Entertainment
‘Love Is Blind’ contestants count as employees − new US government agency finding could shake up reality TV production
Reality TV contestants lack employee rights, but the NLRB’s complaint may change their classification and pay protections.
David Arditi, University of Texas at Arlington
When members of a reality TV show’s cast sign a contract to participate in a show, they typically do so more for the exposure than the pay – and in many cases they do not earn a dime.
Employers get away with what may appear to be a violation of basic labor laws because those contestants are classified as independent contractors, not employees. In the eyes of the law, they do not have the same protections most workers get with just about any other kind of job, such as the freedom to join unions.
It also means that the National Labor Relations Board does not have jurisdiction over them. This may soon change after the government agency filed a complaint against Delirium TV and Kinetic Content, the producers of “Love Is Blind.”
The NLRB complaint states that reality TV contestants are employees and therefore have the right to join a union. Former “Love Is Blind” contestants Renee Poche and Nicholas Thompson had filed a petition requesting this action. In addition to not being able to join a union, they couldn’t even discuss the terms of their contracts due to nondisclosure agreements.
As a sociologist who studies popular culture and labor, I have argued for years that reality TV stars and musicians should be classified as employees.
Reality TV participants, including many of the stars of those shows, are essentially the unpaid interns of the entertainment industry, even though it’s their stories, personalities and talent that attract and hook viewers.
Offering contestants paltry pay
Today’s economy is saturated with precarious employment practices where many corporations classify workers as independent contractors. From musicians to influencers, people work gig jobs where there is no guarantee of pay or employment.
“Cupcake Wars,” “Love Is Blind” and other reality TV shows thrive thanks to a simple business model: They are cheap to produce. One reason for that is most participants are independent contractors who work for free or earn paltry pay under the guise of chasing their dreams or gaining exposure.
This arrangement might change after the new NLRB complaint. The NLRB was created during President Franklin D. Roosevelt’s New Deal as an independent government agency tasked with protecting and regulating workers’ rights.
One of its key responsibilities is regulating unions and determining workers’ right to strike. It determines who can join a union and whether a strike is legal.
Providing a gold mine for networks
To conduct research for my book “Getting Signed: Record Contracts, Musicians, and Power in Society,” I interviewed contestants on “The Voice.”
Former contestants repeatedly told me that the television exposure did little to help their careers.
Prior to joining the show, many of the musicians were trying to scratch out a living through touring or performing. They put their developing careers on pause to chase their dreams.
However, the show’s contracts have stipulated that contestants cannot perform, sell their name, image and likeness, or record new music while on “The Voice.”
Furthermore, viewers might not realize just how profitable these reality shows are.
Take “House Hunters.” The show follows a prospective homebuyer as they tour three homes. Homebuyers featured on the show have noted that they earn only US$500 for their work, and the episodes take three to five days and about 30 hours to film.
The show’s producers don’t pay the real estate agents to be on it.
The low pay for people on reality TV shows matches the low budget for these shows. A former participant wrote that episodes of “House Hunters” cost about $50,000 to shoot. Prime-time sitcoms, by comparison, have a budget of up to $3 million per episode.
Organizing unions within reality TV
That massive budget gap between reality TV and sitcoms is not simply due to an absence of star actors.
Many scripted television shows are based in Los Angeles, where camera crews, stunt doubles, costume artisans, makeup artists and hair stylists are unionized. But shows like “House Hunters,” which are filmed across the country, recruit crews from right-to-work states.
Employees in those places cannot be compelled to join a union or pay union dues as a condition of employment. For these reasons, unions have far less power in these states than they do in places traditionally associated with show business, such as California and New York.
I think reality TV might become the next show business labor battle. If the NLRB forces “Love Is Blind” to treat its stars and other on-screen participants as employees, it could cascade.
Reality TV production companies could someday be required to pay all contestants wages and limit the hours they work. The Screen Actors Guild-American Federation of Television and Radio Artists, the union known as SAG-AFTRA, could begin to recruit those workers as dues-paying members.
But it’s not certain that any of this will happen. There are many hearings, court cases and appeals in store before it becomes enforceable. And since President-elect Donald Trump will take office before the hearing is scheduled to occur, his appointees could change course.
Still, I think the NLRB’s action demonstrates that reality TV contestants are finally becoming recognized as workers who deserve to be treated better by their employers.
Some portions of this article first appeared in an article published on Sept. 21, 2023.
David Arditi, Professor of Sociology, University of Texas at Arlington
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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News
CES 2026: The Exhibitors and Moments That Stood Out for Entertainment + Tech Fans
CES 2026 delivered big entertainment-tech moments—from Sony Honda’s AFEELA to streaming, smart glasses, AI PCs, and robots that stole the show.
CES 2026 (Jan. 6–9 in Las Vegas) didn’t feel like a “future tech” show as much as a “right now” show. The big shift: AI wasn’t treated like a standalone product category anymore. It was the invisible layer powering everything from streaming discovery to robots that can actually do work.
For STM Daily News readers who live in the overlap of Entertainment and Tech, here are the exhibitors and trends that stood out most—plus why they matter beyond the show floor.
1) Sony Honda Mobility (AFEELA): The car as a rolling entertainment platform
Sony Honda Mobility’s AFEELA presence reinforced a direction CES keeps leaning into: the next generation of vehicles is competing as much on software and in-cabin experience as it is on horsepower.
What made it stand out:
- AFEELA represents the “car as a connected device” idea taken seriously—where the cabin becomes a screen-first, service-driven environment.
- It’s a clean example of how mobility and entertainment are merging: navigation, safety, personalization, and media all living in one interface.
2) Netflix + Amazon Prime Video + Roku + Xumo: Streaming is evolving into ecosystems
CES 2026’s Content & Entertainment story wasn’t about “who has the most subscribers.” It was about streaming as an ecosystem: bundling, ad-supported growth, and smarter discovery.
What made it stand out:
- CES highlighted how streaming platforms are pushing beyond simple libraries into bundles, premium originals, and integrated experiences.
- FAST (free ad-supported streaming TV) continues to gain traction, and device/platform players are positioning themselves as the front door.
3) Dolby: The quiet power behind the best-looking, best-sounding experiences
Dolby isn’t always the flashiest booth, but it consistently shows up as the tech that makes everything else feel “premium.”
What made it stand out:
- In a year where screens, XR, and immersive venues are everywhere, audio and imaging standards are the difference between “cool demo” and “wow.”
- Dolby’s relevance keeps growing as entertainment moves across phones, living rooms, cars, and wearables.
4) Meta + XREAL: Smart glasses keep inching toward mainstream
Wearables at CES 2026 weren’t just about steps and sleep. The momentum was in smart glasses and AR—especially as generative AI voice interfaces make hands-free use feel more natural.
What made it stand out:
- CES noted smart/AR glasses evolving with features like real-time translation, recording, and AI voice interfaces.
- For entertainment fans, this is where “watching” and “doing” start to blend—live overlays, creator tools, and new ways to capture experiences.
5) Samsung + LG + TCL: Screens are still the show’s main stage
Even in an AI-everywhere year, CES still belongs to display tech. Big brands kept proving that TVs aren’t just TVs—they’re hubs for gaming, streaming, smart home control, and ambient experiences.
What made it stand out:
- Display leaders continue to set the tone for how entertainment is consumed at home.
- The conversation is shifting from specs to experience: personalization, AI-powered recommendations, and multi-device continuity.
6) NVIDIA + AMD + Lenovo: The “AI PC” era is no longer theoretical
CES 2026 made it clear that the next wave of consumer computing is built around on-device AI. That matters for creators, editors, and anyone who lives in content.
What made it stand out:
- CES highlighted AI’s move from “digital transformation” to “intelligent transformation,” including edge/enterprise and physical AI in robotics.
- AMD’s CES keynote emphasized AI across devices from PCs to data centers, underscoring how quickly this is becoming standard.
7) Unitree + Richtech Robotics + Hyundai: Robots were the surprise crowd-pleaser
If CES 2026 had a “you had to see it” category, it was robotics. Not just novelty bots—machines built for real environments.
What made it stand out:
- CES framed robotics as “physical AI,” where generative AI and simulation training help robots learn faster than traditional programming.
- Humanoid robots, in particular, are moving from single-task demos toward more collaborative assistant roles.
The big takeaway for STM Daily News readers
CES 2026 wasn’t about one killer gadget. It was about convergence:
- Entertainment is becoming more interactive, more personalized, and more portable.
- Cars are becoming screens.
- Wearables are becoming interfaces.
- Robots are becoming the next “device category” people actually want to watch.
And underneath it all: AI is becoming less of a headline and more of the operating system for modern life.
Here’s a list of what stood out to us at CES 2026:
- Sony Honda Mobility (AFEELA): The car as a rolling entertainment platform
- Netflix + Amazon Prime Video + Roku + Xumo: Streaming is evolving into ecosystems
- Dolby: The quiet power behind the best-looking, best-sounding experiences
- Meta + XREAL: Smart glasses keep inching toward mainstream
- Samsung + LG + TCL: Screens are still the show’s main stage
- NVIDIA + AMD + Lenovo: The “AI PC” era is no longer theoretical
- Unitree + Richtech Robotics + Hyundai: Robots were the surprise crowd-pleaser
Sources
- CES press release recap and exhibitor/topic highlights (Jan. 9, 2026): https://www.ces.tech/press-releases/ces-2026-the-future-is-here
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actors & performers
T.K. Carter, The Thing and Punky Brewster Actor, Dies at 69
Actor T.K. Carter, known for The Thing and Punky Brewster, has died at age 69. A look at his career and lasting legacy in film and television.
T.K. Carter in Punky Brewster (1984) Image: IMDB
Veteran actor T.K. Carter, best known for his roles in The Thing and the popular 1980s television series Punky Brewster, has died at the age of 69.
Authorities confirmed Carter was found unresponsive at his home in Duarte, California. No foul play is suspected, and an official cause of death has not yet been released.
A Career Spanning Decades
Born Thomas Kent Carter, T.K. Carter built a career in film and television that spanned more than four decades. He became a cult favorite portraying Nauls in John Carpenter’s 1982 horror classic The Thing, a film that continues to influence the genre today.
Television audiences widely remember Carter for his role as Mike Fulton on Punky Brewster, where his comedic timing and grounded performances helped make the show a lasting favorite of the era.
Film and Television Legacy
In addition to his best-known roles, Carter appeared in films such as Runaway Train, Ski Patrol, and Space Jam. His television work included guest appearances on a wide range of series throughout the 1980s, 1990s, and beyond.
Known within the industry as a reliable and versatile performer, Carter often brought authenticity and warmth to supporting roles that left a lasting impression, even in brief appearances.
Remembering T.K. Carter
As news of his passing spreads, fans and colleagues alike are reflecting on T.K. Carter’s contributions to film and television. While he may not have always been the leading name on the marquee, his work helped shape stories that continue to be watched and appreciated by new generations.
T.K. Carter is remembered for his enduring performances, professional dedication, and the quiet but meaningful legacy he leaves behind.
Related Coverage
- Los Angeles Times: Actor T.K. Carter Dies at 69
- People Magazine: T.K. Carter, ‘The Thing’ and ‘Punky Brewster’ Actor, Dead at 69
- Entertainment Weekly: T.K. Carter, ‘Punky Brewster’ and ‘The Thing’ Actor, Dies
- ABC News: Veteran Actor T.K. Carter Dies at 69
Stay with STM Daily News for updates to this developing story and more independent coverage of entertainment, history, and culture. Visit www.stmdailynews.com for the latest.
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actors & performers
Pat Finn: Remembering the Familiar Face Who Made Us Laugh
Pat Finn, the familiar face from The Middle, Seinfeld, Friends, and Toyota commercials, has passed away at 60. We remember his career, legacy, and lasting impact.
Pat Finn: Remembering the Familiar Face Who Made Us Laugh
Many people may not have known his name right away, but they knew his face. Pat Finn was one of those rare actors who quietly became part of America’s shared television experience—popping up in beloved sitcoms, memorable commercials, and scene-stealing guest roles for more than three decades.
In December 2025, Finn passed away at the age of 60 after a battle with bladder cancer, leaving behind a body of work that continues to resonate with audiences who grew up watching network television’s golden era of sitcoms.
A Career Built on Consistency and Craft
Pat Finn wasn’t a headline-chasing star. Instead, he was the definition of a working actor—someone whose talent and reliability kept him in steady demand across generations of television.
He appeared in some of the most recognizable shows in TV history, including Seinfeld, Friends, Murphy Brown, 3rd Rock from the Sun, That ’70s Show, The King of Queens, Curb Your Enthusiasm, and The Goldbergs. To many fans, he was especially memorable as Bill Norwood, the occasionally awkward and often hilarious boss on ABC’s long-running sitcom The Middle.
These weren’t flashy roles—but they were essential ones. Finn had a gift for grounding comedy in reality, playing characters who felt like people you actually knew: coworkers, neighbors, or that guy you’d see at the store every week.
From Chicago Improv to National Screens
Born in Evanston, Illinois, Pat Finn came out of Chicago’s legendary improv scene, training and performing with The Second City and the iO Theater. That background gave him sharp comedic instincts and impeccable timing—skills that translated effortlessly to television.
He was also a contemporary and friend of Chris Farley, and like many performers from that era, Finn carried the Chicago improv tradition of generosity, collaboration, and humility throughout his career.
The Toyota Commercials—and Being “That Guy”
In later years, a new generation came to recognize Finn from Toyota commercials, particularly regional dealership ads. Once again, he became “that guy” everyone recognized but couldn’t quite place—a testament to just how deeply embedded he was in pop culture.
Commercial work is often overlooked, but Finn approached it with the same professionalism and charm as his television roles, making even short appearances feel authentic and memorable.
A Teacher, Mentor, and Family Man
Beyond acting, Pat Finn was also a teacher and mentor, sharing his experience with aspiring performers and encouraging young actors to respect the craft rather than chase fame.
He was married to his wife, Donna, for more than three decades, and together they raised three children. In tributes following his passing, family and colleagues alike emphasized not just his talent, but his kindness, humor, and generosity.
A Quiet Legacy That Lasts
Pat Finn’s passing is a reminder that television history isn’t shaped only by superstars. It’s built by dependable, talented performers who show up, deliver, and elevate every project they touch.
If you’ve ever laughed at a scene and later realized, “Hey, I’ve seen that guy before,” there’s a good chance it was Pat Finn.
His work lives on—in reruns, streaming libraries, commercials, and the memories of audiences who didn’t always know his name, but never forgot his presence.
Rest in peace, Pat Finn. And thank you for the laughs.
Related Coverage
- People.com — Pat Finn, ‘The Middle’ and ‘Friends’ Actor, Dies at 60
- TVLine — Pat Finn Dead: The Middle, Seinfeld, Friends Actor Remembered
- Entertainment Weekly — Pat Finn, Veteran TV Character Actor, Dead at 60
- Variety — Pat Finn, Second City Alum and TV Staple, Dies at 60
- Wikipedia — Pat Finn (Actor Biography & Filmography
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