Belloni writes that Streamers can do either or both: take what I understand
to be an accounting benefit , though perhaps it is some kind of tax write
off  (“Impairment”) and/or sell it to a different distributor, like DVD or
ad-supported streaming (a la Westworld). So not all of the purged material
will disappear, but a lot will, and a lot of creators who came of age in a
period when they expected their material to be essentially permanently
available are going to have hurt feelings.

On Mon, 22 May 2023 at 8:53 PM ko...@frontiernet.net <ko...@frontiernet.net>
wrote:

> My understanding is that the Disney stuff being purged is being written
> off as a tax loss so it might really go away for good (legally that is).
> WBD stuff is showing up in other places like HBO shows on Roku channel,
> Elmo's Not Too Late Show on PBS kids and Looney Tunes on ME TV Tune in with
> me and a new Warner Archive Blu Ray tied to WB 100th  anniversary.
>
> Sent from Frontier Yahoo Mail on Android
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>
> On Mon, May 22, 2023 at 10:01 PM, Jim Ellwanger
> <train...@ellwanger.tv> wrote:
> Movies and shows that are being removed from streaming services ARE still
> available, but, of course, in an unofficial, not-legal manner (they’re on
> torrent sites, and probably some dark web locations).
>
>
> On May 22, 2023, at 6:35 PM, PGage <pga...@gmail.com> wrote:
>
> Matt Belloni at Puck News has a story out that, while it doesn’t exactly
> break new ground, crystallizes in a dramatic way what is happening in
> television right now. As he puts it, “the Great Netflix Correction has
> officially become the Great Streaming Purge.”
>
> He means that the draconian cuts made infamous by Zas at WBD are now
> becoming the norm in the industry. Iger at Disney is determined to cut $3
> Billion this year. Streamers will still be spending a lot of money on
> production of course, but more and more focused on content that is watched
> by significant fractions, and that drive sign-ups and limit churn.
>
> One of the things this means is a return to the television content
> lifespan that Boomers grew up with, but will feel new and intolerable to
> most everyone younger: most shows and films will (if lucky) live long
> enough to be enjoyed once, maybe twice, and then disappear, often for good,
> not living on infinitely on VHS, DVD or evergreen streams.
>
> What I did not really understand until now (even though WBD kept claiming
> it, but they are hard to believe) is that available content in a streaming
> library is not cost-neutral to the streamer. I had assumed that if nobody
> is watching a bad film that is available on Disney+, it does not cost
> Disney anything (aside from original cost to make it or purchase it). But
> that’s not true. Apparently, just making a film or show available for
> streaming incurs a significant licensing fee cost. We need to think of
> every show and film on a Streamer’s available archive as if it were
> actually being exhibited or shown on a TV channel, (I.e. there are as many
> channels exhibiting licensed content as there are individual films or shows
> in a Streamers archive) and that means you have to pay the owner of the
> content their fee, whether it is being watched by millions or by no one.
>
> Streamers original strategy was to have so much content always available
> that it drive subscription sign-ups and kept subscribers paying every
> month. That worked for a while, especially for Netflix. But not anymore.
> Mist subscribers will not subscribe or stick around just because they can
> always find something to watch; they come for what they want, then leave
> and go some place else. Now all that Un or under-watched content is all
> cost and no benefit, and Streamers are wanting to eliminate them.
>
> Belloni notes that residual payments to writers and actors make up a very
> small slice of the cost to streamers, and are not really a factor in the
> Purge (so go ahead and increase their residuals).
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