Cowan, DeBaets, Abrahams & Sheppard LLP (CDAS) is expanding its litigation, entertainment, and intellectual property practice with the strategic hire of litigator and entertainment attorney Lindsay W. Bowen, who has joined the firm as a partner.
Lindsay’s practice focuses on the interplay between creativity and technology. He represents individuals and companies, from household names to the up-and-coming, across a wide range of creative industries, including advertising, app development, fashion, film, hospitality, music, podcasting, television, and theatre. Prior to joining Cowan, DeBaets, Abrahams & Sheppard LLP, Lindsay was an attorney in the Content, Media & Entertainment practice of Jenner & Block. There, he represented music, film, television, and theatre clients in copyright ownership and enforcement litigation, royalty disputes, and in the negotiation of a variety of traditional and digital media transactions. Continue reading
In a complaint filed in the U.S. District Court for the Southern District of New York this month, a group of tattoo artists (through a licensing entity) sued the developer, publisher, and marketer of the immensely popular NBA 2K16 video game over digital depictions of tattoos the artists had inked on the real-life basketball players appearing in the game, including LeBron James and Kobe Bryant. Claiming violation of their exclusive right of public display under 17 U.S.C. § 106(5), the artist collective in Solid Oak Sketches, LLC v. Visual Concepts, LLC seeks monetary damages, costs and fees, and injunctive relief against production of the game and any further “public displays” of the tattoos. While it may seem outlandish at first blush, cases like Solid Oak Sketches are becoming more common.
Two recent federal court decisions reflect a judicial willingness to extend the traditional bounds of publicity rights, affording both current and former National Collegiate Athletic Association (NCAA) athletes the opportunity to share in the revenues earned from commercial use of their names and likenesses in videogames, live game telecasts, and other licensed products. Under the NCAA rules currently in place, college athletes are required to effectively assign their publicity rights to the NCAA (and the schools for which they play). As a result, players are unable to participate in a licensing market valued at $4 billion per year. Both federal court opinions address the collegiate licensing market, and affirm that the right of publicity, along with federal antitrust law, undermines the validity of the NCAA’s current licensing program. Continue reading
It’s a tale almost as old as Hollywood itself. A new movie comes out and garners some attention and commercial success and, before the first profit participation checks have been mailed (and even if the movie never turns a profit), a lawsuit has been filed alleging that some element of the movie was stolen from an earlier work – and often an earlier work that has never seen the light of day commercially. Continue reading
This is part two of this blog series. Part one can be found here.
This is one of the threshold questions for producers seeking to adapt formats – how much control, if any, will the originator of the format have over the adaptation? On one hand, the format originator has a creative and financial attachment to the original show; it is in its best interest that the format is treated sensitively, packaged appropriately and produced at a budget and quality level that will enable it to succeed – because if the adaptation fails, the “brand value” of the format could be tainted for the long-term. On the other hand, the adapting producer and its local production partners are probably best positioned to understand the tastes and culture of the target market and navigate any regulatory issues. Continue reading
The market for quality narrative television has heated up globally over the past few years. Fueled by the emergence of new digital platforms and business models, the reliance of multiplexes on blockbuster genre films, and the growth of “binge viewing” of TV content, audiences have become increasingly hungry for high quality, serialized content that they can consume across devices. Accordingly, an increasing number of distributors – broadcast and online alike – have sought to follow the lead of AMC (Mad Men, Breaking Bad, The Walking Dead) and Netflix (House of Cards, Orange is The New Black, Marco Polo) by using high quality scripted shows to build and distinguish their brands. Continue reading
CDAS Attorney Doug Jacobs will be speaking at this year’s “CFX Live”, on March 25th, at 2:50. CFX Live is a conference hosted by CableFax with a central focus on the Television industry. Doug will be focusing his discussion on the topic of “over the top” (“OTT”) content distribution, and the relevant business and legal issues that must be addressed both short and long term. To learn more about this event, be sure to click here.
Following today’s earlier announcement that Former General Counsel of A&E, Doug Jacobs, was joining the firm as a Partner, Mr. Jacobs had an opportunity to speak with Jon Lafayette, Business Editor at Broadcasting & Cable, about the transition. Mr. Jacobs touched upon the current state of the Television Business, as well as the future of the business as it relates to new technology and developments.
You can find the full article here.
Cowan, DeBaets, Abrahams & Sheppard LLP (CDAS) is proud to announce that Doug Jacobs, recently Executive Vice President and Senior Counsel of A&E Television Networks, has joined the firm as a partner in its New York office. Mr. Jacobs’ practice will primarily focus on matters involving the cable television industry and the evolving digital media universe, building on his almost 20 years as general counsel at several major cable networks.
By Simon N. Pulman
Consumption of online video continues to grow at a rapid pace. Online video ad revenue is projected to reach nearly $5 billion in 2016, while premium streaming video distributors including Netflix, Hulu Plus and Yahoo are stepping up their licensing and commissioning of original content. Most industry observers believe that online video – notably to the extent consumed through mobile devices – is an important component in the future of the internet.
In order to capitalize upon the growth in online video, media companies (both traditional and emerging) are creating dedicated divisions aimed at developing and producing a full range of video content, ranging from micro-short form clips with strong potential for sharing via social media (e.g., Vine), to original series and even feature length motion pictures. Certain companies may also break away from traditional film and television formats to experiment with new forms of video and transmedia content.
In this new ecosystem, certain fundamental principles remain. Regardless of video format or distribution platforms, all innovative business practices must be built upon a strong foundation of legal experience, necessary due diligence and robust content production and distribution expertise. Nonetheless, there are a few business and legal issues that deserve special consideration by the next-generation video content company. Here are three issues to consider with respect to the future of video: Continue reading