A toy company has voluntarily dismissed its lawsuit against a popular TikTok and Instagram account called “Sylvanian Drama.”
Epoch Company Ltd., is the US maker of adorable fuzzy dolls called Calico Critters. Those dolls are known as “Sylvanian Families” in other markets, and more recently, they became a viral sensation after an Ireland-based content creator, Thea Von Engelbrechten, started making funny videos in which the dolls acted out dark, cringey adult storylines.
Claiming that the “Sylvanian Drama” videos infringed on Epoch’s intellectual property rights, including using an Epoch marketing image as her account’s profile picture while profiting off partnerships with major brands featured in her videos, the toymaker sued Von Engelbrechten, prompting her to immediately stop posting videos last year. Although some fans predicted the account might never come back, experts told Ars that Epoch may come to regret the lawsuit, perhaps alienating a potential market for their toys by going after a widely beloved content creator.
To some, Epoch appeared to be lashing out after Von Engelbrechten secured brand partnerships that seemed to be more lucrative than the toy company’s own brand deals. In that way, they also perhaps overlooked an opportunity to partner with Von Engelbrechten themselves, experts told Ars.
On Friday, Von Engelbrechten’s response was due in the lawsuit, but a story posted to her Instagram earlier this week signaled that a resolution may have been in the works. Ars could not reach Von Engelbrechten for comment, but she asked her fans to recommend a new account name in her story and confirmed that she would also be changing her account’s profile picture.
Possible legal paths to revive a shuttered video series on TikTok and Instagram.
A popular account on TikTok and Instagram stopped posting suddenly at the end of last year, hit by a lawsuit after garnering millions of views on funny videos it made using adorable children’s Calico Critter dolls to act out dark, cringe-y adult storylines.
While millions of followers mourn the so-called “Sylvanian Drama” account’s demise, experts told Ars that the creator may have a decent chance at beating the lawsuit.
The “Sylvanian Drama” account derived its name from “Sylvanian Families,” a brand name used by Epoch Company Ltd., the maker of Calico Critters, for its iconic fuzzy animal dolls in some markets outside the US. Despite these videos referencing murder, drugs, and hookups, the toy company apparently had no problem, until the account, managed by Ireland-based Thea Von Engelbrechten, started accepting big brand partnerships and making sponsored content featuring the dolls.
Since Epoch, too, strikes partnerships with brands and influencers to promote its own videos marketing the dolls, the company claimed “Sylvanian Drama” risked creating too much confusion online. They also worried viewers would think Epoch had signed off on the videos, since the sponsored content was marked “paid partnership” without specifying precisely which featured brands had paid for the spots. They further accused Von Engelbrechten of building her advertising business around their brand without any attempt to properly license the dolls, while allegedly usurping licensing opportunities from Epoch.
So far, Von Engelbrechten has delayed responding in the lawsuit. As the account remained inactive over the past few months, fans speculated whether it could survive the lawsuit, which raised copyright and trademark infringement claims to get all the videos removed. In their complaint, the toy company requested not only an injunction preventing Von Engelbrechten from creating more “Sylvanian Drama” videos, but also sought all of her profits from her online accounts, in addition to further damages.
Von Engelbrechten declined Ars’ request to provide an update on her defense in the case, but her response is due in early August. That filing will make clear what arguments she may make to overcome Epoch’s suit, but legal experts told Ars that the case isn’t necessarily a slam dunk for the toy company. So all that “Sylvanian Drama” isn’t over just yet.
Epoch’s lawyers did not respond to Ars’ request to comment.
“Sylvanian Drama” needs the court to get the joke
Epoch raised copyright infringement charges that could hit Von Engelbrechten with fines totaling $150,000 per violation.
For Von Engelbrechten to defeat the copyright infringement claim, she’ll need to convince the court that her videos are parodies. A law professor at Santa Clara University School of Law, Eric Goldman, told Ars that her videos may qualify since “even if they don’t expressly reference Epoch’s offerings by name, the videos intentionally communicate a jarring juxtaposition of adorable critters who are important parts of pop culture living through the darker sides of humanity.”
Basically, Von Engelbrechten will need the court to understand the humor in her videos to win on that claim, Rebecca Tushnet, a First Amendment law professor at Harvard Law School, told Ars.
“Courts have varied in their treatment of parodies; the complaint’s definition of parody is not controlling but humor is one of the hardest things to predict—if the court gets the joke, it will be more likely to say that the juxtaposition between the storylines and the innocent appearance of the dolls is parodic,” Tushnet said.
But if the court does get the joke, Goldman suggested that even the sponsored content—which hilariously incorporates product placements from various big brands like Marc Jacobs, Taco Bell, Hilton, and Sephora into storylines—could possibly be characterized as parody.
However, “the fact that the social media posts were labeled #ad will make it extremely difficult for the artist to contest the videos’ status as ads,” Goldman said.
Ultimately, Goldman said that Epoch’s lawsuit “raises a host of complex legal issues” and is “not an easy case on either side.”
And one of the most significant issues that Epoch may face in the courtroom could end up gutting all of its trademark infringement claims that supposedly entitle the toy company to all of Von Engelbrechten’s profits, Alexandra Jane Roberts, a Northeastern University professor of law and media with special expertise in trademark law, told Ars.
Calico Critters may stumble on trademark hurdle
The toy company has raised several trademark infringement claims, all of which depend on Epoch proving that Von Engelbrechten “knowingly and willfully” used its trademarks without permission.
However, Roberts pointed out to Ars that Epoch has no trademarks for its iconic dolls, relying only on common law to assert sole rights to the “look and design of the critters.”
It’s likely impossible for Epoch to trademark the dolls, since trademarks are not intended to block competition, and there are only so many ways to design cute dolls that resemble cats or bunnies, Roberts suggested. A court may decide “there’s only so many ways to make a small fuzzy bunny that doesn’t look like this,” potentially narrowing the rights Epoch has under trade dress, a term that Epoch doesn’t use once in its complaint.
Roberts told Ars that Epoch’s trademark claims are “not so far off the mark,” and Von Engelbrechten’s defense was certainly not strengthened by her decision to monetize the content. Prior cases, like the indie band OK Go sending a cease-and-desist to Post cereal over a breakfast product called “OK Go” due to fears of false endorsement, make it clear that courts have agreed in the past that online collaborations have muddied the waters regarding who is the actual source of content for viewers.
“The question becomes whether people are going to see these videos, even though they’re snarky, and even though they’re silly and think, ‘Oh, Calico Critters must have signed off on this,'” Roberts said. “So the argument about consumer confusion, I think, is a plausible argument.”
However, if Epoch fails to convince the court that its trademarks have been infringed, then its other claims alleging false endorsement and unfair competition would likely also collapse.
“You can still get sometimes to unfair competition or to kind of like a false endorsement, but it’s harder to win on those claims and certainly harder to get damages on those claims,” Roberts said. “You don’t get trademark infringement if you don’t have a trademark.”
Possible defenses to keep “Sylvanian Drama” alive
Winning on the trademark claims may not be easy for Von Engelbrechten, who possibly weakened her First Amendment defense by creating the sponsored content. Regardless, she will likely try to convince the court to view the videos as parody, which is a slightly different analysis under trademark law than copyright’s more well-known fair use parody exceptions.
That could be a struggle, since trademark law requires that Von Engelbrechten’s parody videos directly satirize the “Sylvanian Families” brand, and “Sylvanian Drama” videos, even the ads, instead seem to be “making fun of elements of society and culture,” rather than the dolls themselves, Roberts said.
She pointed to winning cases involving the Barbie trademark as an instructive example. In a case disputing Mattel trademarks used in the lyrics for the one-hit wonder “Barbie Girl,” the song was cleared for trademark infringement as a “purely expressive work” that directly parodies Barbie in the lyrics. And in another case, where an artist, Tom Forsythe, captured photos of Barbie dolls in kitchen vessels like a blender or a margarita glass, more robust First Amendment protection was offered since his photos “had a lot to say about sexism and the dolls and what the dolls represent,” Roberts said.
The potential “Sylvanian Drama” defense seems to lack strong go-to arguments that typically win trademark cases, but Roberts said there is still one other defense the content creator may be weighing.
Under “nominative fair use,” it’s OK to use another company’s trademark if it’s necessary in an ad. Roberts provided examples, like a company renting Lexus cars needing to use that trademark or comparative advertising using Tiffany’s diamonds as a reference point to hype their lower prices.
If Von Engelbrechten goes that route, she will need to prove she used “no more of the mark than is necessary” and did not mislead fans on whether Epoch signed off on the use.
“Here it’s hard to say that ‘Sylvanian Drama’ really needed to use so much of those characters and that they didn’t use more than they needed and that they weren’t misleading,” Roberts said.
However, Von Engelbrechten’s best bet might be arguing that there was no confusion, since “Sylvanian Families” isn’t even a brand that’s used in the US, which is where Epoch chose to file its lawsuit because the brands that partnered with the popular account are based in New York. And the case may not even get that far, Roberts suggested, since “before you can get to those questions about the likelihood of confusion, you have to show that you actually have trademark or trade dress rights to enforce.”
Calico Critters creator may face millennial backlash
Epoch may come to regret filing the lawsuit, Roberts said, noting that as a millennial who grew up a big “Hello Kitty” fan, she still buys merch that appeals to her, and Epoch likely knows about that market, as it has done collaborations with the “Hello Kitty” brand. The toymaker could risk alienating other millennials nostalgic for Calico Critters who may be among the “Sylvanian Drama” audience and feel turned off by the lawsuit.
“When you draw attention to something like this and appear litigious, and that you’re coming after a creator who a lot of people really like and really enjoy and probably feel defensive about, like, ‘Oh, she’s just making these funny videos that everyone loves. Why would you want to sue her?'” Roberts said, “that can be really bad press.”
Goldman suggested that Epoch might be better off striking a deal with the creator, which “could establish some boundaries for the artist to keep going without stepping on the IP owner’s rights.” But he noted that “often IP owners in these situations are not open to negotiation,” and “that requires courts to draw difficult and unpredictable lines about the permissible scope of fair use.”
For Von Engelbrechten, the lawsuit may mean that her days of creating “Sylvanian Drama”-sponsored content are over, which could risk crushing a bigger dream she had to succeed in advertising. However, if the lawsuit can be amicably settled, the beloved content creator could also end up making money for Epoch, considering her brand deals appeared to be bigger.
While she seems to take her advertising business seriously, Von Engelbrechten’s videos often joke about legal consequences, such as one where a cat doll says she cannot go to a party because she’s in jail but says “I’ll figure it out” when told her ex will be attending. Perhaps Von Engelbrechten is currently devising a scheme, like her characters, to escape consequences and keep the “Sylvanian Drama” going.
“Maybe if this company were really smart, they would want to hire this person instead of suing them,” Roberts said.
Ashley is a senior policy reporter for Ars Technica, dedicated to tracking social impacts of emerging policies and new technologies. She is a Chicago-based journalist with 20 years of experience.
Doesn’t CrowdStrike have more important things to do right now than try to take down a parody site?
That’s what IT consultant David Senk wondered when CrowdStrike sent a Digital Millennium Copyright Act (DMCA) takedown notice targeting his parody site ClownStrike.
Senk created ClownStrike in the aftermath of the largest IT outage the world has ever seen—which CrowdStrike blamed on a buggy security update that shut down systems and incited prolonged chaos in airports, hospitals, and businesses worldwide.
Although Senk wasn’t personally impacted by the outage, he told Ars he is “a proponent of decentralization.” He seized the opportunity to mock “CrowdStrike’s ability to cause literal billions of dollars of damage” because he viewed this as “collateral from the incredible amount of ‘centralization’ in the tech industry.”
Setting up the parody site at clownstrike.lol on July 24, Senk’s site design is simple. It shows the CrowdStrike logo fading into a cartoon clown, with circus music blasting throughout the transition. For the first 48 hours of its existence, the site used an unaltered version of CrowdStrike’s Falcon logo, which is used for its cybersecurity platform, but Senk later added a rainbow propeller hat to the falcon’s head.
“I put the site up initially just to be silly,” Senk told Ars, noting that he’s a bit “old-school” and has “always loved parody sites” (like this one).
It was all fun and games, but on July 31, Senk received a DMCA notice from Cloudflare’s trust and safety team, which was then hosting the parody site. The notice informed Senk that CSC Digital Brand Services’ global anti-fraud team, on behalf of CrowdStrike, was requesting the immediate removal of the CrowdStrike logo from the parody site, or else Senk risked Cloudflare taking down the whole site.
Senk immediately felt the takedown was bogus. His site was obviously parody, which he felt should have made his use of the CrowdStrike logos—altered or not—fair use. He immediately responded to Cloudflare to contest the notice, but Cloudflare did not respond to or even acknowledge receipt of his counter notice. Instead, Cloudflare sent a second email warning Senk of the alleged infringement, but once again, Cloudflare failed to respond to his counter notice.
This left Senk little choice but to relocate his parody site to “somewhere less-susceptible to DMCA takedown requests,” Senk told Ars, which ended up being a Hetzner server in Finland.
Currently on the ClownStrike site, when you click a CSC logo altered with a clown wig, you can find Senk venting about “corporate cyberbullies” taking down “content that they disagree with” and calling Cloudflare’s counter notice system “hilariously ineffective.”
“The DMCA requires service providers to ‘act expeditiously to remove or disable access to the infringing material,’ yet it gives those same ‘service providers’ 14 days to restore access in the event of a counternotice!” Senk complained. “The DMCA, like much American legislation, is heavily biased towards corporations instead of the actual living, breathing citizens of the country.”
Reached for comment, CrowdStrike declined to comment on ClownStrike’s takedown directly. But it seems like the takedown notice probably never should have been sent to Senk. His parody site likely got swept up in CrowdStrike’s anti-fraud efforts to stop bad actors attempting to take advantage of the global IT outage by deceptively using CrowdStrike’s logo on malicious sites.
“As part of our proactive fraud management activities, CrowdStrike’s anti-fraud partners have issued more than 500 takedown notices in the last two weeks to help prevent bad actors from exploiting current events,” CrowdStrike’s statement said. “These actions are taken to help protect customers and the industry from phishing sites and malicious activity. While parody sites are not the intended target of these efforts, it’s possible for such sites to be inadvertently impacted. We will review the process and, where appropriate, evolve ongoing anti-fraud activities.”
The New York Times is fighting to take down a game called Worldle, according to a legal filing viewed by the BBC, in which The Times apparently argued that the geography-based game is “creating confusion” by using a name that’s way too similar to Wordle.
Worldle is “nearly identical in appearance, sound, meaning, and imparts the same commercial impression” to Wordle, The Times claimed.
The Times bought Wordle in 2022, paying software developer Josh Wardle seven figures for the daily word-guessing puzzle game after its breakout success during the pandemic. Around the same time, Worldle was created—along with more than 100 other Wordle spinoffs offering niche alternatives to Wordle, including versions in different languages and completely different games simply using the name construction ending in “-le.” The Times filed for a Wordle trademark the day after buying the game and by March 2022, it started sending takedown requests.
Today, millions visit the Times site daily to play Wordle, but the Times is seemingly concerned that some gamers might be diverted to play Worldle instead, somehow mistaking the daily geography puzzle—where players have six chances to find a Google Street View location on a map—with the popular word game.
This fear seems somewhat overstated, since a Google search for “Worldle” includes Wordle in the top two results and suggests that searchers might be looking for Wordle, but a search for Wordle does not bring up Worldle in the top results.
Despite Google seemingly favoring the popular game in results and likely because of Wordle‘s enormous success, The Times’ litigiousness over the Wordle brand seems to be rising this year as the company looks to rapidly expand its profitable games platform to increase subscriptions. In March, 404 Media reported when The Times began more aggressively taking aim at hundreds of Wordle clones, sending DMCA notices to defend the Wordle trademark.
Some developers, like Chase Wackerfuss, the creator of Reactle, immediately took down their games, feeling it wasn’t worth getting into an intellectual property (IP) battle with the Times, 404 Media reported. The same thing happened with the Wordle Archive, which confirmed in 2022 that access to previous Wordle puzzles was shut down because “sadly, the New York Times has requested that the Wordle Archive be taken down.”
“To me, Wordle is like Tetris or a deck of cards. It’s such a simple premise,” Wackerfuss told 404 Media. He pointed to unique games that wouldn’t exist without building on Wordle‘s premise, including “a Taylor Swift version, a version in all different types of languages. The New York Times would never build those, so I’m not sure why they feel like we’re encroaching on their IP.”
But Worldle’s developer, Kory McDonald, is not backing down just because the Times threatened legal action.
McDonald told the BBC that he was disappointed in the Times targeting Worldle. He runs the game all by himself, attracting approximately 100,000 players monthly, and said that “most of the money he makes from the game goes to Google because he uses Google Street View images, which players have to try to identify.” The game can only be played through a web browser and is supported by ads and annual subscriptions that cost less than $12.
“I’m just a one-man operation here, so I was kinda surprised,” McDonald told the BBC, while vowing to defend his game against the Times’ attempt to take it down.
“There’s a whole industry of [dot]LE games,” McDonald told the BBC. “Wordle is about words, Worldle is about the world, Flaggle is about flags.”
It’s not clear how strong a case the Times would have to enforce the takedown or if it will target other “-le” games next. The list of potential next targets is long and includes a completely different game also called Worldle, where players guess the country based on its outline. Wackerfuss told 404 Media in March that it seemed like the Times was chasing down every lead.
The Times is not commenting on the legal action, the BBC reported, but in the past has targeted Wordle clones that either use the Wordle trademark or its copyrighted gameplay without authorization or permission.
Because McDonald’s game has vastly different gameplay than Wordle, the Times may be limited to only arguing that the similar-sounding names are creating confusion for an average user.
Now it seems possible that McDonald’s fight, if successful, could encourage others to resist takedowns over the Wordle trademark.
McDonald doesn’t think that “world” sounding too much like “word” is an issue, but even if the Times wins the fight, he intends to keep his game online.
“Worst-case scenario, we’ll change the name, but I think we’ll be OK,” McDonald told the BBC.
