The license that Amazon has doesn't even need to change for there to be undesirable customer outcomes. I didn't realise the extent of the geo-locking of content bought through Prime Video, for example. So a film I bought while living in the UK is now unavailable to me in Sweden, despite both countries being served by Prime Video.

This happened to me as well. You don't even have to move, if you go on a business trip the content becomes unavailable as well. The EU had a public comments period in relation to this a few years back, but I haven't heard much since.

I assume that the geo-blocking is still somewhat relevant in regards to protectionism for the dubbing industry in some member states.

If you're talking about geo-blocking in general, and why it's relevant, there's plenty of reasons. The dubbing industry is probably just one piece of the puzzle. It's not fun or sexy, but there's reasons. Different countries have different rules and censorship. Companies also want controlled marketing campaigns targeting specific regions. Film media is an expensive asset and companies are protective of it.

This seems like a problem for everyone - corporate interests, repressive governments, etc. - but the end consumer, who just wants to watch a damn movie.

I am not talking about geo-blocking in general, but rather why the EU allows this break down of the vision of a single market.

It would be absolutely preposterous to not be able to use your Berlin Netflix account when you are on a business trip in Bonn, but somehow it is acceptable when you go to Brussels. What do EU member states gain from this? Sure you can allege regulatory capture and subservience to the producer's desires, but I assume it is more benign than that and merely market protectionism.

This is orthogonal, and protecting the meaning of the word Buy sounds easier to achieve than outright attacking the publisher's business model, so I'd start with the former.

Making people acutely aware they're not buying content, but only renting it temporarily, would already help change the conversation.

> Wouldn’t the better option be to have regulation that prevent Both the rights seller (Hollywood) & the seller From revoking the sale/license, and guaranteeing it in the company’s perpetuity?

So how would this law work? The reality is that compound works are always, always made up of third party bits of copyright. So are films required to clear any music in perpetuity, no matter what? Goodbye to musicals. What happens if rights are in dispute and a supplier loses the rights to the title, or parts of a title (this happens a lot)? What happens if an estate of a creator files to have the IP in a character revert to them after fifty years?

How are you going to have this regulation pass in every country in the world at the same time?

Or is this one of these things that's easy to glibly say but basically impossible to do?

What are you talking about? That's exactly how it works for VHS, DVDs, CDs, Blurays, books.

Once I buy media, nobody is coming to my house to prevent me from watching it just because there was some legal issues between unrelated parties. That's up to them to solve on their own, in courts.

Just because we have ways to revoke users' access to legally bought media doesn't mean it's ok to do.

The gaming industry and the RIAA are in an interesting situation regarding compound works. Some games license music for their soundtrack, and the games developers want to license streamers to broadcast their games. But the streamer is not covered by the terms of the music license, so their content gets DMCA'ed. But even if the terms of the music license were to be adapted to allow for live streaming of the game, how could one detect that a song is being played as part of a game stream with the right license?