At the beginning of last week, Chris Anderson, author of The Long Tail and the Editor-in-Chief of Wired, announced that he was permanently blocking the email addresses of PR people who had sent him inappropriate email and published a list of those addresses. The post garnered a lot of attention, and a couple of days later (Nov. 1) he posted a followup: PR Blockage: The Aftermath. Definitely worth a read if you have any involvement with media relations.
More on the WGA strike
Derek Powazek has written about the Writer’s Guild of America strike: Luddites on the Picket Lines? He’s right – the writers need to demonstrate that they understand the internet a lot better than they have so far.
But before you start talking about the internet, read up. Internet distribution is not the same as TV or DVD. A DVD buyer is someone who then owns a shiny plastic disc with stuff on it. Codifying a viewer online is a lot trickier. If I watch half a show on NBC.com, do you get half a royalty? What if I only watched 12 minutes, while the browser was in the background, while I was also chatting and texting and doing whatever it is the kids do nowadays?
There is a distinction between, say, a paid download from iTunes and a YouTube viewing, and if the writers want a percentage of the latter, well, they’re going to be waiting a long time.
CakeMail is now available in Beta
New from YouTube
Casey McKinnon just twittered about the launch of YouTube Canada. There’s a blog as well.
A techie on the writer’s strike
Marc Andreessen has written an interesting post about the Hollywood writer’s strike: Suicide by strike. The title’s a bit misleading though – his main questions are about the bosses, not the workers.
You’re faced with a massive, once-in-a-lifetime shift in mainstream consumer behavior from traditional mass media, including film and television, to new activities that you do not control. […]
Is this really the right time to pick a fight with the writers over royalties from DVD and Internet sales, leading to an industry-wide shutdown and massive economic pain for all sides in the world of traditional scripted film and television content?
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