In a legal victory that rocked the foundations of reality TV copyrights, a federal court judge ruled in favor of Netflix, Goldin Auctions, its founder Ken Goldin, and the creators of the reality TV series, “King of Collectibles”. A lawsuit claiming copyright infringement was brought against them by Gervase Peterson, a previous “Survivor” participant – a claim that the court recently dismissed.
The lawsuit was born from Peterson’s assertion that in 2019, he had shared a concept analogous to “King of Collectibles” with Ken Goldin. He claimed that his notion, labelled “The Goldin Boys”, was later developed into a full-fledged show by Wheelhouse Entertainment, and Netflix bought the rights without his consent or involvement.
Peterson’s acrimony steered around the resemblance he observed between his pitch and the now popular show, “King of Collectibles”, currently basking in the glory of its second season on Netflix. Interestingly, early dialogues between Goldin and Peterson came to an abrupt halt around mid-2020. Shortly thereafter, a production theme strikingly similar to Peterson’s concept went into development. Despite this insinuation, the defense on behalf of Netflix and Goldin Auctions argued that the show, which provides an inside look at Goldin’s life and the behind-the-scenes action at his auction company, was built on basic, copyright-unprotectable ideas.
Judge Christine O’Hearn, presiding in the New Jersey federal district court, validated this defense’s standpoint. She elaborated that the aspects of Peterson’s case claimed as copyright-protected fall under the legal doctrine scènes à faire. This maxim refers to habitual scenes or themes in a genre that do not qualify for copyright protection. The judge emphasized that many features of reality TV fall under this banner, including the routine business operations delineated in “King of Collectibles”.
Broadening her legal analysis, Judge O’Hearn mentioned that real-life subjects and recurrent themes in reality shows are often deemed unprotectable. To underline her stance, she cited past legal precedents where identical issues of copyright infringement were argued and subsequently dismissed. The judge’s decimation of Peterson’s lawsuit reinforces the complexity of asserting copyright claims for abstract concepts and recurrent themes in the world of reality television.
The reality series “King of Collectibles” has not just overcome legal impediments but has also carved a distinguished place for itself in the entertainment sector. Its captivating narrative and unique storyline have earned it an Emmy award nomination. The series goes on to showcase the riveting auction adventures and the personal life of Ken Goldin, further pushing the boundaries of reality TV.
This recent court verdict sends strong waves across the domain of copyright law, particularly in the realm of reality television, and underscores the challenges in claiming broad and generic ideas as copyright protected. It also reaffirms the continuing popularity and influence of reality TV formats, reminding us that their appeal and scope for creativity remain potent, even as they tread on a thin legal line.
