Elyass Sui

my ex

[Elyass Sui @elyawexa]

@YouTube @TeamYouTube @NewsFromGoogle, your copyright system has a credibility problem.

A full movie upload is an obvious copyright problem.

But retell nearly the whole movie with its footage, add narration, call it a “review”, and monetization may still happen.

Explain.

[Elyass Sui @elyawexa]

@CoupangPlay @officialkeyeast Hi, I’d like to report a YouTube channel using substantial footage from Family Matters (2024) while retelling the full story. DM is unavailable. What is the official email/contact for your copyright team? I have the video URL and evidence ready.

[Elyass Sui @elyawexa]

@YouTube @TeamYouTube @NewsFromGoogle, your copyright system has a credibility problem.

A full movie upload is an obvious copyright problem.

But retell nearly the whole movie with its footage, add narration, call it a “review”, and monetization may still happen.

Explain.

[Elyass Sui @elyawexa]

@YouTube @TeamYouTube @NewsFromGoogle

You built one of the most sophisticated content platforms in history.

Stop acting as if distinguishing criticism from near complete plot reconstruction is beyond you.

Protect criticism. Protect filmmakers. Fix YouTube.

#FixYouTube

[Elyass Sui @elyawexa]

@YouTube @TeamYouTube @NewsFromGoogle, your copyright system has a credibility problem.

A full movie upload is an obvious copyright problem.

But retell nearly the whole movie with its footage, add narration, call it a “review”, and monetization may still happen.

Explain.

[Elyass Sui @elyawexa]

@TeamYouTube, do not reply with a generic copyright help page.

Answer the policy question:

What safeguards stop a monetized “review” from becoming a beginning to ending substitute for the original film?

If they exist, explain them.

If they are inadequate, fix them.

[Elyass Sui @elyawexa]

YouTube tells creators to make “original” and “authentic” content.

Apply that consistently.

A channel’s commercial value should come mainly from what the creator contributes, not from how efficiently someone else’s film is compressed into a monetized summary.

[Elyass Sui @elyawexa]

The test should be explainable:

What is the creator adding that viewers could not obtain from the movie itself?

If the answer is mostly “a shorter narration of everything that happens,” YouTube should not treat that like genuine critical analysis.

[Elyass Sui @elyawexa]

Nobody is asking YouTube to kill film discussion.

Do the opposite.

Protect strong criticism.
Protect reviewers.
Protect scholars.
Protect video essayists.
Protect parody where appropriate.

But draw a hard, intelligible line between ANALYSIS and NARRATIVE RECONSTRUCTION.

[Elyass Sui @elyawexa]

@NewsFromGoogle, this is also a Google governance question.

When engagement, watch time, and advertising can benefit from popular recap formats, Google and YouTube should show that enforcement standards are not weakened by the economic value of that engagement.

[Elyass Sui @elyawexa]

Imagine the absurdity:

Upload the movie directly: obvious problem.

Cut it into fragments.
Narrate everything.
Reveal every major scene.
Reveal the twist.
Reveal the ending.
Call it a review.

Now the system struggles to understand it.

That loophole is the problem.

[Elyass Sui @elyawexa]

This is why “just use Content ID” is inadequate.

Content ID can find matching assets.

But this problem is semantic and structural.

A video can alter individual fragments while preserving almost the entire narrative sequence.

YouTube must evaluate both.

[Elyass Sui @elyawexa]

To @netflix @warnerbros @WaltDisneyCo @Sony:

This is bigger than one country.

Should a creator be able to reconstruct almost an entire copyrighted story, monetize it, and escape serious scrutiny simply because the footage was chopped into pieces?

[Elyass Sui @elyawexa]

@KoreanFilmBiz @koreandirectors @googlekorea

This deserves attention from the Korean film ecosystem.

Korean cinema is valuable IP.

When plots, twists, and endings are reconstructed at scale abroad, the discussion should not stop at matching individual clips.

[Elyass Sui @elyawexa]

To Korean film companies:

@CJENMMOVIE @showboxmovie @lotte_ent @movie_n_NEW

Are you aware of how extensively Korean films can be retold from beginning to ending in Indonesian language YouTube content?

Please examine complete narrative reconstruction.

[Elyass Sui @elyawexa]

“Copyright owners can file a claim” is not an answer.

The question is not how a studio can chase one video after another.

The question is why YouTube’s own governance can allow a scalable business model built around reconstructing copyrighted stories in the first place.

[Elyass Sui @elyawexa]

YouTube also cannot dump the entire burden on film companies.

@YouTube owns the platform.
YouTube designs YPP.
YouTube designs recommendations.
YouTube designs Content ID.
YouTube designs monetization.
YouTube designs enforcement.

The system is yours.

Fix the system.

[Elyass Sui @elyawexa]

Call it Narrative Reconstruction Detection.

Do not automatically ban everything.

Flag high risk videos for deeper review.

Protect genuine criticism.
Protect video essays.
Protect reviewers.

But stop treating scene by scene retelling as equivalent to criticism.

[Elyass Sui @elyawexa]

That excuse is hard to accept.

YouTube does not need a magical detector.

It needs structural analysis:

chronology coverage
major plot beats
twist exposure
ending exposure
original analysis ratio
dependence on copyrighted footage
narrative substitution risk

[Elyass Sui @elyawexa]

@YouTube has some of the most sophisticated machine learning systems on Earth.

You can recognize speech, music, objects, topics, viewer intent, advertiser suitability, and copyright matches.

But recognizing “this video retells a film from opening to ending” is too hard?

[Elyass Sui @elyawexa]

And monetization deserves an even higher standard.

YouTube does not have to treat “allowed to remain online” and “entitled to earn ad revenue” as the same decision.

Near complete plot reconstruction should receive far stricter monetization review.

#ProtectFilmmakers

[Elyass Sui @elyawexa]

Fair use should not become a business model.

“Transformative” should not become a password creators say before commercially reconstructing someone else’s movie.

Real criticism transforms the purpose.

Simply making the same story shorter is not the same creative function.