Independent music publisher Round Hill is suing Suno and Anthropic for allegedly using hundreds of copyrighted songs without permission to train their AI systems. The company says potential damages could exceed $1 billion, arguing there is "nothing fair" about building multibillion-dollar AI businesses on copyrighted material while rights holders receive nothing. From The Hollywood Reporter: Round Hill is a prominent music publisher whose copyrights include the Goo Goo Dolls' "Iris," Bonnie Tyler's "Total Eclipse of the Heart," the Kinks' "Lola" and Dio's "Holy Diver." The company provided a list of 500 songs that the defendants had infringed upon. Round Hill said in the suits that the company plans to "amend to list potentially ten thousand or more of their musical compositions," with those damages potentially exceeding $1 billion. "While in other cases for copyright infringement, Defendant has waxed poetic about the necessity of progress and AI's value to society, there is simply no reason -- other than rote expediency -- to have that progress come at the cost of copyrights holders," prominent music attorney Richard Busch, representing Round Hill, wrote in the suits.

Round Hill further argued that the latter "'expediency' arguments completely falter" when taking into account Suno and Anthropic's significant cash valuations they've earned while "exploiting illicit copies of copyrighted works, including the Round Hill Works." "There is simply nothing fair about a company using theft to build for purely commercial purposes a multi-billion dollar business while those from which they steal receive nothing," Round Hill said. Suno also faces a lawsuit from Universal Music Group and Sony Music Group.

An anonymous reader quotes a report from The Guardian: The release of a new album by Taylor Swift might be a cause for celebration among her fans, but such events have also been linked to a more sombre phenomenon: an increase in fatal car crashes. The team behind a new study say it sheds light on the impact of distracted driving. Writing in the journal Jama Network Open, [Vishal Patel, first author of the study based at Harvard Medical School] and colleagues report how they focused on the release of 10 major albums, launched between 2017 and 2022, selected for having the highest number of Spotify streams over a single day. [...] The team found streaming volume for the top 200 songs in the US was 43% higher on the date of major album releases compared with the days surrounding the releases -- although such data does not reveal whether the music was being streamed in a car.

[...] The researchers used data from a population-based registry of fatal US motor vehicle crashes to look at the number of traffic fatalities on the dates these albums were released, as well as for the 10 days either side. After taking into account the day of the week upon which the album was released, as well as federal holidays, and time of year, the researchers found the number of US traffic fatalities showed a relative increase of 15.1% on the date of major album releases, compared with similar days either side. "This is equivalent to approximately 182 fatalities in the US attributable to the release days of the 10 included albums," the team writes.

Patel said the release of a new album could distract drivers because accessing music is a search task, not a single button press. "You unlock the phone, open the app, find the release, read down a tracklist, tap the right song. That's several seconds of looking at a screen," he said, adding unfamiliar music also demands more attention, while research has suggested listening to new, high-energy music measurably degrades driving performance. The researchers add the rise in traffic fatalities was greater among certain groups -- such as younger drivers, male drivers, people who were driving alone, and people driving cars with a built-in infotainment platform. The authors say the results suggest that "online music streaming through smartphones may significantly contribute to distracted driving and traffic fatalities."

Saturday Disneyland announced a special Star Wars-themed collaboration with third-person shooter game Fortnite — including a slick new trailer for its Star Wars: Smuggler's Gambit quest.

Visitors to Disneyland's Smuggler's Run attraction at Disney's theme parks in Orlando and in Anaheim can accept a special mission while waiting in line for the ride, according to The Hollywood Reporter. And "If they succeed, they will get a unique Forsworn Trooper Outfit in a newly-created Fortnite adventure called Smugglers Gambit set in that same universe." "Millennium Falcon: Smugglers Run | Fortnite marks the first time this attraction has reached beyond its physical walls into a connected game world — a story that starts in a queue in Orlando or Anaheim can now continue on a screen almost anywhere," said Sean Shoptaw, executive VP of Disney Games and Digital Entertainment.... "Together these experiences reflect our ambition to connect stories and worlds across formats into one converged entertainment ecosystem...."

The cockpit technology in the ride was actually created using Epic's Unreal Engine, which allows for many assets from the ride to appear in Smugglers Gambit.... "Whether you're at a Disney Park or playing Fortnite with your friends, fans have new ways to keep their Star Wars adventures going," [said Adam Sussman, president of Epic Games]. "This is only the beginning of what's possible when world-class storytellers bring their creativity into Fortnite." Disney, of course, is an investor in Epic Games, and the two companies have been at work building a new world that will connect to Fortnite with all of the Disney's beloved characters... This new collaboration, however, extends to the real world for the first time, bringing some video game magic to Disney's parks, and some of that theme park magic to the video game.
Disneyland will also launch a new area based on James Cameron's Avatar: The Way of Water, reports The Orange County Register — which even has a picture of the Avatar Destination ride's model, showing an enormous (and very colorful) waterfall. The model was part of Saturday's Disney fan expo "D23", showing the Disneyland Monorail traveling around the edge of the attraction (which reportedly involves a 30-person vehicle).

Saturday's event also included details on the long-awaited "reimagining" of the park's Tomorrowland area, with their official blog promising "Yesterday's tomorrow, today!" Tomorrowland has some history, explains the Orange County Register: The land's first update in 1967 was dubbed the New Tomorrowland with the 1998 makeover jokingly referred to as the New, New Tomorrowland. The latest iteration is already being called the New, New, New Tomorrowland. Disneyland's Land of Tomorrow has plenty of empty spaces in need of some Imagineering magic with the Tomorrowland Theater, Star Wars Launch Bay and PeopleMover track all sitting underused.
Or, as The Wrap puts it, "The problem with Tomorrowland, of course, has been keeping up with tomorrow." 1967 introduced New Tomorrowland, with Adventures Thru Inner Space, Carousel of Progress and the PeopleMover giving it the "World on the Move" theme. In 1975 Space Mountain opened and in the 1980's the Tomorrowland stage was enclosed to become a 3D theater, where "Magic Journeys" and "Captain EO" played. Star Tours also opened in the 1980's, giving the area some additional adrenaline. But an elaborate redo of the area, planned for the 1990's, was cut short due to financial woes following the opening of Disneyland Paris and were largely shuttered. (In Florida, a new Tomorrowland was approximated in the mid-1990's but not really followed through on, adopting some of the timelessness of the Jules Verne-inspired Discoveryland from Paris.)

Since the 1990's, Tomorrowland in Disneyland has become largely defunct or outright abandoned... In the late 1990's, Disney tried to use the [PeopleMover] track for a high-speed attraction called Rocket Rods. The attraction never worked properly and was shuttered after just a few years. Rumor has it that the intensity of the ride vehicles actually weakened the PeopleMover track and removing the track would be time consuming and costly. So since the turn of the millennium, there has just been track above and all around Tomorrowland that sits, untouched.

Spotify will begin labeling AI-generated artist identities with "AI Persona" badges and exclude their music from editorial, algorithmic, and personalized recommendations unless users explicitly follow them. The company says the designation applies to whether an artist profile represents a real person, not whether AI was used to make the music, and will allow appeals for mislabeling. TechCrunch reports: While Spotify will allow artists to identify themselves as AI Personas, the company says it won't rely on self-disclosure alone. It will also review artist profiles and identify those where the artist's name and imagery appear to represent photorealistic AI-generated identities. Spotify said it will begin its review with profiles that have met pre-defined audience thresholds to ensure the more listened-to artists are covered first.

Once labeled, the AI Persona badges will appear on the artist's profile in the banner and the About section, in Search, and on track rows across playlists. By default, Spotify won't include AI Personas in its editorial or algorithmic recommendations, nor will it add AI Personas' music to users' personalized recommendations -- unless they happen to follow an AI Persona. Only users can choose to follow an artist, so it's an explicit signal that the user wants to hear more music from that person or group. Spotify wrote in its announcement that, "while we believe all artists have creative choice in determining how they present themselves, Spotify's programming is focused on elevating music from authentic artists building careers in music."

"Although there's a broad spectrum in how artists use AI as a creative tool, the question of whether a profile represents an actual human is one where Spotify can help make a clear determination. This badge is about the artist's public identity, not about how the music was made," the company said.

Paramount is making commitments to major theater chains to release 30 films annually for three years if its Warner Bros. deal goes through. According to Deadline, the written commitment was sent to "at least one of the top two circuits" (specifically Regal but AMC may have also received a written commitment) and includes "an exclusive 45-day theatrical window and a 90-day window to streaming." From the report: When it comes to the big chains, it matters for them to be on the right side of history with Paramount, especially when it comes to future terms on a 30-film slate. However, the rest of Cinema United (formerly National Association of Theatre Owners) remains firmly against the Paramount-Warner Bros merger and its potential negative financial outcomes in regards to long-term box office, feature film output and loss of jobs. Cinema United has been trying to meet again with Paramount CEO David Ellison, but there's nothing on the books yet, we understand.

[Regal boss Eduardo Acuna] told Deadline that in regards to Paramount's future promise to exhibition, "[Paramount CEO] David [Ellison] is sincere in making these commitments, and he has offered to execute a consent decree to the state AGs to that effect. These are tangible and important commitments that will benefit the industry and which can be measured." Paramount insiders tell us that no written commitments have been given to exhibitors yet, but Ellison is willing to make non-bespoke ones to any theater chain wanting them. And such deals will come with financial penalties to Paramount should it break such agreements with theaters. Again, this is all about Ellison standing behind his promises made at CinemaCon to maintain a hefty theatrical output and excellent windows to theaters.

Researchers believe they've found evidence that brain signals reveal the pitches of notes in imagined musical melodies, reports Medical Express: Study participants were 10 epilepsy patients with electrodes on the surfaces of their brains for clinical monitoring. Participants quietly listened to the first bars of children's tunes, then imagined the melodies of subsequent bars before humming their imagined melodies. Brain activity from the patients carried information about relative pitches within the imagined melodies. Combining note-level pitch predictions over time allowed the research team to recreate melodic changes that reflected the structure of the imagined songs...

"The model we created decodes relative pitch classes — such as do, re, mi, fa, sol, and la — rather than exact, absolute pitches," [said tudy co-lead Jii Kwon of Seoul National University]. "This is useful because people often recognize melodies by the relationships between notes, even when the same melody is played in a different key."

Suno says it will begin watermarking and fingerprinting AI-generated songs, tighten download policies to curb mass distribution, and explicitly prohibit deceptive audio and unauthorized voice or likeness cloning. The changes come as the company faces mounting copyright lawsuits, a recent adverse ruling in Germany, and scrutiny over a past data breach that revealed training-data sources. TechCrunch reports: In a blog post, co-founder and CEO Mikey Shulman shared core principles and said that the platform wants to promote original creation while enabling more people to make music with its AI tools. One of the key points of contention involved users uploading AI-generated songs on other streaming platforms and gaming the system to earn revenue. Suno said that now it will use audio watermarking and fingerprinting to prevent misuse on other streaming platforms. It's not clear if Suno will use an existing system like Google's Synth ID or adopt a new one, and the company did not say when contacted by TechCrunch about this.

The startup also signed an agreement with lyrics provider Musixmatch to use its Sentinel system for copyright detection, the blog post said. [...] The company added that it plans to add a new download policy to bar mass distribution on streaming platforms, but declined to provide details on the record. Suno has also changed its community guidelines to explicitly prohibit "deceptive audio presented as real" and "using a real person's voice or likeness without permission" to prevent copycats.

An anonymous reader quotes a report from Ars Technica: The Federal Communications Commission voted 2-1 today to eliminate the National Television Ownership Rule, claiming authority to repeal a limit that was set by Congress over 20 years ago. The rule prohibits any single broadcast station owner from reaching more than 39 percent of all TV households in the US. Under Chairman Brendan Carr, the FCC is replacing the rule with a "case-by-case review" of each proposed merger.

"This will empower the FCC to approve deals that promote the public interest while allowing the agency to reject any deals that do not meet that standard," Carr's office said in a press release today. Without the 39 percent rule, broadcasters will be better able to compete against streaming companies that don't face similar limits, Carr's office said.

The change, if not stopped by courts, will make it easier for Carr to allow broadcast mergers that result in more favorable news coverage for President Trump. Carr has consistently threatened to revoke licenses from broadcasters who have drawn Trump's ire, including by ordering an early license review of all ABC-owned stations. Carr said local broadcast TV stations are becoming "undifferentiated passthroughs of national programming produced in Hollywood and New York," and he justified repealing the ownership rule by arguing it will help the stations invest in local news. "It's worth noting that Republicans with deep firsthand knowledge of this issue also agree the commission cannot do what it is attempting today," said Democratic FCC Commissioner Anna Gomez, who voted against the decision today. "Former FCC Commissioner Mike O'Rielly has been unequivocal that the FCC lacks authority to change the cap. Former House Majority Leader Tom DeLay, who negotiated the 39 percent compromise, has stressed that Congress intentionally wrote the cap into law to prevent FCC revision. And Senate Commerce Chair Ted Cruz has said he is 'skeptical a change can be made absent an act of Congress.' Their consensus reinforces a simple point: Congress set the cap, and only Congress can change it."

Gomez, in addition to arguing that "Congress deliberately enshrined the cap in statute and removed it from the Commission's review process," said removing the cap will hurt local broadcasters. "Digital giants compete for their most valuable programming and advertising, while consolidation pressures at the national level threaten the local reporting and public-safety functions on which communities rely," Gomez said. "But eliminating the cap does not free local broadcasters from that strain. It just changes who is doing the squeezing. A handful of station-group giants does not represent the wishes of local broadcasters. They are large national companies that own local stations and increasingly dictate what airs on them without much local input. Trading a squeeze from Big Tech for a squeeze from Big Media does nothing to protect the communities this cap was designed to serve."

An anonymous reader quotes a report from TechCrunch: Several popular Samsung smart TV apps contain code that share the owner's internet connection with strangers, potentially putting millions of Samsung smart TVs at risk of hijacking, according to new security research published on Monday. Some of these apps claim to have been installed on hundreds of millions of smart TVs in people's homes, per the app developers. At least one of the smart TV apps was a simple Pac-Man game that Samsung had endorsed and prominently featured in its "Editor's Choice" section on customers' TV screens. These apps contain software that funnels outsiders' web traffic through ordinary home and office internet connections, known as residential proxy networks (or "resproxies"), which are increasingly being linked to cybercrime. When opened, apps with resproxy code can turn the smart TV into an always-on tunnel for outsiders to funnel their web traffic through, known as an exit node -- even when the app is no longer open.

The security research by Norwegian cybersecurity company Mnemonic describes a perfect storm of problems that allows low-quality apps to proliferate across Samsung's app store, containing code that puts users at risk of having their internet connections tapped by a rogue app. Many of these apps are bare-bone shells, made from only a few lines of code, and are designed solely to load content from another website, such as a game. While such smart TV apps load content from another server, any review of these apps sees only the few lines of code within, and not necessarily the content itself. "What was reviewed is not necessarily what is running," wrote Harrison Sand, an offensive security consultant at Mnemonic.

After TechCrunch contacted Samsung with a request for comment about the research, the electronics giant said in an emailed statement that it was banning apps that share their users' internet connections, and will remove apps that contain the functionality. "We have already restricted new app registrations that incorporate such proxy functionalities on our Smart TV platform," said a Samsung spokesperson. "We are currently implementing strict platform-wide developer policies explicitly banning residential proxy SDKs, and we are working to identify and remove all apps currently available in our store that contain these components." LG also recently announced plans to suspend apps containing ResProxy software after a security firm found that roughly 42% of apps in its TV app store allowed unknown third parties to route internet traffic through users' televisions without their knowledge.

Even as Hollywood performers protest and Hollywood studios sue "in their war on AI," reports the Los Angeles Times, "the entertainment industry is deepening its dependence on it." Among hundreds of job postings in late June, more than one in 10 was likely connected to AI. The top studios' public postings suggest they have been recruiting people to build AI tools. They are also recruiting teams to defend their intellectual property against unauthorized AI use. "There are plenty of studios that are hiring [for AI] but never talk about it in public," said Yoland Yan, a co-founder of ComfyUI, a company that helps studios juggle different AI tools. Companies have been hesitant to detail how they use generative AI in film production — partly because they are concerned about consumer and union backlash. Some in Hollywood described AI use as the new cosmetic surgery, where everyone knows it is happening, but few will admit to it...

Although some companies may be shy about sharing their AI plans, big stars who don't have to answer to others have been more open about their embrace of the new technology for storytelling. Rejecting AI is like picking a horse and buggy over a car, said "Star Wars" creator George Lucas. "Artificial intelligence means it's much easier for us to make movies," he told a trade magazine earlier this year. "There's nothing you can do about it. That's progress. It's the future." Some in Hollywood have a softer stance on artificial intelligence, with studios cutting deals with AI companies, and filmmakers like Martin Scorsese backing AI companies. Ben Affleck launched an AI film tech company then sold it to Netflix for half a billion dollars. When launching InterPositive, Affleck said he wanted to keep "storytelling human" by building AI tools that could fix lighting, generate missing shots and other things while "keeping creative decisions in the hands of artists...."

Disney, Netflix and Amazon had job postings that were about using AI on the creative side of the business. Universal, Paramount, Warner Bros. and Sony had job ads suggesting they were also using AI but for marketing, distribution and audience analytics. The postings suggest the Disney, Netflix and Amazon studios are building repeatable AI workflows for visual effects, animation, sound and dubbing. The companies also seem to be building in-house teams to develop custom generative-AI models, while also using third-party software.

None of the jobs advertised were to create AI that wrote scripts or created AI actors.
Ironically, the Times used Claude Code to build a scraper to identify the job postings, their article acknowledges.

• Three Disney jobs were for "content security," assessing AI tools and guarding against piracy, watermarking and rights-protection work. But Disney is also hiring PhD-level talent "to study 'computer graphics and AI' for Pixar and Disney films," according to the article, and "people to 'bridge the gap between research and practical studio application.'"

• Disney-owned visual effects shops Industrial Light & Magic "was searching for supervisors to 'explore emerging technologies (including AI/Machine Learning)' to develop new production workflows."

• Audio post-production unit Skywalker Sound "seemed to be recruiting to build proprietary AI models for soundtracks, voice separation, and voice transfer, the process of taking a speaker's tone and pitch, and applying it to new content."

• Amazon "was hiring a principal AI executive to drive AI-tool adoption across production, plus roles in operations automation and LLM content classification."

Major record labels including Universal, Sony, and Warner have proposed excluding AI-generated songs from official charts unless they are "substantially human made," properly labeled, legally produced, and free from manipulation concerns. The Verge reports: The proposal goes quite a bit further than a labeling proposal put forth by the RIAA, the International Federation of the Phonographic Industry (IFPI), SAG-AFTRA, and others. That would create a set of standardized labels for AI-generated and AI-assisted music. The labels' proposal would require songs be clearly labeled, but it would also keep them off international charts unless they met specific criteria, including being "substantially human made."

To be eligible, the songs would also have to respect the terms of service of whatever AI service was used, the model would have to have the rights to any data it was trained on, and "not raise stream or chart manipulation concerns." What sort of concerns and what constitutes "substantially human made" are currently vague. Sony Music, UMG, and Mom+Pop Music did not immediately respond to a request for clarification. The IFPI has thrown its weight behind the labels' proposal, though no charting organization has signaled any immediate plan to adopt the rules [...].

A production company and filmmaker are suing Netflix for $105 million, alleging the streamer lost a stolen drive containing an unencrypted master copy of the unreleased Nicolas Cage film Fortitude, which they claim damages its exclusivity and market value. Netflix denied responsibility for the lost film but said it takes content security seriously and has offered to monitor piracy sites for unauthorized copies. CBS News reports: The complaint filed on Wednesday in California district court alleges that the film's associate producer, Daniel Haido, hand-delivered an unencrypted master copy of the film to Netflix so the company could screen it as a potential buyer. Haido verbally instructed the employee to delete the files after the screening, according to the suit. A little over a week after the screening, Netflix emailed the filmmakers to say the drive had been stolen, the plaintiffs allege. "Someone stole a good amount of drives from our office desks this past week," a Netflix executive wrote in the email, according to the suit.

The complaint notes the movie, entitled "Fortitude," took over seven years to make and cost $45 million. It tells the story of a secret mission called Operation Fortitude during World War II that was orchestrated to mislead the Nazis about the Allied invasion of Europe. The film stars Nicolas Cage as Dusko Popov, a real-life spy during World War II, as well as Sir Ben Kingsley and Ron Perlman.

The plaintiffs said studios will now be dissuaded from buying the rights to the movie, knowing that a version of it could be released by a third party for free. "The film's value depended in significant part on its exclusivity as an unreleased, first-to-market work," the complaint states. "By losing control of the film, Netflix destroyed that exclusivity and materially, if not completely, impaired the film's marketability."

YouTube Premium will include Peacock Premium at no extra charge beginning in early 2027. "The deal brings a slew of premium content to the [$15.99 per month] YouTube Premium subscription, including live sports like the NFL, NBA and MLB and entertainment like Law & Order, Saturday Night Live and Love Island," reports The Hollywood Reporter. "It also has the potential to dramatically scale Peacock, which remains smaller than many of its streaming competitors." From the report: Peacock has 48 million subscribers, while YouTube Premium and YouTube Music have a combined 125 million subscribers, though they don't break out how many each of those offerings have. The agreement, which expands on the deal the company inked with YouTube parent company Google last year, will also extend the entertainment company's programming deal with YouTube TV, while bringing some of YouTube's offerings to Comcast Xfinity and Xumo platforms.

There's also a notable sports and production element to the deal, with NBC Sports agreeing to stream some live sporting events on its YouTube channels, and with NBC agreeing to serve as the production partner for select live events on YouTube. YouTube will also bundle some of the company's International streaming offerings like Universal+ and Hayu in select markets.

Variety reports: "The Odyssey" leaks have begun, as a high-quality bootleg of the film reached millions of people on X thanks to a viral tweet on July 25. At 2:25 p.m. PT, a post on X reading "Someone uploaded 'The Odyssey' full movie on X. Can you believe it?" amplified a message from a now-suspended account. The message included a high-quality version of the film, as confirmed by Variety, and climbed to over 2.1 million views within two and a half hours. By that time, the streaming film was replaced by a takedown notice, and then the account was suspended...

As of July 26, a few clones of the bootlegged film are available on X, but they've been mostly flooded away by mislabeled files promising "The Odyssey" but actually showing a Rickroll, the longtime internet prank of tricking people into watching the music video for Rick Astley's 1987 song "Never Gonna Give You Up."
The article notes the leak "certainly doesn't seem to have hurt the film's still-surging box office in its second weekend, during which it earned another $87 million," or lessened demand for Imax 70 mm tickets.

Big news from Comic-Con 2026:

• "Coyote vs. ACME" debuted its long-awaited final trailer. CNET calls it "an animation-meets-live-action story," with the Coyote catapulting into theaters this August 28. (The film began development back in 2018, but was shelved for a tax write-off in 2023 by Warner Bros. until a backlash led to its sale to Ketchup Entertainment.) "Fed up with Acme's unreliable products, Wile E. Coyote decides to hire a lawyer and sue the company..." writes CNET. "The movie also features Lana Condor along with a host of Looney Tunes characters like Porky Pig, Tweety, Foghorn Leghorn and Granny (who gets dinged by an anvil)."

• In other movie news, CNET says Johnny Depp also "made a surprise appearance at Comic-Con, donning a costume as Ebenezer Scrooge" to promote his November 13 movie about the miser from Charles Dickens' famous Christmas novella. (Ian McKellen and Daisy Ridley are also in the movie.)

But several geek favorites are being filmed as TV series...

• There's big news for William Gibson fans, reports Entertainment Weekly. "Two years after Apple TV announced production on the first-ever series adaptation of William Gibson's seminal 1984 novel Neuromancer, the lucky few hundred who attended the studio's Hall H panel at Comic-Con 2026 got to watch the first teaser.

• For Amazon's Prime Video, the Tolkien-derived "Rings of Power" series released a season 3 trailer that CNET said "successfully hides the best parts with fire... The trailer suggests that Sauron is building an army, and all of Middle-earth is trying to find ways to stop him... Rings of Power season 3 will start dropping weekly episodes on Nov. 11, meaning this show will be airing at the same time the Peter Jackson films will be celebrating their 25th anniversary."

• Later in November Amazon's Prime Video will also debut Blade Runner 2099, an eight-episode series that's a sequel to 2017's film Blade Runner 2049, reports CNET. "Set in an alternate version of LA where replicants run things and the humans play second fiddle, the series sees Yeoh's replicant Olwen chasing down outlaw replicants who've gone missing. With her own shelf life on a ticking clock, the stakes are high for her and for her human fugitive partner, Cora..."

• Paramount Plus will debut Avatar: Seven Havens in October, a new animated series from the creators of Avatar: The Last Airbender which CNET says "follows a pair of twin avatars, one of whom is Korra's successor."

• Disney+ has season 3 of Percy Jackson and the Olympians.

• Kevin Feige said Marvel's television slate will include more seasons of "X-Men '97" and the upcoming "VisionQuest" TV series.

• HBO Max will launch a new Green Lantern series called Lanterns on August 16.