In the latest example of corporate destruction, the Guardian reports on the disturbing trend in which streaming services like Disney and Warner Bros Discovery are deleting finished, even popular, shows for financial reasons. It’s like Douglas Adams’ rock star Hotblack Desiato spending a year dead for tax reasons.
Given that consumers’ budgets are stretched so thin that many are reevaluating the streaming services they’re paying for, you would think this would be the worst possible time to delete popular entertainments. Instead, the industry seems to be possessed by a death wish in which it’s making its offerings *less* attractive. Even worse, the promise they appeared to offer to showrunners was creative freedom and broad and permanent access to their work. The news that Disney+ is even canceling finished shows (Nautilus) shortly before their scheduled release in order to pay less *tax* should send a chill through every creator’s spine. No one wants to spend years of their life – for almost *any* amount of money – making things that wind up in the corporate equivalent of the warehouse at the end of Raiders of the Lost Ark.
It’s time, as the Masked Scheduler suggested recently on Mastodon, for the emergence of modern equivalents of creator-founded studios United Artists and Desilu.
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Many of us were skeptical about Meta’s Oversight Board; it was easy to predict that Facebook would use it to avoid dealing with the PR fallout from controversial cases, but never relinquish control. And so it is proving.
This week, Meta overruled the Board‘s recommendation of a six-month suspension of the Facebook account belonging to former Cambodian prime minister Hun Sen. At issue was a video of one of Sen’s speeches, which everyone agreed incited violence against his opposition. Meta has kept the video up on the grounds of “newsworthiness”; Meta also declined to follow the Board’s recommendation to clarify its rules for public figures in “contexts in which citizens are under continuing threat of retaliatory violence from their governments”.
In the Platformer newsletter Casey Newton argues that the Board’s deliberative process is too slow to matter – it took eight months to decide this case, too late to save the election at stake or deter the political violence that has followed. Newton also concludes from the list of decisions that the Board is only “nibbling round the edges” of Meta’s policies.
A company with shareholders, a business model, and a king is never going to let an independent group make decisions that will profoundly shape its future. From Kate Klonick’s examination, we know the Board members are serious people prepared to think deeply about content moderation and its discontents. But they were always in a losing position. Now, even they must know that.
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It should go without saying that anything that requires an Internet connection should be designed for connection failures, especially when the connected devices are required to operate the physical world. The downside was made clear by the 2017 incident, when lost signal meant a Tesla-owning venture capitalist couldn’t restart his car. Or the one in 2021, when a bunch of Tesla owners found their phone app couldn’t unlock their car doors. Tesla’s solution both times was to tell car owners to make sure they always had their physical car keys. Which, fine, but then why have an app at all?
Last week, Bambu 3D printers began printing unexpectedly when they got disconnected from the cloud. The software managing the queue of printer jobs lost the ability to monitor them, causing some to be restarted multiple times. Given the heat and extruded material 3D printers generate, this is dangerous for both themselves and their surroundings.
At TechRadar, Bambu’s PR acknowledges this: “It is difficult to have a cloud service 100% reliable all the time, but we should at least have designed the system more carefully to avoid such embarrassing consequences.” As TechRadar notes, if only embarrassment were the worst risk.
So, new rule: before installation test every new “smart” device by blocking its Internet connection to see how it behaves. Of course, companies should do this themselves, but as we/’ve seen, you can’t rely on that either.
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Finally, in “be careful what you legislate for”, Canada is discovering the downside of C-18, which became law in June. and requires the biggest platforms to pay for the Canadian news content they host. Google and Meta warned all along that they would stop hosting Canadian news rather than pay for it. Experts like law professor Michael Geist predicted that the bill would merely serve to dramatically cut traffic to news sites.
On August 1, Meta began adding blocks for news links on Facebook and Instagram. A coalition of Canadian news outlets quickly asked the Competition Bureau to mount an inquiry into Meta’s actions. At TechDirt Mike Masnick notes the irony: first legacy media said Meta’s linking to news was anticompetitive; now they say not linking is anticompetitive.
However, there are worse consequences. Prime minister Justin Trudeau complains that Meta’s news block is endangering Canadians, who can’t access or share local up-to-date information about the ongoing wildfires.
In a sensible world, people wouldn’t rely on Facebook for their news, politicians would write legislation with greater understanding, and companies like Meta would wield their power responsibly. In *this* world, a we have a perfect storm.
Illustrations:XKCD’s Dependency.
Wendy M. Grossman is the 2013 winner of the Enigma Award. Her Web site has an extensive archive of her books, articles, and music, and an archive of earlier columns in this series. She is a contributing editor for the Plutopia News Network podcast. Follow on
Whatever happens with the Hollywood writers’ strike that began on Tuesday, the recent golden era of American TV, which arguably began with The Sopranos, is ending for viewers as well as creators. A big reason for that golden era was that Hollywood’s loss of interest in grown-up movies pushed actors and writers who formerly looked down on TV to move across to where the more interesting work was finding a home. Another was the advent of streaming services, which competed with existing channels by offering creators greater freedom – and more money. It was never sustainable. Streaming services’ business models are different. For nearly a decade, Netflix depended on massive debt to build a library to protect itself when the major studios ended their licensing deals. The company has so far gotten away with it because of (now ended) low interest rates and Wall Street’s focus on subscriber numbers in valuing its shares. Newer arrivals such as Amazon, Apple, and Disney can all finance loss-making startup streaming services from their existing businesses. All of these are members of the Alliance of Motion Picture and Television Producers, along with broadcast networks, cable providers, and motion picture studios. For the purposes of the strike, they are the “enemy”. This landscape could not be more different than that of the last writers’ strike, in 2007-2008, when DVD royalties were important and streaming was the not-yet future. Of the technology companies refusing to bargain today, only Netflix was a player in 2007 – and it was then sending out DVDs by mail. Essentially, what is happening to Hollywood writers is what happened to songwriters when music streaming services took over the music biz: income shrinkage. In 2021, veteran screenwriter Ken Levine, gave the detail of his persistently shrinking residuals (declining royalties paid for reuse). When American Airlines included an episode he directed of Everyone Loves Raymond in its transcontinental in-flight package for six months, his take from the thousands of airings was $1.19. He also documented, until he ended his blog in 2022, other ways writers are being squeezed; at Disconnect, Paris Marx provides a longer list. The Writers Guild of America’s declared goals are to redress these losses and bring residuals and other pay on streaming services into line with older broadcasters. Even an outsider can see the bigger picture: broadcast networks, traditionally the biggest payers, are watching their audiences shrink and retrenching, and cable and streaming services commission shorter seasons, which they renew at a far more leisurely pace. Also a factor is the shift in which broadcast networks reair their new shows a day or two later on their streaming service. The DVD royalties that mattered in the 2007-2008 strike are dying away, and just as in music royalties from streaming are a fraction of the amount. Overall, the WGA says that in the last decade writers’ average incomes have dropped by 4% – 23% if you include inflation. Meanwhile, industry profits have continued to rise. The new issue on the block is AI – not because large language models are good enough to generate good scripts (as if), but because writers fear the studios will use them to generate crappy scripts and then demand that the writers rewrite them into quality for a pittance. Freelance journalists have already reported seeing publishers try this gambit. In 2007, 2007, and again in 2017, Levine noted that the studios control the situation. They can make a deal and end the strike any time they decide it’s getting too expensive or disruptive. Eventually, he said, the AMPTP will cut a deal, writers will get some of what they need, and everyone will go back to work. Until then, the collateral damage will mount to writers and staff in adjacent industries and California’s economy. At Business Insider, Lucia Moses suggests that Netflix, Amazon, and Disney all have enough content stockpiled to see them through. Longer-term, there will be less predictable consequences. In 2007-2008, Leigh Blickley reported in a ten-years-later lookback at the Huffington Post, these included the boom in “unscripted” reality TV and the death of pathways into the business for new writers. Underlying all this is a simple but fundamental change. Broadcast networks cared what Americans watched because their revenues depended on attracting large audiences that advertisers would pay to reach. Until VCRs arrived to liberate us from the tyranny of schedules, the networks competed on the quality and appeal of their programming in each time slot. Streaming services compete on their whole catalogue, and care only that you subscribe; ratings don’t count. The WGA warns that the studios’ long-term goal is to turn screenwriting into gig economy work. In 2019, at BIG, Matt Stoller warned that Netflix was predatorily killing Hollywood, first by using debt financing to corner the market, and second by vertically integrating its operation. Like the the studios that were forced to divest their movie theaters in 1948, Netflix, Amazon, and Apple own content, controls its distribution, and sells retail access. It should be no surprise if a vertically integrated industry with a handful of monopolistic players cuts costs by treating writers the way Uber treats drivers: enshittification. The WGA’s 12,000 members know their skills, which underpin a trillion-dollar industry, are rare. They have a strong union and a long history of solidarity. If they can’t win against modern corporate extraction, what hope for the rest of us? Illustrations: WGA members picketing in 2007 (by jengod at Wikimedia). Wendy M. Grossman is the 2013 winner of the Enigma Award. Her Web site has an extensive archive of her books, articles, and music, and an archive of earlier columns in this series. Follow on Mastodon or Twitter. 
Strike two
