Can't see sports, Oscars without channel-bundle subscription you don't want? Let regulators know

Gencraft

I filed a comment today with the Antitrust Division of the U.S. Department of Justice regarding the Disney-Fox-Warner sport streaming deal, and more generally, the anticompetitive practice of streaming television sales with channel-bundling leverage and opt-out subscriptions.

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9 March 2024

Dear sir or madam at the Antitrust Division of the U.S. Department of Justice:

I understand you are scrutinizing the Disney-Fox-Warner sport bundling agreement, and you no doubt are sensitive to the situation in televised sport since the recent congressional hearings on sport media rights.

I draw your attention to two of this weekend's top offerings in sport and entertainment, because they are demonstrative of the problem now in the streaming industry—which is to say, for our times, in the television industry.

In sports, this weekend will see a meeting of the top two, closely matched soccer teams in the world contending for the Premier League championship, Manchester City and Liverpool.  NBC owns U.S. TV rights to Premier League matches in the United States.  NBC's practice is to break up matches horizontally, across its many media properties and contractual arrangements, compelling consumers to have to pay for multiple services to follow a single team in a single sport.

The practice is worse still: high-interest matches such as Sunday's are available only with the purchase of subscription bundles to channel packages consumers do not want.  Yes, the match is available from multiple electronic packages, but each is an expensive bundle: Fubo, Sling, DirecTV, and USA on cable television.  There is no one-off purchase option, nor even a one-channel purchase option.  The price of one month on one of these services far exceeds the market value of one match, or even four weekly matches.

This leveraged bundling, compelling consumers to buy what they do not want to get what they do want, especially in a billing format of opt-out subscription renewal, is an anticompetitive practice. It is ironic that Fubo has sued in private antitrust enforcement to stop the Disney-Fox-Warner agreement. Fubo's position seems to be that it wishes to profit in the vertical market from bundling leverage, but does not want providers to profit from the same model in a horizontal arrangement. In entertainment, the Oscars air on ABC Sunday night.  Like NBC in sports, ABC is making this popular program available only through bundled channel services such as Fubo, Sling, YouTube Live, Hulu Live, DirecTV, and ABC on cable television. Again, there is no one-off purchase option, nor even a one-channel purchase option. 

Again, consumers must buy access to content they do not want, again in a billing format of opt-out subscription renewal.  Media watchers such as Vulture advise consumers to purchase a television antenna to see the Oscars on ABC broadcast.  Is it not plain evidence of ABC's anticompetitive practice that in this day and age consumers would have to regress technologically to over-the-air broadcast to avoid paying for what they do not want?  Never mind the fact that old-fashioned broadcasters have substantially dampened their signal power, so that over-the-air reception is not feasible for many Americans, even on the fringes of large markets.

Disney-Fox-Warner argue that they must forge an agreement to meet consumer demand, so their agreement is in the public interest.  They are not wrong.  However, they are right only insofar as you already have permitted an anticompetitive market to exist.  For a player in this market to succeed, it must grow bigger, must exploit horizontal and vertical integration.

The fundamental problem is that the market already is dysfunctional.  Market actors are trying to replicate the cable model in a streaming world. But the cable model came about as a function of technological limitations, not market forces.

Is it not self evident that in a free market, consumers would be able to buy what they want and not buy what they do not want?

I entreat you not to approve of the creation of another integrated market player. At the same time, I entreat you, start taking a hard look at the anticompetitive practices that already are tolerated in existing horizontal and vertical integrations, especially through the strategy of channel-bundling leverage and opt-out subscription sales.

Sincerely,

Rick J. Peltz-Steele

(for information only:)
Attorney, Washington, D.C.
Chancellor Professor, UMass Law School

U.S. Soccer, FIFA lose antitrust appeal; defense shows short-sighted strategy to develop soccer in America

Cristiano Ronaldo plays for Real Madrid against Barcelona in 2011.
Jan S0L0 via Flickr CC BY-SA 2.0

U.S. Soccer and the Fédération Internationale de Football Association (FIFA) will have to defend an antitrust action in federal court for refusing to permit a Spanish La Liga match on U.S. soil, the Second Circuit ruled in March. 

In 2017, world famous football (soccer) clubs Real Madrid and Barcelona faced off in an exhibition game in Miami. The match was fabulously lucrative for the commercial interests behind it, including organizer Relevant Sports, LLC, based in New York.

World sport likes the United States, because our infrastructure practically prints money. Americans, especially the top echelons of the wealthy, have been habitualized by our unregulated and often subsidized sport-and-entertainment monopolists to pay more than people elsewhere in the world to see live events, both directly for seats and indirectly in media rights.

Incidentally, that's the principal reason that bringing the FIFA (men's) World Cup back to North America in 2026 was not really a hard sell, notwithstanding modest public enthusiasm and the theater of the global bidding process. The 2026 co-hosts, the United States, Canada, and Mexico, likely did not even have to pay the half-billion dollars that Qatar apparently spent, mostly to FIFA executive committee members, in, uh, let's say, "incentives," in siting the 2022 World Cup (about my World-Cup-2022-contemporaneous lecture; Qatar on this blog): check out the investigative exclusive by Armin Rosen for Tablet (link from inset), published late last month, using U.S. court records in collateral matters.

Understandably, then, Relevant Sports wanted to maintain the momentum of the 2017 exhibition match. The company proposed that the Spanish La Liga subsequently might site a regular-season, full-stakes match in the United States. 

However, FIFA rules say that a match cannot be held in a country foreign to both sides without the approval of the football federation in the host country. U.S. Soccer said no.

Relevant sued, alleging that the rule improperly protects domestic football from being overshadowed, and therefore diminished in interest and income, by high-profile competitors. U.S. Soccer and FIFA defend the system on the merits under antitrust law, and, saliently in this intermediate disposition, argued that the FIFA "rule" is not really a rule, because FIFA doesn't make the decision for U.S. Soccer or La Liga. They're free to make their own decisions, notwithstanding potential adverse consequences, such as exclusion from international competition for players, teams, or federations that don't play ball.

The instant Second Circuit decision is limited. The court remanded the antitrust claim to proceed, recognizing that FIFA's rule is rule enough to represent the kind of concerted action in violation of antitrust law that Relevant alleges.

Earlier this week, I wrote about Cory Doctorow's enthusiasm, which I share, for the federal government's antitrust agenda—including the Justice Department investigation of Google. (I canceled my Google Nest Aware subscription upon the 25% rate hike. Google's not the only game in town. Yet.) U.S. Soccer's loss in the Second Circuit represents a judicial step in the same right direction.

I'm not an antitrust expert. But to my relatively lay eyes, the fact that the federal district court dismissed the case in 2021 on the faint theory that U.S. Soccer was not formally bound by FIFA's command demonstrates how appallingly far U.S. antitrust law has strayed from basic fair-market principles. Or maybe the court just didn't understand the governance system in world sport and its facility for subverting the laws of nations.

USWNT celebrates in times happier than this year's World Cup.
rachael.c.king via Flickr CC BY 2.0

The U.S. Soccer position in the litigation to me demonstrates furthermore a fundamental misunderstanding of what it will take to make football successful in America. American soccer advocates often wonder aloud why the sport seems to stall again and again, even after the men's World Cup in the United States in 1994 and the astonishing run of the U.S. Women's team in an unprecedented four World Cup titles.

To be sure, there are many, many reasons for the frustrating cycle of revving and stalling. But equally surely, one of those many reasons is the short-term greed of commercial actors that works a detriment to long-term development. 

I've written previously about this problem in the context of media rights. When NBC acquired the rights to English Premier League football, the broadcaster divvied up matches among its many media properties based on the popular appeal of each. NBC's strategy was to leverage interest in the league to sell separate subscriptions to multiple services: NBC, NBC Sports, (at one time, "NBC Gold,") Peacock, USA, Telemundo, Universo.

The network either didn't consider or doesn't care what that model looks like from the customer's perspective. Football in a place such as its home U.K. (at least before U.K. media companies such as Sky started merging with U.S. media giants and took sport away from the publicly minded BBC; that's another story) maintains a multi-generational foothold because supporters follow their teams.  

Divvying up the matches makes it impossible in the United States for a viewer to follow a team. Each week, one gets whatever match a selected service happens to carry, based on its level of market appeal.  If you subscribe to a middle-tier service and your team starts to lose, you might get more matches. If your team starts winning, and you start becoming more engaged, you find yourself suddenly deprived of matches.

That market behavior doesn't build a fan base. For American football or basketball, maybe there are enough viewers who will watch any game because they love the sport. But Americans don't yet love soccer that much. Sport-market development requires fostering two interrelated conditions at the same time: public enthusiasm for the sport, and public enthusiasm for a team. Neither can thrive without the other.

U.S. Soccer's refusal to permit La Liga to play a match on U.S. soil also is self-defeating, if for the converse strategic blindness. Both media rights usurpers and U.S. Soccer, focused on short-term profits, are dampening American enthusiasm by impeding U.S. viewers' access to the highest level of play in the world, in the Premier League and La Liga. While NBC's strategy deprives Americans of the opportunity to root for a team, the U.S. Soccer strategy deprives Americans of the opportunity to root for the sport.

Again, neither can thrive without the other.  U.S. Soccer is trying to protect Major League Soccer and the federation's underage and lower divisions. The federation reasons coldly that someone who buys a $500 La Liga ticket will skip five or ten $48 Tampa Bay Mutiny matches.

They're wrong. One of my U.S.-based family is a card-carrying member of the Toon Army, a dedicated supporter of Newcastle (U.K.) United FC. He traveled domestically to see Newcastle play an exhibition match in the United States this summer. Being a Newcastle supporter has made him a more, not less, enthusiastic supporter of his nearby D.C. United and the U.S. men's and women's national teams. With access to the matches of each, live and on TV, he's more likely to spend money on all of them.

Antitrust law is not a device to make commercial actors prioritize long-term interests over short. To the contrary, if NBC and U.S. Soccer put themselves out of business, that's a healthy outcome for the free market. But if antitrust inadvertently compels U.S. Soccer to up its game and compete for eyeballs by actually developing the sport, rather than constraining consumer choice, then that's an outcome I can get behind.

The case is Relevant Sports, LLC v. U.S. Soccer Federation, Inc. (2d Cir. Mar. 7, 2023). U.S. Circuit Judge Raymond J. Lohier, Jr.., wrote the opinion of the unanimous panel that also comprised Chief Judge Livingston and Judge Lynch. In 2017's "El Clásico Miami," Barcelona bettered Real Madrid 3-2.

KTAL: Federal judge started in TV at fresh-faced age 14

Age 16, Morris S. Arnold wields a TV camera in 1954.
Photo owned by Judge Arnold.

Senior U.S. Circuit Court Judge Morris S. Arnold appeared on KTAL-TV this week (embed below) talking about his youthful career in television.

KTAL started broadcasting in Texarkana, Ark., Judge Arnold's home town, in 1953, as KCMC, using the call sign of its sister radio station that had broadcast since 1933. Born in 1941, a young Judge Arnold was captivated by the newly prevalent medium. At age 14, he got his first job at the station, a go-for for election returns. Four to five decades later, the once TV go-for and camera operator earned a reputation for libertarian interpretation of the First Amendment.

Though, notwithstanding three decades on the federal bench, it's "just a regular ol' tort case, like a slip and fall," in diversity or supplemental jurisdiction, that gives Judge Arnold the "most joy," he told the Arkansas Democrat-Gazette in a 2013 profile.

A polymath, Arnold—full disclosure: a cherished friend—studied engineering and classics and had an illustrious academic career before his appointment to the federal bench. With an S.J.D. from Harvard University, he served, inter alia, as professor and dean at the Indiana Maurer Law School and as a vice president and law professor at the University of Pennsylvania. President Ronald Reagan appointed Arnold to the district bench in his home jurisdiction of western Arkansas in 1985, and President George H.W. Bush appointed him to the Eighth Circuit in 1992.

Judge Arnold
Wikimedia Commons

Now on senior status, Judge Arnold still hears cases and occasionally writes opinions. But retirement from full-time service on the bench afforded him time to return to his passion for history. In the 2010s, he cleared his desk of works in progress with a series of articles for the quarterly journal of the Arkansas Historical Association. Here are his most recent five:

• Barthélémy Dit Charlot, a Colonial Arkansas Métis and Voyageur (2015);
• François Ménard, a Colonial Arkansas "Marchand" and "Habitant" (2015);
• Colonial Arkansas Women (2017);
• The Soldiers of Spain in Colonial Arkansas (2018); and
• The Quapaws and the American Revolution (2020).

The latter, a fascinating insight into the conflicted and delicate position into which the Revolution cast indigenous leaders in America—I caught up on my reading earlier this summer—was especially well received in critical circles.

Judge Arnold is the author of five books on American history in the once territory of the Louisiana Purchase, and he is a co-editor of Arkansas: A Narrative History (2d ed. 2013). The most critically acclaimed of Judge Arnold's books is the oft cited Rumble of a Distant Drum: The Quapaws and Old World Newcomers, 1673-1804 (2000), also focused on the Quapaw.

But the top Arnold book for me is The Arkansas Post of Louisiana (2017). When I visited Judge Arnold in the spring, he said he is most proud of The Arkansas Post because it was a collaboration with Gail K. Arnold, the judge's wife, who provided photographs and edited illustrations. As a veteran Arkansas hiker, I immensely enjoyed visiting the Arkansas Post National Memorial many years ago, armed with Judge Arnold's earlier writings on frontier settlement and the colonial period.

Judge Arnold's work on legal history is featured in my fall Torts class annually, as his 1979 law review article on the origins of common law is excerpted in my textbook, Tortz: A Study of American Tort Law, volume 1 (Lulu, SSRN 2023). In Accident, Mistake, and Rules of Liability in the Fourteenth-Century Law of Torts, Arnold challenged the conventional wisdom of the renowned Oliver Wendell Holmes, Jr., who had posited that modern culpability doctrine was the achievement of a gradual common law evolution dating to medieval England.

It's often struck me that Judge Arnold has earned a remarkable legacy in both author and subject indices of historical research.

UK orders commission to study women's football; rising TV prices warn of commercial monopolization

Karen Carney in 2019
(James Smed CC BY 2.0 via Wikimedia Commons)

The UK has announced "an in-depth review into the future of domestic women’s football" and appointed the decorated footballer and today commentator Karen Carney MBE to chair.

In the United States, this year marked the historic equal pay settlement for the blockbuster Women's National Team (USWNT). And in the UK, England hosted and won the 13th UEFA Women's Euro 2022, delayed two years by the pandemic, in a nail-biter over Germany.

Though to say women's football is coming into its own is an assertion decades late, just as it is decades early to say that women's football has at last been afforded parity with men's in social and commercial recognition.

The UK announced three points of focus for the review:

[1] Assessing the potential audience reach and growth of the game—by considering the value and visibility of women’s and girls’ football in England, including the potential to grow the fanbase for women’s football and whether current growth still supports home-grown talent and can be achieved without overstretching infrastructure.

[2] Examining the financial health of the game and its financial sustainability for the long term. This will include exploring opportunities and ways to support the commercialisation of the women’s game, broadcast revenue opportunities and the sponsorship of women’s football.

[3] Examining the structures within women’s football. This includes the affiliation with men’s teams, prize money, the need for women’s football to adhere to the administrative requirements of the men’s game; and assessing the adequacy, quality, accessibility and prevalence of the facilities available for women’s and girls’ football for the growth and sustainability of the game.

The UK does have already a system for youth development in women's football that looks sophisticated from the U.S. vantage point. Carney is a case in point. Even in the 1990s, Carney came up through the ranks of Birmingham City since age 11. She became one of England's top capped players, scoring 32 goals for the national side from 2005 to 2019.

After three years at Arsenal, in 2009, Carney moved to the United States to play for the Chicago Red Stars, a team then affiliated with the Women's Professional Soccer league (WPS). The WPS was a short-lived installment in the fits and starts of women's pro soccer in the United States. The league collapsed after scarcely a year. Carney returned to England in 2011 to play for five years again for Birmingham City, then three years for Chelsea.

Today, Carney comments on both men's and women's football for Sky Sports and Amazon Prime. The Chicago Red Stars play today as part of the National Women's Soccer League.

Sky, like NBC in the United States, is a division of Comcast. The anti-competitive bundlings of these interrelated companies is making it unaffordable for viewers in the UK and in the United States to follow a team. I'm not sure how long UK viewers and regulators will tolerate the exploitation. Some Latin American governments have been increasingly ruffled about commercial efforts to make access to football a privilege of the elite. I've speculated that in the United States, NBC is effectively killing the goose that laid the golden egg. U.S. viewers will never commit to world-class Premier League football if they're given access only to different teams and lower priority matches week to unpredictable week.

Unfortunately, commercial development of the women's game presents the same conundrum. Commercialization in the priorities of the Carney review is presented as an undisputed good. To be sure, that's where the money is, and it will take money to bring the women's game to gender parity.

At the same time, there is evidence already in the United States that commercial success, ironically, invites audience exclusivity and, thus, narrows public appeal. USWNT television rights presently lie with ESPN and Fox Sports, both divisions of Disney. But Disney+ viewers won't find the USWNT there, nor in the Disney+/ESPN+ bundle, as "+" seems to be a number less than (ESPN)2 and (ESPN)3.

In March, US Soccer awarded USWNT and men's team rights together in an eight-year deal to HBO Max and Turner properties, all divisions of AT&T by way of WarnerMedia. An HBO subscription doesn't come cheap, and different Turner channels require subscription to different bundles.

With media empires now controlling access to football on both sides of the Atlantic, fans' budgets will be stretched thin, and appetite for allegiances to new endeavors, such as expanded women's football, might prove difficult to stir. If the women's game is to be kept from becoming a victim of its own success, the goal of commercialization should be viewed with a discerning eye, wary of monopolization.

A call for evidence in support of the Carney review is expected from the UK Football Association in the coming weeks. HT @ lawyer Paul Maalo, writing for the Wiggin digital commerce team in London.

NBC resists TV free market, overcharges U.S. viewers: PL football costs $20 in Canada, $70 in United States

Each year, I become freshly enraged at the cost of seeing Premier League football in the United States, a ready example of antitrust non-enforcement in the communication sector.

The Sporting News had the audacity, or stupidity?, to describe NBC carriage of PL matches in the United States as a "luxury." I guess it is, a luxury only the rich can afford. To follow one's team, one must, at minimum, subscribe to NBC partner FuboTV for $70 per month. Access via FuboTV costs just US$20 per month in Canada.

The tangled cross-ownerships of what used to be broadcast TV are indicative of the dearth of consumer protection in the area. NBC "competitor" CBS (Viacom) owns a stake in FuboTV. The legacy broadcasters are using their weight in contracting power to lock down content in channel consolidators that emulate the old cable TV business model, by which consumers were compelled to overpay for a sliver of content in a library they didn't want. Hardly the free market promise of streaming.

But the FCC long ago left the helm unmanned on consumer protection when broadcasting gave way to cable. And the FTC and DOJ have had little interest in expanding their purview in times of corporate-captured governance. As usual, the United States purports to model free market capitalism in an oligopolized market that is anything but.

FuboTV in Canada at left, United States at right.
The package in Canada has fewer channels,
but if PL is all you want, that's not an option.

Star Trek's latest voyage to 'strange new worlds' charts a 'final frontier' evocatively close to home

"In Defense of Episodic TV," read the headline on a story by Associated Press journalist Ted Anthony last week about Star Trek: Strange New Worlds, Paramount's serialized prequel to Star Trek's 1960s Original Series.

Author of Chasing the Rising Sun (2007), the intriguing biography of a classic American song, Anthony lauded Strange New Worlds for what might seem like its mundanity (e.g., Miami Herald):

Members of the Enterprise crew on “Strange New Worlds” are living their lives. They’re doing their jobs, even when their jobs really suck—like when they lose one of their own or are under attack. Like us, they find themselves in different moods from episode to episode, from scene to scene. They’re silly one moment, crisp and efficient the next, emotional the next and then, maybe, silly all over again. It all feels more like the cadence of actual life than one of these deep dives into a single, relentless story arc.

I second Anthony's paean. Strange New Worlds is a peculiar joy. In its return to the episodic formula of the 20th century Original Series and Next Generation, and, indeed, a classic television formula that has given way to the predominance of the season arc in the streaming era, showrunners Akiva Goldsman and Henry Alonso Myers have reinvigorated the incomparable capacity of science fiction to comment critically on the real world through a veil of analogical fantasticism. Such was the original vision of Star Trek creator Gene Roddenberry (on this blog).

Strange New Worlds episode 5, "Spock Amock" (released June 2, 2022), beautifully exemplifies the episodic approach. (Plot details, but no story-end spoilers, follow.)

Paramount invested lavishly in Strange New Worlds, and it shows in elaborate sets and stunning special effects with epic space battles. "Spock Amock" subtly exhibits this investment, but action and suspense are not at the heart of the episode. Rather, "Spock Amock" is a deceptively low-key human interest story unfolding as the Enterprise crew go on shore leave. Frankly, such stories usually turn me off because, in the streaming era, they are the product of lesser writers seeking to fill time in unnecessarily multi-episode productions. That's not what's happening here.

This story by Myers and Robin Wasserman comprises three discrete lines. In one, Spock (Ethan Peck) and his fiancée T'Pring (Gia Sandhu) wrestle with a sometimes mildly comical Freaky Friday flip of consciousness; Number One (Rebecca Romijn) and Lt. Noonien-Singh (yes, she's related) (Christina Chong) investigate a ship disciplinary matter; and Captain Pike (Anson Mount) and Spock/T'Pring negotiate a treaty with frustratingly obstinate alien leaders. Without giving too much away, the striking theme that unifies all three story lines, in the end, is, simply, empathy. By interacting with the unknowable ways of other beings, every character is compelled to look inside her or his own mind, own character, and thereby to grow in the capacity to see the world from a different perspective.

The Enterprise never leaves space dock in "Spock Amock." Yet perhaps better than any other, the episode exemplifies her mission, to explore the strange new worlds of the final frontier. For it always has been true of Star Trek since its opening sequence first aired in 1966:

The final frontier is us.

Qatar drops beIN sport piracy claim as World Cup nears

Sideline interview with beIN
(Ronnie Macdonald CC BY 2.0 via Flickr)

Qatar withdrew its complaint in April in the World Trade Organization against the Kingdom of Saudi Arabia (KSA) over piracy of Qatari beIN Media Group sport broadcasts.

I wrote about this dispute in May 2020. A pirate outfit cheekily called "beOutQ" was rebroadcasting beIN content in the KSA without a copyright license. Riyadh disclaimed responsibility. But there was little doubt that the Saudis at least looked the other way, if not sponsored the piracy, as the two nations were locked in a tense diplomatic standoff and Qatar was isolated by a regional embargo. Read more background from James Dorsey.

Now World Cup 2022 in Qatar is focusing global attention on the Middle East. Neither nation stands to gain from negative publicity, least of all heightened attention to human rights issues (see Dorsey this week), so Qatar and the KSA are trying to work past their differences. They both joined a statement of the Gulf Cooperation Council signed at al-Ula after a summit in January 2021 (Middle East Institute analysis), and they have been working through the implications since. BeIN has broadcast rights to the World Cup, so setting to rest that piece of the dispute made the agenda.

Alyssa Aquino wrote further analysis of the Qatari withdrawal of the WTO complaint for Law 360 in April. The matter in the WTO was No. WT/DS567/11 (terminated Apr. 25, 2022).

Breyer's tastiest torts, Disney's perspective problem play Paramount late night with Colbert, Noah

Late Show monolog mock-up

On Wednesday, Paramount's late-night television kindly obliged my classroom teaching with two legal references, one fit for my Wednesday torts class, and another for my Thursday comparative law class.

First, a gift for Torts II students, from Stephen Colbert: In a monolog on the retirement of Justice Stephen Breyer, Colbert on The Late Show with Stephen Colbert played on the word "torts" to joke about Justice Breyer's stated intention to refine his cooking skills in retirement.  "From Torts to Tarts," Colbert said (cue 2:31), suggesting a name and mock cover for a forthcoming Supreme Cookbook.

The U.S. Supreme Court of course does not often deal directly with torts, or civil wrongs, which are mostly matters of state law in the United States.  It's often a source of misunderstanding for foreign lawyers and new American law students who must learn that SCOTUS is not "the highest court in the land" (even besides that one) when it comes to torts.

 

That said, a good deal of tort law finds its way to the federal high court on all kinds of paths.  Federal courts routinely apply state law in multi-district litigation, including mass tort claims, and in matters involving both federal and state claims.  State tort claims can become mixed with federal questions in problems of constitutional defenses and preemption.  Federal "common law" persists in places of original federal jurisdiction, as in maritime matters.  And the trial of civil wrongs recognized in federal law, such as civil rights, can borrow the "machinery" of state tort law, both procedural, as in application of a statute of limitations, and substantive, as in apprehension of proximate causation.

For Law360, Emily Field and Y. Peter Kang yesterday detailed six must-know Breyer opinions in product and personal injury liability.  These are their six cases (with links to Oyez), which they flesh out in the article (subscription required). 

• Due process / civil procedure / personal jurisdiction: J. McIntyre Machinery, Ltd. v. Nicastro (U.S. 2011), denying state personal jurisdiction for less than minimum contact by British machine manufacturer that marketed its product in United States (Breyer, J., concurring, joined by Alito, J., in plurality opinion of Kennedy, J., in 6-3 decision)
• Due process / punitive damages / product liability: Philip Morris USA v. Williams (U.S. 2007), holding that federal constitutional due process precludes a state punitive damages award predicated on injury inflicted on non-parties, i.e., even like injury on persons like the plaintiff, but not before the court (Breyer, J., for the 5-4 majority, joined by Roberts, C.J., and Alito, Kennedy, and Souter, JJ.).
• Preemption / product liability / warning defect: Merck Sharp & Dohme Corp. v. Albrecht (U.S. 2019), holding that FDA regulatory decision might or might not preempt state warning defect claim, and question is one of law for the court (Breyer, J., for the majority, in part unanimous, in part 6-3, joined by Ginsburg, Gorsuch, Kagan, Sotomayor, and Thomas, JJ.).
  
• Preemption / product liability / design defect: Williamson v. Mazda Motor of Am., Inc. (U.S. 2011), holding that flexible federal regulatory standard did not preempt state claim against automaker (Breyer, J., unanimous decision).
• Evidence / experts: Kumho Tire Co. v. Carmichael (U.S. 1999), extending test for admissibility of scientific evidence to other technical expertise (Breyer, J., unanimous decision).
• Arbitration / class action: Green Tree Financial Corp. v. Bazzle (U.S. 2003), leaving to arbitrator to decide whether to permit class action when arbitration agreement was silent on the question (Breyer, J., for a plurality, 5-4 decision, joined by Ginsburg, Scalia, and Souter, JJ., and Stevens, J., concurring).

The article is Emily Field & Y. Peter Kang, 6 Breyer Product, Personal Injury Opinions Attys
Should Know, Law360 (Jan. 27, 2022) (subscription required). 

Second, a gift for Comparative Law students, from Trevor Noah: On The Daily Show with Trevor Noah, Noah reported on actor Peter Dinklage's criticism of Disney's planned live-action reboot of Snow White and the Seven Dwarves (1937).  There have been other versions; the story is derived from fairy tales that were included in the first Grimms' in 1812.  Dinklage, who has dwarfism, wondered at the inconsistent wokeness of casting Latina actress Rachel Zegler as the lead, while continuing to work with a story about "seven dwarves living in a cave."

While acknowledging Dinklage's objection as legitimate, Noah admitted, "I've never watched Snow White and found the dwarves offensive.  All right?  But I do understand what he's talking about.  I genuinely do.  Because if that movie was called 'Snow White and the Seven Blacks,' I mean, that would be weird."

Noah's take nicely illustrates one dimension of the perspective problem in social research, and it's especially salient in comparative law.  Like Noah, I never thought about the seven dwarves as an insulting characterization of people with dwarfism.  But after hearing Dinklage's perspective from within the dwarfism community, I can perform a "mental rotation" (to use the psych term) and empathize.

The problem when researching law and society in an unfamiliar context, whether it's a shared physical condition, a religion, or a political state, is that my perspective is shaped by my own limited experience in ways that I might not even be conscious of.  The perspective problem can never be entirely eliminated in social research, but it can be mitigated.  It's helpful to think consciously about one's perspective to gain some cognizance of the limitations of one's research.

As to the Seven Dwarves of fairy-tale fame, Disney announced that it is "taking a different approach with these seven characters and ha[s] been consulting with members of the dwarfism community."  I look forward to what creative minds will yield.

Incidentally, in the same Daily Show, Noah did an excellent piece on insider trading in Congress.  Just last week I noted a publication on the subject by Spencer K. Schneider, a former teaching assistant of mine.  I added a video embed from Comedy Central to the bottom of that post.

Netflix's 'The Chair' satirizes academic politics with troubling truths of contemporary campus culture

Netflix's The Chair is an enjoyable six-episode sit com on the absurdity of academic politics in American higher education today.  The show was created and written by Amanda Peet and stars Sandra Oh (Grey's Anatomy, Killing Eve) as the perpetually embattled chair of the English department at a small elite college.

In one storyline, reminiscent of Scott Johnston's Campusland (2019), well meaning professor Bill Dobson (Jay Duplass) is pilloried for a mock Nazi salute, turned into a social media meme, in a class lesson on fascism and absurdism.

Comedic parody derives its beauty, of course, from its grain of truth.  Dobson's predicament is precisely one reason I have resisted routine video lecture capture.  Humor has pedagogical value, but one remark out of context is a brewing tempest in a teapot.  The risk might be worthwhile if teachers could have confidence in academic freedom.  But they can't and don't.

As depicted in the show, university administrators obsessed with appearances and virtue signaling to the near exclusion of educational mission and pedagogical merit relish any opportunity to sacrifice an iconoclastic academic to the maw of groupthink.  No shackles of investigation or professional integrity can be permitted to slow the rush to condemnation.

Jay Duplass (Peabody Awards photo CC BY 2.0) 

Fictional Professor Dobson defends himself to the dean: "I’m tenured.  You can’t constrain my actions in my own classroom or my speech on this campus unless I’m in violation of the faculty code of conduct.  Which I’m not."

But there's the rub: arguably, he is.  An administrator at my university has enforced against faculty the university system's "Principles of Employee Conduct." The vague principles require faculty to "accord respect" to all persons and "to accept full responsibility for their actions."

If those terms were read in accordance with others—"foster forthright expression of opinion and tolerance for the views of others"—then no problem.  But if administrators are willing to read dissent, whistle-blowing, and classroom provocation as disrespect, which they are, faculty have no real recourse.  As I wrote more than a decade ago, and others periodically observe, tenure protection grounded in procedural due process is an empty promise in practice, and courts routinely abstain from recognition of any substantive academic freedom.

Faced with dismissal proceedings, Dobson reluctantly resorts to a lawyer in the final episode of the first season.  No spoilers.

The Chair is enjoyable mostly for the comedy.  But it delivers as well periodic gems of thought-provoking truth, besides the sad state of academic freedom: the need for critical reexamination of historical subject matter and diversification of faculty perspectives, without sacrificing academic integrity; the fate of classical studies in the age of impatience; university budget cuts to unremunerative liberal arts; the personal and professional challenges of growing old amid fast-paced social evolution; and what can or should be done today to remedy past social and economic injustices of race and gender.

When the father of our protagonist Ji-Yoon Kim criticizes her work-life imbalance, an aggravated Kim retorts, "What promotion means you don't have to work as much?!"

A story for our times.

Also among the outstanding cast are Nana Mensah (Queen of Glory, King of Staten Island) and the ageless Holland Taylor.  Sophie Gilbert at The Atlantic liked it too.  HT @ Prof. Irene Scharf.

Arts school awards BFA to creative talent in film, TV; 'Schitt's Creek' creator Levy says, 'follow through'

Last week, my daughter was awarded a well earned bachelor of fine arts degree by the film and television program at the Savannah College of Art and Design.  Look forward to shameless promotion of her future projects on this blog.

Dan Levy
(Vogue Taiwan CC BY 3.0)

The commencement speaker was Schitt's Creek creator Dan Levy.  He told graduates:

[F]ollow through. That’s the greatest advice I could give because so few people actually do it....  If you’re a writer and you want to write a book, or a book of poetry, or a television show, or a movie and it gets a bit daunting and intimidating and you get that writer’s block, don’t give up on it. Because at the end of that experience, you will have something....  Ninety-nine percent of the people out there have all the ideas in the world but never follow through on it. So if you are that person, that can walk into a room with something, some expression of your creativity that you have completed, you are so far ahead of a lot of people.

I always wanted to have a blog.

Covid court backlog, solved: 'Night Court' returns

I've been reading about how courts are struggling to overcome coronavirus backlogs in their caseload.  To me, the answer is obvious.  I saw it on TV.

Anderson, 1987
(Alan Light CC BY 2.0)

Created by writer Reinhold Weege after his Barney Miller wrapped up, Night Court (wiki) ran for 193 episodes over nine seasons on NBC, from 1984 to 1992, a hit by any measure.  Harry Anderson, who passed away in 2018, managed the underbelly of New York criminal process as Judge Harry T. Stone.

Night Court launched many ships.  If already 10 years into his acting career, John Larroquette became a household name as deadpan prosecutor Dan Fielding.  Selma Diamond is unforgettable as gruff bailiff Selma Hacker, even though she appeared only in the first two seasons, passing away in 1985 at age 64.  (Read more about her at the Encyclopedia of Jewish Women.)  A parade of guest stars passed through Judge Stone's Manhattan courtroom, including some who went on to greater notoriety, such as Michael Richards, Seinfeld's Kramer, and Brent Spiner, Star Trek's Data.

"Night court" is a real thing, here and there, in the United States, not just in Manhattan.  Like in the TV show, night courts specialize in preliminary criminal proceedings, namely arraignment.  The courts don't run through the night, but after hours, Manhattan's wrapping up around 1 a.m.  Many jurisdictions have found night courts efficient to handle arraignments on drug charges or to settle minor matters, such as outstanding misdemeanor warrants, for people whose life challenges will be compounded if they're forced to get to court during the usual workday hours.  How many times have I complained that the retail counter of the post office should be open at night, when people have time to wait in line?  Though for obvious reasons, night court doesn't work as well for American jury trials. 

Rauch, 2013
(Dominick D CC BY-SA 2.0)

Night Court should be one of those sitcoms that doesn't stand the test of time.  Its humor seems to me pretty specific to the cultural moment of the 1980s.  Nevertheless, Night Court stuck around over the years in cable reruns, and, lately, with retro content pouring into streaming services and being discovered by new audiences, the show has earned its own little niche as a cult classic.  The real Manhattan night court has been a real thing since 1907, according to the New York Post, but in recent years, in part thanks to a listing in the Lonely Planet, the Manhattan night court has become a tourist attraction, appealing to visitors from around the world.

Whether real night court might help unjam our covid court backlog, I don't really know.  But TV Night Court might be getting a new lease on life.  According to a Deadline exclusive in December 2020, Melissa Rauch, The Big Bang Theory's Bernadette Rostenkowski, was a fan of the original in her New Jersey childhood and pitched a reboot to NBC.  Rauch is now set to executive produce the new show, which will feature "unapologetic optimist" Judge Abby Stone, daughter of the late Harry.  John Larroquette is lined up to return as an older and wiser Dan Fielding.

See America in black and white

13th Amendment

With the imprimatur of federal law, today is National Freedom Day, celebrating the day that President Abraham Lincoln signed the joint congressional resolution proposing the 13th Amendment in 1865.  Congress passed the proposal the preceding day, and it was ratified on December 6, 1865.  Today also is the first day of African-American History Month.

With my comparative law class recently, I had the occasion to visit a classic treatment of race in Star Trek's original series.  We were studying "the perspective problem" in comparative research, which refers to the way a legal system (any social system) can look one way when studied by someone within it, and a different way when studied by an outside observer.

There's a scene in the 1969 episode "Let That Be Your Last Battlefield" (s3e15) that's been talked about for half a century even by social commentators outside science fiction and entertainment communities.  The theme of the episode is almost cliché insofar as it typifies the tendency of Star Trek creator Gene Roddenberry and 1960s showrunner Gene L. Coon to employ heavy-handed metaphor to effect social comment.  Still, the story is effective.

Gorshin with Lou Rawls in 1977
(Orange County Archives CC BY 2.0)

What cliché might have diminished was restored and then some by ferocious performances in Frank Gorshin (Bele) and Lou Antonio (Lokai).  Gorshin, who continued acting right up until his death in 2005, was already a well known villain to TV audiences in the 1960s, as Adam West Batman's Riddler.  Antonio had recently played chain-gang prisoner Koko in Cool Hand Luke (1967).  He followed up Star Trek with a four-decades-long career in TV directing that ranged from The Partridge Family and Rockford Files to legal classics Picket Fences, Boston Legal, and The Guardian, not to mention one West Wing.

The first scene below sets the stage; you only need about the first two minutes.  I'm sorry that CBS has labeled it inappropriate for children, so you have to open a new window to watch it.  I rather disagree; I recommend the clip especially for children, especially now, part of an essential diet of dialog about race and America.

The second scene below delivers the pièce de résistance.  I won't spoil it, in case it's new to you.

For social context, this Star Trek episode aired in January 1969.  Martin Luther King Jr. had been assassinated only nine months earlier.  While this episode aired, student protestors were occupying buildings at Brandeis University; they renamed them "Malcolm X University" and demanded the creation of an African-American studies department.  Stonewall, the moon landing, and Woodstock followed in the celebrated summer of '69.

Happy National Freedom Day.

'For the first time, we're seen as we should be seen,' Martin Luther King Jr. told Star Trek's 'Uhura'

Prepping the spring semester when classes start the day after an involuntary furlough is prone to put a particular professor perpetually a week behind.  So forgive me for belatedly marking Martin Luther King, Jr. Day, which fell this year on Monday, January 18. Or we can say this is a more timely commemoration of yesterday's World Day for African and Afrodescendant Culture.

Of all the things one could relate about the legendary Dr. King, Nichelle Nichols (IMDb, PBS), Star Trek's original Lt. Uhura, has the very best story.

That's from the 2011 documentary, Trek Nation (IMDb, Amazon).  She told the story also to the Television Academy Foundation in 2019.

'Horace and Pete' captures American moment

In our fast-paced platinum age of TV, a show foregone is too often vanished in the void, maybe a gem to be unearthed by a future socio-archaeologist, maybe a treasure committed to eternity.  Subsisting with this embarrassing extravagance, I watch as much TV as humanly possible.  Last week, I wrestled a prize from the gravity of evanescence.

The Harvey Weinstein allegations splashed across the internet in 2017.  "Me Too" got a hashtag, and so many of our screen stars were plucked from reverence that it wasn't easy to keep track of who was on the outs and whom we still could watch.  Relative qualitative assessment of sin was not a lawful plea.  Hollywood was blanched in black and white, and the implicated were expeditiously expatriated.  Here, certainly, I'm not meaning to diminish #MeToo, nor to opine on the merits of any accused, but only to observe the outcome.

Comedian Louis CK was out.  He already had been grist for the rumor mill, and then ugly accusations surfaced.  King Louis was deposed before the curtain closed on 2017.  He had not been a favorite of mine anyway, so, to be honest, I barely noticed.

Edie Falco in 2009

(Photo by David Shankbone CC BY 3.0)

So there were a lot of reasons why I, and a lot of people, missed Horace and Pete (short trailer below, from Hulu via YouTube).  CK created, wrote, directed, and starred in the series in 2016.  It was a 10-episode television drama, sort of.  Really it was an experimental web series.  It was experimental in how it was made, a budget crowd-sourcing operation that filmed, episode to episode, only as funding goals were reached.  CK sought both to pioneer a democratic model for making online TV and, with full transparency, to publish the model so that others could do it, too.  That business model didn't work out.  But A for aspiration.

The show also was experimental for what it was: a TV show, on a set, yes.  But through scene structure, stage direction, blocking, cuts (or lack thereof), and especially dialog, the show exudes the intimacy of a live stage play, and every viewer has the best seats.  Sometimes the actors make mistakes, let slip a sly smile, or trip over a line, but the camera carries on.  Longer episodes even have an "Intermission"—the word burns for a minute, white type on a black screen, suggesting that sets and costumes are changing behind the electronic curtain.  One is given the impression that crowd-sourcing doesn't swell the budget for endless takes and post-production wizardry.  The ultimate effect is to make the viewer feel like an insider in the conceit of the art.

And art it is.  CK stars as the eponymous Horace, owner of a rundown Brooklyn bar, Horace and Pete's, and its apartment above.  The bar survived the 20th century as the inheritance of generations of Horaces and Petes.  Now, a hundred years on, the bar, and the family, might have entered their coda.  The script bears ample evidence of CK's signature wit, droll style, and sardonic frown.  But the story is thoroughly a tragedy.  In the distinctively American tradition of Death of a Salesman, Horace and Pete is unrelenting with its occasions for despair, and yet, somehow, manages to illuminate the silver linings of family, loyalty, and love.

Alan Alda

(Photo by UT Moody College of Communication CC BY-SA 2.0)

CK the star might be the least compelling actor of the principal cast, and that seems to be exactly his plan.  The show is sumptuously star studded, and CK wrote for himself a central yet characteristically subdued role that serves to intensify others' shine.  As Horace's sister, Sylvia, Edie Falco does her most moving work since The Sopranos.  As present-generation Pete, the abundantly accomplished Steve Buscemi has done nothing else quite like this to date.

As the elder "Uncle Pete," the incomparable Alan Alda turns in a career-capstone performance, the omega to the broken-protagonist alpha of Goodbye, Farewell, and Amen, 33 years before.  Jessica Lange brings elegance to the dispirited surviving love interest of an elder Horace, and Aidy Bryant is incandescent as the aggravatingly unforgiving estranged daughter of CK's Horace.

The cast is rounded out with a stunning breadth of stand-up talents, often offering edgy and well-tuned comic relief, who take turns as bar flies.  The list is too long to give it its due, a who's who of contemporary American comedy.  So I'll mention only my favorites: Steven Wright and Kurt Metzger banter throughout the series.  Amy Sedaris, Michelle Wolf, and Colin Quinn get an episode each.  And there are cameos, too.  Mayor Bill de Blasio drops in the bar as himself, and magician David Blaine tries to trade a trick for a drink.

CK with a Peabody in 2013
(Photo by Anders Krusberg
/Peabody Awards CC BY 2.0)

Horace and Pete earned some critical acclaim before it dropped off the radar.  It won a Peabody Award in 2016 "[f]or a truly independent and groundbreaking demonstration of how quality television is expertly done in the new media environment, all the while building upon decades of artistry and craft."  And then there was 2017.

The show might be rising the recommendation ranks at Hulu now because CK spent 2020 at hard labor on the rehabilitation road.  Again, I'm not opining on the appropriate consequences for, or redemption eligibility of, a #MeToo offender.

The fact that I cannot escape is that too many people gave too much and worked too hard on Horace and Pete, and the sum of what they made is too valuable, to write it off.  Label it with whatever disclaimers one must, #MeToo and financial failure.  Amid our transition from broadcast frequencies to the electronic multiverse, Horace and Pete nevertheless represents a pivotal moment in cultural creation and a searing snapshot of the American condition.

'Oh, the lawyers'

From A Late Show with Stephen Colbert, Nov. 12, 2020: Stephen thanked everyone who made 1,000 shows possible.

Shop Shatner and don't ask too many questions

William Shatner, 2016 (Gage Skidmore CC BY-SA 2.0)

I'm a pretty big William Shatner fan.  James T. Kirk was my favorite TV captain in the 1970s.  TJ Hooker was my favorite TV cop in the 1980s.  And Denny Crane might have been one of my favorite TV lawyers in the 20aughts, except that Alan Shore already was, and you can't have two from the same show.

The occasional troubling this or that surfaced about Shatner's personal life.  There were stories about how nobody liked him.  But I persevered.  A lot of people don't like me, either.  And I'm perfectly delightful.

It's especially disconcerting, then, to have come across the bizarre bazaar called "the William Shatner Store."  An odd array of items is on offer, from Shatner's science fiction books, naturally, to a Star Trek The Original Series Mood Rock Light, reduced to half off at $40, to "Mr. Shatner's Broadcasting and Cable Hall of Fame Award," only $1,899.00.  

Items are nicely cross-referenced by various variables, including show, so I eagerly looked up Boston Legal.  There are only four items there, all props from the show, wall-hanging-like awards and certificates, such as "Judge Leslie Bishop Judicial Performance Review Certificate": framed and now marked down from $169.95 to a tantalizing $99.95.

I couldn't abolish from my mind the image of Denny Crane relieving a Hollywood law-office set of its miscellaneous detritus on the last day of filming, much like my kindergarten teacher let us take home the leftover Play-Doh at the end of the school year.

It would make me more comfortable to think that Shatner has no involvement in the management of the Shatner Store.  Maybe it's run by his grandkids, to make a buck, a contemporary Hollywood equivalent of a lemonade stand.  Or maybe it's a distressed plea, in the manner of a GoFundMe page, to raise money for the eldercare of an aging legend.  

Alas, those scenarios seem not to be the case.  The odd Sky headline that led me to the Shatner Store evidenced hands-on management by none other than the main man.

You would think we would learn to separate our favorite fictional characters from the people who play them.

My first-ever favorite TV lawyer, and maybe still my overall no. 1, was Samuel T. Cogley, who represented James T. Kirk and was played by the prolific Elisha Cook Jr. (1903-1995).  If you know anything about him that I would not want to know, please keep it to yourself.