Goliath triumphs again in the courtroom – this time, first-rate streaming platform, Netflix, and top-tier auction house, Goldin Auctions, have emerged victorious in a copyright dispute. The federal justice system ruled in favor of Ken Goldin, founder of Goldin Auctions, and Netflix, along with the creators of the reality TV series “King of Collectibles.” They were sued by Gervase Peterson, a “Survivor” alumnus, who was convinced they turned his concept into a TV program minus his knowledge or participation.
It all started in 2019, when Peterson tossed a purportedly similar concept, christened “The Goldin Boys,” onto Goldin’s desk. Things soon went sour as Peterson alleged that his idea was later served up on a silver platter to Wheelhouse Entertainment, then to the streaming giant Netflix, neglecting his involvement altogether. He indicated that his concept morphed into the currently airing second season of “King of Collectibles,” which left Peterson staring at it with a sour combination of recognition and bewilderment.
At the heart of this storm was the perceived resemblance between Peterson’s pitch and the actual show. He was vociferous about how his idea had seeped into the production. Defense attorneys, however, played on the front foot, rejecting this and asserting the show to be a potpourri of typical undertakings of Goldin Auctions and Goldin’s personal life – routine happenings not particularly guardable under the Copyright Act.
Judge Christine O’Hearn, operating out of the New Jersey federal district court, blew the whistle in support of the defense. She established that the claimables put forth by Peterson are deemed as scènes à faire, alluding to a legal doctrine shielding settings or tropes common to a genre, therefore not warranting copyright protection. She pointed out that numerous elements of reality television envelop this category – the daily grind of a business typified in “King of Collectibles” presents a textbook example.
Solidifying her stance, O’Hearn flagged that real-life scenarios and standard reality show elements frequently don’t enjoy copyright protection. This light was shed borrowing from previous legal rulings that echo a similar sentiment. This verdict, that sent the lawsuit to dust, further underlined the weighty task one faces when attempting to copyright generic reality TV ideas.
Despite the legal fences they needed to jump, “King of Collectibles” has done more than just surviving; it is now basking in the glow of industry recognition, having recently earned an Emmy nomination. This corner of reality television stands today as a testament: conqueror in a courtroom battle and an achiever in the arena of entertainment.
