Call 855-808-4530 or email [email protected] to receive your discount on a new subscription.
The U.S. Court of Appeals for the Seventh Circuit affirmed the dismissal of a North Carolina-based movie theaters operator's lawsuit that sought coverage from its insurer for revenue losses from state-mandated shutdowns during the COVID-19 pandemic. East Coast Entertainment of Durham LLC (ECE) v. Houston Casualty Co. (HCC), 21-2947. The "business income" clause of the policy ECE purchased from HCC stated: "We will pay the actual loss of Business Income you sustain due to the necessary 'suspension' of your 'operations' during the 'period of restoration.' The 'suspension' must be caused by direct physical loss of or damage to property at premises that are described in the Declarations and for which a Business Income Limit of Insurance is shown in the Declarations." Noting the majority view that has developed among federal appeals courts on the issue, the Seventh Circuit noted: "Shortly after ECE filed its opening brief on appeal, we issued our opinion in Sandy Point Dental P.C. v. Cincinnati Insurance Co., 20 F.4th 327 (7th Cir. 2021). In Sandy Point, we joined four other circuits in concluding that mere loss of use due to COVID-related closures does not constitute 'direct physical loss' when unaccompanied by any physical alteration to property … Since then, three other circuits have joined this consensus, and no court of appeals has held otherwise." The Seventh Circuit concluded in East Coast Entertainment: "Try as it might, ECE similarly fails to allege a physical alteration of its property. The mere presence of the [COVID] virus on surfaces did not physically alter the property, nor did the existence of airborne particles carrying the virus. ECE does not allege that it needed to 'repair[], rebuil[d] or replace[]' any structures or items on the premises, or that its business 'resumed at a new permanent location,' as contemplated in the Policy's 'period of restoration' definition. In short, the district court properly concluded that ECE was not entitled to coverage under the Policy."
*****
Stan Soocher is Editor-in-Chief of Entertainment Law & Finance and Professor Emeritus of Music & Entertainment Industry Studies at the University of Colorado's Denver Campus. For more: https://www.stansoocher.com.
ENJOY UNLIMITED ACCESS TO THE SINGLE SOURCE OF OBJECTIVE LEGAL ANALYSIS, PRACTICAL INSIGHTS, AND NEWS IN ENTERTAINMENT LAW.
Already a have an account? Sign In Now Log In Now
For enterprise-wide or corporate acess, please contact Customer Service at [email protected] or 877-256-2473
With each successive large-scale cyber attack, it is slowly becoming clear that ransomware attacks are targeting the critical infrastructure of the most powerful country on the planet. Understanding the strategy, and tactics of our opponents, as well as the strategy and the tactics we implement as a response are vital to victory.
This article highlights how copyright law in the United Kingdom differs from U.S. copyright law, and points out differences that may be crucial to entertainment and media businesses familiar with U.S law that are interested in operating in the United Kingdom or under UK law. The article also briefly addresses contrasts in UK and U.S. trademark law.
In June 2024, the First Department decided Huguenot LLC v. Megalith Capital Group Fund I, L.P., which resolved a question of liability for a group of condominium apartment buyers and in so doing, touched on a wide range of issues about how contracts can obligate purchasers of real property.
The Article 8 opt-in election adds an additional layer of complexity to the already labyrinthine rules governing perfection of security interests under the UCC. A lender that is unaware of the nuances created by the opt in (may find its security interest vulnerable to being primed by another party that has taken steps to perfect in a superior manner under the circumstances.