Warner Bros Discovery's board spurned Paramount Skydance's $108.4 billion hostile takeover bid on Wednesday, calling the offer "illusory" as it accused the studio giant of misleading shareholders about its financing. From a report: Paramount has been in a race with Netflix to win control of Warner Bros, and with it, its prized film and television studios, HBO Max streaming service and franchises like "Harry Potter." After Warner Bros accepted the streaming giant's offer, Paramount launched a hostile offer to outdo that bid.

In a letter to shareholders on Wednesday, the Warner Bros board wrote that Paramount had "consistently misled" Warner Bros shareholders that its $30-per-share cash offer was fully guaranteed, or "backstopped," by the Ellison family, led by billionaire and Oracle co-founder Larry Ellison.

mprindle writes: The Texas Attorney General sued five major television manufacturers, accusing them of illegally collecting their users' data by secretly recording what they watch using Automated Content Recognition (ACR) technology.

The lawsuits target Sony, Samsung, LG, and China-based companies Hisense and TCL Technology Group Corporation. Attorney General Ken Paxton's office also highlighted "serious concerns" about the two Chinese companies being required to follow China's National Security Law, which could give the Chinese government access to U.S. consumers' data.

According to complaints filed this Monday in Texas state courts, the TV makers can allegedly use ACR technology to capture screenshots of television displays every 500 milliseconds, monitor the users' viewing activity in real time, and send this information back to the companies' servers without the users' knowledge or consent.

An anonymous reader quotes a report from BleepingComputer: Audio streaming platform SoundCloud has confirmed that outages and VPN connection issues over the past few days were caused by a security breach in which threat actors stole a database containing user information. The disclosure follows widespread reports over the past four days from users who were unable to access SoundCloud when connecting via VPN, with attempts resulting in the site displaying 403 "forbidden" errors.

In a statement shared with BleepingComputer, SoundCloud said it recently detected unauthorized activity involving an ancillary service dashboard and activated its incident response procedures. SoundCloud acknowledged that a threat actor accessed some of its data but said the exposure was limited in scope. [...] BleepingComputer has learned that the breach affects 20% of SoundCloud's users, which, based on publicly reported user figures, could impact roughly 28 million accounts. The company said it is confident that all unauthorized access to SoundCloud systems has been blocked and that there is no ongoing risk to the platform. "We understand that a purported threat actor group accessed certain limited data that we hold," SoundCloud told BleepingComputer. "We have completed an investigation into the data that was impacted, and no sensitive data (such as financial or password data) has been accessed. The data involved consisted only of email addresses and information already visible on public SoundCloud profiles."

LG smart TV owners discovered over the weekend that a recent webOS software update had quietly installed Microsoft Copilot on their devices, and the app cannot be uninstalled. Affected users report the feature appears automatically after installing the latest webOS update on certain models, sitting alongside streaming apps like Netflix and YouTube.

LG's support documentation confirms that certain preinstalled or system apps can only be hidden, not deleted. At CES 2025, LG announced plans to integrate Copilot into webOS as part of its "AI TV" strategy, describing it as an extension of its AI Search experience. The current implementation appears to function as a shortcut to a web-based Copilot interface rather than a native application. Samsung TVs include Google's Gemini in a similar fashion. Users wanting to avoid the feature entirely are left with one option: disconnecting their TV from the internet.

joshuark writes: Arkansas is becoming the first state to officially end its public television affiliation with PBS. The Arkansas Educational Television Commission, whose members are all appointed by the governor, voted to disaffiliate from PBS effective July 1, 2026, citing the $2.5 million annual membership dues as "not feasible." The decision was also driven by the loss of a similar amount in federal funding after the Corporation for Public Broadcasting (CPB) was defunded by Congress.

PBS Arkansas is rebranding itself as Arkansas TV and will provide more local content, the agency's Executive Director and CEO Carlton Wing said in a statement. Wing, a former Republican state representative, took the helm of the agency in September. "Public television in Arkansas is not going away," Wing said. "In fact, we invite you to join our vision for an increased focus on local programming, continuing to safeguard Arkansans in times of emergency and supporting our K-12 educators and students."

"The commission's decision to drop PBS membership is a blow to Arkansans who will lose free, over the air access to quality PBS programming they know and love," a PBS spokesperson wrote in an email to The Associated Press. The demise of the Corporation for Public Broadcasting, is a direct result of President Donald Trump's targeting of public media, which he has repeatedly said is spreading political and cultural views antithetical to those the United States should be espousing. Trump denied taking a big should on television viewers.

An anonymous reader shares a report: Amazon Prime Video has pulled its AI-powered video recap of Fallout after viewers noticed that it got key parts of the story wrong. The streaming service began testing Video Recaps last month, and now they're missing from the shows included in the test, including Fallout, The Rig, Tom Clancy's Jack Ryan, Upload, and Bosch.

The feature is supposed to use AI to analyze a show's key plot points and sum it all in a bite-sized video, complete with an AI voiceover and clips from the series. But in its season one recap of Fallout, Prime Video incorrectly stated that one of The Ghoul's (Walton Goggins) flashbacks is set in "1950s America" rather than the year 2077, as spotted earlier by Games Radar.

An anonymous reader quotes a report from Ars Technica: On Monday, research analyst MoffettNathanson released its "Cord-Cutting Monitor Q3 2025: Signs of Life?" report. It found that the pay TV operators, including cable companies, satellite companies, and virtual multichannel video programming distributors (vMVPDs) like YouTube TV and Fubo, added 303,000 net subscribers in Q3 2025. According to the report, "There are more linear video subscribers now than there were three months ago. That's the first time we've been able to say that since 2017."

In Q3 2017, MoffettNathanson reported that pay TV gained 318,000 net new subscribers. But since then, the industry's subscriber count has been declining, with 1,045,000 customers in Q2 2025, as depicted in the graph [here]. The world's largest vMVPD by subscriber count, YouTube TV, claimed 8 million subscribers in February 2024; some analysts estimate that number is now at 9.4 million. In its report, MoffettNathanson estimated that YouTube TV added 750,000 subscribers in Q3 2025, compared to 1 million in Q3 2024.

Traditional pay TV companies also contributed to the industry's unexpected growth by bundling its services with streaming subscriptions. Charter Communications offers bundles with nine streaming services, including Disney+, Hulu, and HBO Max. In Q3 2024, it saw net attrition of 294,000 customers, compared to about 70,000 in Q3 2025. Other cable companies have made similar moves. Comcast, for example, launched a streaming bundle with Netflix, Peacock, and Apple TV in May 2024. For Q3 2025, Comcast reported its best pay TV subscriber count in almost five years, which was a net loss of 257,000 customers. "Traditional pay TV -- i.e. cable and satellite -- still declined quarter over quarter in Q3, but again, by less," noted SteamTV Insider. "The [year-over-year] rate of attrition dropped from -12.4 percent to -10.2 percent over 12 months."

MoffettNathanson added: "Yes, Q3 saw a positive net add number for [pay TV for] the first time in eight years, but that positive result came in the year's seasonally strongest quarter. We're not yet close to seeing the category actually grow again..."

Netflix's $72 billion bid to buy Warner Bros Discovery has triggered a consumer class action claiming the merger would crush competition, erase HBO Max as a rival, and hand Netflix control over major franchises. Reuters reports: The proposed class action (PDF) was filed on Monday by a subscriber to Warner Bros-owned HBO Max who said the proposed deal threatened to reduce competition in the U.S. subscription video-on-demand market. "Netflix has demonstrated repeated willingness to raise subscription prices even while facing competition from full-scale rivals such as WBD," the lawsuit said. [...] The lawsuit said the Warner Bros deal would eliminate one of Netflix's closest rivals, HBO Max, and give Netflix control over Warner Bros marquee franchises including Harry Potter, DC Comics and Game of Thrones. On Monday, Paramount Skydance launched a $108 billion hostile bid to buy Warner Bros. Discovery with an all-cash, $30-per-share offer.

Paramount Skydance is launching a hostile bid to buy Warner Bros. Discovery after it lost out to Netflix in a months-long bidding war for the legacy assets, the company said Monday. CNBC: Paramount will go straight to WBD shareholders with an all-cash, $30-per-share offer. That's the same bid WBD rejected last week, according to people familiar with the bid who asked not to be named because the details were private. The offer is backstopped with equity financing from the Ellison family and the private-equity firm RedBird Capital and $54 billion of debt commitments from Bank of America, Citi and Apollo Global Management.

"We're really here to finish what we started," Ellison told CNBC's "Squawk on the Street" Monday. "We put the company in play." On Friday, Netflix announced a deal to acquire WBD's studio and streaming assets for $72 billion. David Ellison-run Paramount had been bidding for the entirety of Warner Bros. Discovery, including those assets and the company's TV networks like CNN and TNT Sports.

"People in their teens and early 20s are increasingly turning to old school tech," reports the BBC, "in a bid to unplug from the online world." Amazon UK told BBC Scotland News that retro-themed products surged in popularity during its Black Friday event, with portable vinyl turntables, Tamagotchis and disposable cameras among their best sellers. Retailers Currys and John Lewis also said they had seen retro gadgets making a comeback with sales of radios, instant cameras and alarm clocks showing big jumps.

While some people scroll endlessly through Netflix in search of their next watch, 17-year-old Declan prefers the more traditional approach of having a DVD in his hands. He grew up surrounded by his gran's collection and later bought his own after visiting a shop with a friend. "The main selling point for me is the cases," he says. Streaming services like Netflix and Disney+ dominate the market but Declan says he values ownership. "It's nice to have something you own instead of paying for subscriptions all the time," he says. "If I lost access to streaming tomorrow, I'd still have my favourite movies ready to watch."

He admits DVDs are a "dying way of watching movies" but that makes them cheaper. "I think they're just cool, there's something authentic about having DVDs," he says. "These things are generations old, it's nice to have them available."
The BBC also writes that one 21-year-old likes the "deliberate artistry" of traditional-camera photography — and the nostalgic experience of using one. They interview a 20-year-old who says vinyl records have a "more authentic sound" — and he appreciates having the physical disc and jacket art.

And one 21-year-old even tracked down the handheld PlayStation Portable he'd used as a kid...

Why does Netflix want to buy Warner Bros, asks the chief film critic at the long-running motion-picture magazine Variety. "It is hard, at this moment, to resist the suspicion that the ultimate reason... is to eliminate the competition." [Warner Bros. is] one of the only companies that's keeping movies as we've known them alive... Some people think movies are going the way of the horse-and-buggy. A company like Warner Bros. has been the tangible proof that they're not. Ted Sarandos, the co-CEO of Netflix, has a different agenda. He has been unabashed about declaring that the era of movies seen in movie theaters is an antiquated concept. This is what he believes — which is fine. I think a more crucial point is that this is what he wants.

The Netflix business strategy isn't simply about being the most successful streaming company. It's about changing the way people watch movies; it's about replacing what we used to call moviegoing with streaming. (You could still call it moviegoing, only now you're just going into your living room.) It in no way demonizes Sarandos — he'd probably take it as a compliment — to say that there's a world-domination aspect to the Netflix grand strategy. Sarandos's vision is to have the entire planet wired, with everyone watching movies and shows at home. There's a school of thought that sees this an advance, a step forward in civilization. "Remember the days when we used to have to go out to a movie theater? How funny! Now you can just pop up a movie — no trailers! — with the click of a remote...."

Once he owns Warner Bros., will Sarandos keep using the studio to make movies that enjoy powerful runs in theaters the way Sinners and Weapons and One Battle After Another did? In the statement he made to investors and media today, Sarandos said, "I'd say right now, you should count on everything that is planned on going to the theater through Warner Bros. will continue to go to the theaters through Warner Bros." He added, "But our primary goal is to bring first-run movies to our members, because that's what they're looking for." Not exactly a ringing declaration of loyalty to the religion of cinema. And given Sarandos's track record, there is no reason to believe that he will suddenly change his spots.

A letter sent to Congress by a group of anonymous Hollywood producers, who voiced "grave concerns" about Netflix buying Warner Bros., stated, "They have no incentive to support theatrical exhibition, and they have every incentive to kill it." If that happens, though, I have no doubt that Sarandos will be smart enough to do it gradually. Warner Bros. films will probably be released in a "normal" fashion...for a while. Maybe a year or two. But five years from now? There is good reason to believe that by then, a "Warner Bros. movie," even a DC comic-book extravaganza, would be a streaming-only release, or maybe a two-weeks-in-theaters release, all as a more general way of trying to shorten the theatrical window, which could be devastating to the movie business.

Do we know all this to be true? No, but the indicators are somewhat overpowering. (He's been explicit about the windows...)
An anonymous group of "concerned feature film producers" sent an open letter to Congress warning Netflix would "effectively hold a noose around the theatrical marketplace," reports Variety.

And CNN also got this quote from Cinema United, a trade association that represents more than 30,000 movie screens in the United States. "Netflix's stated business model does not support theatrical exhibition," Cinema United President/CEO Michael O'Leary said in a statement. "In fact, it is the opposite."

While Netflix hopes to buy Warner Bros. Discovery for $72 billion, CNBC reports a senior official in America's federal government said the administration was viewing the deal with "heavy skepticism. And that's not the only hurdle: On Thursday, The Wall Street Journal reported that Paramount, in a letter to lawyers for Warner Bros. Discovery [WBD], had warned that a sale to Netflix likely would "never close" because of regulatory challenges in the United States and overseas. "Acquiring Warner's streaming and studio assets 'will entrench and extend Netflix's global dominance in a matter not allowed by domestic or foreign competition laws,' Paramount's lawyers wrote," the Journal reported.
Paramount "is now weighing its options about whether to go straight to shareholders with one more improved bid," CNBC reported Friday, "perhaps even higher than the $30-per-share, all-cash offer it submitted to Warner Bros. Discovery this week."

And CNBC reported Friday that the review by America's Department of Justice "can take anywhere from months to more than a year." Netflix said Friday it expects the transaction to close in 12 to 18 months, after Warner Bros. Discovery spins out its portfolio of cable networks into Discovery Global... As part of the deal, Netflix has agreed to pay a $5.8 billion breakup fee to Warner Bros. Discovery if the deal were to get blocked by the government.
Netflix's planned move is already drawing high-powered criticism, reports CNN:

• "The world's largest streaming company swallowing one of its biggest competitors is what antitrust laws were designed to prevent. The outcome would eliminate jobs, push down wages, worsen conditions for all entertainment workers, raise prices for consumers, and reduce the volume and diversity of content for all viewers...." the Writers Guild of America union representing Hollywood writers.

• "Producers are rightfully concerned... Our legacy studios are more than content libraries — within their vaults are the character and culture of our nation." — The Producers Guild of America
• The deal raises "many serious questions" about the entertainment industry's future, "especially the human creative talent whose livelihoods and careers depend on it." — SAG-AFTRA, Hollywood's biggest actors union

• "This is not a win for consumers. Netflix has already aggressively raised prices, increased ad load, and stopped people from sharing passwords. Absorbing a competitor with strong content will only lead to its service becoming more expensive and give consumers less choice." — Ross Benes, a senior analyst at eMarketer, told CNN. [Benes also thinks this could mean fewer companies spending heavily on movies and TV shows. "This contracts the industry."

Netflix is buying Warner Bros. Discovery in an $82.7 billion deal that gives it HBO, iconic franchises, and major studio infrastructure. "Warner Bros. shareholders will receive $27.75 a share in cash and stock in Netflix," notes Bloomberg. "The total equity value of the deal is $72 billion, while the enterprise value of the deal is about $82.7 billion." From the report: Prior to the closing of the sale, Warner Bros. will complete the planned spinoff of its networks division, which includes cable channels such as CNN, TBS and TNT. That transaction is now expected to be completed in the third quarter of 2026, Netflix said in a statement. With the purchase, Netflix becomes owner of the HBO network, along with its library of hit shows like The Sopranos and The White Lotus. Warner Bros. assets also include its sprawling studios in Burbank, California, along with a vast film and TV archive that includes Harry Potter and Friends.

Netflix said it expects to maintain Warner Bros.' current operations and build on its strengths, including theatrical releases for films, a point that had been a cause of concern in Hollywood. Netflix said the deal will allow it to "significantly expand" US production capacity and invest in original content, which will create jobs and strengthen the entertainment industry. Still, the combination is also expected to create "at least $2 billion to $3 billion" in cost savings per year by the third year, according to the statement. U.S. Senator Mike Lee, a Republican from Utah who leads the Senate antitrust committee, said the acquisition "should send alarm to antitrust enforcers around the world."

"Netflix built a great service, but increasing Netflix's dominance this way would mean the end of the Golden Age of streaming for content creators and consumers," Lee wrote in a post on X.

U.S. Senator Elizabeth Warren called it an antitrust "nightmare" that would harm workers and consumers. "A Netflix-Warner Bros would create one massive media giant with control of close to half of the streaming market -- threatening to force Americans into higher subscription prices and fewer choices over what and how they watch, while putting American workers at risk," Warren said on Friday. "It would mean more price hikes, ads, & cookie cutter content, less creative control for artists, and lower pay for workers," she said in a post on X. "The media industry is already controlled by a few corporations with too much power to censor free speech. The gov't must step in."

alternative_right quotes a report from the Guardian: The statue looms and glints at more than 11 feet tall and weighing 3,500 pounds, looking out at the city with, how to put it ... a characteristically stern expression? Despite its daunting appearance and history as a crimefighter of last resort, the giant new bronze figure of the movie character RoboCop is being seen as a symbol of hope, drawing fans and eliciting selfie mania since it began standing guard over Detroit on Wednesday afternoon. It has been 15 years in the making. Even in a snowstorm in the dark, people were driving by to see it, said Jim Toscano, co-owner of the Free Age film production company, where the statue now stands firmly bolted down near the sidewalk. RoboCop hit theaters in 1987, portraying a near-future Detroit as crime-ridden and poorly protected by a beleaguered and outgunned police force, until actor Peter Weller appeared as a nearly invincible cyborg, apparently created by a nefarious corporation bent on privatizing policing. A grassroots campaign to build a RoboCop statue in Detroit began in 2010, eventually raising over $67,000 on Kickstarter and resulting in a completed sculpture in 2017. However, hosting setbacks caused it to get stuck, "stored away from public view," reports the Guardian. The project finally found a home after business owner Mike Toscano agreed to display it in their new open-air product market, calling it "too unique and too cool not to do."

404 Media's Claire Woodcock writes: As prices for streaming subscriptions continue to soar and finding movies to watch, new and old, is becoming harder as the number of streaming services continues to grow, people are turning to the unexpected last stronghold of physical media: the public library. Some libraries are now intentionally using iconic Blockbuster branding to recall the hours visitors once spent looking for something to rent on Friday and Saturday nights.

John Scalzo, audiovisual collection librarian with a public library in western New York, says that despite an observed drop-off in DVD, Blu-ray, and 4K Ultra disc circulation in 2019, interest in physical media is coming back around. "People really seem to want physical media," Scalzo told 404 Media. Part of it has to do with consumer awareness: People know they're paying more for monthly subscriptions to streaming services and getting less. The same has been true for gaming.

As the audiovisual selector with the Free Library of Philadelphia since 2024, Kris Langlais has been focused on building the library's video game collections to meet comparable interest in demand. Now that every branch library has a prominent video game collection, Langlais says that patrons who come for the games are reportedly expressing interest in more of what the library has to offer. "Librarians out in our branches are seeing a lot of young people who are really excited by these collections," Langlais told 404 Media. "Folks who are coming in just for the games are picking up program flyers and coming back for something like that." IP disputes are fueling the shift, too.

The report notes how rights and licensing battles are making some films harder to access -- from titles that quietly slip out of commercial circulation, to streaming-only releases that never make it to disc, to entire shows vanishing during mergers like HBO Max-Discovery+. One prominent example is The People's Joker, which was briefly pulled from the Toronto International Film Festival over a conflict with Batman's rightsholders.

Situations like that are pushing librarians to grab physical copies while they still can, before these works risk disappearing altogether.

HBO Max's 4K debut of Mad Men was botched after Lionsgate reportedly supplied the wrong file, leading to visible crew members where someone is seen pumping a vomit hose. Ars Technica reports: Mad Men ran on the AMC channel for seven seasons from 2007 to 2015. The show had a vintage aesthetic, depicting the 1960s advertising industry in New York City. Last month, HBO Max announced it would modernize the show by debuting a 4K version. The show originally aired in SD and HD resolutions and had not been previously made available in 4K through other means, such as Blu-ray.

However, viewers were quick to spot problems with HBO Max's 4K Mad Men stream, the most egregious being visible crew members in the background of a scene. The episode was "Red in the Face" (Season 1, Episode 7), which was reportedly mislabeled. In it, Roger Sterling (John Slattery) throws up oysters. In the 4K version that was streaming on HBO Max, viewers could see someone pumping a vomit hose to make the fake puke flow.

The Hollywood Reporter, citing an anonymous source, said that the error happened because Mad Men production company Lionsgate gave HBO Max the wrong file. The publication reported that Lionsgate "was working on getting HBO Max the correct file(s)" and was readying to provide them at approximately 10 a.m. PT today. The blunder is likely to be fixed for all viewers soon. There were no problems with the HD versions of HBO Max's Mad Men stream.

The Supreme Court appears inclined to side with Cox Communications in a major copyright case, suggesting that ISPs shouldn't be held liable for users' music piracy based solely on "mere knowledge," given the risk of forcing outages for universities, hospitals, and other large customers. The New York Times reports: Leading music labels and publishers who represent artists ranging from Bob Dylan to Beyonce sued Cox Communications in 2018, saying it had failed to terminate the internet connections of subscribers who had been repeatedly flagged for illegally downloading and distributing copyrighted music. At issue is whether providers like Cox can be held legally responsible and be required to pay steep damages -- a billion dollars or more -- if they know that customers are pirating the music but do not take sufficient steps to terminate their internet access.

Justices from across the ideological spectrum on Monday raised concerns about whether finding for the music industry could result in internet providers being forced to cut off access to large account holders such as hospitals and universities because of the illegal acts of individual users. "What is the university supposed to do in your view?" asked Justice Samuel A. Alito Jr., a conservative, suggesting it would be difficult to track down bad actors without the risk of losing service campuswide. "I just don't see how it's workable at all."

"The internet is so amorphous," added Justice Sonia Sotomayor, a liberal, saying that a single "customer" could represent tens of thousands of users, particularly in rural areas where an entire region might be considered a "customer." After nearly two hours of argument, a majority of justices seemed likely to side with Cox and to send the case back to the U.S. Court of Appeals for the Fourth Circuit for review under a stricter standard. Several justices suggested the company's "mere knowledge" of the illegal downloads was not sufficient to hold Cox liable.

An anonymous reader writes: Netflix has removed the ability to cast shows and movies from phones to TVs, unless subscribers are using older casting devices. An updated help page on Netflix's website, first reported by Android Authority, says that the streaming service "no longer supports casting shows from a mobile device to most TVs and TV-streaming devices," and instead directs users to navigate Netflix using the remote that came with their TV hardware.

"There are times when World of Tanks feels less like a videogame and more like a giant ad budget looking for something to be spent on," writes PC Gamer. This year, all those huge sacks with dollar signs on them have been thrown Benedict Cumberbatch's way, making him the game's newest "Holiday Ambassador" and the star of an absolutely bizarre Christmas advert. The story has very little to do with Christmas and, frankly, not much connection to tanks either, featuring Cumberbatch as a sort of chaotic, supernatural therapist trying to bring a meek nerd out of his shell with the help of a chaotic crowd of his other patients. It's a good watch, shedding the usual hard man action star vibe of past celebrity trailers in favour of something that feels more like a mischievous one act play.
Cumberbatch also portrayed Smaug and Sauron in The Hobbit films (2012-2014), Khan in Star Trek Into Darkness (2013), and Dr. Strange in six Marvel movies. And now Amazon has also hired Cumberbatch for what its calls its "Cannes-winning '5-Star Theater' campaign... performing real Amazon customer reviews as theatrical monologues." Cumberbatch performed over 15 reviews, including popular holiday gifts like the Bissell portable carpet cleaner, Toto bidet, and SharkNinja blender — showing that Amazon truly does have something for everyone on your list.
Last year Amazon produced a similar campaign starring Adam Driver ("Kylo Ren" from the final trilogy of Star Wars sequels). "The humor comes from the juxtaposition between Cumberbatch's gravitas and the text itself," reports Adweek, adding that the reviews were curated "using internal AI tools, to find the most oddly specific reviews on the platform."

Amazon will stream Cumberbatch's bizarre ads on major platforms including TikTok, Snapchat, YouTube, Lyft, Uber, Disney/Hulu, Paramount, and Roku, and on several NFL football games.

I remember when Amazon just chose the best funny fake reviews from customers, and then posted them on the front page of Amazon...

An EDM song by the British group Haven ran into trouble in October after it shared clips of upcoming song "I Run" on TikTok.

The song "was an overnight viral sensation online," writes Digital Music News — racking up millions of plays "even before it hit streaming services." (Although the Washington Post notes that "Record labels and TikTok users began questioning whether 'I Run' used an AI deepfake, modeled off British R&B singer Jorja Smith, for the vocals.")

Digital Music News picks up the story: The artist says he used his own voice to record the vocals, and then ran it through layers of processing and filtering to turn it into the female-sounding voice heard in the track. However, that filtering also included the use of the controversial genAI platform Suno — and that's what complicates things... [The article says later that Suno "is currently in the middle of a blockbuster lawsuit with the Big Three major labels over allegations of widespread copyright infringement of sound recordings used during the AI model training process."]

Meanwhile, the song was rapidly amassing listenership. It soared to #11 on the U.S. Spotify chart and #25 on Spotify globally. Videos using the song continued going viral on TikTok and Instagram, including one in which rapper Offset had apparently played the song during a Boiler Room set, which later turned out to be falsified. And then, as quickly as it appeared, "I Run" was taken down from streaming services, including Spotify and Apple Music. That was due, in part, to numerous takedown notices from The Orchard, the label to which Jorja Smith is signed, as well as the RIAA and IFPI. The takedown notices alleged various issues with the track, including the "misrepresentation" of another artist, as well as copyright infringement.

As a result, the song has also been withheld from the Billboard charts, including the Hot 100, on which it had been predicted to debut this week before the controversy. Billboard points out that it "reserves the right to withhold or remove titles from appearing on the charts that are known to be involved in active legal disputes related to copyright infringement that may extend to the deletion of such content on digital service providers."
The song itself has now been re-released with an all-human vocal track. But going forward will the music industry ever work with AI platforms? The Washington Post reports: "I Run" has taken off as record labels remain unsure of the extent to which they should welcome generative AI programs such as Suno or Udio into the industry. After the two AI music companies began growing in popularity, the three major labels — Sony Music, Warner Music Group and Universal Music Group — filed lawsuits against Suno and Udio, claiming that the AI companies have used the labels' sound recordings to train their model.

Since then, UMG and Warnerhave reached agreementsto work with Udio, ending their litigation... It comes shortly after all three major labels licensed their catalogue to Klay, a music streaming start-up that allows users to adjust songs using artificial intelligence. Major licensing organizations such as ASCAP and BMI shared that they would register songs that were partially AI-generated — but not fully generated ones.

Haven appears to present an uncomfortable edge case. While some AI-generated songs that sound broadly like other artists have been allowed to remain on streaming platforms, the voice in "I Run" appears to have been deemed too duplicative for comfort.