I don't mean to nitpick, Tom, but is this really your plan?

Via the OTW: Fan Video & Multimedia is once again working with our Legal Committee as well as the Electronic Frontier Foundation (EFF) to petition for a DMCA exemption granting vidders, AMV makers, and other creators of noncommercial remix video the right to break copy protection on media files. In 2010, we won the right to rip DVDs; in 2012, we got that exemption renewed and expanded to include digital downloads (iTunes, Amazon Unbox, etc.). In 2015, we’ll be pushing to add Blu-Ray. Right now we’re in the data-gathering stage: asking fan video makers to talk with us about how they get Blu-Ray source and why Blu-Ray is important.

RT:

The exemption will expire if not renewed!  The big copyright industries fought really hard last time, and renewal is not a foregone conclusion, even though we’re still right.  As always we need (1) examples of vids that make a critical commentary on the original source, particularly examples from the past 3 years, as well as (2) vids that need very high quality source, in technical terms, to do what they do.  With Blu-Ray, we need (3) explanations of how getting Blu-Ray source can be done, so we can educate the Copyright Office, and (4) explanations for why Blu-Ray source is important.  

If you can help with any of these, please let legal@transformativeworks.org know!

Question 1: To what degree does Kindle Worlds suggest that the fanfiction can only be legitimized through the eradication of fan culture’s gift economy?
Question 2: Fanfiction has significantly changed our media culture. Kindle Worlds isn’t just capitalizing on it, but arguably represents an attempt to shape it. Is this a feedback loop in action or an attempt to stop the catalyst that is fan work?
Questions 3: The contractual terms of Kindle Worlds are the sort traditional professional writers would be strongly advised against signing on to. Is fannish work worth less? Should it be?
Question 4: Fanfiction has, arguably, always been about the option to use use all the tools, particularly those often discouraged by corporate content production (e.g., sexuality), to tell story. If the toolbox is limited, whether a given writer would choose to use all the tools or not, is it fanfiction or is it some other form of derivative (vs. transformative) work?
Question 5: How will fan readers view/treat fan writers who use a tool like Kindle Worlds? And how does that impact our communities, hierarchies, and barriers to entry?

podcath

cesperanza

geekturnedvamp

talitha78

mustangsally78

One argument I’m suddenly hearing a lot of is: Of course violent TV has a violent influence. Isn’t the whole TV advertising model based on the idea that content can influence action? Does that influence stop once the commercials are over?
For starters: yes, actually, it kind of does. In the sense, at least, that advertising is a different kind of rhetoric from fiction. It’s generally a direct argument: buy this product, for this reason, you will get this benefit, you will look and feel a certain way.
Fiction–even really bad fiction–doesn’t work that way. It tells a story, and people make meaning from it. It can have profound effects on people, but not necessarily the same ones on everyone, and its message isn’t linear. Breaking Bad, for instance, is a violent story of bad people, but you would have to have much more contempt for its viewers than I do to assume that its “message” is: life is cheap, power is awesome, so go cook some meth, dominate your wife and hurt whomever you have to, even kids, to get your way.

But what is concerning is that this revolution has been deep but narrow; it's like we have an army of dazzlingly fluent poets who all write in one language. That doesn't, of course, make all the poetry the same, any more than all English-language poetry is the same. These shows are varied in many ways: The Wire is not the same show as The Walking Dead just because people get shot and otherwise brutalized, and American Horror Story and Boardwalk Empire are hardly identical twins. But they share elements, one of which is that the stakes involve — not solely but largely — avoiding being violently killed. And for that reason, they ask the viewer to want to watch people being violently killed now and then, and sometimes now and then and then and then, because otherwise the threats are false.
(It's worth mentioning that the violence is not the only thing many of these shows have in common. They're also very heavy, though less uniformly so, on the question of what it means to be a morally conflicted 40-ish white guy in modern America, or '60s America, or Prohibition-era America, or Westeros. This is also the theme of the highly decorated Louie, which is sort of a comedy, but only sort of. As much as it's failed to reach many kinds of stories, the revolution has also failed to reach many kinds of people with any regularity.)