The 79th Cannes may go down as the time the world’s grandest film festival for the first time wrestled with the onset of AI — its arrival has been felt like a tsunami on the French Riviera. Its potential to remake the movie industry, for good or bad, has been an ongoing debate since the festival opened. And in many quarters, the tone is softening.
Source: Tool or threat? Cannes Film Festival grapples with the rise of AI
Is the music industry leaving value on the table and setting itself back by failing to embrace generative AI? Warner Music head Robert Kyncl believes so. “My point, and I’ve said this publicly multiple times, is that the industry had reacted far too slowly” to the advent of the internet, Kyncl communicated. “It was on its heels, defensive, and because of that, it took really until 2014 for the streaming services to really take off. “There was just a lot of value destruction basically for well over a decade. And it was just caused by very defensive behavior and slow movement forward.”
Tamber, which Wrenn has described previously as an “Adobe Creative Suite for music,” uses artificial intelligence to transform feelings, colors, sounds and other descriptive text into musical ideas, and Wrenn believes it could be the antidote to the rise of generative AI tools that are training on “stolen data” and dominating the market right now.
Source: Meet Tamber, an AI Music Platform Whose Founder Isn’t Interested in ‘Blatantly Robbing’ Musicians
After several authors and class members raised objections to Anthropic’s $1.5 billion settlement over its widespread book piracy to train AI, a federal judge has delayed final approvals of the settlement. On Thursday, US District Judge Araceli Martinez-Olguin declined to rubber-stamp what’s regarded as the largest copyright settlement in US history. Instead, she wanted to better understand why some class members were objecting and opting out of the settlement.
Source: Anthropic’s $1.5B copyright settlement is getting messy as judge delays approval
For the past several years, the AI industry has largely operated on the premise that intelligence lives in language. Large language models like OpenAI’s ChatGPT and Anthropic’s Claude reflect that bet. Runway, alongside other competitors, is making a different one. Its founders believe the next form of AI intelligence won’t be built from text, but from video and world models that learn how the world works, not just how humans describe it.
Source: Runway started by helping filmmakers — now it wants to beat Google at AI
Who should be eligible for the rewards of copyright protection? The answer shapes human activities across an entire society. From a republican perspective, human creation is worth promoting not merely for its outputs, but because a society of people who write, create, and invent is better equipped for self-governance. As law professor Jane Ginsburg explains, every historical justification for copyrights—natural rights, fairness to creators, incentives for innovation, inducements to disclose —presupposes a human creator. That was no accident.
Source: The Founders’ Case for Human Authorship in the Age of AI
Businesses across industries now use generative AI to draft advertising and website text, create images and presentations, generate software code and develop product concepts. As that use becomes more common, so does an increasingly important question: who, if anyone, owns the output? Copyright depends on authorship, which the Court has described as the person “to whom anything owes its origin.” In the AI context, that makes human authorship the central issue.
Source: Who Owns AI-Generated Content? Documenting the Creation Process Is Critical
AI film-makers stand on the brink of a breakthrough that backers believe will unleash a new wave of creativity. A new cadre, no longer blocked by red lights from studios, feel liberated. They don’t care that the Oscars and the Cannes film festival have in recent weeks ruled AI out of the running for some of their most prestigious prizes. But the rising movement triggers despair for critics who fume about “ugly slop” and “AI sludge”, robots replacing human creativity and copyright piracy in AI model training.
‘There are no rules’: spotlight on Gossip Goblin as AI film-making enters new era
KBRA says in a new report that it has rated more than $12.9 billion in music royalty bonds since 2020 alone. But it expects music ABS issuance to fall by approximately 25% in 2026, dropping from over $3.3 billion in each of the past two years to slightly more than $2.5 billion – “primarily because of continued issuer consolidation.” KBRA noted that consolidation “may have mixed implications for music ABS, potentially improving collateral diversification and servicing scale while reducing issuance activity.”
Source: KBRA expects music-royalty backed bonds issuance to fall 25% in 2026
The European Commission is working on a law focused on the process for licensing creative content – like writing or art – to AI developers, according to a consultation published on Wednesday. the EU’s executive laid out plans for a “targeted legislative initiative” to complement existing copyright rules. This will weigh different possible levels of intervention, according to the consultation.
Source: EU Commission preparing law on licensing content for AI