Category Archives: Business

Sony Gets Majority Stake in Peanuts in $457 million Deal

Peanuts

Sony is paying quite a few Peanuts to gain more stake in Charles M. Schulz‘s beloved Peanuts. Sony Music Entertainment already has a 39% stake in the property and have entered into an agreement with WildBrain to indirectly acquire the 41% stake it has in Peanuts Holdings LLC.

Sony Pictures Entertainment and Sony Music Entertainment will pay WildBrain about $457 million for their 41%. That gives Sony 80% of Peanuts Holdings LLC while the family of Charles M. Schulz will continue to own the remaining 20%. The management of the business will be handled by Peanuts Worldwide, a subsidiary of Peanuts Holdings LLC. With the 80%, Peanuts Holdings LLC and Peanuts Worldwide will become a consolidated subsidiary of Sony.

WildBrain will use the deal to eliminate 100% of its debt and focus on growing its Strawberry Shortcake and Teletubbies franchises and invest in content. It will also remain a partner of Sony’s producing Peanuts content and managing the Snoopy YouTube channel. It will also be the exclusive licensing agent for consumer products in all current territories across across Europe, the Middle East, China, and Asia Pacific (excluding Japan, Australia and New Zealand). It will also operate an exclusive production studio for new Peanuts content including a previously announced animated film.

Peanuts debuted on October 2, 1950 by Charles M. Shulz in seven newspapers and went on to become a classic beloved property. At the time of his death in 2000, Peanuts ran in over 2,600 newspapers with a readership of roughly 355 million across 75 countries and has been translated into 21 languages. It has spun out into television specials, toys, comics, and so much more.

The deal s subject to certain closing conditions as well as regulatory approvals.

Archie Comics and Oni Press Begin New Era in 2026 with a Publishing Partnership

Oni Press and Archie Comic Publications, Inc. have revealed an ambitious and wide-ranging publishing partnership that will mark a milestone new beginning for ArchieBetty and VeronicaJugheadSabrina the Teenage Witch, Josie and the Pussycats, and the rest of Riverdale’s most iconic characters across a distinctly original and stylistically reimagined slate of monthly comic series, original graphic novels, and prestige collections honoring the full breadth and influence of Archie Comics’ nearly nine-decade history. 

The joy of being young. The pain of growing up. In 2026, the fantastical, pure-pop existence of “America’s Favorite Teenager” will be thrown into overdrive as Archie Andrews reaches a once-in-a-lifetime crossroads between then and now, daydream and reality, the heat of the moment and the vast expanse of eternity, across three daring new monthly series from some of the most brilliantly innovative creators working in the comics industry today: multiple Eisner Award nominee W. Maxwell Prince, Hugo Award nominee Corinna Bechko, and Harvey Award winner Patrick Horvath, working alongside riveting artists, including multiple Eisner Award winner Fábio MoonNick Cagnetti, Eisner Award nominee Kano, and Russ Manning Award winner Tyler Crook.

Timed to coincide with the 85th anniversary of Archie’s’ first appearance in Pep Comics #22 in 1941, the new partnership will officially begin in Fall 2026 with a new slate of ongoing, monthly comics series:

ARCHIE #1
Written by W. Maxwell Prince 
Art by Fábio Moon and Nick Cagnetti 
September 2026

SABRINA THE TEENAGE WITCH #1 
Written by Corinna Bechko 
Art by Kano 
October 2026

ARCHIE IN HELL #1 
Written by Patrick Horvath
Art by Tyler Crook
November 2026

The new Archie line will be editorially overseen by Oni Press Editor-in-Chief Sierra Hahn with additional contributions from Senior Editor Bess Pallares and Editor Megan Brown with guidance from Archie Comics‘ own Senior Director of Editorial Jamie Rotante and Editor & Art Director Vincent Lovallo. Full creative details on each series are being kept under tight wraps, but readers and retailers can expect to hear more as Oni Press and Archie begin a unified marketing and communications campaign for their new slate that will include key appearances at the annual ComicsPRO Industry Conference in Glendale, CA and San Diego Comic-Con 2026 in the months ahead. 

Following the debut of the all-new Archie #1 in September 2026, the unprecedented publishing partnership between Oni Press and Archie Comics will continue as Oni releases a wave of brand-new collections spanning all eras of Archie’s history in variety of formats – including compact digest editions, deluxe hardcovers and omnibi, and comprehensive box sets – that will spotlight contributions from the characters’ original creators John L. Goldwater, Bob Montana, and Vic Bloom, alongside those from a decades-spanning cast of seminal writers and artists including Dan DeCarlo, Veronica Fish, Francesco Francavilla, Erica Henderson, Stan Goldberg, Tom King, Paul Kupperberg, Dan Parent, Samm Schwartz, Fiona Staples, Kelly Thompson, Michael Uslan, Mark Waid, Chip Zdarksy, and many more.  

In 2027, the line will expand further will the debut of an all-new line of middle grade and young adult graphic novels – set in their own, accessible continuity outside of the core Oni Press publishing line – that will feature contributions from some of the most acclaimed and recognizable talents writing and illustrating for those audiences today. More details on those titles will be revealed in mid-2026. 

Coming up, Archie will next appear on the small screen in a live-action horror series Afterlife with Archie on Disney+  followed by the big screen in a new live-action feature film written by Eisner Award winner Tom King and produced by Phil Lord and Christopher Miller for Universal Pictures

This is the third publishing partnership Oni Press has announced in recent years. Along with Archie, Oni is also publishing comics under the classic EC Comics imprint and Matt Kindt’s Flux House imprint debuts in Summer 2026. 

Ablaze Acquires NBM

NBM

NBM has announced that it has been acquired by Ablaze in an asset sale. NBM co-founder Terry Nantier will package new titles for Ablaze. The acquisition includes the NBM brand and catalog. It “provides for the assumption of contracts with creators and licensors and the transfer of editorial operations to Ablaze.” NBM will continue as an imprint of Ablaze.

The acquisition of NBM allows Ablaze to expand its international market reach and boost its backlist as well as launch new creator-owned titles.

NBM will be distributed along with other Ablaze titles by Simon & Schuster, Lunar, Universal, and Diamond UK.

Terry Nantier co-founded NBM (Nantier, Beall, Minoustchine Publishing) in 1976 as the first American publisher to focus exclusively on graphic novels, introducing BD to the U.S. market.

Nantier will serve as editorial consultant and packager for Ablaze, with several new books in development for 2026.

David Zaslav is Poised to Make Bank with Warner Bros.’s Sale

Warner Bros.

There’s a long time to go before things are settled with Warner Bros. Discovery. Netflix has made an offer to purchase the company. Paramount has made a counter offer, which was rejected by the board, leading to talks of a more hostile direction. Then there’s all of the government hurdles that’ll need to be passed for the deal to be approved.

Steering the company through it all, and since 2022, is David Zaslav. Zaslav has drawn ire from numerous corners of the internet for decisions the company has made under his leadership, such as shelving multiple high profile films.

But, under Zaslav, the company has seen its “value” increase. At one point earlier in the year, the company was trading below $10 a share. Netflix has offered $27.75 per share while Paramount has offered $30.

And Zaslav will make bank if a deal goes through. He will received $30 million in “golden parachute” compensation as well as $537 million in equity, for a total of $567 million in transaction-associated pay.

He isn’t the only one who stands to cash in.

Gunnar Wiedenfels, the current CFO and soon-to-be CEO of Discovery Global, will receive $5 million in cash and $138 million in equity. Chief revenue officer Bruce Campbell stands to net $17.6 million in cash and $120 million in equity, streaming chief JB Perrette will get $17.1 million in cash and $150 million in equity, while international chief Gerhard Zeiler will gain $11.3 million in cash and $83.9 million in equity.

A bidding war, a possibility, would increase the stock value and benefit those individuals even more.

It is reported that Paramount offered Zaslav “hundreds of millions of dollars” in their deal where he’d be co-CEO. Zaslav reported the offer to the Warner Bros. Discovery board saying it wasn’t appropriate.

This is all on top of their normal compensation. Zaslav earned $51.9 million last year, Weidenfels earned $17 million, Campbell was $19.7 million, Perrette was $19.7 million, and Zeiler made $14.8 million, according to filings.

Warner Bros. Discovery’s Board Rejects Paramount’s Offer and says it’s “Inferior” to Netflix’s Deal

Warner Bros. Discovery

The board of Warner Bros. Discovery has rejected Paramount Skydance‘s offer of $108 billion to take over the company and instead reiterated its support of Netflix‘s deal.

That doesn’t mean the deal is done. Paramount has said it will make its case to the shareholders offering them $30 a share, higher than Netflix’s and it still could up its offer as well.

Netflix has offered $27.75 a share for Warner Bros. studios, HBO, and HBO Max, just a part of Warner Bros. Discovery. So, while Paramount’s offer might seem higher on paper, it is for the entire company while Netflix’s is just “half” of it. The plan currently is to continue to split Warner Bros. Discovery into two companies with Discovery Global comprising the company’s TV networks which Netflix would not be acquiring.

The Warner Bros. Discovery board stated:

(it) has unanimously determined that the tender offer launched by Paramount Skydance (‘PSKY’) on December 8, 2025, is not in the best interests of WBD and its shareholders and does not meet the criteria of a ‘Superior Proposal’ under the terms of WBD’s merger agreement with Netflix announced on December 5, 2025.

The terms of the Netflix merger are superior. The PSKY offer provides inadequate value and imposes numerous, significant risks and costs on WBD.

Interestingly, the board says that while the Paramount deal has said that it has “full backstop” from the Ellison family, it does not, stating shareholders are being “misled.”

The board also calls into question Paramount’s projections in in “cost synergies.”

The board is recommending shareholders reject Paramount’s offer.

You can read Warner Bros. Discovery’s letter to shareholders below:

Dear Fellow Shareholders,

As your Board of Directors, we are committed to acting in your best interest. In this spirit, in October, we launched a public review of strategic alternatives to maximize shareholder value. This followed three separate proposals from Paramount Skydance (“PSKY”), as well as interest from multiple other parties.

That thorough process, overseen by the Board with the assistance of independent financial and legal advisors, as well as our management team, led to the company entering into a merger agreement with Netflix on December 4, with the substantial benefits to WBD shareholders described below. Having failed to submit the best proposal for you, our shareholders, PSKY launched an offer nearly identical to its most recently rejected proposal.

As a Board, we have now conducted another review and determined that PSKY’s tender offer remains inferior to the Netflix merger. The Board continues to unanimously recommend the Netflix merger, and that you reject the PSKY offer and not tender your shares.

Below, and in more detail in our 14D-9 filing, we highlight the many reasons for the Board’s determination. None of these reasons will be a surprise to PSKY given our clear, and oft- repeated, feedback on their six prior proposals.

The terms of the Netflix merger are superior. The PSKY offer provides inadequate value and imposes numerous, significant risks and costs on WBD.

The value we have secured for shareholders through the Netflix merger is extraordinary by any measure.

Our agreement with Netflix gives WBD shareholders $23.25 in cash, plus $4.50 in shares of Netflix common stock (based on a collar range of $97.91 – $119.67 in the Netflix stock price at the Ume of closing), plus the additional value of the shares of Discovery Global and the opportunity to participate in future potential upside following Discovery Global’s separation from WBD. The entire Board is confident in our recommendation that Netflix represents the best value-creating path for shareholders.

PSKY has consistently misled WBD shareholders that its proposed transaction has a “full backstop” from the Ellison family. It does not, and never has.

PSKY’s most recent proposal includes a $40.65 billion equity commitment, for which there is no Ellison family commitment of any kind. Instead, they propose that you rely on an unknown and opaque revocable trust for the certainty of this crucial deal funding. Despite having been told repeatedly by WBD how important a full and unconditional financing commitment from the Ellison family was – and despite their own ample resources, as well as multiple assurances by PSKY during our strategic review process that such a commitment was forthcoming – the Ellison family has chosen not to backstop the PSKY offer.

And a revocable trust is no replacement for a secured commitment by a controlling stockholder. The assets and liabilities of the trust are not publicly disclosed and are subject to change. As the name indicates, revocable trusts typically have provisions allowing for assets to be moved at any time. And the documents provided by PSKY for this conditional commitment contain gaps, loopholes and limitations that put you, our shareholders, and our company at risk.

Amplifying the concerns about the credibility of the equity commitment being offered by PSKY, the revocable trust and PSKY have agreed that the trust’s liability for damages, even in the case of a willful breach, would be capped at 7% of its commitment ($2.8 billion on a $108.4 billion transaction). Of course, the damage to WBD and its stockholders were the trust or PSKY to breach their obligations to close a transaction would likely be many multiples of this amount.

WBD’s merger agreement with Netflix is a binding agreement with enforceable commitments, with no need for any equity financing and robust debt commitments. The Netflix merger is fully backed by a public company with a market cap in excess of $400 billion with an investment grade balance sheet. The debt financing for the PSKY bid relies on an unsecure revocable trust commitment as well as the credit worthiness of a $15 billion market cap company with a credit rating at or only a notch above “junk” status from the two leading rating agencies. The financial condition and creditworthiness of PSKY, which, if its proposed transaction were to close, would have a high gross leverage ratio of 6.8x 2026E debt to EBITDA with virtually no current free cash flow generation before synergies, raise substantial risks for its acquisition of WBD. Such debt levels reflect a risky capital structure that is vulnerable to even potentially small changes in the PSKY or WBD business between signing and closing.

Additionally, PSKY contemplates $9 billion in synergies from the mergers of Paramount/Skydance and their offer for WBD. These targets are both ambitious from an operational perspective and would make Hollywood weaker, not stronger.

The Board’s review was full, transparent and competitive – establishing a level playing field that fostered a rigorous and fair process.

The Board repeatedly engaged with all parties, including extensive engagement with PSKY and its advisors over the course of nearly three months. We held dozens of calls and meetings with its principals and advisors including four in-person meetings and meals between David Zaslav and David and/or Larry Ellison and provided multiple opportunities for PSKY to offer a proposal that was superior to those of the other bidders, which PSKY never did.

After each bid, we informed PSKY of the material deficiencies and offered potential solutions. Despite this feedback, PSKY has never submitted a proposal that is superior to the Netflix merger agreement.

Despite PSKY’s media statements to the contrary, the Board does not believe there is a material difference in regulatory risk between the PSKY offer and the Netflix merger.

The Board carefully considered the federal, state, and international regulatory risks for both the Netflix merger and the PSKY offer with its regulatory advisors. The Board believes that each transaction is capable of obtaining the necessary U.S. and foreign regulatory approvals and that any difference between the respective regulatory risk levels is not material. The Board also notes that Netflix has agreed to a record-setting regulatory termination cash fee of $5.8 billion, significantly higher than PSKY’s $5 billion break fee.

The PSKY offer is illusory.

The offer can be terminated or amended by PSKY at any time prior to its completion; it is not the same thing as a binding merger agreement. The first paragraph of the offer states it is “subject to the conditions set forth in this offer to purchase (as it may be amended or supplemented from time to time)” and continues on the next page, “we reserve the right to amend the Offer in any respect (including amending the Offer Price)”. In addition, the offer is not capable of being completed by its current expiration date, due to the need for, among other things, global regulatory approvals, which PSKY indicates may take 12-18 months. Nothing in this structure offers WBD shareholders any deal certainty.

The PSKY offer provides an untenable degree of risk and potential downside for WBD shareholders.

There will be additional costs associated with PSKY’s offer that could impact shareholders.

When considering the PSKY offer at this juncture, it is important to note that its acceptance could incur significant additional costs to shareholders – all of which PSKY has ignored in their communications. WBD would have to pay Netflix a $2.8 billion termination fee, which PSKY has not offered to reimburse. In addition, WBD would incur approximately $1.5 billion in financing costs if we do not complete our planned debt exchange as agreed to with certain of our debtholders, which would not be permitted by the PSKY offer. This additional $4.3 billion in potential costs represents approximately $1.66 per share to be borne by WBD shareholders if the offer does not close.

We look forward to moving ahead with our combination with Netflix and delivering the compelling and certain value it will create for shareholders. We urge you to carefully read the 14D-9 filed with the SEC this morning and available on our website, which more fully details the strategic review process and the Board’s reasons for its recommendation to you.

Sincerely,

The Warner Bros. Discovery Board of Directors

Collectors Acquires Beckett

Beckett

Collectors, the company behind the grading service PSA, has entered into a definitive agreement to acquire Beckett. Beckett is another grading service as well as the respected price guide and marketplace. Beckett will remain an independent brand within Collectors and operate on its own. That includes customer experience, standards around grading, marketplace, marketplace, magazines and price guides.

Collectors has said there will be no change in pricing as part of the acquisition.

Dr. James Beckett published his first Sport Americana Baseball Card Price Guide book in 1979 to the launch of the first issue of Beckett Baseball magazine five years later. It eventually morphed into Beckett Media that includes grading services, business solutions, publications, digital tools, a marketplace, and more.

Collectors includes PSA, PCGS, SGC, and Card Ladder and is part of Collēctīvus which also includes Southern Hobby, Dragon Shield, Sales First, Card Manager, and Merchant Guild.

Zootopia 2 and Fight Nights at Freddy’s 2 Trade Spots at the Weekend Box Office

Zootopia 2

Zootopia 2 retook the top of the box office after slipping to second place last weekend. It grossed an estimated $26.3 million to bring its domestic gross to just under $259 million. Over the week, it grossed $182.4 million internationally to bring that to $877.7 million. Worldwide, the movie has grossed $1.137 billion. It’s the second highest grossing film of the year worldwide, though unlikely to take first place which is Ne Zha 2 with $1.902 billion.

Five Nights at Freddy’s 2 slipped to second place after debuting in first place the previous weekend. The film grossed an estimated $19.5 million, a drop of 69.5%. While that’s on the high side, it’s not surprising for such a niche film. Over the week, it grossed $32.2 million internationally to bring that to $78.3 million for a worldwide gross $173.8 million.

Wicked: For Good held on to third place with $8.6 million to bring its domestic gross to $312.1 million. Over the week, it grossed $12.6 million internationally for $155.8 million. Worldwide, the movie has grossed just under $468 million.

Dhurandhar has an amazing jump to fourth place with $3.5 million, a 76.8% increase and LOST 14 theaters over the week, only showing in 377. The movie has grossed $7.9 million domestically and $907,319 internationally for a worldwide total to $8.8 million.

Now You See Me: Now You Don’t remained in fifth with an estimated $2.4 million. The movie has grossed $59.3 million domestically. The internationally grossed remained at $154 million with a worldwide total of $213.3 million.

In other comic related movies…

Jujutsu Kaisen: Execution grossed $2.1 million domestically to bring that total to $14.5 million. Internationally, it added $4.2 million to bring that gross to $34.4 million for a worldwide gross of $48.9 million.

Chainsaw Man – The Movie: Reze Arc grossed a little, about $200,000 to bring its domestic gross to $43.4 million. Internationally, the movie increased $3.3 million to bring that to $110.2 million. Worldwide, the movie has grossed $153.6 million.

Demon Slayer: Kimetsu no Yaiba- The Movie – Infinity Castle grossed about $50,000 domestically over the week and now its total is just under $134.4 million. Internationally, the has grossed $529.9 million. Its worldwide gross is just under $664.3 million.

Numbers have 70 movies grossing $76,446,778 from 33,058 theaters for an average of $2,312.51. That compared to last week’s 57 movies grossing $156,246,170 from 30,521 theaters for an average of $5,119.30.

Google Responds to Disney’s Cease-and-Desist by Removing Content

On the same day that Disney cut a billion dollar deal with OpenAI for the use of its intellectual property in SORA, news came out that Disney went after Google for the same thing. Disney accused Google of copyright infringement on a “massive scale.” Much like its lawsuit against Midjourney, Disney accused Google of exploiting its characters and distributing infringing images and videos. They sent a cease-and-desist letter to Google to get them to stop the infringement.

In response, Google has removed dozens of AI-generated videos featuring Disney’s characters. In their letter, Disney flagged YouTube videos and demanded they were removed.

On Thursday, those links were working and now a message reads, “This video is no longer available due to a copyright claim by Disney.”

Google released a statement that it would work with Disney on the issue:

We have a longstanding and mutually beneficial relationship with Disney, and will continue to engage with them,” the company said. “More generally, we use public data from the open web to build our AI and have built additional innovative copyright controls like Google-extended and Content ID for YouTube, which give sites and copyright holders control over their content.

Disney also demanded Google implement safeguards to prevent AI tools from generating Disney-owned characters and cease using Disney’s characters to train its AI models.

Disney Sends a Cease-and-Desist to Google over Copyright Infringement and AI

Mickey Mouse

On the same day that Disney cuts a billion dollar deal with OpenAI for the use of its intellectual property in SORA, news has come out that Disney is going after Google for the same thing.

Disney is accusing Google of copyright infringement on a “massive scale.” Much like its lawsuit against Midjourney, Disney accuses Google of exploiting its characters and distributing infringing images and videos.

Disney has sent a cease-and-desist letter to Google to get them to stop the alleged infringement.

Google is infringing Disney’s copyrights on a massive scale, by copying a large corpus of Disney’s copyrighted works without authorization to train and develop generative artificial intelligence (‘AI’) models and services, and by using AI models and services to commercially exploit and distribute copies of its protected works to consumers in violation of Disney’s copyrights.

Google operates as a virtual vending machine, capable of reproducing, rendering, and distributing copies of Disney’s valuable library of copyrighted characters and other works on a mass scale. And compounding Google’s blatant infringement, many of the infringing images generated by Google’s AI Services are branded with Google’s Gemini logo, falsely implying that Google’s exploitation of Disney’s intellectual property is authorized and endorsed by Disney.

Disney included examples of images it alleges infringes. Disney has also sent a cease-and-desist letter to Meta and Character.AI.

A Google spokesperson stated:

We have a longstanding and mutually beneficial relationship with Disney, and will continue to engage with them. More generally, we use public data from the open web to build our AI and have built additional innovative copyright controls like Google-extended and Content ID for YouTube, which give sites and copyright holders control over their content.

Disney has said they have attempted to engage with Google for months but Google hasn’t done anything to combat the issue and the infringement has increased over that time.

Disney is asking for them to cease “copying, publicly displaying, publicly performing, distributing, and creating derivative works of Disney’s copyrighted characters.” They also want the implementation of measures to prevent further infringement.

With a billion dollar investment in one company, a lawsuit against another, and threats against others, stories of what lead up to each will hopefully eventually come out. OpenAI isn’t profitable and burning through cash, needing billions in investments to keep up the charade. Compare that to Google’s profitability which allows it to reject deals like Disney may have been proposing behind the scenes which involves the use of generated video on Disney+. Google has Youtube, which has been named as part of the dissemination of the material. Google wouldn’t want to share the generated content, or give it to Disney exclusively stream, wanting it for their own platform. Same as Meta with Facebook. OpenAI has no platform currently to which to do that. It’s likely Disney is suing those that aren’t buying whatever Disney is really selling when it comes to AI.

Disney to Invest $1 Billion in OpenAI Allowing the Licensed Use of its Characters

Mickey Mouse

Disney has partnered with OpenAI and invested $1 billion in the Sam Altman-run artificial intelligence company. With the deal, Disney is also licensing the use of its characters in AI video creation platform Sora. Users will now be able to “legally” use Disney’s characters from Marvel, Pixar, and Star Wars.

The “shortform video creation” will be allowed on Disney+ as part of “fan-inspired Sora short form videos.” The licensed character product launches on Sora and ChatGPT in early 2026. Expect the slop to overrun everywhere even more soon after.

The three-year deal is a 180 with how the company is dealing with Midjourney, another artificial intelligence company. In June, Disney and Universal launched a lawsuit against Midjourney calling it a “bottomless pit of plagiarism.” Warner Bros. launched their own lawsuit and the two cases were consolidated in November. One wonders if there were negotiations between Disney and Midjourney that didn’t pan out which lead to the lawsuit.

Disney recently sent a cease-and-desist letter to Google, alleging Google’s AI platforms have resulted in copyright infringement on a “massive scale.”

The move by Disney is another attempt to reach out to people “where they’re at,” following a $1.5 billion equity investment into Epic Games which brings Disney characters into Fortnite in a multiyear effort.

It’s also a major shift from Disney who is notoriously litigious in protecting its intellectual property. In one infamous case, Disney threated to sue a daycare center over murals that featured the likeness of their characters. Universal Studios and Hanna-Barbera stepped up to allow the use of their characters to prevent the legal action.

Unions were quick to condemn the deal saying it “sanctioned” the “theft of (their) work.”

The Writers Guild of America stated:

Disney’s announcement with OpenAI appears to sanction its theft of our work and cedes the value of what we create to a tech company that has built its business off our backs.

And they’ll meet with Disney:

..to probe the terms of this deal, including the extent to which user-generated videos use the work of WGA members. We will continue to fight to protect our members’ creative and economic interests in the context of AI technology.

In a message to its members, the WGA has said:

Companies including OpenAI have stolen vast libraries of works owned by the studios and created by WGA members and Hollywood labor to train their artificial intelligence systems. We have repeatedly called for the studios to take legal action to defend the valuable intellectual property we help to create.

SAG-AFTRA said:

SAG-AFTRA will closely monitor the deal and its implementation to ensure compliance with our contracts and with applicable laws protecting image, voice and likeness,” the union said. “SAG-AFTRA members are very focused on the rapidly expanding use of intellectual property and individuals’ likenesses and voices by generative AI tools, and SAG-AFTRA remains vigilant about any such uses.

We acknowledge Disney’s and OpenAI’s independent outreaches to us on this matter and their assurances that they will meet their contractual and legal obligations to performers and continue to implement systems to ensure ethical and responsible use of this technology.

SAG-AFTRA has engaged in months of discussions with OpenAI about how to protect performers.

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