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David Poland

By David Poland poland@moviecitynews.com

More Anything Anywhere

I was reading Sam Schechner’s Wall Street Journal piece, Cable Firms Eye Tablet Space, pointed there by the MCN front page, which was linking to the LA Times Company Town blog – ah, magic of the interwebs – and I thought, “Here is a smart guy who has done the reporting and he’s burying the lead.”
It doesn’t bloody matter whether the cable companies are “eyeing” tablets or any other non-TV-set delivery. The battle over all of this is, and will be for the next few years, about who owns the rights to deliver what content via what delivery systems.
It’s not that negotiations for rights are slow… it’s that they cost a lot more than any cable provider has, so far, shown themselves to be willing to spend. This will surely change, in principle, when Comcast owns NBC/Universal. But the math of it… things may be slower in changing for the consumer when you have have companies scrambling to stay in business/evolve into the new model, like Netflix, paying huge premiums for streaming content.
Disney is a perfect example of this. They are very committed to the future of digital delivery, but their deal with Starz, if Starz re-ups with Netflix, is so fat, not doing the deal would just be obstinate. According to Iger, in the quarterly conference call, they explored a direct relationship with Netflix and found that the Starz deal was “better” for them.
It’s not that this piece doesn’t get to the conclusion that rights are the real issues. It just blurs the basic issue enough for people to be confused about what is really happening.
The one thing that made me start thinking hard was:
“Some distributors are trying to get around the issue by offering services where they say they have existing rights. Dish Network is integrating video-watching ability into its existing TV-remote app by tapping into a technology called Slingbox that it already offers in a pricier set-top box. Slingbox, owned by sister company EchoStar Corp., currently gives users access to shows and recordings on their home set-top boxes from computer Web browsers and mobile phones.”
Slingbox.
Hmmmm…
SLINGBOX!
This is the giant loophole in the machinery. Looking on the web, I can’t find a single significant lawsuit against Slingbox for “site shifting” content. But those rights have not been seen as very valuable until lately. One of the most progressive businesses in site shifting in Major League Baseball and apparently, they made a stink about Slingbox in 2007… but never sued or got their material blocked from Slingbox.
So if I buy Slingbox, do I need to pay $50 a season for the NFL streaming package, which won’t allow me to watch the first weekend of games from Canada while I am at the Toronto Film Festival? Obviously, I am in a very, very narrow group with this issue. But I exist. And as site shifting becomes more mainstreamed, my niche will expand significantly.
More significantly, how do rights owners keep the cable nets from site shifting by way of their own web tools if they are allowing Slingbox to continue to operate unchallenged?
Hulu has already figured out that it needs to be more than a place for recent reruns if it is to remain an entity of value. It is now the depth of content, which cannot be replaced by a Slingbox and your DVR, that is their signature. But the value of “first rerun” is real. A $300 Slingbox means never having to pay $2 (or whatever amount) to watch a show at the gym again. (Note, however, that Slingbox is still not on iPad… which is kinda shocking, really. Seems like an obvious step.)
Is streaming something being broadcast actually rebroadcasting it? Does it matter if you aren’t charging a fee for the service, but just an equipment fee?
I think it’s pretty clear that using your cable/satellite box as the receiver and the web – via Slingbox or any other tool – to make that available to others who are not in your household, is against the law. But Slingbox, used as prescribed, is probably covered by personal use rules. And a cable/satellite company could claim that each subscriber is only getting personal use out of web delivery to other devices, so…
In some ways, it’s so simple. In some ways, not. We still live in a world where I can’t download music from Europe via iTunes because the rights haven’t been worked out.
And Comcast may be the central figure in all of this, as they become fully invested in being both a distributor and a content provider. Time -Warner is already there, but differently, as they aren’t invested in a Big 4 broadcast network. And they have, with HBO, both tried different kinds of post-first-run delivery for their shows and avoided others that you might expect them to exploit.
I still think the next big move is to a more distinctive use of much narrower rights, followed by some very specific kinds of advertising models directed to specific kinds of audiences who pay different amounts for different kinds of access.
The challenge seems to be, for now, maintaining value in each of the areas of exploitation against a tide of technological change. When will the lawsuits start? Well, that is always when the tipping point in these things gets defined, no? As soon as corporations think enough money is coming out of their pockets to make it worthy of their attention.

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One Response to “More Anything Anywhere”

  1. guselephant says:

    Been reading this site for coming up on two years now and didn’t realize until this post that moviecitynews.com was the “front page” of the hot blog. I’ve always thought it was this site, which I have always found inexplicably charming:
    http://www.mcnblogs.com/
    When I first came here, I figured that site was just down for maintenance or something, but more than a year and a half later, that first weblog circa 2005 is still chillin.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon