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While Busk did decent business and had an interested audience, the numbers were not strong enough to continue operating the site.
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BuskFilms, formed in 2011, offered worldwide digital distribution of first lesbian and then a full range of LGBTQ media, and boasted viewers in around 160 countries. Some companies, like the relatively short-lived BuskFilms, attempted to build streaming distribution platforms that did not last. Streaming services have a great deal of control over what work gets shown, which in turn shapes the direction of LGBTQ media. They select what they consider to be the best available media that fits their brand identity, producing, as Revry calls it, “queerated” content. However, streaming distributors also act as curators for this content. Inexpensive means of distribution theoretically allows access to unlimited content, and the market has seen increases in LGBTQ media being offered. In addition to Revry, there are other newcomers to the field, such as Dekkoo, a site launched in 2015 that specializes in gay content. The lower costs of digital distribution and the revenue potential from streaming media to worldwide audiences created an environment for small distribution companies to form. Established distributors have a firm foundation in the move to digital distribution-a library of films, continued income from hard-copy sales, and/or support from a conglomerate parent company.
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Established home video and theatrical distributors, including Wolfe Video, have made the transition to Video on Demand, as has HereTV, “America’s only LGBT TV network.” Other distributors license their films through digital distributors, as Water Bearer did with FilmRise. Behemoths like Netflix include an LGBTQ category in their content browsing options. Viewers searching for LGBTQ content today have an assortment of options. The longevity of these niche distributors suggests that the market supports them, even as many comparably sized independent distributors have undergone changes in ownership or gone bankrupt in the shifting indie landscape from the late 1980s to the 2000s. Distributors who focus primarily or exclusively on LGBTQ films began appearing in the 1980s and include Wolfe Video (1985-present), Water Bearer Films (1988-present), Strand Releasing (1991-present), and Ariztical Entertainment (1994-present). A substantial infrastructure of publications, activist groups, film festivals, and LGBT production companies formed around this market beginning in the late 1970s, allowing LGBTQ cinema to flourish within American independent cinema. While streaming services have opened up new possibilities for worldwide distribution, niche distribution of LGBTQ media is not new, having occupied a distinct niche market for decades. This exciting development has yielded utopian visions alongside frustrating realities. With the development of streaming video technologies, even a relatively small scale operation can reach people around the world, connecting films with audiences to reach a broader, targeted market. Even films that did secure distribution were often limited to short runs in large cities with active arthouse theaters. Failing to find a distributor meant your film would not play outside of local screenings or film festivals. In the history of independent LGBTQ filmmaking, distribution has often proved to be one of the most challenging hurdles to overcome. By August of 2016, several sources had dubbed it the “ LGBT Netflix” and “ the Gay Netflix we need,” and questioned whether niche streaming sites could “ take on” larger companies like Netflix and Amazon. In March of 2016, Revry debuted a streaming subscription service that prides itself on providing content that includes a range of LGBTQ perspectives.