They're deliberately creating TV content as a background to people's phone addiction now.
It’s O.K. to look at your phone all the time, the show seems to say, because Emily does it, too. The episodic plots are too thin to ever be confusing; when you glance back up at the television, chances are that you’ll find tracking shots of the Seine or cobblestoned alleyways, lovely but meaningless.
Reality is now a kind of huge advertising campaign, selling television’s image of what life is about.
Cory Doctorow points to an article about yet another acronym: CPCM, the European version of the United States' broadcast flag and just as potentially troubling. It defines what a consumer can or can't do with copyrighted content on his equipment, if it can be stored, copied, shared and how many times. It looks, at first glance, to be even more restrictive than its American cousin.
There's an interesting post at The New Normal about the dreams of television over IP, how the traditional broadcast model is impractical within the constraints of today's networks and how this shouldn't prevent innovative non-realtime distribution models from taking root now.
I just watched this fly-on-the-wall documentary about Shaun Ryder. I didn’t realise he’d fallen that low. As this article puts it, by all rights he should be dead now.
Imagine you found out there is no Santa Claus after you bombed the North Pole.
