> But producing that digital good costs time and money (anyone on HN care to disagree?)
Not disagree, but it is more nuanced than this I think. I spend a fair amount of money going to movie theaters, usually independent movie theaters but sometimes big ones, to see new releases. As I understand it, the production and funding model relies almost entirely on the box office numbers. I think when dealing with older releases, the waters are much murkier.
I end up seeing new things in person and paying a huge premium to do so. I won't pretend I do it for moral reasons or even strictly to support the creators (although I do it in part to support the independent theater itself). It does keep me from feeling bad for also running a media server, on which maybe 1% of the content is newer than 5 years old, though.
I have almost never bought a physical copy of a movie -- and in my mind the IP holders are usually terrible curators of their own content. Physical media is provided in a horribly limited and anti-consumer format, tied to ephemeral standards and technology and often embedded with advertisements and few subtitle options. Digital products are, somehow, worse. Tied to a walled garden, with no true 'ownership', sometimes platforms like Amazon video will even make their own edits to movies, removing crucial parts for no apparent reason (the wicker man, avatar) and without marking it as abridged. They often make decisions that scream 'cash grab' (i.e. years ago when TNG came on netflix, I went to stream it and was shocked at the potato quality. Later re-releases were released in an un-cropped widescreen that included things like boom mikes because of the original intended aspect ratio of the show.) DRM is a nightmare. The product I want -- a file containing the media and only the media, which I can view however I want without logging into anybody's servers -- does not exist. And if it did exist, well, I do also take issue with paying full price for a file of a 40 year old movie, for example. I know there are costs associated with remasters, etc, but most of these are not remasters (and those costs are also much much lower than outright movie production).
A notable exception is outfits like Vinagar Syndrome, who as a labor of love dig up lost media and often re-cut or remaster / distribute it, and due to the low scale and lack of demand likely do not make much if any profit off it. I often do see showings of Vinegar Syndrome releases at my indie theater though or rent them from the one remaining video rental place (I'm unsure whether or not that benefits the production company).
It probably gets more hairy for people who watch a lot of new serialized media, which I do not.
I kind of wish people would think critically about the gradient of potential consumption habits when making their media choices rather than separating into pro / anti piracy stances, because it's an interesting and multi-faceted topic with a lot of considerations to be made.