#cancel your streaming subscription

[khepiari]

I truly enjoyed KAOS and Dead Boy Detective this year. Now I realise why I stick to KDramas, JDramas, Turkish Dramas, and Lakorns: They wrap it up in one season. Even if there are multi-seasons, each season gets a good, solid wrap-up.

Moral of the Story: Support Non-Hollywood, and cancel all your streaming Subscriptions!

[thegrimmlibrarian]

honestly? I think we should bring back physically owning pieces of media. I'm not paying out for any streaming services at all, because I have everything I want to watch on DVD. True, I'm annoyed that not every show or movie gets put onto DVD these days - the Witcher, Bridgerton, One Piece - and DVDs do take some physical space but hey! I don't have to pay out for a streaming service to watch THE ONE SHOW I want to watch, forget to cancel the subscription, paying more money, cancel the subscription, see a new show I like, but it's on a different streaming service, so subscribe to that one, aaaand rinse and repeat. With DVDs, I am paying to watch it the once AND the ability to rewatch it at my leisure, without paying out again and again and again... I have the whole series of Merlin on DVD. I must've rewatched it at least 15? 20? 30 times?! And I paid for it only the once. There's also the added bonus of the DVD cases being slightly scuffed and worn with age, like a favourite paperback book, you can tell that this series have been loved.

okay, you go cancel your subscriptions now, I'll turn the DVD player on for you

[unapologeticmelancholy]

Instead of paying actors and writers a fair wage, Netflix has just listed a few AI job postings with extremely lucrative salaries on their website. At this point, I thought, I don't wish to support such a greedy and unethical corporation with my own money. The writers are on strike but my subscription is still generating revenue for Netflix even though Netflix isn't making any new content. This isn't exactly helping the actors and writers.

So I cancelled my subscription. I encourage everybody to do the same: cancel your streaming service subscriptions for the time being. Starve them out just as they themselves admitted to doing the very same things to their actors and writers: real people for whom that may even mean starvation and homelessness. See how those executives like the taste of their own medicine.

And if you come back to Netflix within 10 months, you'll be able to restore all your account information, watched shows and all. You don't lose anything. But imagine the impact on Netflix if it rapidly lost a huge chunk of its revenue. It won't even take 10 months for those money-obsessed CEOs and executives to start talking to actors and writers differently.

Money is power. Those companies have that money FROM US. Let's take it away and see what happens.

[rebloggingrexan]

[vamprisms]

streaming companies will say um we're increasing your subscription fee. no password sharing. no screenshots allowed. please subscribe to a separate channel for this movie and another for this tv show. free trial but put in your card details so we can charge you if you forget to cancel. this title is a rental only that's 4.99 please. this title is not available in your region. you are begging people to torrent at this point Like ye are off the edge of the map matey here there be pirates argh argh argh 🦜☠️

[racefortheironthrone]

Hi- er, this is my first-ever writer's strike, how does one not cross a picket line in this context? I know how not to do it with things like Amazon and IRL strikes, but how does it apply to media/streaming?

Hi, this is a great question, because it allows me to write about the difference between honoring a picket line and a boycott. (This is reminding me of the labor history podcast project that's lain fallow in my drafts folder for some time now...) In its simplest formulation, the difference between a picket line and a boycott is that a picket line targets an employer at the point of production (which involves us as workers), whereas a boycott targets an employer at the point of consumption (which involves us as consumers).

So in the case of the WGA strike, this means that at any company that is being struck by the WGA - I've seen Netflix, Amazon, Apple, Disney, Warner Brothers Discovery, NBC, Paramount, and Sony mentioned, but there may be more (check the WGA website and social media for a comprehensive list) - you do not cross a picket line, whether physical or virtual. This means you do not take a meeting with them, even if its a pre-existing project, you do not take phone calls or texts or emails or Slacks from their executives, you do not pitch them on a spec script you've written, and most of all you do not answer any job application.

Because if this strike is like any strike since the dawn of time, you will see the employers put out ads for short-term contracts that will be very lucrative, generally above union scale - because what they're paying for in addition to your labor is you breaking the picket line and damaging the strike - to anyone willing to scab against their fellow workers. GIven that one of the main issues of the WGA are the proliferation of short-term "mini rooms" whereby employers are hiring teams of writers to work overtime for a very short period, to the point where they can only really do the basics (a series outline, some "broken stories," and some scripts) and then have the showrunner redo everything on their lonesome, while not paying writers long-term pay and benefits, I would imagine we're going to see a lot of scab contracts being offered for these mini rooms.

But for most of us, unless we're actively working as writers in Hollywood, most of that isn't going to be particularly relevant to our day-to-day working lives. If you're not a professional or aspiring Hollywood writer, the important thing to remember honoring the picket line doesn't mean the same thing as a boycott. WGA West hasn't called on anyone to stop going to the movies or watching tv/streaming or to cancel their streaming subscriptions or anything like that. If and when that happens, WGA will go to some lengths to publicize that ask - and you should absolutely honor it if you can - so there will be little in the way of ambiguity as to what's going on.

That being said, one of the things that has happened in the past in other strikes is that well-intentioned people get it into their heads to essentially declare wildcat (i.e, unofficial and unsanctioned) boycotts. This kind of stuff comes from a good place, someone wanting to do more to support the cause and wanting to avoid morally contaminating themselves by associating with a struck company, but it can have negative effects on the workers and their unions. Wildcat boycotts can harm workers by reducing back-end pay and benefits they get from shows if that stuff is tied to the show's performance, and wildcat boycotts can hurt unions by damaging negotiations with employers that may or may not be going on.

The important thing to remember with all of this is that the strike is about them, not us. Part of being a good ally is remembering to let the workers' voices be heard first and prioritizing being a good listener and following their lead, rather than prioritizing our feelings.

[mostlysignssomeportents]

Prime’s enshittified advertising

Prime's gonna add more ads. They brought in ads in January, and people didn't cancel their Prime subscriptions, so Amazon figures that they can make Prime even worse and make more money:

https://arstechnica.com/gadgets/2024/10/amazon-prime-video-is-getting-more-ads-next-year/

The cruelty isn't the point. Money is the point. Every ad that Amazon shows you shifts value away from you – your time, your attention – to the company's shareholders.

That's the crux of enshittification. Companies don't enshittify – making their once-useful products monotonically worse – because it amuses them to erode the quality of their offerings. They enshittify them because their products are zero-sum: the things that make them valuable to you (watching videos without ads) make things less valuable to them (because they can't monetize your attention).

This isn't new. The internet has always been dominated by intermediaries – platforms – because there are lots more people who want to use the internet than are capable of building the internet. There's more people who want to write blogs than can make a blogging app. There's more people who want to play and listen to music than can host a music streaming service. There's more people who want to write and read ebooks than want to operate an ebook store or sell an ebooks reader.

Despite all the early internet rhetoric about the glories of disintermediation, intermediaries are good, actually:

https://pluralistic.net/2022/06/12/direct-the-problem-of-middlemen/

The problem isn't with intermediaries per se. The problem arises when intermediaries grow so powerful that they usurp the relationship between the parties they connect. The problem with Uber isn't the use of mobile phones to tell taxis that you're standing on a street somewhere and would like a cab, please. The problem is rampant worker misclassification, regulatory arbitrage, starvation wages, and price-gouging:

https://pluralistic.net/2024/02/29/geometry-hates-uber/#toronto-the-gullible

There's no problem with publishers, distributors, retailers, printers, and all the other parts of the bookselling ecosystem. While there are a few, rare authors who are capable of performing all of these functions – basically gnawing their books out of whole logs with their teeth – most writers can't, and even the ones who can, don't want to:

https://pluralistic.net/2024/02/19/crad-kilodney-was-an-outlier/#intermediation

When early internet boosters spoke of disintermediation, what they mostly meant was that it would be harder for intermediaries to capture those relationships – between sellers and buyers, creators and audiences, workers and customers. As Rebecca Giblin and I wrote in our 2022 book Chokepoint Capitalism, intermediaries in every sector rely on chokepoints, narrows where they can erect tollbooths:

https://chokepointcapitalism.com/

When chokepoints exist, they multiply up and down the supply chain. In the golden age of physical, recorded music, you had several chokepoints that reinforced one another. Limited radio airwaves gave radio stations power over record labels, who had to secretly, illegally bid for prime airspace ("payola"). Retail consolidation – the growth of big record chains – drove consolidation in the distributors who sold to the chains, and the more concentrated distributors became, the more they could squeeze retailers, which drove even more consolidation in record stores. The bigger a label was, the more power it had to shove back against the muscle of the stores and the distributors (and the pressing plants, etc). Consolidation in labels also drove consolidation in talent agencies, whose large client rosters gave them power to resist the squeeze from the labels. Consolidation in venues drives consolidation in ticketing and promotion – and vice-versa.

But there's two parties to this supply chain who can't consolidate: musicians and their fans. With limits on "sectoral bargaining" (where unions can represent workers against all the companies in a sector), musicians' unions were limited in their power against key parts of the supply chain, so the creative workers who made the music were easy pickings for labels, talent reps, promoters, ticketers, venues, retailers, etc. Music fans are diffused and dispersed, and organized fan clubs were usually run by the labels, who weren't about to allow those clubs to be used against the labels.

This is a perfect case-study in the problems of powerful intermediaries, who move from facilitator to parasite, paying workers less while degrading their products, and then charge customers more for those enshittified products.

The excitement about "disintermediation" wasn't so much about eliminating intermediaries as it was about disciplining them. If there were lots of ways to market a product or service, sell it, collect payment for it, and deliver it, then the natural inclination of intermediaries to turn predator would be curbed by the difficulty of corralling their prey into chokepoints.

Now that we're a quarter century on from the Napster Wars, we can see how that worked out. Decades of failure to enforce antitrust law allowed a few companies to effectively capture the internet, buying out rivals who were willing to sell, and bankrupting those who wouldn't with illegal tactics like predatory pricing (think of Uber losing $31 billion by subsidizing $0.41 out of every dollar they charged for taxi rides for more than a decade).

The market power that platforms gained through consolidation translated into political power. When a few companies dominate a sector, they're able to come to agreement on common strategies for dealing with their regulators, and they've got plenty of excess profits to spend on those strategies. First and foremost, platforms used their power to get more power, lobbying for even less antitrust enforcement. Additionally, platforms mobilized gigantic sums to secure the right to screw customers (for example, by making binding arbitration clauses in terms of service enforceable) and workers (think of the $225m Uber and Lyft spent on California's Prop 22, which formalized their worker misclassification swindle).

So big platforms were able to insulate themselves from the risk of competition ("five giant websites, filled with screenshots of the other four" – Tom Eastman), and from regulation. They were also able to expand and mobilize IP law to prevent anyone from breaking their chokepoints or undoing the abuses that these enabled. This is a good place to get specific about how Prime Video works.

There's two ways to get Prime videos: over an app, or in your browser. Both of these streams are encrypted, and that's really important here, because of a law – Section 1201 of the 1998 Digital Millennium Copyright Act – which makes it really illegal to break this kind of encryption (commonly called "Digital Rights Management" or "DRM"). Practically speaking, that means that if a company encrypts its videos, no one is allowed to do anything to those videos, even things that are legal, without the company's permission, because doing all those legal things requires breaking the DRM, and breaking the DRM is a felony (five years in prison, $500k fine, for a first offense).

Copyright law actually gives subscribers to services like Prime a lot of rights, and it empowers businesses that offer tools to exercise those rights. Back in 1976, Sony rolled out the Betamax, the first major home video recorder. After an eight-year court battle, the Supreme Court weighed in on VCRs and ruled that it was legal for all of us to record videos at home, both to watch them later, and to build a library of our favorite shows. They also ruled that it was legal for Sony – and by that time, every other electronics company – to make VHS systems, even if those systems could be used in ways that violated copyright because they were "capable of sustaining a substantial non-infringing use" (letting you tape shows off your TV).

Now, this was more than a decade before the DMCA – and its prohibition on breaking DRM – passed, but even after the DMCA came into effect, there was a lot of media that didn't have DRM, so a new generation of tech companies were able to make tools that were "capable of sustaining a substantial non-infringing use" and that didn't have to break any DRM to do it.

Think of the Ipod and Itunes, which, together, were sold as a way to rip CDs (which weren't encrypted), and play them back from both your desktop computer and a wildly successful pocket-sized portable device. Itunes even let you stream from one computer to another. The record industry hated this, but they couldn't do anything about it, thanks to the Supreme Court's Betamax ruling.

Indeed, they eventually swallowed their bile and started selling their products through the Itunes Music Store. These tracks had DRM and were thus permanently locked to Apple's ecosystem, and Apple immediately used that power to squeeze the labels, who decided they didn't like DRM after all, and licensed all those same tracks to Amazon's DRM-free MP3 store, whose slogan was "DRM: Don't Restrict Me":

https://memex.craphound.com/2008/02/01/amazons-anti-drm-tee/

Apple played a funny double role here. In marketing Itunes/Ipods ("Rip, Mix, Burn"), they were the world's biggest cheerleaders for all the things you were allowed to do with copyrighted works, even when the copyright holder objected. But with the Itunes Music Store and its mandatory DRM, the company was also one of the world's biggest cheerleaders for wrapping copyrighted works in a thin skin of IP that would allow copyright holders to shut down products like the Ipod and Itunes.

Microsoft, predictably enough, focused on the "lock everything to our platform" strategy. Then-CEO Steve Ballmer went on record calling every Ipod owner a "thief" and arguing that every record company should wrap music in Microsoft's Zune DRM, which would allow them to restrict anything they didn't like, even if copyright allowed it (and would also give Microsoft the same abusive leverage over labels that they famously exercised over Windows software companies):

https://web.archive.org/web/20050113051129/http://management.silicon.com/itpro/0,39024675,39124642,00.htm

In the end, Amazon's approach won. Apple dropped DRM, and Microsoft retired the Zune and shut down its DRM servers, screwing anyone who'd ever bought a Zune track by rendering that music permanently unplayable.

Around the same time as all this was going on, another company was making history by making uses of copyrighted works that the law allowed, but which the copyright holders hated. That company was Tivo, who products did for personal video recorders (PVRs) what Apple's Ipod did for digital portable music players. With a Tivo, you could record any show over cable (which was too expensive and complicated to encrypt) and terrestrial broadcast (which is illegal to encrypt, since those are the public's airwaves, on loan to the TV stations).

That meant that you could record any show, and keep it forever. What's more, you could very easily skip through ads (and rival players quickly emerged that did automatic ad-skipping). All of this was legal, but of course the cable companies and broadcasters hated it. Like Ballmer, TV execs called Tivo owners "thieves."

But Tivo didn't usher in the ad-supported TV apocalypse that furious, spittle-flecked industry reps insisted it would. Rather, it disciplined the TV and cable operators. Tivo owners actually sought out ads that were funny and well-made enough to go viral. Meanwhile, every time the industry decided to increase the amount of advertising in a show, they also increased the likelihood that their viewers would seek out a Tivo, or worse, one of those auto-ad-skipping PVRs.

Given all the stink that TV execs raised over PVRs, you'd think that these represented a novel threat. But in fact, the TV industry's appetite for ads had been disciplined by viewers' access to new technology since 1956, when the first TV remotes appeared on the market (executives declared that anyone who changed the channel during an ad-break was a thief). Then came the mute button. Then the wireless remote. Meanwhile, a common VCR use-case – raised in the Supreme Court case – was fast-forwarding ads.

At each stage, TV adapted. Ads in TV shows represented a kind of offer: "Will you watch this many of these ads in return for a free TV show?" And the remote, the mute button, the wireless remote, the VCR, the PVR, and the ad-skipping PVR all represented a counter-offer. As economists would put it, the ability of viewers to make these counteroffers "shifted the equilibrium." If viewers had no defensive technology, they might tolerate more ads, but once they were able to enforce their preferences with technology, the industry couldn't enshittify its product to the liminal cusp of "so many ads that the viewer is right on the brink of turning off the TV (but not quite)."

This is the same equilibrium-shifting dynamic that we see on the open web, where more than 50% of users have installed an ad-blocker. The industry says, "Will you allow this many 'sign up to our mailing list' interrupters, pop ups, pop unders, autoplaying videos and other stuff that users hate but shareholders benefit from" and the ad-blocker makes a counteroffer: "How about 'nah?'":

https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah

TV remotes, PVRs and ad-blockers are all examples of "adversarial interoperability" – a new product that plugs into an existing one, extending or modifying its functions without permission from (or even over the objections of) the original manufacturer:

https://www.eff.org/deeplinks/2019/10/adversarial-interoperability

Adversarial interop creates a powerful disciplining force on platform owners. Once a user grows so frustrated with a product's enshittification that they research, seek out, acquire and learn to use an adversarial interop tool, it's really game over. The printer owner who figures out where to get third-party ink is gone forever. Every time a company like HP raises its prices, they have to account for the number of customers who will finally figure out how to use generic ink and never, ever send another cent to HP.

This is where DMCA 1201 comes into play. Once a product is skinned with DRM, its manufacturers gain the right to prevent you from doing legal things, and can use the public's courts and law-enforcement apparatus to punish you for trying. Take HP: as soon as they started adding DRM to their cartridges, they gained the legal power to shut down companies that cloned, refilled or remanufactured their cartridges, and started raising the price of ink – which today sits at more than $10,000/gallon:

https://pluralistic.net/2024/09/30/life-finds-a-way/#ink-stained-wretches

Using third party ink in your printer isn't illegal (it's your printer, right?). But making third party ink for your printer becomes illegal once you have to break DRM to do so, and so HP gets to transform tinted water into literally the most expensive fluid on Earth. The ink you use to print your kid's homework costs more than vintage Veuve Cliquot or sperm from a Kentucky Derby-winning thoroughbred.

Adversarial interoperability is a powerful tool for shifting the equilibrium between producers, intermediaries and buyers. DRM is an even more powerful way of wrenching that equilibrium back towards the intermediary, reducing the share that buyers and sellers are able to eke out of the transaction.

Prime Video, of course, is delivered via an app, which means it has DRM. That means that subscribers don't get to exercise the rights afforded to them by copyright – only the rights that Amazon permits them to have. There's no Tivo for Prime, because it would have to break the DRM to record the shows you stream from Prime. That allows Prime to pull all kinds of shady shit. For example, every year around this time, Amazon pulls popular Christmas movies from its free-to-watch tier and moves them into pay-per-view, only restoring them in the spring:

https://www.reddit.com/r/vudu/comments/1bpzanx/looks_like_amazon_removed_the_free_titles_from/

And of course, Prime sticks ads in its videos. You can't skip these ads – not because it's technically challenging to make a 30-second advance button for a video stream, and doing so wouldn't violate anyone's copyright – but because Amazon doesn't permit you to do so, and the fact that the video is wrapped in DRM makes it a felony to even try.

This means that Amazon gets to seek a different equilibrium than TV companies have had to accept since 1956 and the invention of the TV remote. Amazon doesn't have to limit the quantity, volume, and invasiveness of its ads to "less the amount that would drive our subscribers to install and use an ad-skipping plugin." Instead, they can shoot for the much more lucrative equilibrium of "so obnoxious that the viewer is almost ready to cancel their subscription (but not quite)."

That's pretty much exactly how Kelly Day, the Amazon exec in charge of Prime Video, put it to the Financial Times: they're increasing the number of ads because "we haven’t really seen a groundswell of people churning out or cancelling":

https://www.ft.com/content/f8112991-820c-4e09-bcf4-23b5e0f190a5

At this point, attentive readers might be asking themselves, "Doesn't Amazon have to worry about Prime viewers who watch in their browsers?" After all browsers are built on open standards, and anyone can make one, so there should be browsers that can auto-skip Prime ads, right?

Wrong, alas. Back in 2017, the W3C – the organization that makes the most important browser standards – caved to pressure from the entertainment industry and the largest browser companies and created "Encrypted Media Extensions" (EME), a "standard" for video DRM that blocks all adversarial interoperability:

https://www.eff.org/deeplinks/2017/09/open-letter-w3c-director-ceo-team-and-membership

This had the almost immediate effect of making it impossible to create an independent browser without licensing proprietary tech from Google – now a convicted monopolist! – who won't give you a license if you implement recording, ad-skipping, or any other legal (but dispreferred) feature:

https://blog.samuelmaddock.com/posts/the-end-of-indie-web-browsers/

This means that for Amazon, there's no way to shift value away from the platform to you. The company has locked you in, and has locked out anyone who might offer you a better deal. Companies that know you are technologically defenseless are endlessly inventive in finding ways to make things worse for you to make things better for them. Take Youtube, another DRM-video-serving platform that has jacked up the number of ads you have to sit through in order to watch a video – even as they slash payments to performers. They've got a new move: they're gonna start showing you ads while your video is paused:

https://www.usatoday.com/story/money/2024/09/20/youtube-pause-ads-rollout/75306204007/

That is the kind of fuckery you only come up with when your victory condition is "a service that's almost so bad our customers quit (but not quite)."

In Amazon's case, the math is even worse. After all, Youtube may have near-total market dominance over a certain segment of the video market, but Prime Video is bundled with Prime Delivery, which the vast majority of US households subscribe to. You have to give up a lot to cancel your Prime subscription – especially since Amazon's predatory pricing devastated the rest of the retail sector:

https://pluralistic.net/2022/11/28/enshittification/#relentless-payola

Amazon's founding principle was "customer obsession." Ex-Amazoners tell me that this was more than an empty platitude: arguments over product design were won or lost based on whether they could satisfy the "customer obsession" litmus test. Now, everyone falls short of their ideals, but sticking to your ideals isn't merely a matter of internal discipline, of willpower. Living up to your ideals is a matter of external discipline, too. When Amazon no longer had to contend with competitors or regulators, when it was able to use DRM to control its customers and use the law to prevent them from using its products in legal ways, it lost those external sources of discipline.

Amazon suppliers have long complained of the company's high-handed treatment of the vendors who supplied it with goods. Its workers have complained bitterly and loudly about the dangerous and oppressive conditions in its warehouses and delivery vans. But Amazon's customers have consistently given Amazon high marks on quality and trustworthiness.

The reason Amazon treated its workers and suppliers badly and its customers well wasn't that it liked customers and hated workers and suppliers. Amazon was engaged in a cold-blooded calculus: it understood that treating customers well would give it control over those customers, and that this would translate market power to retain suppliers even as it ripped them off and screwed them over.

But now, Amazon has clearly concluded that it no longer needs to keep customers happy in order to retain them. Instead, it's shooting for "keeping customers so angry that they're almost ready to take their business elsewhere (but not quite)." You see this in the steady decline of Amazon product search, which preferences the products that pay the biggest bribes for search placement over the best matches:

https://pluralistic.net/2023/11/06/attention-rents/#consumer-welfare-queens

And you see it in the steady enshittification of Prime Video. Amazon's character never changed. The company always had a predatory side. But now that monopoly and IP law have insulated it from consequences for its actions, there's no longer any reason to keep the predator in check.

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/10/03/mother-may-i/#minmax

[my-name-is-jefferooni]

And this is why I refuse to pay for streaming. 👍

It pisses me the fuck off how streaming services are trying to put in adds, when the WHOLE POINT of streaming services are TO WATCH THINGS WITHOUT ADDS.

They’re just tuning it into slightly more convenient cable at this point.

[flanaganfilm]

Mr. Flanagan, I’d like to ask a question and I deeply hope that it does not offend or upset you. I am strongly considering canceling my Netflix subscription due to their new password sharing policy. However, Midnight Mass is one of my favorite shows of all time and I know it isn’t available on DVD, and I’m also profoundly anticipating your take on my favorite Edgar Allen Poe story. So I wanted to ask your take on people accessing your work through, uh, other means. If it’s something that’s offensive to you or will harm you or the other people who work so hard on these shows, I’ll happily keep my Netflix just so that I can keep supporting your work. I respect you far too much as an artist to do otherwise.

Again, I really hope I’m not upsetting you by asking this question. Thank you for everything, and I hope you’re having a great day!

(NOTE 6/4/2024: I'm editing this entry because, well over a year since it was posted, some journalists dug this up and used it to create click-bait headlines that are misleading, out of context and artificially combative. While I was of course disappointed over the years that Netflix opted not to release my work on physical media, I never experienced any hostility or aggression in those discussions, and I sincerely regret the manner in which this post was used in the press this week.)

Hi there - no offense taken whatsoever, in fact I think this is a very interesting and important question.

So. If you asked me this a few years ago, I would have said "I hate piracy and it is hurting creators, especially in the independent space." I used to get in Facebook arguments with fans early in my career when people would post about seeing my work on torrent sites, especially when that work was readily available for rent and purchase on VOD.

Back in 2014, my movie Before I Wake was pirated and leaked prior to any domestic release, and that was devastating to the project. It actually made it harder to find distribution for the film. By the time we were able to get distribution in the US, the film had already been so exposed online that the best we could hope for was a Netflix release. Netflix stepped in and saved that movie, and for that I will always be grateful to them.

However...

Working in streaming for the past few years has made me reconsider my position on piracy.

In the years I worked at Netflix, I tried very hard to get them to release my work on blu-ray and DVD.

It became clear very fast that their priority was subscriptions, and that they were not particularly interested in physical media releases of their originals, with a few exceptions.

While companies like Netflix pride themselves on being disruptors, and have proven that they can affect great change in the industry, they sometimes fail to see the difference between disruption and damage. So much that they can find themselves, intentionally or not, doing harm to the concept of film preservation.

The danger comes when a title is only available on one platform, and then - for whatever reason - is removed.

We have already seen this happen. And it is only going to happen more and more. Titles exclusively available on streaming services have essentially been erased from the world. If those titles existed on the marketplace on physical media, like HBO's Westworld, the loss is somewhat mitigated (though only somewhat.) But when titles do not exist elsewhere, they are potentially gone forever.

The list of titles that have been removed from streaming services is growing.

I still believe that where we put our dollars matters. Renting or buying a piece of work that you like is essential. It is casting a vote, encouraging studios - who only speak the language of money - to invest more effort into similar work. If we show up to support distinct, unique, exciting work, it encourages them to make more of it. It's as simple as that. If we don't show up, or if they can't hear our voice because we are casing our vote "silently" through torrent sites or other means - it makes it unlikely that they will take a chance to create that kind of work again.

Which is why I typically suggest that if you like a movie you've seen through - uh - other means, throw a few dollars at that title on a legitimate platform. Rent it. Purchase it. Support it.

But if some studios offer no avenue for that kind of support, and can (and will) remove content from their platform forever... frankly, I think that changes the rules.

Netflix will likely never release the work I created for them on physical media, though I'll always hold out hope.

Some of you may say "wait, aren't The Haunting of Hill House and The Haunting of Bly Manor available on blu-ray and DVD?" Yes, they are, because they were co-produced with Paramount, and I'm grateful that Paramount was able to release and protect those titles. (I'm also grateful that those releases include extended cuts, deleted scenes, and commentary tracks. There are a number of fantastic benefits to physical media releases.)

But a lot of the other work I did there are Netflix originals, without any other studio involvement. Those titles - like Midnight Mass, The Midnight Club, and the upcoming Fall of the House of Usher - along with my Netflix exclusive and/or original movies Before I Wake and Gerald's Game - have no such protections. The physical media releases of those titles are entirely at Netflix's discretion, and don't appear to be priority for the studio at this time.

At the moment, Netflix seems content to leave Before I Wake, Gerald's Game, Midnight Mass, and The Midnight Club on the service, where they still draw audiences. I don't think there is a plan to remove any of them anytime soon. But plans change, the industry changes.

The point is things change, and each of those titles - should they be removed from the service for any reason - are not available anywhere else. If that day comes - if Netflix's servers are destroyed, if a meteor hits the building, if they are bought out by a competitor and their library is liquidated - I don't know what the circumstances might be, I just know that if that day comes, some of the work that means the most to me in the world would be entirely erased.

Or, what if we aren't so catastrophic in our thinking? What if it the change isn't so total? What if Netflix simply bumps into an issue with the license they paid for music (like the Neil Diamond songs that play such a crucial role in Midnight Mass), and decide to leave the show up but replace the songs?

This has happened before as well - fans of Northern Exposure can get the show on DVD and blu-ray, but the music they heard when the series aired has been replaced due to the licensing issues. And the replacements - chosen for their low cost, not for creative reasons - are not improvements. What if the shows are just changed, and not by creatives, but by business affairs executives?

All to say that physical media is critically important. Having redundancy in the marketplace is critically important. The more platforms a piece of work is available on, the more likely it is to survive and grow its audience.

As for Netflix, I hope sincerely that their thinking on this issue evolves, and that they value the content they spend so much money creating enough to protect it for posterity. That's up to them, it's their studio, it's their rules. But I like to think they may see that light eventually, and realize that exclusivity in a certain window is very cool... but exclusivity in perpetuity could potentially limit the audience and endanger the work itself.

[homoquartz]

hi!! if you would like to join me in being angry, please consider this new gem of journalism bestowed upon us peasants today:

(Article link is here)

In case you doubt it, yes, that is correct. Major studios will now assemble panels of racists, homophobes, transphobes, and misogynists to dictate how much us squirming pathetic little brown queers get to be represented on screen.

They were already doing this, but now they're comfortable saying it outright. As I have said before, THIS SHOULD ALARM YOU.

This post is long so the rest is below, backed up with data:

Disney is tacitly admitting that they canceled The Acolyte because they would rather alienate their marginalized fanbase than their rabid, genocidal straight white male one. And you can be damn sure this is also why the likes of Netflix and HBO Max are so comfortable discarding highly acclaimed queer shows like Warrior Nun, Our Flag Means Death, the Owl House, and Dead Boy Detectives.

The only shows about marginalized people allowed to go on are the ones that, against all odds, become hit successes (eg Heartstopper), at which point their earning potential outweighs their sin of being brown or gay. I want to emphasize that these shows must be breakout hits - shows that perform on par with straighter, whiter releases aren't given this grace.

These companies are going to obscure the reality of their actions by talking about profits and public image, but rest assured they would find a way to justify this even if the vast majority of viewers were brown and queer. Because it's about maintaining power. It's part of a nationwide surge against inclusion.

Do you remember the IGN article that just came out that revealed Disney's insistence that Riley be made to look "less gay" in Inside Out 2?

Do you remember the Autostraddle article which crunched the numbers to show that queer shows are cancelled more often and earlier than others?

How about GLAAD's breakdown of queer shows cancelled last year? Here's a snippet of the data:

❗️Both Autostraddle and GLAAD have found that 1 in 4 queer shows are axed. This is DOUBLE the rate for streaming shows overall, which is just at 12%.

Variety has a data breakdown here. What's interesting is that Netflix is actually pretty moderate with its cancellations, yet the majority of cancelled queer shows belong to Netflix.

I had a harder time finding data for shows featuring leads of color. If anyone has links, I'll add them here.

In conclusion:

They are banning our books. They are cancelling our shows. They are silencing our stories. You know why.

You can help in a few ways. One is to stream as many cancelled shows centering POC and/or queer people as you can. Another option is to cancel your streaming subscriptions and vote with your wallet (this is what I have done).

There's also a bunch of petitions for cancelled shows I strongly recommend signing. Pick a show and google it plus "petition" and it will turn up.

You can go to Rotten Tomatoes and IMDB and 5-star your chosen shows, as well as each episode.

You can message the streaming services on social media requesting renewal. Reaching out to influencers in spheres related to this topic, as well as media outlets, is also a good idea.

Finally and most importantly, talk to your friends and family. Ask them to do something. Ask them to tell people. The more people who stand against a hateful status quo, the less powerful it becomes.

I believe this can be turned around if we make enough noise. These streaming services should revive their queer shows, market them properly, and support them like any other show.

I sound silly now, but watch this space in two years.

[specialagentartemis]

Genuinely: For people who are angry and frustrated at the limited number of movies and shows available for streaming, at the way streaming services pull or cancel movies and shows at will, at the way every media corporation under the sun is pulling their stuff onto their own streaming service and balkanizing access to things behind a dozen different monthly subscriptions? For people who miss Blockbuster and want to be able to just rent a DVD again?

See if your local library has a DVD collection.

If I want to watch The Mummy (1999) with Brendan Fraser? I can't stream it on Netflix, but I can borrow it from my local library.

If I want to watch The Mummy (1932) with Boris Karloff? I can't stream that pretty much anywhere, but I can borrow it from my local library.

I want to watch Star Wars or Iron Man or my favorite Disney movie but I refuse to sell my soul to pay for Disney+? I can borrow these from my local library.

Do I want to finish watching Star Trek: Deep Space 9 or check out Star Trek: Picard but resent that it's all on yet another streaming service I don't want? I can borrow season box sets of DVDs from my local library!

Obviously, available circulating collections vary a lot between library systems. (My hometown's library has all of Star Trek DS9 on DVD, for example, but my college town's library only has TOS, Picard, and Discovery.) And of course it depends on whether things are released in physical media form at all, and you won't be able to keep up with new episodes of new series - it takes a while for many things to come out on DVD.

But there can be a lot of good stuff there too. For example, I missed Nope in theaters, but I still really want to see it. So I have it on hold from my local library. I'm 73rd in line on 50 copies, so it'll be a while.

So check to see what DVD collections your library does have - it might surprise you what you can get access to, for free, in a manner that no greedy corporation can yank away.

And by checking out DVDs, you are telling the library that you use and want them to maintain and grow their AV media collection. Which is an encouragement we could really use these days.

[cloudselkie]

Back in 2007, I WAS one of those people who had trash takes about the writer's strike and it essentially killed my favorite show at the time (Heroes - it was never as good after). I was so mad at the time. I was also 18 and came from a sheltered, conservative household and thought they were just being greedy.

Don't be 18 year old me.

You're going to have shows that suffer. You're going to lose shows. But TV shows are not as important as people making a living wage and having safe working conditions. Don't have trash takes like I did in 2007. If you love your shows, support the writers. And if shows end or get bad after this, remember, it's not their fault. It's capitalism and greedy networks that kill art, not the artists.

Things you CAN do during the writer's strike:

- Voice your support for the striking screenwriters on social media

- Don't watch the junk filler (*cough*REALITY SHOWS*cough*) networks will throw in the timeslots of shows affected by the strike

- Cancel streaming subscriptions until the strike ends.

No boycott has been sanctioned by WGA at this time. This is called a wildcat boycott and can damage the residuals writers are currently receiving. This was bad information on my part and I apologize. I have a very large follower base and it is my responsibility to make sure correct information is presented. Thank you to @whyismangososour for holding me accountable.

- Educate friends and family who are upset about the strike (and why it isn't just the writers "being greedy" or whatever other nonsense they come up with)

[rudeflower]

you need a library card

Almost everyone I know doesn't have a library card, and some of them read less than they want to because they can't afford to buy the books they want???? GUYS BIG SOLUTION TIME

BOOKS! Audiobooks! DVDS! Movie/series/documentary streaming services! Ebooks! Video games! Magazines!

Air conditioning! Wifi! Heat! Meeting rooms to reserve! Copy machines! Printers! Quiet safe place!

FOR FREE! FOR FREE! NO COST! FOR FREE!!!

Let's face is inflation is killing us, and you may have had to sacrifice buying books for fun, keeping the heat at a comfortable temp, cancel a few subscriptions. Enter your library card

"I don't have time to go a library" me neither I use the audiobook and ebook app daily and check out digital books and get them on my phone immediately

"I want to support the author" If you like it then you buy it! You don't have to pay up front for something you might not like ten pages in! Buy a book you know you love even if you don't plan to reread it to support the author!

"I don't want to wait for a book" Fair enough then don't, check out the books you can wait for

This world has home, where you pay to be, and very very few places outside of the home that you don't have to pay to be. If you're losing your head and need to get out for a few hours, you have to pay to exist almost anywhere you want to go. Not libraries.

I've gone to libraries weekly, almost daily at times, my whole life and they have never once asked anything of me. They give.

This world takes and takes and takes and libraries give and give and give and you deserve to be given lovely things.

It is not hard to get a library card, for most people. In most places I've lived you need some form of evidence you live in the area the library serves, and I've brought in a piece of mail, a student ID or an electric bill and been good to go. Many libraries also work with people who don't have documentation like this to get one anyway.

Get a library card even if you don't think you'll use it. Because one day there will be a book you really want that your local bookstore doesn't have, but who has it? THE LIBRARY! GO GET IT!

This is a USA centric post, and also goes out to my non-American cousins who taught me that libraries are a beautiful gift and not a given, and we should take advantage of it more often than we do

Get a library card, love yourself

[neil-gaiman]

Hi Mr Gaiman!

I always thought if I were to message you it would be about writing advice or to say something nice about your books/media, but I just woke up and am feeling impulsive, and I think your have an influential voice on tumblr and so may be able to clarify this for ppl in regards to the WGA strike (apologies for the presumptuousness, obviously ignore this if it’s not appropriate):

I know that at the beginning of the strike, the general request for audiences was to NOT cancel subscriptions to streaming services, as it would undermine the WGA’s position by reducing a countable audience.

I have since seen - particularly after yesterday’s news - people in the tags encouraging each other to cancel subscriptions so as to not “cross the picket line.”

So, twofold question:

a) is the original stance correctly reported, or just a game of tumblr telephone?

b) /should/* people start cancelling their subscriptions in solidarity, or would this be counter productive to the strike?

Thank you for your time (and your books! But that’s for another day)!

*”should” here means ‘would it be appropriate?’, as opposed to ‘is it a moral imperative?’

The WGA has not called for anyone to boycott any of the streamers or to stop their streaming services yet. It's not "crossing the picket line" to watch something on a network that we are striking against. ("Crossing a picket line" is a very real, specific thing with a real meaning.)

I've seen it being discussed, but until the WGA calls for it, I don't suggest doing it.

[teaboot]

I don't know what streaming service needs to hear this but if I already pay a monthly fee to use your platform and you decide to charge me extra to not have ads on the account I already pay money for then I'm just gonna cancel my subscription and pirate your shit holy fuck

[eightratsinatrenchcoat]

Since the bigwigs @netflix can’t seem to figure out how to run a profitable business on what should be a platform that’s raking in money, here’s some tips:

- Offer cheaper subscriptions. You are alienating potential customers, myself included, by making subscription prices so high that people can’t afford them long term and will buy a subscription to watch the shows they want and then cancel it after a month or two

- Encourage password sharing. People don’t know what’s on your platform if they can’t afford an account and they aren’t going to fork out £11 / $15 for the cheapest subscription if there’s nothing on there they want to watch. If you encourage and facilitate password sharing then people can discover content they enjoy and might be persuaded to buy their own accounts.

- Stop cancelling shows before they get a chance to take off. All shows should be given minimum two seasons with minimum 10 episodes per season or else how can people get into a show and grow an audience.

- Give a one year grace period for fanbases to grow before cancelling a show. Fandoms don’t grow in a week.

- If a show is in the top 10 for 14 consecutive days it should be automatically qualified for renewal.

- People don’t want 20 different dating shows about the same 5 generic looking people. I promise you they’re only watching them because they’re bored and it’s the only content you have on the platform.

- For goodness sake listen to your fans. You only have to spend a couple minutes scrolling through the tags for your shows on here to see how much love there is and how much fan content is being created.

Netflix is not the only streaming platform guilty of this, Prime and Max have a lot to answer for too, but Netflix is by far the worst repeat offender