It’s been two months and I can say a bit about how this has affected us:
As for search order and recommendations, I can’t see any difference. There’s been no change at all in viewership numbers, either in general or for specific titles.
As for royalties, I can’t say yet. At the same time Amazon rolled out their other changes, they also eliminated royalty estimates for Amazon US. Amazon UK and Germany still report them — presumably because they’re legally mandated to, I can’t imagine any other reason — but they make up a negligible number compared to Amazon US. For the US, you don’t know what you’re going to get until it shows up on your bank statement, and Prime payments are massively delayed. I’ve only just gotten my royalties for January. It will be another few months yet before I know what I made in April, but I think my prior estimate will be correct. We consistently get about 14,000 minutes streamed per month by Prime subscribers. With a 33% pay cut, that’ll work out to about $13.
As for the video removals and Amazon’s statement that they will not reconsider them… yeah. Just submit them again, unchanged. With only one exception — the 1911 version of Romeo and Juliet — that’s worked for me. One thing to say here: Prime has zero ability to distinguish one video from another if they have the same title. Amazon generally distinguishes products by UPC, which is not without its own problems. It’s a common scam to buy legitimate products and return counterfeits, which Amazon then freely mixes in their warehouses. That’s one of the reasons Amazon has become about as reliable as a sketchy flea market. Prime videos, though, have no UPC. You might think they’d go with a combined key — like title, date, and studio — but no, it’s just title. Now, that leads to conflicts, and conflicts seem to be resolved based on which side is bigger. If you’ve got a video that, say, shares a title with a Disney film, maybe clarify it by adding the date in parentheses. That should take care of most problems you’ll encounter.
Oh, and did I break this story? While Amazon’s intentions have been clear at least since February, there seemed to be nothing about this specific purge until Natalie Jarvey’s article in The Hollywood Reporter a couple weeks ago.
Pioneer Trails is fast on the way. It will also be available on Blu-Ray/DVD with a couple other Vitagraph western shorts as a bonus.
Amazon Instant, I mean Amazon Video, I mean Prime Video, I mean… whatever it’s called this month, has been gearing up for another retooling.
Their sorting and recommendation algorithm, which at the moment does not seem to exist — video are not ordered in any way that I can discern — is now going to be based on engagement. And we certainly know from Google that that’s never led to extremism. Amazon’s idea of “engagement”, though, seems to be less about reinforcing topics until you’ve created a dangerous echo chamber than it is pushing the mainstream. That’s not what engagement means, but what do I know? Specific examples they give include the film having an IMDb page and a recognizable star. Now, again, what do I know, but IMDb pages are user-created. It has a far lower barrier of entry than even Wikipedia. You’d think Amazon would be aware of that, what with them owning IMDb and all. I’m not terribly certain what qualifies a star but I’m sure Amazon isn’t being ambiguous on purpose.
Prime royalties, meanwhile, which started at 15 cents an hour, then dropped to 6 cents, will now be dropped to 4 cents. (Or raised to 10 cents, if your black-box-no-you-can’t-see-it engagement score is high enough. I’m going to go out on a limb and say roughly 100% of accounts will see their royalties drop, plus or minus 0%.)
None of that ordinarily would concern me. If the roughly $20 I make a month from Prime subscribers drops to $13, what of it? It’s already dropped from $50. That’s just Amazon being Amazon. As I’ve said before, I really only care about getting the films out there, and if I make a bit of money to get more films out there, all the better. Prime, its warts notwithstanding, was one of the best streaming services left for old films. I mean, Netflix has almost none left. And that’s the issue now: with its push for the mainstream, Amazon has begun purging non-mainstream content. Already five of our videos are deactivated, regardless of their ratings, reviews, or retention rates. I expect that number will climb.
Nothing I can do about it, I’m afraid. Amazon pointedly has no appeal process and will not disclose their reasons for doing anything. I was speaking recently to someone who lamented that we didn’t sell much physical media anymore. The simple reason I gave was that nobody wants it — DVD sales have fallen precipitously in the last few years and Blu-Ray was always dead in the water. People, by and large, prefer streaming, but that does put both the customer and the seller completely at the mercy of the streaming service, which might go out of business tomorrow or might decide it no longer wants to cater to you. So Amazon goes the way of Netflix.
Oh, hint for the next episode… ah… Cullin Landis… Alice Calhoun… runaway… stagecoach… you know, it’s Pioneer Trails.
I think I must have referenced Auntie’s Portrait at least two or three times when talking about other Sidney Drew films, but I’ve never spoken about it directly. I should rectify that.
Auntie’s Portrait is usually cast as a “rare” film, but for all it’s supposed rarity, I’ve got five prints of it. The old standard definition video was sourced from the best print I had at the time, which still wasn’t very good — a bit soft and more than a bit dark. The new high definition remaster comes from the last print I obtained, which is just all around gorgeous. I’m very happy to have it as Auntie’s Portrait is my favorite Drew short.
Mr. and Mrs. Honeypet (Sidney Drew and Jane Morrow) are newlyweds. They receive a gift from Mrs. Honeypet’s wealthy aunt Flora (Ethel Lee). They dig into the box eager to see what it contains only to find a hideous portrait of Auntie herself. The Honeypets are obviously middle class, but they’ve got pretensions and this picture would disgrace their carefully curated walls. Not expecting Auntie to visit anytime soon, they decide to worry about it later. In the meantime, the portrait is consigned to the attic.
The next day, who should drop by but Auntie Flora, every bit as harsh and mean-looking as her picture. And about that picture — no sooner does she take off her hat and coat than the lorgnette comes out and she begins scanning the walls for it. Mr. Honeypet retrieves the portrait from the attic and tries to quickly hang it, but they don’t have a big place — just a few rooms downstairs — and he keeps being interrupted by Auntie. It seems like all is lost when he drops the picture and the frame breaks, but then inspiration strikes and Mr. Honeypet rushes out the back door.
Auntie, having gone round the house several times, has determined that her portrait is nowhere to be found. “I shall leave this house and never return,” she tells her niece, “and I’ll leave you out of my will, too!” She’s almost out the door when Mr. Honeypet barges in. “We sent it away to have this beautiful frame put on it,” he explains, showing her the picture with a new, elaborate gilt frame. “We wanted to surprise you!”
I tend to bring up Auntie’s Portrait when talking about Drew films because I really consider it the gold standard of their formula: newlyweds that are pretentious social climbers and probably a bit insufferable to be around, but not so bad that you want to see them fail. It’s not too confining as formulas go and there’s a lot that can be mined from it. There’s nothing wacky about the Drews’ better domestic comedies. Their world is really only a slightly heightened version of our own. You probably know people in real life not too unlike the Honeypets.
My rating: I like it.
Available from Harpodeon
And now, unless you enjoy my continued ramblings about Amazon, you can stop reading and I’ll think nothing less of you for it.