Entertainment Lawyers

If in the tumultuous year of 2020, you’ve somewhat forgotten about the WGA’s spats with agencies over packaging fees, you’re certainly not alone. With the final hurdle- the WME- meeting the WGA in court this week, BLAKE & WANG P.A takes a look back at the core of the matter. This dispute has been ongoing since April 2019 and centers for the most part on packaging fees. The WGA, in a bold and controversial move that has mostly worked out for them, insisted its writer's fire agents who would not sign to their new Code of Conduct. Said code banned the use of packaging and packaging fees, as well as nixing agency affiliations to production companies. Some of the large agencies have bartered for a modified version of the agreement, often structured around the phased reduction of already-owned interests in production companies to the 20% max allowed, or allowing for pre-negotiated packaging deals to slowly phase out. All- except WME- have signed, with the CAA being the most recent.

As 2020 draws to a tumultuous close, there’s one thing for sure- this has been a year like no other for the entertainment industry. Netflix would soar to prominence as streaming services boomed, driven by the needs of people suddenly facing quarantine and stay-at-home orders. Despite the vaccine roll-out, at least the early parts of 2021 are likely to face similar challenges, so Netflix will likely opt to order along the guidelines established this year. BLAKE & WANG P.A Entertainment Attorney takes a look at what that is. The Surprises While possibly not too surprising in the wake of the controversial murder of George Floyd, it’s unlikely that many would have predicted a rise in demand for documentaries and other fare that highlights the BIPOC experience. Netflix wrappered this in 2020 as their ‘Black Lives Matter’ collection. Shows like Dear White People (700%), 13th (5000%), and LA92 (1300%) would see soaring engagement numbers. With the entertainment industry itself also pu

  If ever there was one thing certain in the movie industry right now, it’s that this will be an Awards season like no other. The Oscars have gone virtual (not to mention their 2-month postponement), many of the expected blockbusters that should have dominated the year have yet to even be released, and the glitz and glamour of the red carpet has instead been set aside for quarantine screenings at home. Some speculate that, despite the lost buzz and hype, this intriguing situation could well create the ideal space for redefining what an ‘Oscar Movie’ looks like. BLAKE & WANG P.A Entertainment Attorney investigates.  2020 was a year bereft of blockbusters, for certain. How, then, are we going to define success in this difficult year? Will this be the year we see indie-hits gain prominence in the spotlight? At this point, it’s almost certain that many movies that went direct-to-streaming will find themselves in contention for the top Oscar categories- a surprising number of them the

By now, we’re sure you all know about the changes to the Oscar nomination qualifying criteria intended to spark greater diversity in the industry. Today BLAKE & WANG P.A Best Entertainment lawyers in Los Angeles   take a closer look at the 4 proposed categories and their criteria.   The new inclusion standards break down into 2 rough categories: More inclusive representation, or more inclusive employment. To qualify for the Oscars from the 2024 season, a film will need to meet the standards in 2 of these 4 categories.  Group A This set of standards is designed to incorporate the actual stories and characters that appear on the screen. To qualify in this group, there needs to be at least one lead (or ‘significant supporting actor’) from an underrepresented racial/ethnic group, or 30% of the secondary/minor cast from two of the same, or the main storyline should focus on an underrepresented identity group. Group B Here we deal with the production or creativity teams behin