> Termination is a powerful copyright policy, and unlike most copyright, it solely benefits creative workers and not our bosses.

That's an interesting framing. I know why Doctorow wants to import the boss/worker concept here, but it just doesn't apply. Disney wasn't Wolf's boss in any sense that is usually understood, and it just obscures the picture with a bunch of class-based chaff.

I read it more like "workers" being the ones who actually produce the good stuff, and "the boss" as being the entity to stick it to (as explained in the classic film "School of Rock").

You can make a case that the relation with creators and media/publishing is,in formal structure, more petit bourgeois/haut bourgeois than proletarian/bourgeois, but even if strictly the class dynamic is different, the essential dynamic is broadly similar between those who do the work and those who purchase it and functionally, if not strictly necessarily, provide access to the broader market.

They can tell him he can't use the IP he created. That may not be precisely a "boss" but it's a powerful constraint on his freedom.