Love Is Blind has found itself in several legal scandals with its former stars, including Season 5 contestant Tran Dang. Here’s everything you need to know about her lawsuit with the show.
Love Is Blind has swiftly become one of the most-watched dating reality TV shows on Netflix. Viewers loved, the show concept which sees a variety of contestants fall in love emotionally without actually seeing each other face-to-face.
It was launched in 2019, and within a short period, it became a direct competitor to long-standing shows like Love Island and Too Hot to Handle.
However, the show has faced many legal allegations from its past contestants regarding work exploitation, negligence, and sexual assault. This included the Season 2 cast members Jeremy Hartwell and Nick Thompson, Danielle Ruhl, and Briana Holmes.
Tran was edited out from Love Is Blind Season 5
Tran was part of Love Is Blind Season 5 and got engaged on-screen with castmate Thomas Smith. However, all of Tran’s footage was cut out after she sued the show and her fiancé. The couple was excluded from Season 5 promotional material, as well.
Tran sued Thomas, Kinetic Content, and Delirium TV, saying that she was sexually assaulted by her fiance on their post-engagement trip to Mexico. Tran revealed that she tried to tell the producers the next morning and received no proper support from them.
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Similar to what Season 2 cast member Jeremy said, Tran expressed feeling neglected during the filming, as though she had to fend for herself while being in an emotionally stressful environment.
Both Jeremy and Tran claimed their movements were restricted by production staff during filming. Tran was not allowed to leave the set when she wanted to, and with her lawsuit hopes to hold the company accountable for false imprisonment.
One of the show’s creators, Chris Coelen, spoke with People and refused all accusations, saying that production was not made aware of what Tran was going through.
He said, “We support and stand with victims of sexual assault, but Ms. Dang’s claims against the producers are meritless. We document the independent choices of adults who volunteer to participate in a social experiment. Their journey is not scripted, nor is it filmed around the clock. We have no knowledge or control over what occurs in private living spaces when not filming.”