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Writer Joss Whedon posted on UnitedHollywood an impassioned and powerful comment about the WGA’s back-door dealings with studio heads. He insists that this is not an “endgame” and that suggesting that a resolution is imminent is unacceptable, as the damage that’s been done to the writers and the medium itself is permanent.
“We need, now as much as ever, to act as if the strike is NEVER going to end. We need the rage that sends us out onto the picket lines, the passion that makes us look for alternate methods of financing and developing content, and the unity that reminds us how much the studios have taken from the community already by forcing this strike.”
[The word “endgame” has since been removed from the post Whedon comments on, due to very connotation that Whedon contests]
It’s a great post, and a perfect example of the emotion writers and fans should be exhibiting if ever a respectable resolution is to be found. One where writers don’t get screwed, which is an uphill battle: the writers-get-screwed precedent has been set and upheld for decades.
According to BusinessWeek, the last DRM holdout of the major music publishers might be getting ready to dump it, too. Not entirely surprising, as they’ve created more than their fair share of bad press with it, and they’re already telling their customers how to get around it.
“In a move that would mark the end of a digital music era, Sony BMG Music Entertainment is finalizing plans to sell songs without the copyright protection software that has long restricted the use of music downloaded from the Internet, BusinessWeek.com has learned.”
via The Register
Yeah, I’m comparing Google to the AAs of the world. I’m not jumping on the “Google’s evil” bandwagon just yet, but there’s an analogy here, if you’re allow me:
Google is an advertising company. This is not news. They’re not a search engine company, they’re an advertising company. That’s what they do, and it’s where they make their money.
When you go to a website, you’re, essentially, paying Google for the privilege of viewing the content because, guess what, if it’s on the internet, chances are it’s got Google ads on it.
But, as we all know, when you do a generic search, odds are good that the first result will be for a Wikipedia page. And those don’t have Google ads on them.
“How did copyright become cool?” is perhaps one of the most well-informed and thought-out articles in the mainstream press on the subject. Sadly, it appears to be web-only, so I guess it didn’t make it into the real paper. But this is a start!
The Globe and Mail is, essentially, Canada’s New York Times. It’s based in Toronto, but available throughout the country. The fact that such a major source has, not only covered the issue, but considered it, is something of a big deal, web-only or not.
“Maybe he just didn’t think that copyright legislation could capture the public imagination. It would be hard to blame him if that were the case; at politician school, they don’t teach you to watch out for that third rail of Canadian politics, â€œanti-circumvention legislation.â€
Suddenly, though, circumvention is a word that people are getting hot and bothered about. As anyone who has bought music from Apple has learned the hard way, companies are in the business of putting technological locks on their content. The classic example is songs bought on iTunes, which have built-in limits on where they can be played (iPods only!) and how they can be copied (hardly at all). The happy euphemism for this technique is Digital Rights Management, or DRM.”