For analysis of SOPA that focuses on its legal requirements critically but without hyperbole see “A Close Look at SOPA” by Jonathan Zittrain, Kendra Albert and Alicia Solow-Niederman.
It’s been a consequential week for the Stop Online Piracy Act (SOPA) and the Protect IP Act, the two controversial pieces of copyright-protected legislation pending in Congress. I’ve posted about these bills in recent months but I’ve not attempted to post the play-by-play culminating in last week’s coordinated online protest against the bills. Now that the bills have stalled–the New York Times reports “the pressures of an election year make action this year unlikely”–over the next few days I want to take time to compare the bills’ stated purposes with their methods for achieving those purposes, and separate fact and myth from arguments of both the bills’ proponents and its opponents. These particular bills may be gone for good but the issues they address and, as important, the music, motion picture, and publishing industry lobbying effort that pushed for their creation are still patrolling the House and Senate.