I don't usually come across phrases such as "total wastoid" and "please don't make us call your mom" in letters written by lawyers...Earlier this summer, Chicago-based Danny and Doug Marks of the Emporium Arcade Bar organised a popup bar inspired by Netflix's original series, Stranger Things. Named after the show's spooky alternate reality, the "Upside Down" became extremely popular, as people would regularly queue out the door to sip themed cocktails while surrounded by TV-studio quality props. Although the popup was initially planned to stay open for only six weeks, the success of the venture led its organisers to consider extending its run.
Reviews are powerful marketing tools. From making dinner reservations to buying a new pair of shoes, I very rarely part with my hard-earned cash before checking out the ratings and comments online. I also follow quite a few restaurants, designers, photographers, and fitness bloggers on Facebook, and often see people leave reviews there, too. But what can a business actually do with those comments? And if you leave a review on a company's Facebook page, what are your rights over what you’ve written?
For my final essay on the GDL (the law conversion course here in England), I chose to write on intellectual property law. I argued that legal uncertainty and lack of proper enforcement strategies results in fragmentation across the Member States. I earned a Distinction (75% UK) on the paper. This essay (18 pages, double spaced) includes a brief synopsis of intellectual property right basics, followed by a justification of the European Union’s competency to legislate in this area. The third section contextualises the problem of copyright infringement on the internet, with a specific focus on online intermediary liability.
When I was in Germany several years ago, I attempted to play a music video on YouTube that I had first seen in the United Kingdom. It was blocked on copyright grounds. I wondered, if the European Union guarantees the free movement of goods and services between Member States (which the UK and Germany both are), how could Germany block access to music I could freely access back home in London? This question inspired my Masters Thesis, which explored European copyright law in the context of digital music services. I even got to interview the head of licencing at Spotify as part of my research!