The problem, though, is that it is not clear how file sharing actually addresses financial improprieties or points the way to an arrangement that’s more equitable: unlike a label or studio, where a percentage of profits trickles back to creators, peer-to-peer sites and online locker services return nothing to artists, though they can be incredibly lucrative for those who run them.28 The Pirate Bay, for example, is bedecked by advertising. The now-defunct Megaupload (parent company of Megavideo and Megaporn) made its flamboyant owner, “pirate king” Kim Dotcom, over $40 million in 2011 alone (wealth he famously flaunted all while comparing himself to Martin Luther King). Meanwhile, piracy has set a new, low baseline for artists’ negotiations. Where free culture enthusiasts justify their position by invoking the exploitation of artists under the old model, digital capitalists, looking to build profitable businesses by storing or streaming creative work produced by others, defend microscopic or nonexistent payments by arguing that the alternative is nothing at all.