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.
Entertainment
Mattel Adventure Park and VAI Resort: What’s the Latest in Glendale?
Mattel Adventure Park and VAI Resort still have no announced opening date. VAI says construction continues and expects to share more about the park in late 2026.
GLENDALE, Ariz. — The wait continues for Mattel Adventure Park and VAI Resort near State Farm Stadium. Both remain under development, and neither has announced an opening date.
There has, however, been a change in how the park is being described. In August, Axios Phoenix reported that Epic Resort Destinations, the park’s original developer, appears to be out of the Glendale project. Asked about Epic’s involvement, a VAI spokesperson told Axios that VAI is the park’s owner and operator, but did not directly answer whether Epic still has any role. Another VAI spokesperson said the park and resort are now considered part of the same project and that construction continues on both.
VAI also told Axios it is redefining the park’s guest experience and creative vision and expects to share more in the fourth quarter of 2026. That is a promise of a project update, not an opening announcement.
The VAI Resort FAQ currently says it will announce an opening date approximately nine months in advance. Mattel Adventure Park’s Glendale page continues to promote planned attractions, including the Barbie Beach House and two Hot Wheels roller coasters, without listing an opening date.
For families hoping to visit, the practical answer is that there is still no date to put on the calendar. The next meaningful development to watch is VAI’s promised fourth-quarter update: it may clarify the park’s plans, but visitors will need an official opening announcement before they can plan a trip.
Source links: VAI Resort FAQ · Mattel Adventure Park Glendale page · Axios Phoenix’s August report
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Entertainment
Apple Music Super Bowl LX Halftime Show Starring Bad Bunny Wins 7 Emmys, Sets New Record
Executive produced by Roc Nation and JAY-Z, the show becomes the most-awarded halftime production in Emmy history.
The Apple Music Super Bowl LX Halftime Show starring Bad Bunny took home seven Emmy Awards at the 78th Emmy Awards, making it the most-awarded Super Bowl halftime show in Emmy history, according to Roc Nation. The live spectacle—executive produced by Roc Nation and JAY-Z—won across major production categories, underscoring how the halftime stage has evolved into a full-scale, awards-caliber live television event.
The record-setting wins included Outstanding Variety Special (Live), Outstanding Music Direction, Outstanding Directing for a Variety Special, Outstanding Choreography for Variety or Reality Programming, Outstanding Sound Mixing for a Variety Series or Special, Outstanding Lighting Design/Lighting Direction for a Special, and Outstanding Technical Direction and Camerawork for a Special. Roc Nation also noted the show set a global viewership record, pulling 4.157 billion views in 24 hours across global broadcast, YouTube, and social platforms.
Beyond the trophies and viewership numbers, the halftime show leaned into big-name star power with special guest performers Lady Gaga and Ricky Martin, plus additional appearances from Karol G, Cardi B, Jessica Alba, Pedro Pascal, Young Miko, and others. The sweep signals not just a win for the artists on stage, but for the behind-the-scenes creative teams turning the halftime show into one of the most technically ambitious live productions on television.
What to watch for: With Emmy recognition now firmly in the conversation, expect future halftime shows to push even harder on cinematic staging, choreography, and broadcast innovation—because the bar (and the awards) just got higher.
Source: Roc Nation (PRNewswire), Sept. 6, 2026
Link to original press release: https://prnmedia.prnewswire.com/news-releases/the-apple-music-super-bowl-lx-halftime-starring-bad-bunny–executive-produced-by-roc-nation–jay-z-wins-seven-emmys-302870842.html
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Last Updated on September 17, 2026 by Daily News Staff
HOLLYWOOD, Calif. — Paramount’s century-long connection to Hollywood could be facing one of its biggest challenges yet, as the entertainment giant reportedly prepares for the possibility of moving major operations out of California amid an escalating legal battle over its proposed acquisition of Warner Bros. Discovery.
Paramount has informed the offices of Los Angeles Mayor Karen Bass and California Attorney General Rob Bonta that it is prepared to formally announce plans to leave California, according to reporting Wednesday from TheWrap. Paramount has not formally announced a relocation, and a company spokesperson declined to comment to the publication.
The potential move centers on Paramount Skydance’s proposed approximately $110 billion acquisition of Warner Bros. Discovery, a deal being challenged on antitrust grounds by California and a coalition of 11 other states, along with a separate challenge from the Writers Guild of America. California Attorney General Rob Bonta argues that combining the two entertainment companies could reduce competition, potentially leading to higher prices and fewer choices for consumers.
A court agreement currently prevents Paramount and Warner Bros. Discovery from completing the merger until June 1, 2027, or until after a court decision on the states’ claims, whichever comes first. The antitrust case is scheduled for trial in March 2027.
Paramount’s Hollywood Future
At the center of the controversy is Paramount’s historic studio complex at 5555 Melrose Avenue in Hollywood, one of the entertainment industry’s most recognizable properties.
The Los Angeles Times reported that Paramount CEO David Ellison has told associates that he would prefer to remain in Los Angeles. However, Paramount’s board has reportedly approved a contingency plan that could move the company’s headquarters out of Hollywood, and Ellison has indicated that the company is prepared to sell its historic studio properties and relocate operations if the merger remains stalled.
Tennessee, Texas and Georgia have emerged in reports as potential destinations should Paramount ultimately decide to relocate.
The financial pressure is significant. Beginning October 1, Paramount faces a roughly $7 million-per-day additional payment obligation tied to delays in completing the Warner Bros. Discovery transaction. Paramount has asked the federal court to require the states and the Writers Guild of America to post a $1.88 billion bond to cover potential costs associated with the delay.
What’s at Stake for Los Angeles?
A Paramount departure could extend far beyond the loss of a famous Hollywood address.
An economic analysis cited by TheWrap estimates that a large-scale Paramount departure could put as many as 57,980 full-time jobs, $21.2 billion in annual economic output and approximately $1.17 billion in state and local tax revenue at risk. Those figures represent an economic-impact scenario rather than a prediction that all of those losses would necessarily occur.
There are competing concerns about the merger itself. Los Angeles County analysis has estimated that completing the Paramount-Warner Bros. combination could also eliminate thousands of entertainment and related jobs because of consolidation. Opponents of the merger, including entertainment unions, have raised concerns about reduced competition and employment, while supporters argue that reaching a settlement could help prevent Paramount from moving operations out of California.
Mayor Bass has said she remains focused on protecting Los Angeles entertainment jobs and keeping Hollywood’s entertainment industry centered in the city. Bonta’s office, meanwhile, has maintained that California will continue enforcing its antitrust laws while remaining open to good-faith discussions. There is still an opportunity for the dispute to be resolved before Paramount makes a final decision about its California operations. Paramount Skydance and representatives for California Attorney General Rob Bonta are scheduled to participate in court-ordered settlement talks on October 14 and 15. The discussions could potentially resolve the antitrust dispute and clear a path for Paramount’s proposed Warner Bros. Discovery acquisition. For now, Paramount has made no official announcement that it is leaving California. The company declined to comment on reports Wednesday that it was preparing to announce a departure. That leaves the future of Paramount’s Hollywood operations — including its historic Melrose Avenue studio — uncertain as the legal and financial pressure surrounding the merger continues to build. Settlement Talks Scheduled
For now, the gates at Paramount remain firmly planted on Melrose Avenue.
Settlement Talks Scheduled
There is still an opportunity for the dispute to be resolved before Paramount makes a final decision about its California operations.
Paramount Skydance and representatives for California Attorney General Rob Bonta are scheduled to participate in court-ordered settlement talks on October 14 and 15. The discussions could potentially resolve the antitrust dispute and clear a path for Paramount’s proposed Warner Bros. Discovery acquisition.
For now, Paramount has made no official announcement that it is leaving California. The company declined to comment on reports Wednesday that it was preparing to announce a departure.
That leaves the future of Paramount’s Hollywood operations — including its historic Melrose Avenue studio — uncertain as the legal and financial pressure surrounding the merger continues to build.uilding around the Warner Bros. Discovery deal, the question of whether one of Hollywood’s most historic studios will continue calling California home has moved from speculation to a potentially consequential decision for Los Angeles and its entertainment industry.
STM Daily News will continue monitoring the Paramount-Warner Bros. Discovery dispute and what it could mean for Hollywood, entertainment workers and the future of film and television production in California.
Source and Related Reading
- California Attorney General — Agreement Halting Paramount/Warner Bros. Merger — Primary source explaining the states’ antitrust challenge and agreement delaying completion of the merger.
- Los Angeles Times — Paramount and Bonta Ordered Into Settlement Talks — Reports the October 14–15 settlement meetings and current state of the dispute.
- Los Angeles Times — Paramount’s Possible Hollywood Exit — Detailed reporting on the relocation contingency, potential destinations and implications for Los Angeles.
- Reuters — DOJ Backs Bond Demand in Paramount-Warner Fight — Covers the $1.88 billion bond dispute, $7 million daily fee and March trial.
- TheWrap — Paramount Preps California Exit — Reports the latest developments surrounding Paramount’s potential departure.
