This is by no means the first time the MPAA has stepped on the little guy in their crusade to eradicate piracy, but it is a particularly egregious instance of it. The free Wi-Fi network in Coshocton, Ohio supported anywhere from "a dozen people a day to 100 during busy times," all of whom are left without Internet after the shut down. As nations like Finland move to make broadband access a legal right, it is unfortunately clear that some powerful people in our country still consider it a privilege and not a necessity.

Let this be a lesson to those who not only enjoy but depend on free Wi-Fi networks. Enjoy it while it lasts, because if Dennis the Menace down the block can't wait for Transformers 3 to come out on DVD, you might be out a connection. [Via BoingBoing]

Lots of gear that's still kicking around only has an analog connection with a cable box: like TiVos and Slingboxes made before 2004. And what about your TV? You'd likely be forced to upgrade to gear with digital ports (like HDMI) to watch movies protected with Selectable Output Control.

The studios are desperate to show on-demand movies over cable prior to their DVD release, but claim they can't without SOC. They say the tech protects their revenue by blocking easy analog copying—the so called "analog hole". Problem is, DVDs (a supposed secure format) get ripped and shared online, anyway.

Not only that, but it's almost a moot point. Warner Brothers (who signed the original SOC petition last year) released Observe and Report, and Ghosts of Girlfriends Past for video-on-demand this September—before their DVDs hit stores. Consumer advocacy groups, like Public Knowledge and the EFF, also point out that Magnolia Pictures, distributors like IFC, and more recently, Starz Media, are also doing VoD before DVD.

The MPAA says that the outputs would only be disabled for the new movies, and wouldn't impact any existing content. And they make the fair point that there's always a lag between new experiences early adopters get compared to those with older gear.

But I'm sorry MPAA, pull your head out of your arse. DVDs still get ripped, and one of the very studios you represent is still releasing on-demand movies prior to their DVD release. Why bother? Think about the huge customer base you're alienating, and stay away from the back of my TV. [Public Knowledge and PC Magazine via BoingBoing]

"This will be an experimental playground and as such, subjected to both live and drunk (en)coding, so please don't bug us too much if the site ain't working properly," the site's front page currently warns.

But before you head over looking for an all you can eat smorgasbord of porn, know that you're currently limited to viewing the ogg/theora video and audio tag demos linked to from the main page.

TorrentFreak notes that users were initially able to browse through the videos, but that's been disabled now. "What is left is an announcement that the site will be launched somewhere in the future."

Beyond the piracy angle, what's interesting is this could be one of the first major deployments of HTML5, the next major revision of HTML that some believe could replace the need for plug-ins like Adobe Flash. For that reason, you'll need to use a browser that can handle HTML5's video and audio tags, such as: Firefox 3.5 beta 4, Opera 9.52 preview, Google Chrome 3, Safari 3.4/Safari 4. [The Video Bay]

The irony of a man in charge of a company who artists and consumers both hate making this statement apparently was lost on him.

The movie industry would like to tell you that those 4 million downloads are totally equivalent to 4 million lost tickets at an average cost of 7 bucks a piece according to the Hollywood Reporter's figures, knocking about $28 million off its weekend total, which was a still respectable $85 million, though less than X3's opening weekend gross of $103 million.

It's not. Even discounting the few people brave enough for a repeat viewing of this crime against decency—adamantium bullets, really?—pirates who are piratey pirates were never going to pay to see it anyway, and the incredible download numbers undoubtedly drew more of them in. It's like a YouTube video with 2 million views. It makes you more likely to click.

But 4 million is still something of a watershed number. 1 million downloads was pretty damn good. 4 million is berzerk. The Dark Knight hasn't even sold 4 million copies on Blu-ray, and it's like the biggest thing ever on the format.

That's fairly incredible buzz for a thoroughly lackluster movie that's a bona fide wolverine fart in summer filled with actually good blockbusters, hype it likely would've never achieved otherwise. And being able to talk about all those millions of downloads in the press is just one slice of this illicit hype machine. (If Fox was smart, they would include the bootleg workprint as a special feature on the Blu-ray.)

Would it have made more $85 million if it hadn't leaked? Maybe. But I kind of doubt it. Would fewer people have seen it? Definitely. [Hollywood Reporter via digg]

Showing favor towards the MPAA, President Obama also appointed Jon Leibowitz—former vice president of congressional affairs of the MPAA—as the chairman of the Federal Trade Commission earlier this year. As you may recall, former president Bush signed a bill last October, creating the intellectual property czar position to lead the fight against piracy and intellectual property violations. [ArsTechnica]

If you don't recall, RealDVD was a late, unusual addition to the DVD copying field. By late, I mean the latter half of 2008, and by strange, I mean not free. Surprise! The MPAA is outraged, and the product is pulled from shelves literally days after launch. Now the controversy is making its way to a federal court, where Real attorneys will square off against whatever reptilian law-creatures the movie industry is employing these days, and the fate of RealDVD will be decided.

But the NYT thinks they've uncovered RealNetworks', ehh, Real™ intentions: to build ripping capabilities into mainstream DVD players. It's all part of a project called Facet that actually predate RealDVD, at least internally, by some time. Real wants to license this software on the cheap to major DVD player manufacturers, who could then produce reasonably priced (sub-$300) DVD-saving players.

Fun, right? Well, the underlying technology is pretty much RealDVD on Linux, so it—and pretty much any other integrated DVD player backup solutions—is depending on courtroom victory this week. If this is really their strategy, then RealDVD was might have never even a serious product—just a sad, legal, sacrificial lamb. [NYT]

Straight up, you run into DRM pretty much every day. Bought music from three of the four major labels or any TV show from iTunes? Played a game on Steam? Watched a Blu-ray movie? Hello, DRM. If you wanna get technical about it, digital rights management and copy protection are two different, if similar things. Digital rights management is copy protection's sniveling, more invasive cousin—it isn't designed simply to make it harder to steal content like straightforward copy protection—you thieving bastard you—but to control exactly how and when you use media. We're going to cover both here, since they both refer to technologies that restrict what you do with music, movies and more.

There are, approximately, 10,742,489 kinds of DRM and copy protection. Almost every company or format has its own flavor that works in a slightly different way from everyone else—Apple's iTunes-smothering FairPlay, Blu-ray's BD+, the restrictions built into every gaming console. They've gotten more complex and nuanced over time, too, as content delivery has evolved. For instance, elementary-school DRM would simply keep you from copying or converting or doing other unseemly things to a file, like playing it on a non-sanctioned device. Or you might remember old-school CD keys, before the days of online activation. Today's DRM, like for movie rentals, music subscriptions or software, constructs more elaborate obstacle courses, nuking videos 24 hours after you press play, or allowing a certain number of copies.

Many of these work in similar ways—files are encrypted with the DRM flavor of the day, and they're unlocked or decrypted for your use by authorized programs and devices. Think of it like a secret handshake that only certain programs or pieces of hardware know. Often, they're tied to an account like on Steam or iTunes. This makes it easy for the Man to keep track of and manage what you're doing with stuff—how many copies you've made, how many machines you've authorized to play your content, whether your monthly all-you-can-eat music subscription is still active, that kind of thing. DRM-busting cracks look for ways to strip that encryption out to allow free usage, copying or modification of the file.

So, aside from the fact that DRM keeps you copying or modifying content, and playing it on whatever damn player you wanna play it on, and maybe limits your time with a movie to a fleeting window, it doesn't sound so bad. Okay, it does. But it can get worse—like when DRM breaks. For instance, Valve's Steam network had a hiccup in 2004 that meant people were locked out of the game they paid to play. Or when Windows cocks up and tells users their OS isn't genuine. Or Sony's infamous rootkit CDs. Or when DRM servers are shut down, rendering music useless. The list goes on.

But wait, haven't you heard that DRM's dead? Or has a cold? Weeellll, yes and no. Sure, some music stores sell DRM-free MP3s—Amazon is unrivaled in that has 'em from every major label, and iTunes sells DRM-free music from EMI. And CDs have never had 'em, except for that aforementioned BS copy protection from Sony and a few other short-lived misguided attempts. So, it's sort of going away for pay-to-own music, but it's still fairly ubiquitous, in all-you-can-eat subscription music, in movies and in software, and it's not going away anytime soon. The emergence of streaming serious video content, like with Hulu in particular, sort of challenges this on the video front—there's no DRM, but then again, it's not as easy to rip a stream for Joe Blow as it is to share a file over Limewire. Harder questions, though, like whether DRM means you ever really own anything anymore, we'll leave to the lawyers.

Here's a list an quick blurb on every major kind of DRM you're likely to run into, and why it sucks (beyond the whole keeping-you-from-sharing-it-with-all-your-friends business):

Audio
• FairPlay is Apple's flavor of DRM that's baked right into iTunes, iPods, QuickTime and iEverything else—most music from the iTunes store is lojacked with it, with exceptions from EMI and some indie labels. It allows for unlimited copies of music files, but only five computers at a time can be authorized. FairPlay files only play on Apple's own iThings. Like every other DRM scheme, it's been cracked.

• PlaysForSure (now simply "Certified for Vista," which is confusing since not all "Certified for Vista" stuff will play PlaysForSure, like Microsoft's own Zune) was Microsoft's attempt to get everyone in the portable player industry on the same Windows Media DRM. Even though Microsoft has basically ditched it, it's successful in that a bunch of services, like Rhapsody and Napster, and players—essentially everyone Apple, from Sony to Toshiba to SanDisk—have used or supported it. It's fairly generic copy protection that keeps you from sending it to all of your friends, though it works with and enforces subscriptions, with the biggest bitch being that it restricts you to Windows and to PlaysForSure devices. (Read: Not iPods.)

• Zune uses a totally different DRM tech than PlaysForSure and is incompatible with it. It allows you to share DRM'd subscription content with up to three other Zunes, though it won't let you burn songs unless you buy 'em. And if subscriptions die, it nukes your songs. It also manages the Zune's "squirt" feature, making sure you don't play beamed songs more than a few times and other annoying restrictions.

• PlayReady: Hey lookie, another Microsoft DRM scheme. This one's different from the similar-sounding PlaysForSure in that while it's backward compatible with Windows Media DRM, it works with more than just Windows Media audio or video files, like AAC and MPEG, and is meant to cover a broader range of devices, like mobile phones.

Video
• FairPlay for video is a lot like the audio version, but adds a couple tricks like nuking rental videos 24 hours after pressing play and presenting a slightly more complicated obstacle course to sync them to portable iThings.

• High-Bandwidth Digital Copy Protection prevents video from being copied as it moves across certain digital video interfaces like HDMI, DisplayPort and DVI, which sounds innocent enough, until you try to watch something on a non-HDCP compliant display—and you can't.

• Content Scrambling System (CSS) was DVD's piddly encryption scheme, long ago busted open like a rotten watermelon.

• AACS (Advanced Access Content System) is one layer of copy protection that's part of the spec of both HD DVD and Blu-ray. It's way stronger than DVD's CSS setup with several components involved in the encryption/decryption process, and allows for blocking specific players that have their keys compromised. Plus it can allow specific numbers of DRM'd copies of content, like for portable players. Also cracked, rather explosively.

• BD+ is Blu-ray's secret sauce DRM that's actually a virtual machine, allowing it to do stuff like make sure the hardware and keys are kosher, and execute code. It's been cracked, twice actually, but part of the appeal is that it can be updated—the last version is at least three months away from being cracked again, though it totally will be. BD+ was the main reason some studios supported Blu-ray over the AACS-only HD DVD, and you can see why.

• Macrovision VHS, yep, that old chestnut: copy protection on VHS tapes that made everything squiggly when you tried to run two VCRs together. Why include it in a digital roundup? Well, besides nostalgia, if you want to convert your original 1986 Star Wars VHS tape to digital, this will make your life difficult—fortunately, a quick Google search turns up ways around it.

• TV and cable—there's a lot going on there to keep you from stealing cable's goods, so you need a box or a CableCard to take the encrypted feed and make it watchable. The industry didn't even really get behind the plug-n-play CableCard, either—it was more or less forced on them. There's also this thing called a broadcast flag that stations like ABC or NBC or HBO can embed in shows at will so you can't record them.

• Tivo uses DRM from Macrovision that can slap you with all kinds of restrictions, ranging from no copying at all to automatic expiration, limiting copies or managed transfers to PCs, or even not allowing you to view certain football games outside of a designated region. Its TivoToGo, for porting stuff to portable devices, actually uses Windows Media DRM though.

• Windows Media DRM, speaking of it, is one of the more popular off-the-shelf DRM kits, used by everyone from Netflix for its streaming service to Amazon's defunct Unbox downloads (now Video on Demand downloads) to Walmart's old video store, that's somewhat flexible it what it allows or doesn't, depending on the service's wants—from no copying to nothing but Windows Media compatible devices (i.e., no iPods). It only runs on Windows, naturally.

• Even Adobe Flash has DRM now. If you've used the streaming part of Amazon's Video on Demand service, you've run into Flash DRM (which had a lovely Antarctica-sized hole allowing you to rip movie streams until a couple months ago). Two bad things about this DRM, notes the EFF: First, with an unencrypted stream it's "unlikely that tools to download, edit, or remix them are illegal." That changes if it's locked up with DRM. Also, it means you'll have to use Adobe's own Flash player to video Flash videos. Lame.

• PlayReady is another Microsoft DRM flavor, aimed mostly at portable devices, but it also powers the DRM in Microsoft's Silverlight, which is what just brought Netflix streaming to Macs.

Software
• Windows Genuine Advantage is what makes sure you're not using a pirated copy of Windows. It phones home occasionally, which can cause bad things if the servers go down. If your copy is legit and it says you're a pirate, you're not the first person it's falsely accused.

• Valve's Steam is one of the most elegant, integrated DRM solutions we've seen in a physical-media-be-damned world (except for its two infamous outages). Unlimited copies of games on unlimited computers, but only one can play on an account at a time. It's fairly seamless, like good DRM should be.

• EA's copy protection system got real famous, real fast thanks to Spore, and nefariously restricts game installations to three computers—in its lifetime, not just at one time like some media DRMs.

• Pretty much every console has varying levels of DRM and copy protection (duh, it's a closed system), but DRM issues are coming more brightly into focus as we download games from stores, like on the Xbox 360 and Wii, where games are tied to your original system, so you're screwed if you get a replacement—it'll take some decent footwork to get your games back, at the very least.

• Not software DRM per se, but Windows Vista has a ton of DRM technologies baked right into it.

Any DRM schemes we missed, feel free to complain about how they make your life more miserable in the comments.

Something you still wanna know? Send any questions about DRM, rights, McDonald's managers or Taiko Drum Master to tips@gizmodo.com, with "Giz Explains" in the subject line.

The arguments centered around fair use: Real claimed that making a bit-for-bit copy of the film, which is what their software did, falls under that umbrella. The studios claim that fair use does not include decoding a movie from any media besides the original DVD — something what RealDVD enables. Far from the legal victory or even protracted, public battle that Real was hoping for, the decision will likely hold into the foreseeable future. [Wired Threat Level]

In a small victory for Real, they got the case moved out of the studio-infested Central District to California's Northern District court. Now they just have to convince the studios and the judge that the extra DRM sprinkles it piles on top of the rips make RealDVD totally kosher. [Electronista]

The stakes for RealNetworks aren't terribly high either, as sales of RealDVD might have been slow because of, oh, I don't know, the mountains of free software that does a better and more complete job. Within the day, Real filed a countersuit which could possibly set a new precedent for the interpretation of the Hollywood's DVD license. Even in a best-case scenario, the most legal headway that could probably be made would be to permit neutered software like RealDVD, which would still leave any useful method of DVD backup well outside of the law. [NYT]

Essentially the MPAA wants to stop you from analog-copying stuff that is transmitted to your home, perhaps as pay-per-view, before it is released on (the proven as insecure) digital DVD format.

Some bodies argue that this is a fear that has no grounds in reality: "in the complete absence of evidence, there is no reason to believe that additional, costly, restrictive technologies are needed." TiVo and the Digital Transition Licensing Administrator also think SOC places too much control in the studio's hands, and messes with already in-place industry standards.

But the MPAA's position is clear, designed to protect revenue of the studios: "Distribution over insecure outputs would facilitate the illegal copying and redistribution of this high value content, causing untold damage to the DVD and other 'downstream' markets." The MPAA also makes an interesting twist in the argument, alleging that the fact that currently very few movies are released to broadcast before hitting DVD is "convincing evidence that the analog hole is an impediment to the early window release of high-value content."

So the people who are trying to protect the studios from piracy are saying the threat of analog copying is preventing movies getting to the TV fast... when as soon as a DVD is released, pirated copies hit the intertubes almost straight away. I am confused: does the movie exist for the audience, or the audience exist for the movie? The MPAA's not sure either, but seems to want even more control over the films we all watch. [Ars Technica via CrunchGear]

Hughes' argument centers around subscriptions: "(Recently) I made a list of the 22 ways to sell music and 20 of them still require DRM...any form of subscription service or limited play-per-view or advertising offer still requires DRM. So DRM is not dead." And he thinks subscription services are where we're headed (or at least the industry hopes so), meaning DRM for all.

But the fact that he's pinning DRM's survival on subscriptions—as opposed to advocating for it on all tracks you buy online—shows that we actually have come a long way, and DRM is dead, at least in one sense. Contrast with the MPAA's rep, whose industry is still in the beginning of the DRM life cycle: "We need DRM to show our customers the limits of the license they have entered into with us." The RIAA is a veritable Lessigian copyright hippie in comparison. [CNET]

First, it opens the door for other organizations to make demands as to what should and shouldn't be allowed. Verizon doesn't feel the internet should be excessively policed. Second, it sets a precedent that would make networks and service providers liable for future cases where they fail to block content. Third, Verizon sees content filtering as an invasion of privacy, and they try to balance the wishes of customers with the necessity for content protection. Amen. [NY Times]

To their credit, the MPAA has admitted to the mistake, saying that "We take this error very seriously and have taken strong and immediate action to both investigate the root cause of this problem as well as substantiate the accuracy of the latest report." Great, MPAA! Thanks for taking the time to stop vilifying college students as a roving pack of thieves as the RIAA loves to do. Now lets see if it changes your behavior at all, shall we? [Yahoo via Consumerist]

Like the ones protecting ISPs from getting sued because no-no content whisks through their tubes and that basically form YouTube's lifeline. He also wants to consider making content filtering mandatory, like the insane whole-network one AT&T's thinking about firing up.

Needless to say, this would make Hollywood happier than fecal-eating pigs in shit—Viacom's been fighting YouTube's safe harbor claims in its ongoing lawsuit, for instance. If the safe harbor provisions were strung out, YouTube really would be blasted out of existence, along with any other site that puts up user-generated content. Not that any of that matters more than the almighty dollar to the studios. [Ars]