"Film Weeded Out and be political!"

No, it doesn't work like that. If the system wants Weeded Out, then the politics aren't going to be maintained. Steve Barr's Panthers show didn't do anything politically. Steve Barr's vision of putting my songs into a similar context is style over substance. Disney knows all about that, though... - A lame version of Pose is simply not going to cut it re: changing the world. Shipwrecked on Islands 2030, which the government doesn't want, might do more. Films aren't political. Protesting is political. My real protest is what got under the skin of the coalition government. Turning up to Question Time and forming AMPP was politics, while filming a movie for Steve Barr would be selling out. Mr. Barr has to face the fraud charge like a man, and Disney can't save him. Continuing to behave in this manner isn't going to work out for Disney. It's simply untenable. I don't have representation and I own all my IP. I've said no, and Sir Paul made a better offer. - Your scheme was always fragile: Taylor and Paul own their IP as well. That's the whole point of Imagine Multimedia. You thought that you could catfish us, isolate us and abuse us into signing with Disney. Think of it as like Guantanamo Bay for songwriters and other creatives... That's what Disney did. Negotiating reasonably wasn't on their agenda, and the only reason that they're pushing Weeded Out so hard is that I'm killing their Beatles agenda. The giant corporation is going to have to take a bath on this scheme, as further investigations might turn up direct links to the alleged years of torture. - The very idea that Disney could own Taylor or Paul's songs is pathetic. Why do they want me so much? My IP is new and inherently valuable. Wellington Stories, Shipwrecked on Islands, The Dakumentary, AMPP, Working For Each Other, The Perfumed Garden. That's tens of millions of dollars of fresh IP for Disney to spin off. Hence their suggestion of a miniseries for The Perfumed Garden + a stage show. Hence their suggestion of a live tour of Collective Memories or Working For Each Other. Everyone else they're obsessed with are actors, singers and directors (ie people that aren't inventing new work). Paul, Taylor and myself are generating new work, as well as having catalogues that are worth a shitload of money. Taylor and Paul bring the big bucks. I bring the prestige. Imagine's using the same business model.