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 
 
  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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