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.
Jay Mohr’s long-running podcast is expanding to FAST television through an exclusive LG Channels launch in the U.S. and Canada.
Cineverse has announced the launch of Mohr Stories, a new free ad-supported streaming television channel built around comedian Jay Mohr’s long-running podcast. Unveiled during LG Electronics and LG Ad Solutions’ 2026 IAB NewFronts presentation, the channel will be available exclusively through LG Channels on LG TVs in the United States and Canada.
The new channel will feature weekly episodes alongside more than 100 hours of library content, giving the show a larger footprint in the growing FAST market. Hosted by Mohr, the series includes conversations with guests from comedy, film, sports, music, and television, including Ron Funches, Jay Leno, Joe Mantegna, Patton Oswalt, Kevin Pollak, Andy Richter, George Wallace, Flavor Flav, Michael Eric Dyson, Seth Rollins, Gene Simmons, Billy Gibbons, Byron Scott, and Jeanie Buss.
The launch is notable not only because of the talent involved, but because it reflects a broader shift in how podcast brands are being distributed. What once lived primarily as an audio product is now being packaged as a 24/7 streaming destination, built for connected TV audiences and ad-supported discovery.
Cineverse said Mohr Stories will continue to be available as a podcast through the WITZ Podcast Network, a partnership between Cineverse and The Stand Group. The company also pointed to strong audience momentum after the show expanded into video, saying consumption hours on Spotify rose 50% month over month and downloads increased 34% quarter over quarter.
That growth aligns with wider audience behavior. In the U.S., more than 150 million people listen to podcasts every month, and an increasing share of those consumers are also watching podcast content on video platforms. As those habits continue to evolve, media companies are looking for ways to extend proven shows beyond their original format.
For LG Channels, the addition of Mohr Stories strengthens a FAST lineup built around free, accessible programming across a wide range of genres. For Cineverse, it underscores a strategy centered on expanding the reach and value of entertainment properties across multiple platforms.
The result is more than a new celebrity-led channel. It is another example of how streaming, podcasting, and digital video are converging into a more flexible content ecosystem—one where recognizable brands can move fluidly from audio feeds to connected television.
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Cineverse Partners With VA Media to Expand YouTube Monetization Strategy
Cineverse has announced a strategic partnership with VA Media to accelerate growth and digital monetization across its expanding portfolio of fandom-focused YouTube channels.
The agreement will bring a YouTube-first strategy to Cineverse’s channel network, including longform and shortform content planning, channel optimization, financial modeling, and broader monetization support. The partnership will begin with Dog Whisperer with Cesar Millan, which Cineverse identified as its top revenue-generating YouTube channel.
Cineverse said its owned or operated YouTube channels currently account for more than 10 million subscribers and over 200 million video views. The company’s digital portfolio spans genres including horror, anime, romance, indie film, Asian cinema, and other fandom-driven categories.
VA Media, which specializes in YouTube strategy and social video monetization, will work with Cineverse to improve discoverability, strengthen channel performance, and unlock new revenue opportunities across YouTube and adjacent platforms.
The partnership reflects the growing role of YouTube as a core distribution and monetization channel for premium entertainment content.
For more information, visit Cineverse.
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McDonald’s is blending fast food, fandom and Korean-inspired flavors in a new collaboration with Netflix tied to the hit film KPop Demon Hunters. Beginning March 31, the chain will roll out two limited-time adult meals inspired by the movie’s rival groups, HUNTR/X and the Saja Boys, along with collectible photocards and app-based fan experiences. The promotion will be available at participating McDonald’s restaurants nationwide.
McDonald’s KPop Demon Hunters meals
The campaign introduces two themed meals built around the film’s central rivalry. The Saja Boys Breakfast Meal includes a Spicy Saja McMuffin, hash browns and a small soft drink, while the HUNTR/X Meal features a 10-piece Chicken McNuggets, medium soft drink, Ramyeon McShaker Fries, Hunter Sauce and Demon Sauce. McDonald’s said the menu was inspired in part by flavors from its South Korea restaurants, aiming to connect fans to the movie through food as well as pop culture.
The promotion also includes collectible card packs with each meal. Customers will receive a photocard featuring either HUNTR/X or the Saja Boys, plus a Derpy access card that can be scanned and entered in the McDonald’s app by April 26 to unlock early access to exclusive content and a special reveal tied to the “Battle for the Fans.” A new Derpy McFlurry, made with vanilla soft serve, berry popping pearls and wild berry sauce, will also be sold separately during the promotion.
McDonald’s and Netflix both described the collaboration as a way to bring fans deeper into the world of KPop Demon Hunters through menu items and interactive experiences. For STM Daily News readers in the food and drink section, the release highlights how major brands are increasingly turning entertainment partnerships into immersive dining promotions that combine limited-time flavors, collectible merchandise and digital engagement.
