A decade and a half on from the Pirate Bay trial, the winds have begun to shift. On an unusually warm summer’s day, I sit with fellow film critics by the old city harbour, once a haven for merchants and, rumour has it, smugglers. Cold bigstrongs in hand (that’s what they call pints up here), they start venting about the “enshittification” of streaming – enshittification being the process by which platforms degrade their services and ultimately die in the pursuit of profit. Netflix now costs upwards of 199 SEK (£15), and you need more and more subscriptions to watch the same shows you used to find in one place. Most platforms now offer plans that, despite the fee, force advertisements on subscribers. Regional restrictions often compel users to use VPNs to access the full selection of available content. The average European household now spends close to €700 (£600) a year on three or more VOD subscriptions. People pay more and get less.
According to London‑based piracy monitoring and content‑protection firm MUSO, unlicensed streaming is the predominant source of TV and film piracy, accounting for 96% in 2023. Piracy reached a low in 2020, with 130bn website visits. But by 2024 that number had risen to 216bn. In Sweden, 25% of people surveyed reported pirating in 2024, a trend mostly driven by those aged 15 to 24. Piracy is back, just sailing under a different flag.
My understanding is that rightsholders didn’t take it seriously, so content was cheap to license in the early days of Netflix streaming. That’s no longer the case.
Further, the studios saw how Apple cornered the market selling songs for a dollar and didn’t want any one company (Netflix) to have that kind of control again. And it happened the same way: the record industry didn’t take the iTunes Store as anything that could be a huge success and gave Apple a sweetheart deal that they later regretted for leaving money on the table.
The lesson they didn’t learn is that it takes competitive pricing to wipe out (most of) piracy. The desire to squeeze every last drop of profit leads to its resurgence.
Good riddance to studios opening a bajillion streaming services. Sail the high seas and be merry.
yet somehow Spotify figured this shit out.
I mean they’re still enshittifying for shareholders but not due to lack of content.
I think that’s fine, but now all the rights holders want 100% of the profit so you have to subscribe to umpteen services that are mostly paid and have unskippable ads.
They had a good thing going and were getting tons of free money from their back catalogs and the customer has never been happier.