Apple zapewnia pozytywny wizerunek, wykluczając złoczyńców z korzystania z ich produktów w filmach i serialach

Apple Ensures Positive Image by Excluding Villains from Using Their Products in Films and TV Shows

2024-01-17

Apple is known for its strict rules regarding the placement of its products in films and TV shows, which leads to an interesting observation – villains and antagonists rarely use iPhones, iPods, or MacBooks. This phenomenon, known as the Apple clause, stems from the company’s desire to always be portrayed in a positive light. As a result, viewers can easily identify the bad guys in their favorite films and TV shows based on the type of phone they use.

Renowned director Rian Johnson confirmed this practice in a 2020 interview, revealing that Apple prohibits depicting villains with iPhones when they are meant to remain secretive. In his detective film “Knives Out,” for example, all the main murder suspects use iPhones, while the true culprit and a character who appears guilty for most of the film rely on phones from other brands.

Another popular TV series, “Succession,” provides another interesting example. While the Roy siblings often use iPhones, other characters such as Logan Roy, Geri Kellman, and Tom Wamsgans opt for phones from other manufacturers.

Apple’s official guidelines regarding the use of their trademarks and copyrights in other media emphasize the need to portray their products in a positive light. Although there is no direct mention of the villain clause, these guidelines suggest that Apple products should be presented in a manner that positively influences the brand’s image.

Unlike other brands, Apple does not pay for product placements in films and TV shows. This practice has been in effect since at least 2002 when Wired highlighted the difference between heroes using Macs and villains using Windows computers in the TV series “24.”

As a result, the Apple villain clause changes the way we watch films and TV shows. Viewers can now easily identify antagonists through their choice of technology. The question remains: will this knowledge spoil the viewing experience or add an exciting new layer of analysis? The answer to this question surely depends on individual perception.

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