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Cameo Clips
Recent cases in entertainment law.
Decision of Note: <B>Writer is Co-Owner Of Rights in 'Spawn' Character</B>
The U.S. Court of Appeals for the Seventh Circuit ruled that comic-book writer Neil Gaiman was joint owner of the copyrights in characters he created for the "Spawn" series published by Todd McFarlane. <i>Gaiman v. McFarlane</i>. The appeals court reached its decision by finding that Gaiman's claim wasn't time-barred.
Changing Channels: Television Programming Issues In Negotiating Acquisition Deals
M &amp; A transactions in the television business can take many forms ' from a large-scale merger such as that recently proposed between Comcast and Disney to the acquisition of a cable TV channel or small local UHF broadcast station. In some cases, even the acquisition of a large and significant sports rights package can be viewed as rising to the level and complexity of an M&amp;A transaction. What is seen on the screen is a function of the rights obtained by broadcasters. Not surprisingly, given the complexities of such transactions, unusual rights situations arise. Following are some that I have encountered in many years of doing deals in the TV business.
Canada's Music Industry Joins Piracy Crackdown
Following the lead of their American counterparts, Canada's biggest music producers recently asked the courts to order Internet service providers to identify customers who illegally swap songs on the Internet.
DMCA Abuse?
After someone electronically lifted embarrassing e-mails from Diebold Inc. and posted them online, the company responded with a tactic that more and more companies are using to put a lid on Internet distribution of sensitive information: Diebold sent cease-and-desist notices to organizations hosting Web sites and forums that had published, or even linked, to the e-mails. The messages portrayed participants in Diebold's electronic voting business confirming their critics' worst nightmares about security vulnerabilities. Information may want to be free. But specialists say that sending such notices under the 5-year-old DMCA succeeds, in the vast majority of cases, in promptly curtailing online distribution. The technique is so effective, critics contend, that it is often abused in situations where no copyright protection applies or ' as with the Diebold case ' there would be a strong fair use defense.
Record Industry Still Pursuing File-Sharers
The U.S. music industry recently sued 531 more individuals for online copyright infringement through anonymous "John Doe" styled suits. The RIAA, continuing to cite digital piracy as a major cause of slumping CD sales for the third year in a row, announced that it filed five separate lawsuits against 531 users of undisclosed Internet Service Providers.
Profile: Marc Friedland
Over the last 2 weeks, television has given the general public an opportunity to witness two milestone celebrity birthday parties. First came Oprah's 50th, which she televised on her daytime show. Then came Entertainment Tonight and Good Morning America with John Travolta's Surprise 50th birthday party bash in Mexico. Long before these parties took shape, one individual had the daunting challenge of creating the invitations that would monogram these events. I think it is fair to say that when Hollywood types want to make an impression, they will look high and low to seek out the most creative and innovative types to deliver whatever it is that they wish to convey. There seems to be a trend in Hollywood when it comes to selecting an individual to trademark and distinguish an event, and that trend is to select Marc Friedland, who has come to be known as the "stationer to the stars."
Trademark Exploitation on the Internet: Don't Be Branded a Usurper
While the Anticybersquatting Consumer Protection Act adequately addresses the legal difficulties associated with bad-faith registration of trademarked names by nontrademark holders, e-exploitation of trademarks is still a problem for trademark holders.
Bit Parts
Recent developments in entertainment law.
Clause & Effect: <b>Non-Monetary Benefits' Impact on Royalty Rights</b>
A right to net-profits participation from entertainment products has often been criticized as meaning little, given the many disputes that have arisen over non-payment. Even producers of highly successful products may argue that their ventures netted little or no net profits. Thus, revenue participants who obtain the right to a percentage of gross or adjusted-gross profits are usually considered in a better position than net-profits participants. Still, a right to gross profits has its pitfalls. A key issue is what revenues belong in the gross-profit pool.

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