Quote:
Originally Posted by Astromancer
I don't know who owns the rights to C.L.Moore's works, or to the images of Humphrey Bogart and Kathrine Hepburn, but if a good solid film showed up from an alternate timeline, with Bogart and Hepburn doing top of the line work, people would make deals. Similarly, if a world (let's call it Norma Baker) were Marilyn Monroe's drug habit was less quickly destructive to her, and she made a half-dosen or so more films, and good ones, there would be presure to cut a deal. In fact in both of these cases, serious critics could be called on to push for the realese of these films as art treasures.
Similarly, picture timelines where major social problems were less brutal or solved earlier. A world (it would be a strange paralell) were history worked out to be about the same, except that Homophobia and legal restrictions against homosexuality fade into obscruity before 1890, would have a far larger and richer variety of image of Gay and Bisexual people in its films and TV. The LGBT community would want to have large numbers of those films for a wide variety of reasons. In spite of the objections to the heirs of stars, who in this world would never have played a gay character, led alone a gay romantic lead, many of these films would get out.
Both commerce and art would push this sort of thing.
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Sure, but deals would still have to be made, rights owners on Homeline would have to get paid (meaning that it's
not all distribution and profit once you get back home), and there would be some things (like gay or porn Mickey Mouse) that the rights holders would just refuse to bend on.