Posts filed under Labor in the Arts

The Good Wife Is Not Good Law

We applaud the CBS show, The Good Wife, for bringing labor law to prime time and creating a riveting story about worker solidarity in the face of an employer’s unjust actions.  However, from a labor lawyers’ perspective, the liberties the show took to neatly fit the story into its time slot was mind boggling! 

                  For those of you who missed The Good Wife episode titled “A More Perfect Union,” [http://www.cbs.com/shows/the_good_wife/episodes/212026/] here is a recap:  a lawyer (Alicia Florrick played by Julianna Margulies) is asked to review an employment contract for coders employed at a software development company.  According to the employer, the coders have 48 hours to review the contract, sign it, or be fired.  The contract required the coders to work 18 hours shifts and could not file suit.  A group of coders do not like the terms and ask the lawyer to help them negotiate the contract                  

During a meeting (lawyers for both sides and a group of coders were present), the employees’ lawyer requests overtime pay for work over 60 hours a week, performance based bonuses, and criteria for just cause.  The employer responds by turning over termination letters for each coder and remarks “we are looking for artists, not employees.”     

                  During the commercial break, an associate must have remembered the National Labor Relations Act (“NLRA”).  The employees’ lawyer advises the employees: “they can’t fire you for saying you are forming a union.”  The lawyer (wrongly) interprets this to mean that the employees must have considered forming a union in order to enjoy NLRA protection.  It is clear from the story so far that the employees had not considered formal unionization, but they did act in concert to confront management with concerns about terms and conditions of their employment.  The latter is protected activity under the NLRA even absent a union or an organizing drive.  Learn more about “protected concerted activity” under the NLRA:  http://www.nlrb.gov/concerted-activity.

                  After another commercial break, the action moves to a National Labor Relations Board (“NLRB”) hearing room before an Administrative Law Judge (“ALJ”).  The show dispenses with such technical formalities as the actual filing of a representation petition or unfair labor practice charge, the notice period for a hearing and efforts to negotiate an election agreement.  The ALJ serves as comic relief --  “Call me Rod!” -- as he fumbles and explains how he is new to the bench.  The employees’ lawyer seeks to enjoin the termination, and wants to “lay the groundwork for the defense.”  In a real NLRB proceeding on an unfair labor practice charge, a Board attorney prosecutes the case and the ALJ is a commanding presence in the hearing room.

                  The hearing miraculously concludes in one day.  Typically, a hearing lasts more than one day as witnesses are presented and cross-examined, documents are introduced and finally, briefs are submitted.  Here, the ALJ rules from the bench and finds that there was concerted activity and that the employees must vote on whether they want a union.  He then orders that the election be held in 24 hours!  Under the NLRB Rules, a directed election (usually issued by a Regional Director of one of the NLRB’s Regional offices) cannot be held prior to 25 days after the direction or 30 days after.  The show also disregards all the standard election procedures, such as the employer’s provision of the voter eligibility list (the Excelsior List) and the mandatory day review period (minimum of 10 days), the election notice posting period, the designation of observers, etc.  A detailed schematic of the election process can be found at the NLRB website:  http://www.nlrb.gov/nlrb-process.

By forcing an election within 24 hours, meetings with employees are likely to trigger the “Peerless Plywood” rule prohibiting meetings of amassed employees within 24 hours of an election.  The election campaign period is supposed to be one maintained under laboratory conditions so employees are not unduly influenced or coerced in choosing whether or not to elect a union. Nevertheless, in the show, the 24 hour period still allows sufficient time for plenty of employer shenanigans including the termination of a couple of swing voters, and the granting of company shares to an employee converting her into a part owner.  Somehow the lawyers are able to get in front of the ALJ in sufficient time for the election to have these issues resolved.  Under normal procedures, the parties would either file an unfair labor practice charge, or await the outcome of the election and file within 7 days an objection to the conduct of the election in hopes of having the election results overturned because the process was tainted.  It is also possible that the terminated employees could have attempted to vote and those ballots could have been challenged.  Under general standards, these employees would still have been allowed to vote as long as they were still employed as of the payroll eligibility cut-off date that was agreed upon, or directed, when the election terms (including voting times, location, number of observers) were set.  The granting of shares to an employee immediately prior to an election would likely be objectionable as an impermissible promise of benefits to sway a voter.

                  Instead of having the ballots counted that same day at the polling place, the ALJ is called upon to count the votes and he announces that a majority of the votes is cast in favor of the union.  Success!  But wait…the employer’s lawyer rises and states that since another company purchased the software company’s intellectual property, it is no longer the employer and cannot negotiate with the union.  Plus, the employees are out of a job anyway.  End scene.

                  As entertaining as the plot line was for “The Perfect Union,” real life union elections and organizing efforts are even more compelling as workers join together to improve their terms and conditions of employment and challenge their employers to pay fair wages and provide benefits. Feel free to contact us if you would like more information about how to organize your workplace, prepare for a union election or challenge the unfair or illegal actions of your employer!

Posted on July 20, 2013 and filed under Labor in the Arts.

Entertainment Guilds Identify Hot Topics and Trends for 2013

Partners Hope Pordy and Adrienne Saldaňa served as Co-Moderators for a presentation by representatives of various Entertainment Guilds before the Entertainment Law Committee of the New York City Bar Association (February 11, 2013). The Panelists included: Ann Burdick, Senior Counsel, Writers Guild of America-East (“WGAE”); Thomas R. Carpenter, Eastern Regional Director/Assistant Executive Director/General Counsel, Actors Equity Association (“Equity”); Samantha Dulaney, In-House Counsel, International Alliance of Theatrical Stage Employees (“IATSE”); Tino-Gagliardi, President, Associated Musicians of Greater New York, Local 802 (“AFM Local 802”); and Sarah Leah Tarlow, Assistant General Counsel, Screen Actors Guild-American Federation of Television and Radio Artists (“SAG-AFTRA”).  Spivak Lipton has served as counsel to these unions in various capacities.

The participating Guilds serve as the collective bargaining representatives for actors, writers, singers, recording artists, dancers, voiceover artists, puppeteers, stage employees, broadcast journalists, orchestral and recording musicians, arrangers and copyists in film, live theatre, television, and music venues.  The Panel discussed how their respective Guilds have continued to press industry employers for protections and fair compensation in connection with new media. The Panel also explained how they have expanded their organizing efforts to embrace a larger community of individuals employed in the entertainment industry, and adjust to technological developments impacting existing bargaining unit work.

The Panelists highlighted a number of recent organizing successes including the first ever collective bargaining agreements in the reality (non-fiction) television industry between the WGAE and reality/documentary television production companies (Lion Television & Optomen Productions).  The WGAE also won elections to serve as the collective bargaining representative for employees at Atlas Media and ITV Studios.

The recently merged SAG-AFTRA (3/30/12) expanded its scope of representation and secured a first-ever industry-wide agreement covering music video performers employed by any production company producing music videos.  The covered performers include dancers, actors, narrators, singers, models and stunt performers. Choreographers and assistant choreographers will also be eligible for health and retirement contributions under this agreement. SAG-AFTRA also won an election in January 2013 to represent employees (reporters, producers, show hosts and news anchors) at the public radio station KPCC in Los Angeles.

IATSE has negotiated new media language in their national agreements which will secure additional compensation for IATSE members involved in tv, film and new media production, and is actively organizing among individuals employed on reality (non-fiction) television programming.

Equity is also embracing the increased opportunities for its members in the world of new media, as live theater goes virtual, with broadway shows being simulcast in theaters nationwide and theatrical performances go online.

Musicians are similarly faced with challenges to their job security due to the impact of computers, synthesizers, recordings and internet-based distribution, and AFM Local 802 continues its fight to preserve and protect live orchestral music in various music venues in the five boroughs of New York, and more recently, Sullivan County in upstate New York and the area around Stamford Connecticut.  

Posted on March 7, 2013 and filed under Labor in the Arts.