Short-form dramatic presentation has strong contenders with the series finale of She-Ra and the Princesses of Power, which is a possible contender for a future Kid’s Stuff essay and with the series finale of The Good Place, for which I have a lot of affection. All in all this slate of finalists looks far better than the painful slates we suffered through during the tumultuous Sad Puppy years. And yet I’m not happy.
Because it seems like the entirety of SFF has forgotten that, as of the time of writing, Disney still has not paid Alan Dean Foster. Disney’s insufferable expression of unadulterated brand-as-entertainment, The Mandalorian, is nominated in short-form dramatic presentation not once but twice, and the Pixar movie Soul is nominated in long-form dramatic presentation. I have never felt even the slightest whit of interest in The Mandalorian as I consider the entire enterprise almost entirely lacking in artistic merit. On the other hand, Soul may very well be a very good cartoon. I don’t care. It’s shocking that the genre “fan community” would show so little concern for the material conditions under which artists labour as to heap fan-accolades upon the Mouse that Eats.
Recently Disney bought and shuttered a minor competitor of Pixar in Blue Sky Studios. This is on top of their widely-covered acquisitions of Fox, Marvel, Lucasfilm and Pixar that have marked its monopolistic quest to control all of entertainment over the last fifteen years. In my opinion there is no greater threat to artistic expression, in the world, than Disney. Not even Amazon is as harmful. Disney has now begun using its streaming service to directly supplant cinema as a result of the 2020-21 COVID-19 pandemic, charging exorbitant mark-ups to access feature movies like the Mulan reboot in which Disney attempts to cement its ownership of a poem older than even Beowulf and Raya and the Last Dragon. There is no reasonable frame in which Disney’s corporate maneuvers, their acquisitiveness and their monopolism can be divided from their art.
Disney’s rapid acquisition of genre properties should be of grave concern to genre fans. It has a long history of homophobia, colonialism and racism. It is a four-quadrant obsessed producer of massive tentpole films in which people don’t fuck or swear, queers exist in subtext alone, and where violence is safely PG-13. It is deeply in bed with the US military. Disney’s vast acquisitions have the effect of flattening and circumscribing the imaginations of audiences who have very few options that aren’t the Mouse. And this also plays into the construction of consumer communities that reduce the act of engaging with art to merely being an unpaid amateur brand ambassador. And so I’m pleading with fan communities to remember that Disney doesn’t care about artists. It just cares about hoarding art and treating it as a revenue stream. If we’re fans of art and not of brands we must show Disney as much distain in 2021 as we did to the Sad Puppies in 2015. The risk to art from Disney is far greater than the risk to art ever posed by the Puppies.
So please do not vote for any Disney owned artworks at this year’s Hugo awards. And spread the word.