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Plex, a company that sells media server software, has found itself in the strange position of being the answer to that problem. All of them have the same aim, which is to lock up intellectual property to keep people streaming. Different still are the network-specific streamers, like the up-and-comers HBO Max and Disney+, and the more niche offerings, like Shudder, Kanopy, Mubi, and Criterion. Having too many choices is exhausting.īecause of the convoluted nature of licensing agreements and the vagaries of corporate competition, what’s on Netflix is substantively different than what’s available on Hulu or Amazon Prime. Besides, if you subscribe to more than, say, two services, it’s overwhelming to cycle through their various offerings to find something you want to watch. Even so, streaming all that stuff looks a little different in practice, namely because signing up for a bunch of services can get expensive - fast. There’s more streamable content now than ever and even more ways to consume it these days, we’re drowning in choices. (In other words, depending on how much piracy you plan to do.) I’m talking, of course, about Plex. The only problem - and, I mean, come on, it’s barely a problem - is that it might be illegal, depending on how you use it. WebComics courtesy of HiJinks Ensue and Wiredįor more information on the laws of Copyright in the UK, look at you heard about the best new streaming platform on the internet? It’s totally customizable, works on any device, and, best of all, is basically free. When all’s said and done, that’s what it ultimately comes down to. Moloney from the MPA poses a sharp question: “Surely if something’s worth watching, it’s worth rewarding the people who made it?” If the studios won’t change and there’s no sign of the pirates weighing anchor, there’s only one avenue left: remind these Knock-Off Nigels of the ethics of piracy.Ĭan it ever be right to take something created by someone else and share it or sell it without their consent? Yet if the industry really is haemorrhaging revenue at the levels it claims, a radical rethink seems inevitable. But is it simultaneous with the cinema release? No, it is not.”
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“There’s been such a major change over the last year in terms of what you can download now. It’s the locomotive that drives the whole train – and DVD at the moment is still the major moneymaker."
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“The success of a movie is set up by how successful it is in its theatrical window. Paramount Pictures International head honcho Andrew Cripps is adamant that theatrical releases need to be protected, not watered down by simultaneous downloads. Let’s not forget that there are two healthy business models in theatrical releases and DVD." Theatrical is "the locomotive that drives the whole train" "They need to know that the technology can delive what’s needed to meet consumer expectations. If you’re saying the studios haven’t embracedĭownloads, it’s worth pointing out that until recently the technology hasn’t existed to guarantee easy delivery. "Legal downloads and streamings are now available from services like Lovefilm and Apple. You can now buy a DVD in Tescos when you go in for a pint of milk or get movies delivered to your door by the postman. “The industry has changed and is experimenting with new services.
“Yawn, yawn, yawn,” we were told by Geraldine Moloney, European spokeswoman for The Motion Picture Association (MPA). It’s a viewpoint that begs the question: what would happen if users could download a legal copy of Superbad 2 on the day of its cinema release at a lower price than cinema admission? Music didn’t die, its business model just evolved. Yet the music industry thrives: ticket sales and downloads are up, whilst Prince now gives away his latest album. From Napster to Metallica’s lawsuits against its fans to iPods and iTunes, file-sharing changed how we consume albums.
Sunde's views are reflected in recent history within the music industry. “If they provided a service where all new movies and all old ones were available online to download for a flat fee every month, they would make so much money and sell their inventory over and over.
"They don’t want to change because they know how much money they make today but they don’t know how much money they might make in the future. In Sunde's eyes though, Hollywood is simply afraid of the internet.