EFF has been fighting against DRM and the laws behind it for a decade and a half, intervening in the US Broadcast Flag, the UN Broadcasting Treaty, the European DVB CPCM standard, the W3C EME standard and many other skirmishes, battles and even wars over the years. With that long history behind us, there are two things we want you to know about DRM:
DRM IS TECHNOLOGICALLY BANKRUPT; DRM LAW IS DEADLY
Here's how DRM works, at a high level: a company wants to provide a customer (you) with digital asset (like a movie, a book, a song, a video game or an app), but they want to control what you do with that file after you get it.
So they encrypt the file. We love encryption. Encryption works. With relatively little effort, anyone can scramble a file so well that no one will ever be able to decrypt it unless they're provided with the key.
Let's say this is Netflix. They send you a movie that's been scrambled and they want to be sure you can't save it and watch it later from your hard-drive. But they also need to give you a way to view the movie, too. At some point, that means unscrambling the movie. And there's only one way to unscramble a file that's been competently encrypted: you have to use the key.
So Netflix also gives you the unscrambling key.
But if you have the key, you can just unscramble the Netflix movies and save them to your hard drive. How can Netflix give you the key but control how you use it?
Netflix has to hide the key, somewhere on your computer, like in a browser extension or an app. This is where the technological bankruptcy comes in. Hiding something well is hard. Hiding something well in a piece of equipment that you give to your adversary to take away with them and do anything they want with is impossible.
Maybe you can't find the keys that Netflix hid in your browser. But someone can: a bored grad student with a free weekend, a self-taught genius decapping a chip in their basement, a competitor with a full-service lab. One tiny flaw in any part of the fragile wrapping around these keys, and they're free.
And once that flaw is exposed, anyone can write an app or a browser plugin that does have a save button. It's game over for the DRM technology. (The keys escape pretty regularly, just as fast as they can be revoked by the DRM companies.)
DRM gets made over the course of years, by skilled engineers, at a cost of millions of dollars. It gets broken in days, by teenagers, with hobbyist equipment. That's not because the DRM-makers are stupid, it's because they're doing something stupid.
Which is where the law comes in. DRM law gives rightsholders more forceful, far-ranging legal powers than laws governing any other kind of technology. In 1998, Congress passed the Digital Millennium Copyright Act (DMCA), whose Section 1201 provides for felony liability for anyone commercially engaged in bypassing a DRM system: 5 years in prison and a $500,000 fine for a first offense. Even noncommercial bypass of DRM is subject to liability. It also makes it legally risky to even talk about how to bypass a DRM system.
So the law shores up DRM systems with a broad range of threats. If Netflix designs a video player that won't save a video unless you break some DRM, they now have the right to sue -- or sic the police -- on any rival that rolls out an improved alternative streaming client, or a video-recorder that works with Netflix. Such tools wouldn't violate copyright law any more than a VCR or a Tivo does, but because that recorder would have to break Netflix DRM, they could use DRM law to crush it.
DRM law goes beyond mere bans on tampering with DRM. Companies also use Section 1201 of the DMCA to threaten security researchers who discover flaws in their products. The law becomes a weapon they can aim at anyone who wants to warn their customers (still you) that the products you're relying on aren't fit for use. That includes warning people about flaws in DRM that expose them to being hacked.
It's not just the USA and not just the DMCA, either. The US Trade Representative has "convinced" countries around the world to adopt a version of this rule.
DRM HAS NOTHING TO DO WITH COPYRIGHT
DRM law has the power to do untold harm. Because it affords corporations the power to control the use of their products after sale, the power to decide who can compete with them and under what circumstances, and even who gets to warn people about defective products, DRM laws represent a powerful temptation.
Some things that aren't copyright infringement: buying a DVD while you're on holiday and playing it when you get home. It is obviously not a copyright infringement to go into a store in (say) New Delhi and buy a DVD and bring it home to (say) Topeka. The rightsholder made their movie, sold it to the retailer, and you paid the retailer the asking price. This is the opposite of copyright infringement. That's paying for works on the terms set by the rightsholder. But because DRM stops you from playing out-of-region discs on your home player, the studios can invoke copyright law to decide where you can consume the copyrighted works you've bought, fair and square.
Other not-infringements: fixing your car (GM uses DRM to control who can diagnose an engine, and to force mechanics to spend tens of thousands of dollars for diagnostic information they could otherwise determine themselves or obtain from third parties); refilling an ink cartridge (HP pushed out a fake security update that added DRM to millions of inkjet printers so that they'd refuse remanufactured or third-party cartridges), or toasting home-made bread (though this hasn't happened yet, there's no reason that a company couldn't put DRM in its toasters to control whose bread you can use). (...)
WHICH BRINGS US TO THE W3C
The W3C is the world's foremost open web standards body, a consortium whose members (companies, universities, government agencies, civil society groups and others) engage in protracted wrangles over the best way for everyone to deliver web content. They produce "recommendations" (W3C-speak for "standards") that form the invisible struts that hold up the web. These agreements, produced through patient negotiation and compromise, represent an agreement by major stakeholders about the best (or least-worst) way to solve thorny technological problems.
In 2013, Netflix and a few other media companies convinced the W3C to start work on a DRM system for the web. This DRM system, Encrypted Media Extensions (EME), represented a sharp departure from the W3C's normal business. First, EME would not be a complete standard: the organization would specify an API through which publishers and browser vendors would make DRM work, but the actual "content decryption module" (CDM) wouldn't be defined by the standard. That means that EME was a standard in name only: if you started a browser company and followed all the W3C's recommendations, you still wouldn't be able to play back a Netflix video. For that, you'd need Netflix's permission.
It's hard to overstate how weird this is. Web standards are about "permissionless interoperability." The standards for formatting text mean that anyone can make a tool that can show you pages from the New York Times' website; images from Getty; or interactive charts on Bloomberg. The companies can still decide who can see which pages on their websites (by deciding who gets a password and which parts of the website each password unlocks), but they don't get to decide who can make the web browsing program you type the password into in order to access the website.
A web in which every publisher gets to pick and choose which browsers you can use to visit their sites is a very different one from the historical web. Historically, anyone could make a new browser by making sure it adhered to W3C recommendations, and then start to compete. And while the web has always been dominated by a few browsers, which browsers dominate have changed every decade or so, as new companies and even nonprofits like Mozilla (who make Firefox) overthrew the old order. Technologies that have stood in the way of this permissionless interoperabilty -- for instance, patent-encumbered video -- have been seen as impediments to the idea of the open web, not standardization opportunities.
When the W3C starts making technologies that only work when they're blessed by a handful of entertainment companies, they're putting their thumbs -- their fists -- on the scales in favor of ensuring that the current browser giants get to enjoy a permanent reign.
But that's the least of it. Until EME, W3C standards were designed to give the users of the web (e.g. you) more control over what your computer did while you were accessing other peoples' websites. With EME -- and for the first time ever -- the W3C is designing technology that takes away your control. EME is designed to allow Netflix -- and other big companies -- to decide what your browser does, even (especially) when you disagree about what that should be.
Since the earliest days of computing, there's been a simmering debate about whether computers exist to control their users, or vice versa (as the visionary computer scientist and education specialist Seymour Papert put it, "children should be programming the computer rather than being programmed by it" -- that applies equally well to adults). Every W3C standard until 2017 was on the side of people controlling computers. EME breaks with that. It is a subtle, but profound shift.
WHY WOULD THE W3C DO THIS?
Ay yi yi. That is the three billion user question.
- Everybody on the inside secretly knows that DRM technology is irrelevant, but DRM law is everything; and
- The reason companies want DRM has nothing to do with copyright.
DRM IS TECHNOLOGICALLY BANKRUPT; DRM LAW IS DEADLY
Here's how DRM works, at a high level: a company wants to provide a customer (you) with digital asset (like a movie, a book, a song, a video game or an app), but they want to control what you do with that file after you get it.
So they encrypt the file. We love encryption. Encryption works. With relatively little effort, anyone can scramble a file so well that no one will ever be able to decrypt it unless they're provided with the key.Let's say this is Netflix. They send you a movie that's been scrambled and they want to be sure you can't save it and watch it later from your hard-drive. But they also need to give you a way to view the movie, too. At some point, that means unscrambling the movie. And there's only one way to unscramble a file that's been competently encrypted: you have to use the key.
So Netflix also gives you the unscrambling key.
But if you have the key, you can just unscramble the Netflix movies and save them to your hard drive. How can Netflix give you the key but control how you use it?
Netflix has to hide the key, somewhere on your computer, like in a browser extension or an app. This is where the technological bankruptcy comes in. Hiding something well is hard. Hiding something well in a piece of equipment that you give to your adversary to take away with them and do anything they want with is impossible.
Maybe you can't find the keys that Netflix hid in your browser. But someone can: a bored grad student with a free weekend, a self-taught genius decapping a chip in their basement, a competitor with a full-service lab. One tiny flaw in any part of the fragile wrapping around these keys, and they're free.
And once that flaw is exposed, anyone can write an app or a browser plugin that does have a save button. It's game over for the DRM technology. (The keys escape pretty regularly, just as fast as they can be revoked by the DRM companies.)
DRM gets made over the course of years, by skilled engineers, at a cost of millions of dollars. It gets broken in days, by teenagers, with hobbyist equipment. That's not because the DRM-makers are stupid, it's because they're doing something stupid.
Which is where the law comes in. DRM law gives rightsholders more forceful, far-ranging legal powers than laws governing any other kind of technology. In 1998, Congress passed the Digital Millennium Copyright Act (DMCA), whose Section 1201 provides for felony liability for anyone commercially engaged in bypassing a DRM system: 5 years in prison and a $500,000 fine for a first offense. Even noncommercial bypass of DRM is subject to liability. It also makes it legally risky to even talk about how to bypass a DRM system.
So the law shores up DRM systems with a broad range of threats. If Netflix designs a video player that won't save a video unless you break some DRM, they now have the right to sue -- or sic the police -- on any rival that rolls out an improved alternative streaming client, or a video-recorder that works with Netflix. Such tools wouldn't violate copyright law any more than a VCR or a Tivo does, but because that recorder would have to break Netflix DRM, they could use DRM law to crush it.
DRM law goes beyond mere bans on tampering with DRM. Companies also use Section 1201 of the DMCA to threaten security researchers who discover flaws in their products. The law becomes a weapon they can aim at anyone who wants to warn their customers (still you) that the products you're relying on aren't fit for use. That includes warning people about flaws in DRM that expose them to being hacked.
It's not just the USA and not just the DMCA, either. The US Trade Representative has "convinced" countries around the world to adopt a version of this rule.
DRM HAS NOTHING TO DO WITH COPYRIGHT
DRM law has the power to do untold harm. Because it affords corporations the power to control the use of their products after sale, the power to decide who can compete with them and under what circumstances, and even who gets to warn people about defective products, DRM laws represent a powerful temptation.
Some things that aren't copyright infringement: buying a DVD while you're on holiday and playing it when you get home. It is obviously not a copyright infringement to go into a store in (say) New Delhi and buy a DVD and bring it home to (say) Topeka. The rightsholder made their movie, sold it to the retailer, and you paid the retailer the asking price. This is the opposite of copyright infringement. That's paying for works on the terms set by the rightsholder. But because DRM stops you from playing out-of-region discs on your home player, the studios can invoke copyright law to decide where you can consume the copyrighted works you've bought, fair and square.
Other not-infringements: fixing your car (GM uses DRM to control who can diagnose an engine, and to force mechanics to spend tens of thousands of dollars for diagnostic information they could otherwise determine themselves or obtain from third parties); refilling an ink cartridge (HP pushed out a fake security update that added DRM to millions of inkjet printers so that they'd refuse remanufactured or third-party cartridges), or toasting home-made bread (though this hasn't happened yet, there's no reason that a company couldn't put DRM in its toasters to control whose bread you can use). (...)
WHICH BRINGS US TO THE W3C
The W3C is the world's foremost open web standards body, a consortium whose members (companies, universities, government agencies, civil society groups and others) engage in protracted wrangles over the best way for everyone to deliver web content. They produce "recommendations" (W3C-speak for "standards") that form the invisible struts that hold up the web. These agreements, produced through patient negotiation and compromise, represent an agreement by major stakeholders about the best (or least-worst) way to solve thorny technological problems.
In 2013, Netflix and a few other media companies convinced the W3C to start work on a DRM system for the web. This DRM system, Encrypted Media Extensions (EME), represented a sharp departure from the W3C's normal business. First, EME would not be a complete standard: the organization would specify an API through which publishers and browser vendors would make DRM work, but the actual "content decryption module" (CDM) wouldn't be defined by the standard. That means that EME was a standard in name only: if you started a browser company and followed all the W3C's recommendations, you still wouldn't be able to play back a Netflix video. For that, you'd need Netflix's permission.
It's hard to overstate how weird this is. Web standards are about "permissionless interoperability." The standards for formatting text mean that anyone can make a tool that can show you pages from the New York Times' website; images from Getty; or interactive charts on Bloomberg. The companies can still decide who can see which pages on their websites (by deciding who gets a password and which parts of the website each password unlocks), but they don't get to decide who can make the web browsing program you type the password into in order to access the website.
A web in which every publisher gets to pick and choose which browsers you can use to visit their sites is a very different one from the historical web. Historically, anyone could make a new browser by making sure it adhered to W3C recommendations, and then start to compete. And while the web has always been dominated by a few browsers, which browsers dominate have changed every decade or so, as new companies and even nonprofits like Mozilla (who make Firefox) overthrew the old order. Technologies that have stood in the way of this permissionless interoperabilty -- for instance, patent-encumbered video -- have been seen as impediments to the idea of the open web, not standardization opportunities.
When the W3C starts making technologies that only work when they're blessed by a handful of entertainment companies, they're putting their thumbs -- their fists -- on the scales in favor of ensuring that the current browser giants get to enjoy a permanent reign.
But that's the least of it. Until EME, W3C standards were designed to give the users of the web (e.g. you) more control over what your computer did while you were accessing other peoples' websites. With EME -- and for the first time ever -- the W3C is designing technology that takes away your control. EME is designed to allow Netflix -- and other big companies -- to decide what your browser does, even (especially) when you disagree about what that should be.
Since the earliest days of computing, there's been a simmering debate about whether computers exist to control their users, or vice versa (as the visionary computer scientist and education specialist Seymour Papert put it, "children should be programming the computer rather than being programmed by it" -- that applies equally well to adults). Every W3C standard until 2017 was on the side of people controlling computers. EME breaks with that. It is a subtle, but profound shift.
WHY WOULD THE W3C DO THIS?
Ay yi yi. That is the three billion user question.
by Cory Doctorow, EFF | Read more:
Image: EFF
