The amount of media being wiped from the internet is worrying for viewers, and industry workers who need the exposure, says journalist and critic Zach Schonfeld
Last June, fans of Comedy Central – the long-running channel behind beloved programmes such as The Daily Show and South Park – received an unwelcome surprise. Paramount Global, Comedy Central’s parent company, unceremoniously purged the vast repository of video content on the channel’s website, which dated back to the late 1990s.
Every Daily Show episode since Jon Stewart took over as host in 1999? Disappeared. The historic remains of The Colbert Report? Disappeared. Presumably, one hopes, those materials remain archived internally somewhere, but for the general masses, they’re kaput. Instead, the links redirect visitors to Paramount+, a streaming service whose offerings pale in comparison. (The service offers recent seasons of the Daily Show to paying subscribers, but only a fraction of the prior archive.)
Such digital demolitions are becoming routine. For fans and scholars of pop culture, 2024 may go down as the year the internet shrank. Despite the immense archiving capabilities of the internet, we’re living through an age of mass deletion, a moment when entertainment and media corporations see themselves not as custodians of valuable cultural history, once freely available, but as ruthless maximisers of profit. Those of us who believe in the historical value of accessing media from the past are paying the price.
Public domain and abandonware and forgotten media are regarded by the media companies as a threat to their business model, since it is possible you can be entertained by them rather than their own for-cost offerings. It is no longer enough for them to control what you consume media, but insist on controlling whether you consume.
And the courts regard them as persons and members of the public as not. We don’t count as invested parties.
According to the US and the EU we common folk don’t figure.
It is now more ethical to pirate (or simply not consume it at all) than it is to obtain legitimate licenses.
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Public domain and abandonware and forgotten media are regarded by the media companies as a threat to their business model, since it is possible you can be entertained by them rather than their own for-cost offerings. It is no longer enough for them to control what you consume media, but insist on controlling whether you consume.
And the courts regard them as persons and members of the public as not. We don’t count as invested parties.
According to the US and the EU we common folk don’t figure.
It is now more ethical to pirate (or simply not consume it at all) than it is to obtain legitimate licenses.