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Legal News

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More than a dozen states and the District of Columbia have filed lawsuits against TikTok on Tuesday, alleging the popular short-form video app is harming youth mental health by designing its platform to be addictive to kids.
The lawsuits stem from a national investigation into TikTok, which was launched in March 2022 by a bipartisan coalition of attorneys general from many states, including California, Kentucky and New Jersey. All of the complaints were filed in state courts.

At the heart of each lawsuit is the TikTok algorithm, which powers what users see on the platform by populating the app’s main “For You” feed with content tailored to people’s interests. The lawsuits also emphasize design features that they say make children addicted to the platform, such as the ability to scroll endlessly through content, push notifications that come with built-in “buzzes” and face filters that create unattainable appearances for users.

In its filings, the District of Columbia called the algorithm “dopamine-inducing,” and said it was created to be intentionally addictive so the company could trap many young users into excessive use and keep them on its app for hours on end. TikTok does this despite knowing that these behaviors will lead to “profound psychological and physiological harms,” such as anxiety, depression, body dysmorphia and other long-lasting problems, the complaint said.

Trending on Billboard

“It is profiting off the fact that it’s addicting young people to its platform,” District of Columbia Attorney General Brian Schwalb said in an interview.

Keeping people on the platform is “how they generate massive ad revenue,” Schwalb said. “But unfortunately, that’s also how they generate adverse mental health impacts on the users.”

TikTok does not allow children under 13 to sign up for its main service and restricts some content for everyone under 18. But Washington and several other states said in their filing that children can easily bypass those restrictions, allowing them to access the service adults use despite the company’s claims that its platform is safe for children.

Their lawsuit also takes aim at other parts of the company’s business.

The district alleges TikTok is operating as an “unlicensed virtual economy” by allowing people to purchase TikTok Coins – a virtual currency within the platform – and send “Gifts” to streamers on TikTok LIVE who can cash it out for real money. TikTok takes a 50% commission on these financial transactions but hasn’t registered as a money transmitter with the U.S. Treasury Department or authorities in the district, according to the complaint.

Officials say teens are frequently exploited for sexually explicit content through TikTok’s LIVE streaming feature, which has allowed the app to operate essentially as a “virtual strip club” without any age restrictions. They say the cut the company gets from the financial transactions allows it to profit from exploitation.

Many states have filed lawsuits against TikTok and other tech companies over the past few years as a reckoning grows against prominent social media platforms and their ever-growing impact on young people’s lives. In some cases, the challenges have been coordinated in a way that resembles how states previously organized against the tobacco and pharmaceutical industries.

Last week, Texas Attorney General Ken Paxton sued TikTok, alleging the company was sharing and selling minors’ personal information in violation of a new state law that prohibits these practices. TikTok, which disputes the allegations, is also fighting against a similar data-oriented federal lawsuit filed in August by the Department of Justice.

Several Republican-led states, such as Nebraska, Kansas, New Hampshire, Kansas, Iowa and Arkansas, have also previously sued the company, some unsuccessfully, over allegations it is harming children’s mental health, exposing them to “inappropriate” content or allowing young people to be sexually exploited on its platform. Arkansas has brought a legal challenge against YouTube, as well as Meta Platforms, which owns Facebook and Instagram and is being sued by dozens of states over allegations its harming young people’s mental health. New York City and some public school districts have also brought their own lawsuits.

TikTok, in particular, is facing other challenges at the national level. Under a federal law that took effect earlier this year, TikTok could be banned from the U.S. by mid-January if its China-based parent company ByteDance doesn’t sell the platform by mid-January.

Both TikTok and ByteDance are challenging the law at an appeals court in Washington. A panel of three judges heard oral arguments in the case last month and are expected to issue a ruling, which could be appealed to the U.S. Supreme Court.

You know the story: A superstar musician, dogged by rumors of abuse, is finally served with a sweeping federal criminal case – one that accuses him of running a criminal enterprise centered on his own sexual desires.

But are we talking about Sean “Diddy” Combs or about R. Kelly?

In many ways, the charges unveiled last month against Combs mirror those brought in 2019 against Kelly, a chart-topping R&B singer who was sentenced to 30 years in prison in 2022 after a jury convicted him of decades of abuse. There are key differences – most notably, Combs is not accused of victimizing minors – but the themes and charges echo those in the earlier case.

So to understand more, we turned to the best experts possible: Nadia Shihata and Maria Cruz Melendez, two of the lead prosecutors who tried the case against Kelly. Now in private practice, Shihata and Cruz Melendez discussed the Combs case with Billboard in separate interviews – about how a case like this is built, who else might face charges, and what the fight ahead will look like.

“Every case is different, but there are certainly parallels,” Shihata says.

What are the charges against Diddy?

Like with Kelly, prosecutors have built their case against Combs under the Racketeer Influenced and Corrupt Organizations Act – the federal “RICO” statute you’ve probably heard mentioned in mob movies or “Breaking Bad.” He’s facing other charges, too, like alleged violations of two different federal sex trafficking laws, but the core narrative is that Combs built a sprawling criminal enterprise – only one aimed not at illegal gambling or drug trafficking, but at facilitating his own sexual abuse.

“While most people associate racketeering with the mafia, the statute’s reach is not limited to what many may think of as traditional crime syndicates,” says Cruz Melendez, now in private practice at the top law firm Skadden.

Enacted in the 1970s, RICO allows prosecutors to target an entire illicit organization, sweeping up many seemingly unrelated crimes committed by multiple people over an extended period of time and charging them as a single criminal conspiracy. It was designed to help prosecutors target organized crime, where bosses often insulate themselves from the actual, individual crimes.

Unsurprisingly, the law has been used repeatedly over the years to target mobsters, including Gambino family members like John Gotti. It’s also been brought to bear against corrupt judges like those behind the “kids for cash” scandal, as well as white supremacist groups, drug cartels, terrorist groups and financial fraudsters.

But in the years since the start of the #MeToo movement, federal prosecutors in New York have begun turning RICO toward another target: powerful men who allegedly create such criminal enterprises around mass-scale sexual abuse.

In 2019, a federal jury in Brooklyn convicted Keith Raniere, the leader of a cult in upstate New York called Nxivm, of violating RICO by turning vulnerable women into sexual “slaves.” Weeks later, the same office filed their indictment against Kelly, alleging the star and his co-conspirators had worked together to “recruit women and girls to engage in illegal sexual activity with Kelly.”

That type of RICO case is novel but not altogether surprising, according to Shihata, who says its simply took an increased recognition of “how powerful men at the height of their success often commit and conceal these crimes.”

“They don’t do it alone,” says Shihata, who now runs her own firm Shihata & Geddes LLP. “It’s often with the help of an entourage of employees, sycophants, and yes-men willing to do their bidding and look the other way.”

In cases like those against Kelly and Combs, RICO provides powerful advantages for the government versus more traditional means of prosecuting sexual abuse. It allows prosecutors to cite years-old conduct that would otherwise be barred under statutes of limitations, and lets them tell a more comprehensive story to jurors — one that’s less susceptible to a ‘he said, she said’ defense narrative about individual incidents.

“It’s like the difference between watching a full TV series versus just one scene of one episode,” Shihata says.

How will prosecutors make their case?

To prove a RICO case, prosecutors needs to show that such a criminal enterprise existed and Combs participated in it by engaging in at least two of the so-called predicate acts they list in their indictment – the many individual crimes that make up the overarching pattern of illegal conduct.

Of course, those alleged predicates include the core claims of abusive sexual behavior, like the elaborate “freak off” sex parties that are repeatedly detailed in the indictment. But they also include everything else that enabled that conduct and prevented it from being uncovered, including allegations of arson, kidnapping and bribery, as well as obstruction of justice by pressuring witnesses to remain silent.

To support those claims, prosecutors say they’ve already interviewed more than 50 witnesses who have provided “detailed, credible, and corroborated information” against Combs, including “many of whom saw or experienced the defendant’s abuse.”  And the feds say they expect the witness list to “continue to grow” now that the case is public.

The government will back up that testimony with digital evidence, which it says it has already pulled from over 120 cellphones, laptops and other electronic devices, as well as with physical evidence — like the infamous thousand bottles of baby oil that made headlines last month. And then there’s the 2016 video of Combs assaulting his then-girlfriend Cassie Ventura, which prosecutors specifically cite in court filings.

That same approach is what worked during the Kelly trial, when jurors heard testimony from 45 witnesses over 20 days, including eight of his former employees and 11 of his alleged victims, backed up by plenty of evidence, including letters that prosecutors alleged Kelly had forced his victims to write.

Having been at the center of that prosecution, Shihata says she expects Diddy’s prosecutors to focus on telling “the story of everything that happened leading up to the sexual activity,” including threats, isolation, financial dependence, blackmail and other actions that allegedly forced women to have sex when they didn’t want to.

“These are the tools of coercive control,” Shihata says. “In the R. Kelly case, we called it the ‘Predator’s Playbook’.”

How will Combs defend himself?

As in any American criminal case, the burden will be on the government to prove beyond a reasonable doubt that Combs actually committed the many things he’s been accused of. His lawyers don’t need to present their own sweeping narrative or prove his innocence; they just need to poke enough holes in the case against him that jurors aren’t certain he’s guilty.

One key way they might try to do that is to argue that his sexual behavior, while certainly weird and unseemly, was ultimately still consensual. At a bail hearing last month, Diddy’s attorney Marc Agnifilo hinted at that argument, telling the judge that the star and then-girlfriend Cassie had brought sex workers into their relationship because “that was the way these two adults chose to be intimate.”

“One of the central issues of the case will be whether the alleged victims engaged in some of the conduct at issue consensually with Combs and others,” says Cruz Melendez. “Counsel’s statements suggest that they intend to present their own witnesses who will counter victim narratives that they were forced or coerced.”

The issue of consent is actually a key point of distinction between the new case against Combs and the earlier case against Kelly. Since Kelly’s charges largely dealt with sex with minors – which is illegal under any circumstances – such a defense would not have succeeded.

With consent at play in the Combs case, Shihata says his defense attorneys will likely try to narrow the case down to specific incidents that undercut the prosecution’s broader narrative. “In all likelihood, the defense will try to focus the jury on snapshots in time,” she says, “arguing that on a particular day, a particular victim consented to sexual activity.”

Combs’ attorneys will also likely argue that the alleged misconduct simply doesn’t meet the definition of racketeering – and that prosecutors are abusing RICO to make their case. In appealing Kelly’s conviction, for instance, his attorneys have argued that the government is stretching the federal statute “to the point of absurdity” by using it in such cases, potentially turning things like college fraternities into illegal RICO conspiracies.

One crucial question ahead of any criminal trial is whether the defendant himself will testify in their own defense. It’s often a terrible idea – taking the stand can subject a defendant to withering cross-examination from prosecutors, and it can backfire badly if jurors don’t like what they see and hear. That’s probably why R. Kelly didn’t testify in either of his two federal criminal trials.

But according to Agnifilo, Combs himself currently plans to take the stand. In an interview with TMZ, the attorney said “I don’t know that I could keep him off the stand” and that he is “very eager to tell his story.”

“He has a story that I think only he can tell in the way he can tell it in real time,” the attorney said in the interview, seemingly referring to his relationship with Cassie. “And it’s a human story. It’s a story of love, it’s a story of hurt, it’s a story of heartbreak.”

Will others be charged?

By its very nature, a RICO case usually centers on allegations involving multiple people. And in their case against Combs, prosecutors repeatedly mention unnamed co-conspirators who allegedly helped the music mogul commit his crimes.

“The defendant arranged freak offs with the assistance of members and associates of the enterprise, including employees of his business,” prosecutors write in one such passage. “When the defendant faced the possibility that his violent and criminal conduct could become public, the defendant and other  members and associates of the enterprise pressured witnesses and victims.”

But despite those repeated references, only Combs is actually charged with committing crimes. That’s another similarity with the Kelly case, where prosecutors detailed years of alleged help by members of his entourage, but only charged the man himself with RICO violations. (Two Kelly associates were charged in a separate case filed in Chicago over different criminal charges.)

For a case that paints a picture of vast group of wrongdoers, the lack of co-defendants might seem strange, but Cruz Melendez says it’s not that unusual: “Prosecuting a single individual for racketeering is certainly not unheard of, particularly where the defendant is the alleged leader or a top-ranking member of the charged enterprise,” she says.

And, crucially, the lack of co-defendants in the initial indictment doesn’t mean nobody else will be charged at some point in the future. At a press conference announcing the charges against Combs, U.S. Attorney Damian Williams warned that the investigation was “very active and ongoing” and that “can’t take anything off the table” as the case moves forward.

“It’s very possible that other members of the enterprise have already been charged under seal and pled guilty pursuant to cooperation agreements, and are helping prosecutors build their case,” Shihata says. “It’s also possible that additional people will be charged in the future as the investigation is ongoing and the government continues to gather information and evidence.”

When will the trial take place? And what happens next?

Anyone accused of a crime in the U.S. has a constitutional right to a speedy trial, which in federal cases means a jury trial must start within 70 days. Though defendants often waive that right to give their attorneys more time to prepare a defense, Agnifilo has declined to do that so far – saying instead that he’s “going to do everything I can to move his case as quickly as possible.”

But that 70-day time limit has lots of exceptions that can still push a trial back, including pre-trial motions, appeals, or simply if the judge decides the case is too complex. The trial could also be delayed if prosecutors file charges against new defendants, or add additional charges against Combs.

Already, Judge Andrew L. Carter has “excluded” several weeks from the speedy trial clock – and both Cruz Melendez and Shihata say there’s little chance Combs’ trial happens in the next few months.

“I don’t expect a case like this to actually go to trial in 70 days or anywhere near that,” Shihata says. “Run-of-the-mill federal cases can take about a year to get to trial, assuming no superseding indictments are filed. But this case may well take longer, particularly given that there appears to be voluminous electronic discovery in the case.”

Until then, both sides will prepare for trial. The government will continue its investigation, potentially using what they find to add new witnesses, evidence, charges or defendants to the case. Shihata also expects the prosecutors to file a motion, like in the Kelly case, to allow jurors to remain anonymous and to let witnesses and victims to use pseudonyms when they testify.

Combs’ team, meanwhile, will continue seeking to have him released on bail while awaiting trial, a request that was twice rejected by lower judges. They’ve filed an appeal to a federal appeals court, where the question remains pending; the outcome of that appeal could play a key role in how fast his lawyers seek to take the case to trial.

In the meantime, Diddy’s attorneys will sift through the evidence prosecutors plan to use at trial, likely filing pre-trial motions asking the judge to dismiss aspects of the case and to exclude certain evidence and witnesses. They’ll also continue conducting their own investigation, seeking to find witnesses and evidence to use to rebut the government’s case.

Whether they can successfully do so – or whether Combs instead faces a similar fate as Kelly — will ultimately be decided by 12 jurors in a Manhattan federal courtroom.

“At the end of the day, the indictment is just the government’s allegations,” Cruz Melendez says. “The government will need to prove its case beyond a reasonable doubt at trial.”

The U.S. Supreme Court has refused to hear an appeal from R. Kelly over his 2022 convictions on child pornography and enticement charges, leaving him with no further direct appeals from a verdict that saw him sentenced to 20 years in prison.
Kelly’s attorneys had urged the high court to take up the case, in which a federal jury in Chicago convicted him in September 2022, by arguing that the case should have been barred by the statute of limitations.

But in an order Monday, the justices declined to tackle the case. As is typical, the court did not explain its decision to reject Kelly’s case along with dozens of others. The Supreme Court receives thousands of petitions per year and only decides to hear a tiny fraction them.

Monday’s order dealt only one of Kelly’s two sets of sex abuse convictions. The other — a September 2021 guilty verdict on racketeering charges brought by prosecutors in New York that resulted in a 30-year prison sentence — is still pending on appeal before a lower appellate court.

In the current case, a different team of federal prosecutors from Chicago accused Kelly of violating child pornography laws, enticing minors for sex and obstructing justice by upending a 2008 criminal trial.

Though he was acquitted on certain counts, Kelly was convicted in September 2022 and later sentenced to 20 years in prison; the vast majority of that sentence will be served concurrently with the New York sentence. The conviction was affirmed by a lower appeals court earlier this year.

In asking the justices to consider overturning that ruling, Kelly’s attorney Jennifer Bonjean cited the statute of limitations. She said that an updated federal law extending the time limit, passed in 2003, could not be applied retroactively to Kelly’s alleged crimes, which occurred in the late 1990s and early 2000s.

“Retroactive application of the 2003 amendment not only fly in the face of congressional intent,” Bonjean writes. “It violates notions of fundamental fairness.”

Barring an unusual outcome at some point in the future, Monday’s decision effectively finalized Kelly’s convictions and sentencing in the Chicago case. The separate convictions in the New York case could still be overturned, however, either by the lower appeals court or by the Supreme Court.

Kelly’s attorney did not immediately return a request for comment.

RBD‘s five members — Maite Perroni, Christian Chávez and Christopher von Uckermann — announced on Friday (Oct. 4) that “the matter has concluded.”
Rosas and RBD parted ways in January after the Mexican band’s ultra-successful Soy Rebelde World Tour. In May, RBD revealed in a statement issued by its lawyers that there were “significant irregularities” revealed in a forensic accounting investigation led by Critin Cooperman — a services firm that acted as a business manager for the tour and had also conducted a financial audit.

In a statement shared on Friday (Oct. 4) — known to fans as World RBD Day — Perroni, Chávez and von Uckermann wrote: “As set forth in the final agreement, T6H, through its owner Guillermo Rosas, was claiming that Guillermo’s company was entitled to $10,072,811.00 in connection with Guillermo and his company’s management of RBD’s live performance tour in the U.S., Mexico, Brazil and Colombia. Following our filing of a complaint against Guillermo and his company in both Federal Court and with the California Labor Commissioner, in addition to a thorough audit we commissioned, T6H agreed as part of the final settlement agreement to accept the sum of $4,723,591.00, an amount which is $5,349,220.00 less than what Guillermo was claiming to be owed.”

Trending on Billboard

Notably, RBD’s other two members, Anahí and Dulce María, did not sign on to the letter. An RBD representative did not immediately respond to a request for comment on their absence.

In December, RBD wrapped its massive world tour, which as of Nov. 30 had grossed $197.1 million since launching in August. Rosas also worked with the band as a concert promoter from 2006 to 2008. Under a new business model designed for RBD’s comeback tour, the group’s first trek in 15 years, the five members and Rosas were deemed equal partners in a new joint venture, splitting all new revenue, including for music.

The statement continues: “This is why we made the decision to take action in this situation. We felt a responsibility to address the challenges that can arise in the industry, with our priority being the protection of artists rights. This is a reminder for young artists to have the courage to stand up for themselves and demand respect. We are very satisfied with the outcome of our action and will continue to advocate for justice and respect in the artistic world.”

Billboard reached out to Guillermo Rosas but had not heard back at press time.

Read Perroni, Chávez and von Uckermann’s statement below in Spanish, Portuguese and English:

Rebel Wilson is countersuing The Deb producers Amanda Ghost, Cameron Gregor and Vince Holden, accusing them of a “troubling pattern” of “theft, bullying and sexual misconduct.”
The cross-complaint comes months after Ghost, Gregor and Holden sued Wilson for defamation in July after she initially accused them of sexual harassment and embezzlement in an Instagram video. The producing trio alleged in their lawsuit that Wilson lied in an attempt to release her movie The Deb — which Wilson directors, produced and starred in — at the 2024 Toronto International Film Festival, as well as secure a writing credit on the film.

Wilson’s new suit alleges that Ghost was sexually harassing the film’s lead actress, Charlotte MacInnes, and “forced MacInnes to live in her Bondi Beach penthouse apartment with her,” where “Ghost took a shower and a bath with MacInnes.” It also claimed that “Ghost was overheard making overtly sexual remarks to MacInnes on set.”

In a statement to The Hollywood Reporter, MacInnes said, “There is no truth to the allegations made involving me. I made a statement to the film team when this was first said in September 2023, and I am saying this again now to draw a line under it. Making false accusations undermines real victims, and I won’t be the subject of a fabricated narrative.”

In Wilson’s suit, Ghost, Gregor and Holden are also accused of scheming to inflate the film’s budget and pocket the excess funds, according to the complaint. The suit said they “embezzled AU $900,000 from the film’s budget to be split between them.”

When Wilson reported the allegations to executive producer Danny Cohen, which he allegedly ignored, according to the suit, that’s when the producing trio “orchestrated a malicious and unyielding retaliatory campaign directed at her.”

Wilson claimed that the ongoing threats and intimidation tactics led her to hire “personal security on the set of The Deb,” so she could finish filming. The complaint also alleged that Gregor threatened to “terminate” the project and “fire its approximately 300 cast and crew members,” unless she signed a document “stating she withdrew her complaint about Ghost’s sexual misconduct” allegations.

Wilson’s attorney Bryan Freedman wrote in a statement, “Amanda Ghost, Cameron Gregor, and Vince Holden attempted to manipulate the narrative by recklessly filing an outlandish lawsuit. Their real problem? Only a fraction of their outrageous conduct has been revealed thus far. In their desperation to shift the story, they neglected to consider that this strategy would only lead to RW’s filing of a cross-complaint which exhibits a plethora of their shocking misconduct which there are many witnesses to. Many brave people have come forward who have had similar dealings with Amanda Ghost. While unfortunate, this was not a surprise. Stay tuned, this is just the tip of the iceberg. There is much more to come.”

THR has reached out to reps for Cohen, Ghost, Gregor, and Holden for comment.

This article was originally published by The Hollywood Reporter.

After Garth Brooks was accused of rape and other sexual misconduct in a lawsuit filed in Los Angeles on Thursday (Oct. 3), the country star has responded and insists he is “not the man they have painted me to be.” The allegations come from an unnamed woman who claims Brooks sexually assaulted her while she […]

Country music star Garth Brooks is facing a lawsuit over allegations that he sexually assaulted an unnamed woman while she worked for him as a hairstylist and makeup artist.
In a lawsuit filed Thursday (Oct. 3) in Los Angeles court, attorneys for the anonymous Jane Roe accuser claim Brooks raped her during a May 2019 stay in a Los Angeles hotel room and also exposed her to “other appalling sexual conduct” during that same year.

The lawsuit claims that the singer took advantage of the accuser’s mounting financial troubles to subject her to “a side of Brooks that he conceals from the public.”

“This side of Brooks believes he is entitled to sexual gratification when he wants it, and using a female employee to get it is fair game,” Roe’s attorneys write.

Trending on Billboard

Notably, the accuser also alleges that Brooks was behind a mysterious lawsuit filed last month, obtained by Billboard, in which an anonymous “celebrity” plaintiff sued in Mississippi federal court over an an unnamed accuser’s sexual abuse allegations. Calling the accusations false and an “ongoing attempted extortion,” the earlier case asked a judge to stop her from further publicizing them.

“The abusive Mississippi action by Brooks is a blatant attempt to further control and bully his sexual assault victims by utilizing his multimillionaire resources to game the legal system,” Roe’s lawyers write in Thursday’s complaint. “Brooks is desperate to prevent his millions of fans from learning about the horrific things he has said and done to a junior female employee who did nothing to deserve such treatment.”

A representative for Brooks did not immediately return a request for comment.

In her lawsuit, the plaintiff claims she began working in 1999 for Brooks’ wife, Trisha Yearwood, but started to work for Brooks in 2017. When she experienced financial difficulties in 2019, she says Brooks offered to help her by giving her more work.

The first alleged incident occurred earlier in 2019, when Brooks allegedly emerged from the shower naked and forced the accuser to touch his erect penis and said he had fantasized about her performing oral sex on him. She says she denied his advances but continued to work for him.

Months later, in May, Roe claims that when she and Brooks stayed together in a Los Angeles hotel, he booked only a single room for both of them. She claims that during their stay, he violently raped her in the room.

During the months that followed, the plaintiff claims Brooks repeatedly acted inappropriately toward her in other ways, including sending sexually explicit text messages, physically groping her breasts, and making sexually charged remarks toward her.

“We applaud our client’s courage in moving forward with her complaint against Garth Brooks,” said the accuser’s attorneys, from the prominent plaintiff’s firm Wigdor LLP. “The complaint filed today demonstrates that sexual predators exist not only in corporate America, Hollywood and in the rap and rock and roll industries but also in the world of country music.”

Though Brooks has not yet responded to Thursday’s lawsuit, documents filed in the earlier mystery case in Mississippi tell what appears to be his side of the story.

After a former professional associate “encountered financial difficulties” and asked for financial assistance in 2020, the lawsuit says that the unnamed celebrity plaintiff “complied out of loyalty” and offered help. But when he eventually refused her increasing demands, inclduing for salaried employment and medical benefits, the lawsuit says the woman responded with “false and outrageous allegations of sexual misconduct.”

Later, the unnamed woman allegedly “offered to refrain from publicly filing her false and defamatory lawsuit against plaintiff in exchange for a multi-million dollar payment” — a demand that the lawsuit called “extortion.”

“Defendant’s allegations are not true,” the unnamed celebrity wrote in last month’s lawsuit. “Defendant is well aware, however, of the substantial, irreparable damage such false allegations would do to Plaintiff’s well-earned reputation as a decent and caring person, along with the unavoidable damage to his family and the irreparable damage to his career and livelihood that would result if she made good on herthreat to ‘publicly file’ her fabricated lawsuit.”

For years, Hollywood talent managers have grumbled at a California law that puts them in danger of losing their commissions if they’re found to have engaged in activities related to obtaining work for their clients.
The issue relates to the Talent Agencies Act, a licensing scheme that was originally enacted to regulate agents and ensure that they’re acting in their clients’ best interests. The law says that only licensed agents can “procure” work in the entertainment business and that managers caught doing the same can have their contracts voided and commissions forfeited. Although lawmakers’ intent was to prevent unscrupulous business dealings, like conflicts of interests, it grew to be used as a sword largely wielded by talent to sidestep having to pay commissions. At least $250 million in fees have been nullified over the last 55 years, per the trade group representing managers in the entertainment industry.

But in 2020, a former CAA employee recognized a quirk in the law that managers could take advantage of. By his thinking, obtaining a license to secure work opportunities for clients wasn’t required if you could tolerate the risk of getting sued and losing the commission.

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“It looks like there is a ‘gray area’ on how managers are supposed to technically procure material since they don’t have a license form the California Labor Commission,” this unidentified ex-CAA employee wrote in an email. “However as long as the artist doesn’t sue the manager … looks like managers are fine?”

The theory outlined in that message became the central business model for Range Media Partners, a management and brand development firm founded later that year by departing partners from a series of agencies, according to a lawsuit filed on Monday in Los Angeles Superior Court from CAA against the company. It seeks a court order blocking Range from further violating the TAA by engaging in activities reserved for licensed agents and representing Writers Guild of America members without permission from the guild, which would effectively foreclose core functions related to securing work opportunities for talent.

The thrust of the complaint is grounded in Range allegedly stealing confidential information to poach clients, but its scope reaches the heart of the firm’s business dealings. CAA claims that Range, which didn’t respond to a request for comment, is actually just a rival talent agency masquerading as a management company, allowing it to skirt laws and guild agreements that give it an unfair advantage over competitors. In practice, Range is performing all the tasks of a talent agency, while also structuring deals in ways that agencies cannot, the lawsuit says. One example: the company can offer high-profile clients the ability to avoid paying a commission in favor of giving it a producer fee or credit on their project.

“The Range Founders told at least some of these CAA clients that they did not ‘need’ a talent agent to procure work for them, because Range could do it all,” states the major talent agency’s complaint, which flags stolen confidential information on client negotiations, revenues, preferences, interests and upcoming projects, among other things.

In a pitch deck to investors, Range proclaimed itself as the “revolutionary” successor to CAA and Endeavor, according to the lawsuit. It touted plans to “recruit high end representatives away from their current incumbent,” and to “rethink the system of representation,” with “production services as a cash cow.”

Since its inception four years ago, Range has surfaced as a competitor — albeit a small one — in a talent agency landscape that’s consolidated into three major players after CAA in 2022 closed its acquisition of ICM Partners. It’s drawn investments from hedge fund billionaire Steve Cohen’s Point72 Ventures, media mogul John Malone’s Liberty Global, TPG founder David Bonderman’s Wildcat Capital, family entertainment company Playground Productions and A+E Networks, which serves as a co-producer on scripted TV projects set up at the company.

Range’s emergence coincides with a time in which talent is questioning whether they even want an agent. After the Writers Guild of America in 2019 sued Hollywood’s four biggest talent agencies in a fight over packaging fees and agency-owned production entities, thousands of writers fired their agents, with some power players, like Damon Lindelof, never hiring them back. Some, including Jennifer Lawrence and Leonardo DiCaprio, haven’t had agents for years. Those two megastars have their interests represented by Rick Yorn of business management firm LBI Entertainment as Hollywood evolves into a business where there’s often overlapping responsibilities between agents and managers. In practice, both provide career advice and engage in activities related to getting clients work.

Amid this shift, agents are increasingly pivoting to management. Theresa Kang-Lowe and Phil Sun have both left WME in recent years to start their own management firms. Dave Bugliari, Mackenzie Condon Roussos, Rich Cook, Michael Cooper, Susie Fox, Sandra Kang, Rachel Kropa, Chelsea McKinnies, Peter Micelli, Mick Sullivan and Jack Whigham all left top agencies to become founding partners at Range. Some of the ex-CAA employees who left for Range are in arbitration with the agency over cancelled equity.

“Before, the agents were the most powerful. Period,” UTA CEO and cofounder Jeremy Zimmer told Vanity Fair last year of the rise of management firms. “Now there might be a splitting of the power.”

Still, the gambit could backfire on management firms engaged in “procuring” work for clients. The Deftones in 1997 filed a complaint with the California labor commission seeking to void agreements with ex-manager Dave Park for violations of the TAA. A commissioner later voided fees on the basis that Park secured 84 performances for the band. Marathon Entertainment owner Rick Siegal later sued the state Attorney General in a lawsuit claiming it’s unconstitutional to enforce the law on talent managers. After he lost that case, nearly 200 talent managers supported his appeal to challenge the TAA, which still stands.

In its lawsuit, CAA argues that the TAA bars Range from engaging in activities related to obtaining work for clients and that civil lawsuits from talent can’t be the only recourse. But it remains to be seen whether the agency has the right to pursue a court order blocking further violations of the law since it may not have been directly harmed by the conduct.

In that scenario, it may be up to the WGA, which didn’t respond a request for comment, to take action against Range if it’s found to have violated rules related to securing work for clients. CAA alleges that the company is violating a guild rule barring agencies from acting as packaging agents or owning a major stake in a production entity.

This article was originally published by The Hollywood Reporter.

A producer who worked on Fleetwood Mac’s Rumours is suing the creators of the hit Broadway play Stereophonic, claiming they stole material from his memoir about working on the legendary album.
In a lawsuit filed Tuesday (Oct. 2) in Manhattan federal court, Ken Caillat and co-author Steven Stiefel call the Tony Award-winning show an “unauthorized adaptation” of their 2012 book Making Rumours — and accuse playwright David Adjmi of “flagrant and willful infringement.”

“Stereophonic copies the heart and soul of Making Rumours,” attorneys for Caillat and Stiefel write in their complaint. “The striking similarity is readily apparent right from the beginning of the show.”

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Featuring the music of Arcade Fire’s Will Butler, Stereophonic debuted on Broadway last fall, eventually winning five Tony Awards including best play, best direction of a play and best featured actor in a play.

Critics quickly noted the similarities to the infamous story of the recording session for Fleetwood Mac’s Rumours, which featured high tensions and heavy drug usage. A reviewer for the Wall Street Journal said the play was “fictionalizing Fleetwood Mac”; another critic said the play “isn’t literally about Fleetwood Mac, but c’mon.”

In their lawsuit, Caillat and Stiefel say the hit play “presents a nearly identical story arc as Making Rumours,” told from the same perspective of a sound engineer in a recording studio, about five characters who are “undeniably analogous to the members of Fleetwood Mac.”

“Stereophonic is undoubtedly a play based on plaintiffs’ memoir Making Rumours because substantial similarities exist between the two works, a reality that has been independently confirmed by those familiar with plaintiffs’ book who have also had the opportunity to review the play,” the duo’s lawyers write.

The new case presents tricky legal questions. Under U.S. law, historical events cannot be monopolized under copyrights, and nobody can claim exclusive ownership over the real story behind the making of Rumours. But specific creative elements of how such a story is told can be protected by copyrights, and film, TV and stage producers often license non-fiction books as the basis for their works.

In their case, Caillat and Stiefel claim that Adjmi copied those exact kinds of creative choices when he created his play: “Stereophonic’s audience not only sits in the same place that Mr. Caillat sat, but the show also depicts Mr. Caillat’s wild ride as it is described in Making Rumours.”

Adjmi is no stranger to copyright litigation. Back in 2014, he filed a preemptive lawsuit over his off-Broadway show called 3C, which riffed on the sitcom Three’s Company. In that case, filed after the sitcom’s owners threatened litigation, Adjmi argued the play was clearly a legal parody of the earlier show. And he eventually won, securing a ruling that his play was a legal “fair use” of the famous show.

In their complaint, Caillat and Stiefel noted that earlier case, but pointedly argued that such a defense would not work this time around: “Stereophonic is not a parody, and it is not in any way a fair use of Making Rumours.”

Reps for Adjmi did not immediately return requests for comment.

A federal judge is refusing to wade into whether Jay-Z can use copyright termination to retake control of the rights to his debut album Reasonable Doubt — meaning that the complex issue won’t be resolved before a court-ordered auction of Damon Dash’s one-third stake in the company that owns the album.
The judge had been asked to decide that tricky question because of allegations that Jay-Z was using “false” threats of a looming termination to drive down the auction price for Dash’s stake in Roc-A-Fella Records Inc., which controls the rights to the famous album.

But in a ruling Monday (Sept. 30), Judge Robert W. Lehrburger flatly refused to do so — saying he had no legal power to add complicated questions of copyright law to the already-messy fight over Dash’s stake.

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“The asset that is the subject of the auction is Dash’s one-third interest in RAF [Roc-A-Fella] itself, not the work owned by RAF,” the judge wrote. “The Court does not presently have jurisdiction over the validity of Carter’s copyright termination notice.”

As early as next month, the U.S. Marshals Service will sell off Dash’s 33.3% interest in Roc-A-Fella Inc., an entity whose only real asset is the sound recording copyright to Reasonable Doubt. The rest of the storied label, which Dash co-founded with Jay-Z in 1994, is not involved.

Though the court-ordered auction was originally intended to pay off an $823,000 judgment in a civil lawsuit, it has since expanded to include other Dash creditors. New York City’s child services agency wants some of the proceeds to go toward more than $193,000 that Dash owes in unpaid child support; New York state says they must pay down roughly $8.7 million that Dash owes in back taxes and penalties.

The owners of the other two-thirds of Roc-A-Fella — label co-founders Jay-Z (Shawn Carter) and Kareem “Biggs” Burke — have already attempted to stop the auction, including making changes to the company’s bylaws and intervening in the lawsuit. But a federal judge rejected such opposition in February, and the sale could take place as early as this month.

As the auction has approached, one major unresolved question for any potential buyer is just how long Roc-A-Fella will continue to own its only real valuable asset.

The so-called termination right, a provision created by Congress in the 1970s, empowers authors to reclaim ownership of copyrighted works decades after they sold them away. If Jay-Z is eligible for it, termination would allow him to take back the rights to his sound recording of Reasonable Doubt roughly 35 years after he released the album, meaning 2031. That would set a clear time limit on the amount of revenue a Roc-A-Fella buyer would derive from their investment.

But last month, attorneys for New York City filed court papers arguing that Jay-Z was not, in fact, eligible for termination — and that he and others were using “false” threats of an approaching termination to drive down the price of Dash’s stake in his company.

“Jay-Z’s statements to the press have poisoned the environment for the auction,” wrote Gerald Singleton, an attorney for the city, asking the judge to halt the auction and issue a ruling on whether or not Jay-Z could use termination to win back control of Reasonable Doubt.

Days later, Jay-Z lawyer Alex Spiro responded that there was “no merit to NYC’s accusations,” and that the Dash case was not the proper place to decide Jay-Z’s rights to the album: “Put simply, this is not the appropriate time, forum, or case to litigate any issues relating to Jay-Z’s notice of termination.”

In Monday’s ruling, Judge Lehrburger agreed with Spiro and Jay-Z: “[NYC]’s motion to stay the auction for purposes of having this court determine the validity of the copyright termination notice filed by Shawn Carter a/k/a Jay-Z in connection with the work Reasonable Doubt, an asset owned by RAF, is denied.”

The judge also rejected New York City’s attempt to conduct discovery into Roc-A-Fella’s holdings, saying that kind of investigation was also beyond the scope of the current litigation. An attorney for the city declined to comment on the order.

The auction is currently scheduled for Oct. 21, but it has been postponed multiple times and could be delayed again. A minimum purchase price has been set at $3 million.