Government AI copyright plan suffers fourth House of Lords defeat; BBC, June 2, 2025

 Zoe Kleinman , BBC; Government AI copyright plan suffers fourth House of Lords defeat

"The argument is over how best to balance the demands of two huge industries: the tech and creative sectors. 

More specifically, it's about the fairest way to allow AI developers access to creative content in order to make better AI tools - without undermining the livelihoods of the people who make that content in the first place.

What's sparked it is the Data (Use and Access) Bill.

This proposed legislation was broadly expected to finish its long journey through parliament this week and sail off into the law books. 

Instead, it is currently stuck in limbo, ping-ponging between the House of Lords and the House of Commons.

A government consultation proposes AI developers should have access to all content unless its individual owners choose to opt out. 

But 242 members of the House of Lords disagree with the bill in its current form.

They think AI firms should be forced to disclose which copyrighted material they use to train their tools, with a view to licensing it."

Marvel Artist Complains After 'X-Men: Apocalypse' Giveaway Uses His Work; Hollywood Reporter, 7/29/16

Graeme McMillan, Hollywood Reporter; Marvel Artist Complains After 'X-Men: Apocalypse' Giveaway Uses His Work:

"Bill Sienkiewicz, known for work on such Marvel titles as X-Men spin-off New Mutants and Elektra: Assassin, took to Facebook to complain after discovering that Fox was giving away limited edition promotional replicas of an album cover used as a prop in the movie, using artwork he had created three decades earlier. Previously unaware of the promo item, he discovered its existence at Comic-Con itself when fans asked him to sign them, he explained.

"I've been doing this comic-book thing for years. I'm aware most everything is Work-Made-for-Hire," Sienkiewicz wrote on his post. "Still, I received no prior notification (a common courtesy), no thank you (ditto), no written credit in any form whatsoever either on the piece or in connection with the premium, absolutely no compensation and no comp copies of the album. It's like two losing trifectas wrapped in an altogether indifferent f--- you."

The artist, who originally created the image as part of a cover for Marvel's Dazzler No. 29 in 1983, in collaboration with Marvel's in-house designer Eliot R. Brown, went on to say that he had to be physically restrained by colleagues from "making a scene" at the Fox booth during the show about the giveaway.

"Am I over-reacting here?" he continued. "Do I have the right — at least on behalf of fellow creators — to, at the very least expect decent treatment and some kind of minuscule, even boilerplate, acknowledgment?"