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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Vivid Sydney 2025 in Conversation with Martha Stewart. Image credit – Destination NSW
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LOS ANGELES (AP) — In a heartbreaking loss to the entertainment world, Val Kilmer, the intense and versatile actor known for iconic roles in films such as “Top Gun,” “Batman Forever,” and “The Doors,” has passed away at the age of 65. Kilmer died on Tuesday night in Los Angeles, surrounded by his family and friends, as confirmed by his daughter, Mercedes Kilmer, in an email to The Associated Press.
Kilmer’s death was attributed to pneumonia, following a long and courageous battle with throat cancer that he had been diagnosed with in 2014, a struggle that led to two tracheotomies.
Reflecting on his tumultuous yet inspiring journey, Kilmer shared in the documentary “Val” (2021), “I have behaved poorly. I have behaved bravely. I have behaved bizarrely to some. I deny none of this and have no regrets because I have lost and found parts of myself that I never knew existed. And I am blessed.” His words are a testament to his remarkable resilience, artistry, and unique perspective on life.
Val Kilmer
Kilmer was a prodigy in the performing arts, becoming the youngest actor ever admitted to the prestigious Juilliard School when he enrolled in 1981. His breakthrough came with the 1984 spy spoof “Top Secret!” and he quickly rose to fame with a series of successful films, including the beloved comedy “Real Genius” in 1985. He showcased his comedic talents in later works, such as “MacGruber” and “Kiss Kiss Bang Bang.”
The pinnacle of Kilmer’s career arguably occurred in the early 1990s, where he solidified his status as a leading man. Among his most memorable roles were Doc Holliday in “Tombstone” (1993), Elvis Presley in “True Romance,” and the cunning bank-robbing demolition expert in Michael Mann’s “Heat” (1995), alongside cinematic legends Al Pacino and Robert De Niro.
Despite the acclaim, Kilmer’s career was not without its challenges. A 1996 Entertainment Weekly cover story famously dubbed him “The Man Hollywood Loves to Hate,” citing conflicts with directors and a reputation for being difficult on set. Notable figures, including directors John Frankenheimer and Joel Schumacher, described his work as challenging; however, many others, like director D. J. Caruso, defended Kilmer’s commitment to depth and character immersion.
After delivering memorable performances in adult dramas, Kilmer took a slight detour, engaging in smaller films, such as David Mamet’s “Spartan,” and portraying the troubled 1970s adult film star John Holmes in “Wonderland” (2003). He also embraced the stage with a one-man show, “Citizen Twain,” where he explored the complex life of Mark Twain.
Hailing from the Chatsworth neighborhood of Los Angeles, Kilmer’s early life was marred by tragedy with the loss of his younger brother, Wesley, to a seizure — a poignant event that would forever resonate with him. Throughout his life, Kilmer sought inspiration from his brother, often reflecting on the artistic potential he believed Wesley would have achieved.
As a multi-talented artist, Kilmer not only acted but also wrote poetry, with two published collections, including “My Edens After Burns.” In 2012, he received a Grammy nomination for his spoken word album, “The Mark of Zorro.” He continued to explore various creative outlets and was known for his dedication to visual art and his Christian Science faith.
His personal life saw relationships with notable personalities, including singer Cher, and he was previously married to actor Joanne Whalley, with whom he shares two children, Mercedes and Jack.
In a final testament to his remarkable life and career, Kilmer asserted, “I have no regrets. I’ve witnessed and experienced miracles.” Val Kilmer leaves behind a rich legacy, characterized by his complex characters and deep artistic contributions that will forever resonate with audiences. The film industry has lost a true icon, and his presence will be deeply missed.
Related links:
https://apnews.com/article/val-kilmer-actor-dead-pneumonia-7e8f27b1ec80f2940f7a7776f5f92804
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Excitement is building for pickleball fans and sports enthusiasts alike as the highly anticipated documentary Dreambreaker: A Pickleball Story is set to premiere on April 11, 2025, on truTV. This film captures the thrilling evolution of pickleball from a casual pastime to a burgeoning professional sport, offering an inside look at a fierce power struggle between two billionaire moguls determined to shape its future.
Narrated by Mike “Sleeves” Sliwa from The Senior Pickleball Report, Dreambreaker features appearances by top pickleball pros and sports icons, including John McEnroe and media personality Billy Bush. Crafted by writer Craig Coyne and directed by Ashley Underwood, the documentary explores the intertwining of sports, aspirations, and rivalries within the pickleball community.
Constantly Evolving Pickleball Story
With its rich narrative and compelling characters, Dreambreaker goes beyond the court to reveal the passion and politics that define the sport. Set your calendars for April 11 and prepare for a captivating journey that promises to enhance your appreciation of pickleball and its growing cultural significance. Don’t miss the chance to witness the drama and dreams that characterize this exhilarating game!
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STM Daily News is a vibrant news blog dedicated to sharing the brighter side of human experiences. Emphasizing positive, uplifting stories, the site focuses on delivering inspiring, informative, and well-researched content. With a commitment to accurate, fair, and responsible journalism, STM Daily News aims to foster a community of readers passionate about positive change and engaged in meaningful conversations. Join the movement and explore stories that celebrate the positive impacts shaping our world.
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