Personally, I am happy to see it, of course, because the conflict highlights the unworkability of the Free Culture Movement's models of peer-based production without regard for payment. Since the FCM regards open source software as a pilot program for all other creative products, ranging from music to movies, the quicker its weaknesses as a mode of production are rendered obvious, the sooner the debate can shift to real issues of how to define and protect IP rights in a time of great technological change. Where should they shrink, and where should they expand?