Association of Media & Entertainment Counsel

06/08/2026

Join LACBA Barristers and the Association of Media and Entertainment Counsel (AMEC) Emerging Leaders Board for an exciting evening of networking at the iconic Sony Pictures Entertainment Studio Lot.

Date: Wednesday, June 24, 2026

Time: 7:00 PM – 9:00 PM

Location: Sony Pictures Entertainment Studio Lot (The Lear Commissary Patio)
10202 W. Washington Blvd., Culver City, CA 90232

Join LACBA Barristers and the Association of Media and Entertainment Counsel Emerging Leaders Board on June 24, 2026, for a fantastic night of networking over delicious appetizers and drinks provided by Wolfgang Puck in one of Hollywood’s iconic venues, the Sony Pictures Studio lot.

This not-to-be-missed event was a sold-out event in 2025, register early and we hope to see you there!

Registration Rates
• LACBA Barristers/Young Attorneys Section Members – $70
• AMEC Members – $70
• LACBA Members – $85
• Law Students – $60
• All Others – $110

Pre-registration is required. Register online at
https://lacba.org/?pg=events&eid=348303&evAction=showDetail

or contact LACBA Member Services at (213) 896-6560. Law students and AMEC members may register by phone through Member Services.

Interested in sponsoring the event? Please contact Jennifer Seo at [email protected] for sponsorship opportunities.

We hope to see you there for an evening of great conversation, new connections, and a unique opportunity to experience one of Hollywood's most iconic studio lots.

06/04/2026

05/28/2026

Honoring the Legacy of Federal Judge Edward Dean Price Through the Next Generation of Public Service Leaders

The Judge Edward Dean Price Scholarship Fund continues to honor the extraordinary legacy of United States District Judge Edward Dean Price, a World War II veteran before dedicating his life to the rule of law and public service. Arnold Peter, one of Judge Price’s former law clerks, helped initiate the scholarship to carry forward the values of integrity, mentorship, and service that Judge Price instilled in generations of young attorneys.

The relationship between a federal judge and a law clerk is unlike any other professional mentorship. For many young lawyers, it is a formative experience that shapes not only legal skills, but character, judgment, and a lifelong commitment to justice. Judge Price had a profound impact on Arnold and countless other clerks who benefited from his wisdom, discipline, humility, courage, and unwavering belief in the American legal system.

This year’s scholarship recipient, Lily Sefranek of Berkeley Law, exemplifies those same values. Lily aspires to build a career in litigation and international human rights, while remaining deeply committed to public service and pro bono advocacy. The scholarship has helped support her pursuit of meaningful legal work dedicated to advancing justice and serving vulnerable communities.

Congratulations to Lily Sefranek and to all those who continue to preserve Judge Price’s remarkable legacy through this important scholarship fund.

05/19/2026

Magnifica Humanitas (“The Greatness of Humanity”): The Catholic Church Confronts Artificial Intelligence

For centuries, the Catholic Church has confronted the defining moral and societal crises of each era — war, industrialization, poverty, labor exploitation, human rights, bioethics, and globalization. Pope Leo XIV now appears poised to address what may become one of the defining challenges of the 21st century: artificial intelligence and the future of the human person.

The Vatican recently announced that Pope Leo XIV will promulgate his first Encyclical Letter, entitled Magnifica Humanitas (“The Greatness of Humanity”), focused on “the protection of the human person in the age of artificial intelligence.” The encyclical will be formally presented at the Vatican on May 25, 2026, in the presence of Pope Leo XIV, an unusually significant move because Popes do not typically personally appear for formal presentations of their encyclicals.

Significantly, the document bears the signature date of May 15, marking the 135th anniversary of Pope Leo’s predecessor, Leo XIII’s landmark encyclical Rerum Novarum, which addressed the enormous moral and social upheaval caused by the Industrial Revolution. The historical parallel is impossible to ignore. Just as the Church once confronted the human consequences of industrialization and economic transformation, it is now preparing to confront the ethical, spiritual, and societal consequences of artificial intelligence.

For non-Catholics unfamiliar with Church terminology, an encyclical is among the most important forms of formal papal teaching. Although not every encyclical constitutes infallible “ex cathedra” doctrine, encyclicals carry tremendous theological, intellectual, moral, and cultural influence within Catholicism and often shape public discourse far beyond the Church itself. Historically, papal encyclicals have influenced discussions involving labor rights, economics, social justice, war, environmental stewardship, and international human rights. In many respects, they become enduring moral frameworks that influence not only Catholics, but also political leaders, scholars, courts, policymakers, and broader society.

This forthcoming encyclical may ultimately become one of the most significant moral frameworks yet issued regarding artificial intelligence. Importantly, the Church is not condemning technological advancement itself. Catholic teaching has long recognized that science, innovation, and technological progress can profoundly benefit humanity and contribute to human flourishing. However, the Church has also consistently insisted upon one foundational principle: technology must always remain subordinate to the dignity of the human person and never the reverse.

That concern is becoming increasingly urgent as artificial intelligence rapidly transforms nearly every dimension of modern life, including employment, privacy, entertainment, medicine, education, warfare, journalism, law, and even personal identity itself. Questions that once appeared confined to science fiction are quickly becoming legal, ethical, economic, political, and spiritual realities confronting society in real time.

As an attorney working directly on issues involving artificial intelligence, digital replicas, biometric identity, and emerging technologies, I increasingly believe society is moving faster technologically than we are morally, psychologically, and legally prepared to handle. Efficiency, automation, and profit cannot become substitutes for conscience, accountability, consent, or professional judgement and discernment. Many of the concerns Pope Leo XIV appears prepared to address mirror the very issues now emerging in courts, legislatures, universities, and boardrooms throughout the world. Who owns human identity? What happens when machines imitate creativity? How do we preserve truth in the age of synthetic reality? What becomes of work, privacy, and authentic human relationships? Most importantly, how do we ensure that humanity remains more valuable than the systems it creates?

The individuals participating in the Vatican presentation strongly suggest that the Holy See intends to engage these questions seriously, thoughtfully, and globally. The inclusion of Cardinal Pietro Parolin, Cardinal Víctor Manuel Fernández, Professor Anna Rowlands, Professor Leocadie Lushombo, and Christopher Olah of Anthropic demonstrates that this discussion is not merely theological. It is philosophical, ethical, scientific, political, and profoundly human.

Whether Catholic or not, Magnifica Humanitas may become essential reading for anyone concerned about the future of civilization in the age of artificial intelligence. The central question is no longer whether artificial intelligence will transform society because it already has. The more important question is whether humanity will guide that transformation wisely, ethically, and humanely before the technology begins shaping us faster than we can shape it.

The Vatican announcement and future publication of the encyclical may be followed through the Holy See Press Office and Vatican News:
https://press.vatican.va
https://www.vaticannews.va/en/pope/news/2026-05/pope-leo-xiv-first-encyclical-magnifica-humanitas.html

05/07/2026

Leadership in Public Service: Insights from Pentagon General Counsel Earl G. Matthews

It was a true privilege to visit Washington, D.C. and meet with Earl G. Matthews, General Counsel of the Department of War, alongside my colleague Eyal Farahan. Our discussion was thoughtful, candid, and touching on the extraordinary legal and strategic challenges he faces in this critical role.

Earl is a Harvard Law School graduate who, like many top-tier attorneys, could have pursued a highly lucrative career in private practice or with a Fortune 100 company. Instead, he chose a path of public service—one that has placed him at the center of some of the most consequential national security issues of our time.

His background is remarkable. He has served in senior roles at the White House as Deputy Assistant to the President and Senior Director for Defense Policy and Strategy on the National Security Council, as well as Acting General Counsel and Principal Deputy General Counsel of the Department of the Army, advising on military readiness, procurement, and policy. In addition to his civilian leadership, he is a Colonel in the United States Army National Guard, having served in support of operations in both Iraq and Afghanistan and continuing to advise on military legal matters at the highest levels.

Today, as General Counsel, he serves as the chief legal advisor to the Secretary of Defense, navigating complex issues involving national security, global conflict, cybersecurity, emerging technologies, and the legal frameworks governing military operations worldwide. Grateful for the opportunity to exchange perspectives with great legal mind whose career reflects both exceptional achievement and a deep commitment to service.

05/04/2026

No Strike, No Surprise: Breaking Down the SAG-AFTRA Deal I Saw Coming

Back in January, I made a bold prediction: SAG-AFTRA and the studios would reach a deal without another prolonged strike.

Now, with a tentative agreement reportedly in place, it is worth asking—how did that prediction hold up?

Here is the article outlining the deal:

https://deadline.com/2026/05/sag-aftra-studios-reach-new-bigger-deal-amptp-1236879157/

Prediction vs. Reality

• No Strike, Faster Resolution

This was the central call—and it appears to have been correct. Despite early noise and posturing, both sides moved toward resolution rather than disruption. That alone signals how much the industry has internalized the cost of the last labor cycle and its lasting negative impact on production in Southern California.

• AI Protections as a Core Issue

As expected, artificial intelligence was not a side issue—it was foundational. The reported deal includes expanded protections around digital replication and consent, validating the view that this negotiation was about defining guardrails for the future, not just wages for the present.

• Streaming Compensation Adjustments

While not revolutionary, the deal reportedly includes meaningful economic improvements tied to streaming. That aligns with the prediction that progress here would be incremental but directionally significant.

• Health and Pension Stability

Benefit funding appears to have remained a priority, reinforcing the reality that long-term sustainability for performers is just as critical as headline compensation terms.

• A Pragmatic Negotiating Approach

Duncan Crabtree-Ireland’s leadership again proved pivotal. The outcome reflects a strategy that was firm but grounded in real-world economics—exactly the balance that tends to produce durable agreements.

What This Means

This was never just about avoiding a strike. It was about resetting expectations in an industry still recalibrating after disruption, consolidation, and technological change.

The takeaway is clear:
Hollywood is learning that stability is not a luxury—it is a necessity.

The real test now will be implementation. Deals like this only succeed if the language around AI, compensation, and consent is clear, enforceable, and adaptable as the technology evolves.

But for now, one thing is evident—this was a negotiation driven less by brinkmanship and more by realism.

And that is a meaningful shift.

04/27/2026

White House Correspondents’ Dinner: Where Washington Meets Hollywood… But Swaps the Security Script With an Open Door and “All Are Welcome” Policy

I had the opportunity to attend the White House Correspondents’ Dinner this year, held at the Washington Hilton in D.C.—a venue with a long and somewhat sobering history. It is the same hotel where President Reagan was shot nearly 50 years ago. The Hilton remains one of the most popular locations in Washington for large-scale, high-profile events because it was designed to handle exactly this kind of gathering, where logistics and security are supposed to be front and center.

That said, attending the event as someone who spends a fair amount of time around major Hollywood productions and awards shows, I could not help but notice something: Washington could learn a lot from Hollywood when it comes to event security.

At major entertainment events—Oscars, Emmys, even large studio premieres—the security perimeter typically begins the moment your vehicle pulls up. The sidewalk itself is already a controlled zone. You step out and immediately enter a credentialed, secure environment. There is no gray area, no blending with the general public, and no question about who belongs there.

By contrast, the WHCA Dinner had a much more… let’s say “fluid” approach.

You could also just walk into the hotel lobby without showing ID or an invitation. The bar and restaurant areas were open, creating a surreal mix of black-tie journalists and media executives jostling for a cocktail with hotel guests in workout gear or tourists grabbing a drink. It was an eclectic, slightly chaotic mix of characters from completely different worlds.

To be clear, a security perimeter did exist—but it did not begin until guests entered the dining room itself, where magnetometers were installed, credentials were checked, and access was finally controlled. The overall setup was striking.

Other than Secret Service protectees, who entered through a separate, highly secure underground access point, everyone else came through the main lobby. Along the way, there were multiple receptions hosted by media outlets that were lively, well attended, and entirely outside any meaningful security perimeter. In these open reception areas, high-profile journalists and entertainment executives mingled freely with members of Congress.

And that is the issue.

From what has been reported, shots were fired before the individual ever reached that inner perimeter. The Secret Service acted appropriately and bravely, protecting the President and First Lady exactly as they are trained to do. But by that point, the problem had already occurred. The perimeter began too late.

Had the security boundary been established at the vehicle drop-off point—as is standard practice in Hollywood—this situation likely would have unfolded very differently. The individual would not have had the same access or proximity, and the incident may have been prevented altogether.

This is not criticism for its own sake. It is an observation from someone who has seen how another industry handles similar risks. Hollywood is not perfect, but when it comes to controlling access and establishing clear, early perimeters, it has developed a system that works.

Also, in the interest of full disclosure, I am not exactly a security expert. I am just a lawyer who occasionally finds himself in rooms he probably has no business being in, doing his best to look like he belongs. But even from that vantage point, the contrast was hard to miss.

If there is a takeaway, it is this: when hosting high-profile events, the question is not just how secure the inner room is. It is where the security actually begins. And on that front, Washington might benefit from borrowing a page or two from Hollywood’s playbook.

02/16/2026

LATEST MEXICAN FILM CREDIT:
Why Mexico Wants You to Film There (And Why You Should Read This as an Entertainment Lawyer Who Still Googles “tax credit basics”)
Mexico claims it wants Hollywood. That’s right, the home of cactus, mariachi, delicious tacos al pastor, and also — as of February 2026 — a freshly energized national plan of incentives for filmmaking. Designed by President Claudia Sheinbaum Pardo, this strategy aims to pull Mexico up alongside global production hubs by creating tax breaks, fiscal credits, and creative subsidies for both Mexican and international cinema and series work.
Salma Hayek — the Hollywood star and proud Veracruz native whose career “Frida” arguably did more for Frida Kahlo’s global brand than most art historians — has become the unlikely emissary of this effort. After lobbying the president and participating in high-profile discussions about film policy, she is now fronting the October-to-February campaign to make Mexico a more film-friendly country.
In other words: Mexico wants your money. But also, your art.
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A Quick Primer: What the New Mexican Cinema Incentive Actually Is
At its core, the 2026 incentive program is fiscal and promotional in nature. The central pillar — as unveiled on February 15, 2026 — is a federal tax credit against corporate income tax (ISR, Impuesto Sobre la Renta) of up to 30 percent of qualified production spending in Mexico. That credit is capped at roughly 40 million pesos per project (around $2–3 million USD, depending on exchange rates) and — crucially — only available if at least 70 percent of the qualifying spend goes to Mexican companies or individuals.
In plain (lawyerly) language:
• You do taxable work in Mexico.
• You spend money on local goods, services, and labor.
• The Mexican government gives you a credit against your tax bill rather than just a refund.
• Save your receipts. A good accountant will love you forever.
Yes — there are bookkeeping headaches. But if you do it right, some of that spend comes back to you in a way that is superior (for many independents) to a pure rebate or grant program.
Mexico also has long had existing fiscal incentives such as the Eficine tax credit (a credit against income or asset taxes tied to investment in domestic production) and VAT returns on qualified export-destined production expenditures. What’s fundamentally new here is the scale and intentionality of the program: it is now tied to a national law and policy, visible at the highest level of government, and publicly linked to independent production support — not just the occasional rebate or grant chassis.
________________________________________
Okay, But How Do I Qualify (Legally Speaking)?
Because incentives vary wildly by country, this part deserves some legal squeamishness. But here’s the essence based on what the Mexican government has committed to as of February 2026:
1. Spending Thresholds
To claim the 30 percent credit, 70 percent of qualified spend must be with Mexican vendors, companies, or individual workers. This means hiring Mexican crew, renting local equipment, contracting production services in Mexico — not just flying your team down on business class.
2. Project Eligibility
The incentives are meant for films, series, and audiovisual projects shot in Mexico with clear traceability of costs. While the law and implementing rules are still evolving, producers usually must:
• Register the production with the appropriate Mexican authority.
• Provide a detailed budget and spend plan.
• Demonstrate that expenditures are linked to production in Mexico — not just incidental tourism shots.
In practice, the application and compliance process will involve submitting financial documentation, invoices, payroll records, and similar proofs that a tax authority will audit. That is the part where a good entertainment tax lawyer transitions from “sentimental artist” to “obsessive bean-counter.”
3. Timing & Legal Framework
The incentives are part of a broader new Ley Federal de Cine y Audiovisual (Federal Law of Cinema and Audiovisual), which replaces a law from the 1990s and embeds long-term support structures into Mexican law. This law also touches on things like exhibition rights and digital platform presence for Mexican films (for example, guaranteed theater and streaming quotas).
But here’s the lawyer-joke version: The incentive is only real if the regulations exist, regulations only exist once the law passes, and the law only passes once Congress votes — unless someone slips a politician a really compelling screenplay. Okay, I am joking… mostly.
________________________________________
Why This Matters to U.S. Independent Filmmakers
Now we arrive at the existential, emotional, why-we-do-this part of the argument.
1. Cultural Proximity and Shared Heritage
For decades, independent filmmakers on both sides of the U.S.-Mexico border have told stories that overlap: migration, identity, borders, and blending cultures. Yet the industry infrastructure for those stories often channels production through the U.S. system — even when the narrative lives in Mexico. Partnering with Mexican incentives allows U.S. indies to film authentically in contextual environments without pretending Tijuana looks like Texas or failing at accents in Albuquerque. That’s not just economics; that’s respectful storytelling. From a legal standpoint, filming under a Mexican incentive also potentially mitigates some intellectual property complications when capturing authentic culture — which is increasingly important for festival appeal and global distribution.
2. Competitive Advantage for Budget-Conscious Creators
Let’s be honest. Independent film budgets are often the financial equivalent of protein shakes at a buffet: aspirational, but mostly hot air. A 30 percent tax credit with local spend thresholds means that several hundred thousand dollars of production cost don’t ultimately cost you — enabling more shooting days, more local talent, or simply enough coffee budget to stay awake during edits. Given that other jurisdictions (e.g., Europe, Canada, even U.S. states) offer competitive incentives, Mexico’s emerging system places it in the same league — and sometimes better positioned because of lower baseline crew costs plus strategic proximity to U.S. markets.
3. Global Visibility with a Local Soul
Mexico has become a hotbed for cinematic acclaim, from art cinema to genre work. The idea of co-producing with Mexican partners opens doors to festivals that value transnational collaboration and cultural depth. U.S. independents often struggle for profile at Cannes, Berlinale, or Toronto; a bridge through Mexican finance and creative insight can change that narrative. This is culturally important — not just tax-wise — because stories don’t exist in a vacuum. They exist at the intersection of languages, histories, and collective experience.
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Caveats for the Contractually Inclined
As much as I romanticize incentives (and yes, I have dreamt about them more than once in depositions), caveats abound:
• Documentation is key. Without meticulous accounting and compliance, credits can be disallowed. (Ask any tax lawyer — we love audits almost as much as we love coffee. Almost.)
• Foreign exchange risk. Incentives denominated in Mexican pesos can fluctuate compared to your revenue or cost model in USD.
• Regulatory uncertainty. Because the law is new, rules will evolve as Mexico operationalizes it — which means creative legal interpretation is right around the corner.
Yet even with these realities, the 2026 incentive package is a real attempt to give independent film meaningful support — not just Hollywood blockbusters with giant tax shelter accountants.
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Final Scene
If you are an independent filmmaker in the United States who has ever said aloud (or to your therapist) “I wish I could make this movie where it actually takes place,” you should take a very serious look at what Mexico is building. Because yes, I know what it is like to juggle budget spreadsheets and creative ambition — and sometimes it feels like you need to choose between tacos or talent. But this new incentive plan, anchored under law and lobbied for by one of Veracruz’s most famous daughters, could make both possible: film where your story deserves to be told, and do it in a way that makes numbers people finally say “yes.”
And honestly? If an entertainment lawyer can grasp tax credits and get excited about mariachi music and mezcal, then surely the rest of us can get excited about this moment in Mexican cinema.
Peter Law Group
Association of Media & Entertainment Counsel

01/26/2026

Sacramento treats entertainment law like a writer’s room: new twists every season. 😅

Here’s my 2025 roundup of 10 new California laws that are about to impact production, talent, content creators, and employers — from AI digital replicas to kidfluencer trust requirements to freelancer contract rules and film set safety updates.

A few highlights:

AI replicas: blanket “use my likeness forever” language won’t cut it for AI anymore.

Deceased performers: estates have real leverage over digital recreations.

Freelancers: work over $250 needs a written contract + late pay can trigger penalties.

Kidfluencers: monetized family content now has earnings set-aside requirements.

Employers: new notices + a new whistleblower posting requirement.

If you’re in entertainment, production, HR, or you work with creators… this affects you.

Read full report here:
https://peterlawgroup.com/red-tape-stage-left-californias-10-new-laws-take-center-stage/ -457

01/22/2026

More scenes from the red carpet.
Every angle, every moment.
Full gallery and downloads via the following link

https://joanfullerphotography.smugmug.com/CorporateEvents/AMEC-Gala-2026