I think you have to look at the issue from both sides. When I was younger, I was the same idealistic anti-DRM person as others commenting here. I took the same black and white views about how it's unjustified and since it will inevitably be broken it's pointless.

Then I learned something about the real economics of content creation at different scales, and some of my own business interests have intersected with this area from the other side. That tends to give you a more nuanced view of the situation.

FWIW, I'm a strongly liberal, pro-rights kind of person. I don't imagine I like hostile DRM measures or systems I can't fully control any more than anyone else here. But not liking them is different to not understanding the motivations for them or accepting that in some circumstances they may be a justified and proportionate response to a demonstrable threat. People did rip software and music and movies and so on, on a massive scale, before we evolved the modern culture. Different media have tried to solve that problem in different ways.

With music, where it's viable to have a very low cost product, we have solved it to some extent by making legitimate channels easier to access at a price where buying legally isn't a big deal. In other news, most music files you download aren't DRM'd at all these days. The flip side of this one is that a lot of the artists themselves are now basically getting scammed by the big music distribution services paying them a tiny fraction of the revenues they're bringing in and some pretty shady rights transfer agreements. But in terms of legal copyright for the final listener, it's essentially a solved problem.

With software or movies, you often can't afford to distribute everything easily at throwaway prices, because the costs involved in production are much higher and you need the people who benefit from the product to contribute a fair part of that cost or the whole production becomes unviable. Part of the reaction here has been the unfortunate trend towards only investing the big money in smash hit franchises that are sure to make a huge profit even if they suffer significant infringement as well. Plenty of people will go to the theatre to watch the next MCU movie or will buy the next installment of Assassin's Creed or next year's version of their favourite sports game where the only thing that changed significantly was the players and teams in the database. But for anything that isn't a sure-fire hit, you can probably drop a couple of zeroes off the budget anyone will give you now.

Even with the sure-fire hits, you can expect that Assassin's Creed title to have some sort of phone-home lock when it launches, which will probably protect a large amount of revenue in the opening weeks until someone cracks it.

And of course for software that is more expensive still -- like business applications that used to cost hundreds per seat before -- the move to SaaS and online hosting has a very convenient side effect for the developers that it becomes essentially impervious to piracy if they do it right. Not that everyone does, as Adobe has demonstrated yet again just this week.

I think the fundamental problem is that copyright has evolved to a strange and not entirely logical position in law today. It intends to prevent actions that could cause severe damage to a legitimate creator who made and released work in return for the rights the law claimed to offer. And yet it remains primarily a civil matter, and infringements tend to be of such low value individually that they aren't worth pursuing through normal legal actions and as such render the associated rights largely unenforceable in practice, even though the collective damage from infringement may still be severe. So big rightsholders resort to things like DRM and lobbying for otherwise nonsensical laws that try to criminalise circumvention of DRM schemes even if the original act of copying would itself have been legal.

If there were meaningful criminal penalties for knowingly redistributing works in violation of copyright, which were enforced by public authorities like any other crime, but if there were also much tighter restrictions on what DRM was allowed to do and obligations on those releasing works using it to ensure the legitimate rights of people who paid for access were respected, we might be better off. But in reality, criminal copyright laws for commercial infringement are still rarely enforced and the vast majority of infringement goes unchallenged, so rightsholders continue to resort to the IP version of street justice and throwing their considerable legal and lobbying weight around to get their way, often to the detriment of legitimate customers who are happy to pay a fair price for works they enjoy but then suffer the consequences of broken DRM or bad legal actions or whatever.