Pelz v. Villeda-Weaver CA2/3

CourtCalifornia Court of Appeal
DecidedDecember 19, 2013
DocketB245043
StatusUnpublished

This text of Pelz v. Villeda-Weaver CA2/3 (Pelz v. Villeda-Weaver CA2/3) is published on Counsel Stack Legal Research, covering California Court of Appeal primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Pelz v. Villeda-Weaver CA2/3, (Cal. Ct. App. 2013).

Opinion

Filed 12/19/13 Pelz v. Villeda-Weaver CA2/3 NOT TO BE PUBLISHED IN THE OFFICIAL REPORTS California Rules of Court, rule 8.1115(a), prohibits courts and parties from citing or relying on opinions not certified for publication or ordered published, except as specified by rule 8.1115(b). This opinion has not been certified for publication or ordered published for purposes of rule 8.1115.

IN THE COURT OF APPEAL OF THE STATE OF CALIFORNIA

SECOND APPELLATE DISTRICT

DIVISION THREE

CARLOS PELZ, B245043

Plaintiff and Appellant, (Los Angeles County Super. Ct. No. BC456491) v.

FRANKO VILLEDA-WEAVER, as Personal Representative, etc., et al.,

Defendants and Respondents.

APPEAL from judgments of the Superior Court of Los Angeles County, Richard E. Rico, Judge. Affirmed. John Elson for Plaintiff and Appellant. Kinsella Weitzman Iser Kump & Aldisert, Dale Kinsella and Jeremiah Reynolds for Defendants and Respondents Franko Villeda-Weaver and Bell-Phillip Television Productions, Inc. Kelley Drye & Warren, Keri E. Campbell and Damaris M. Diaz for Defendants and Respondents CBS Broadcasting Inc. and Jody Lawrence-Miller. _________________________ Defendant Ron Weaver was a senior producer for the television show the Bold and the Beautiful, and he published and distributed a memorandum critical of plaintiff Carlos Pelz’s job performance as a “key” hair stylist for the television show.1 The memorandum contains statements such as Pelz “has a negative attitude, is perceived as a slacker, and is not carrying an adequate work load,” and his “hair styling does not match the emotional and contextual requirements of the script.” Pelz filed a defamation action against Weaver, and the production company that Weaver works for, Bell-Phillip Television Productions, Inc. (BPP). Based upon information obtained during discovery, Pelz amended his complaint to name his employer CBS Broadcasting, Inc. (CBS) and Jody Lawrence-Miller, his supervisor at CBS, alleging slander arising from Lawrence-Miller’s statements to Weaver regarding Pelz’s job performance. The BPP defendants (Weaver and BPP) and the CBS defendants (Lawrence-Miller and CBS) filed separate summary judgment motions, asserting the common-interest privilege of Civil Code section 47, subdivision (c), applicable to defamatory statements made without malice to one who is interested, barred this action as a matter of law. We conclude the BPP defendants and the CBS defendants met their burden to show the allegedly defamatory statements were made on a privileged occasion, and Pelz has not raised a triable issue of fact to show malice to overcome the privilege. Thus, the trial court correctly granted the summary judgment motions on this ground. Accordingly, we affirm the judgments. UNDISPUTED MATERIAL FACTS 1. The Parties Pelz was a key hair stylist for the Bold and the Beautiful (the Show), a television show BPP produced. Weaver was a senior producer at BPP. Rhonda Friedman was a supervising producer, and she supervised Pelz’s work on the Show. The Show is filmed on a CBS sound stage.

1 Ron Weaver is deceased, and Franko Villeda-Weaver, the personal representative of the estate of Ron Weaver, has been substituted in as a party to this action.

2 Pelz was a CBS employee. CBS provides staff to the Show and bills BPP for the labor costs. In 1989, CBS assigned Pelz to the Show. Pelz’s immediate supervisor at CBS was Lawrence-Miller. Lawrence-Miller reported to Harvey Holt, the vice president of stage operations. 2. Pelz’s Salary and the Show’s Production Schedule In 2008, BPP changed its production schedule to four days per week for approximately 32 weeks per year. Because Pelz was a CBS employee, BPP was being billed for his annual salary, amounting to approximately four or five months when Pelz was not working. Weaver tried to reduce the labor costs incurred in paying CBS employee’s salaries while the Show was on hiatus. A series of e-mails beginning in January 2008 through June 2009 memorializes his efforts. Weaver’s initial e-mail is an inquiry into the cost of “putting the CBS staff employees we now cover on a freelance basis . . . .” Weaver questioned whether Pelz and others “[c]ould . . . be laid off and re-hired as freelance.” In a subsequent e-mail to Holt, Weaver explained that BPP had “no budget” to pay Pelz and another hair stylist when the Show was not in production and would no longer pay their salary. Weaver, however, suggested Holt come up with a proposal in which BPP might contribute to Pelz’s salary. Weaver then sent an e-mail to BPP’s co-owners in which he proposed that the production company temporarily cover Pelz’s salary to ensure that he remained a CBS employee to keep his health benefits. Weaver informed Holt that BPP had agreed to pay Pelz’s salary, at a reduced rate, provided CBS assign Pelz to other shows while on hiatus to defer the salary costs. Because Pelz was not assigned to other shows, Weaver’s e-mails state that BPP and CBS agreed to split the cost of Pelz’s salary during the Show’s hiatus until Pelz became eligible for Medicare benefits. 3. Pelz’s Performance Issues Addressed in Weaver’s Memorandum In March 2010, Weaver sent a memorandum to Holt in which he raised several issues related to Pelz’s poor job performance. Weaver drafted the memorandum after consulting with Friedman and Lawrence-Miller.

3 a. March 18, 2010 Memorandum (Allegedly Published March 22) In a memorandum addressed to Holt and dated March 18, 2010 (March 18 memorandum), Weaver described seven issues related to Pelz’s job performance: (1) “[Pelz] is coasting toward retirement,” and he “has a negative attitude, is perceived as a slacker, and is not carrying an adequate work load”; (2) “he often signs out well before the wrap”; (3) “[w]hen he does cover the stage he is often not on stage,” requiring stage managers to track him down; (4) “[h]e has been told that reading scripts is part of his job,” but “[o]n many occasions, the hair styling does not match the emotional and contextual requirements of the script”; (5) “[m]ost of the women on the show prefer to have their hair done by others on the staff”; (6) “[a]s key, an essential part of the job is continuity,” and “[w]e’ve been advised that actresses have been taking their own pictures in order to remember how they’re supposed to appear when scenes are taped on different days”; and (7) his “work has a ‘dated’ look.” The March 18 memorandum asked Holt to replace Pelz as the key hair stylist.2 Weaver sent copies of the March 18 memorandum to Brad Bell, one of BPP’s owners, Friedman, and Lawrence-Miller. b. Draft of Weaver’s March 18 Memorandum In an e-mail to Bell, Weaver attached a draft of the March 18 memorandum (hereafter Draft). The e-mail states that Weaver and Friedman met with Lawrence-Miller to discuss Pelz’s performance. Weaver further states in the e-mail that both Lawrence- Miller and Holt “concur” that Pelz “needs to go.” Weaver wrote: “We and CBS have tried to protect him by agreeing to split with CBS his salary during dark weeks. No good deed goes unpunished, as they say. He’s become bitter, is bad for morale, and his work is inadequate.”

2 The March 18 memorandum further states: “If we do not see a complete turnaround in attitude, work habits, and the quality of his work sufficient to ensure that he is carrying a reasonable share of the workload of the department, we request that he be removed from the show.”

4 c. Republication of the March 18 Memorandum In October 2010, Weaver sent the March 18 memorandum to Ed Scott, a newly hired booth producer. 4. Pelz Receives the March 18 Memorandum Pelz was given a copy of the March 18 memorandum and was counseled to improve his work performance. Upon return from hiatus, Pelz was injured when he tripped and fell at work.

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