Elizabeth Olsen Turns the Spotlight on Disney’s Double‑Dipping Strategy
Behind the Curtain: The Lawsuit That’s Stirring Hollywood
When Scarlett Johansson filed suit against Disney, she claimed the studio’s decision to stream Black Widow on Disney +, while still hitting the big screen, violated their contract and knocked a dent in her earnings. Elizabeth Olsen, who shares a “noise‑free” bond with her co‑star, stepped into the arena to defend her.
Elizabeth Talks “Worry” and Small Theaters
“I’m worried about a bunch of things,” Elizabeth told a reporter, “Not just Scarlett’s case, but about the future of indie cinemas and art‑house feel‑the‑room‑into‑a popcorn‑parlor vibe.” She added that the streaming boom could keep folks from choosing to walk into a theater and that “small movies” might drop off the radar.
Elizabeth noted how, before Covid, pretty much the same issue rattled small venues: the need for customers to actually step outside for the ambience and an extra dose of their own personal drama over quality. She hopes that major studios might eventually “team up” to keep such theaters from becoming ghost towns.
She’s Not About the Drama for Scarlett
- Elizabeth says Scarlett is “so tough” – “I read that and was like, ‘Good for you, Scarlett.’”
- She admits that money matters always come down to the contract – “if it’s not in the contract, then no.”
Disney’s Response: A Pity for Money and a Case for Safety
Swearing that they were “just trying to keep folks safe from a virus,” Disney waded into their side of the argument, calling Scarlett’s approach “callous disregard” for the pandemic. They spun the release on Disney + as a way for people to watch the movie from the safety of their own living rooms.
The Bottom Line: A Battle for Cinema’s Soul
It’s a classic friction between blockbuster streaming giants and the intimate thrill of the theater. Elizabeth’s words suggest she’s on the side of keeping those “small, art‑house” spaces alive, while acknowledging that the sky‑high costs of theater real estate might push the industry back towards a studio‑owned model.
