Essential Knowledge for Journalists Reporting on AI, Creativity and Copyright; Webinar, National Press Foundation: Thursday, February 19, 2026 12 PM - 1 PM EST

 Webinar, National Press Foundation: Essential Knowledge for Journalists Reporting on AI, Creativity and Copyright 

"Generative AI is one of the biggest technological and cultural stories of our time – and one of the hardest to explain. As AI companies train models on news articles, books, images and music, reporters face tough questions about permission, transparency and fair use. Should AI companies pay when creative works are used to train their AI models? Where’s the line between innovation and theft?

The National Press Foundation will host a webinar to help journalists make sense of the evolving AI licensing landscape and report on it with clarity and confidence. We’ll unpack what “AI licensing” really means, how early one-off deals are turning into structured revenue-sharing systems, and why recent agreements in media and entertainment could shift the conversation from conflict to cooperation.

Join NPF and a panel of experts for a free online briefing from 12-1 p.m. ET, Feb. 19, 2026. The practical, forward-looking discussion examines how trust, creativity, and innovation can coexist as this new era unfolds and will equip journalists with plain-language explanations, real-world examples, and story angles that help readers understand why AI licensing matters to culture, innovation and the creative ecosystem they rely on every day."

Russian figure skater changes Olympic music over copyright; Associated Press via ESPN, February 8, 2026

 Associated Press via ESPN; Russian figure skater changes Olympic music over copyright

"Russian figure skater Petr Gumennik has been forced to change his short program music two days before the men's program at the Milan Cortina Olympics after joining a growing list of figure skaters dealing with copyright issues.

Gumennik, who is participating as a neutral athlete at the Winter Games, had been working all season to music from "Perfume: The Story of a Murderer," a psychological thriller film. But the 23-year-old Russian national champion learned in the past few days that he did not have proper permission to perform to the music, leaving him in limbo as the Winter Games began.

Given such a tight timeframe, Gumennik was unable to get clearance for his music from last season, which came from the space opera film "Dune." So he pivoted to "Waltz 1805" by Edgar Hakobyan, for which Gumennik was able to get permission."

US figure skater Amber Glenn faces backlash over politics and copyright issues; AP via ABC News, February 9, 2026

 DAVE SKRETTA AP sports writer via ABC News; US figure skater Amber Glenn faces backlash over politics and copyright issues

"On the same day Amber Glenn won Olympic gold as part of the team event, and stepped away from social media due to backlash over her comments on politics and the LGBTQ+ community, the American figure skater ended up with another headache.

Canadian artist Seb McKinnon, who produces music under the name CLANN, took to social media late Sunday to object to the use of his song “The Return,” which Glenn had used in her free skate — and has been using for the past two years without issue.

“So just found out an Olympic figure skater used one of my songs without permission for their routine. It aired all over the world ... what? Is that usual practice for the Olympics?” McKinnon posted to X, shortly after the team competition had ended.

Figure skaters are required to obtain permission for the music they use, but that process is hardly straightforward.

Sometimes the label or record producer owns the copyright, other times the artist themselves, and often there are multiple parties involved. Skaters sometimes will piece together different cuts of music, too. Throw in third-party companies such as ClicknClear that try to smooth out the permission process, and the entire copyright issue becomes murky and nuanced."

Legal Battle Continues for Amyl & the Sniffers and L.A. Photographer, Both Citing Copyright Infringement; Vice, February 4, 2026

 Lauren Boisvert, Vice; Legal Battle Continues for Amyl & the Sniffers and L.A. Photographer, Both Citing Copyright Infringement

"Legal issues have escalated for Australian punks Amyl & The Sniffers, and right after they announced upcoming tour dates. L.A. courts scheduled a hearing for February 13, 2026, regarding a copyright lawsuit and a restraining order filed last year. The issue allegedly began in June 2024, involving L.A.-based photographer Jamie Nelson.

In December 2025, Nelson filed a civil harassment restraining order petition against Amy Taylor, vocalist of Amyl & The Sniffers. Courts in L.A. did not grant the temporary restraining order. But they did schedule the hearing at this time.

Nelson is cited as the creator and copyright holder of a series of photographs taken of Taylor. The series, titled “Champagne Problems”, appeared in the July 2025 issue of Vogue Portugal.The problem arises for both parties in the subsequent use of these photos beyond their initial purpose.

Essentially, Nelson is accusing Taylor of violating copyright on her photos. Allegedly, a third party related to Taylor distributed them without permission. Prior to this, Taylor accused Nelson of exploiting her image for profit and self-advertisement. Allegedly, she sold fine art prints of the photos. Both parties have taken legal action."

Figure skater saved from scrapping Olympic routine after Minions music copyright dispute; The Guardian, February 3, 2026

 Bryan Armen Graham , The Guardian; Figure skater saved from scrapping Olympic routine after Minions music copyright dispute

"The Spanish figure skater Tomàs-Llorenç Guarino Sabaté has been spared a last-minute scramble to redesign his Olympic short program after overcoming a copyright dispute that had threatened to block him from using music from the Minions franchise at the Milano Cortina Winter Games.

The six-time Spanish national champion, who is set to make his Olympic debut in the men’s singles event, said he learned late last week that the routine he has performed throughout the 2025-26 season would not be cleared for Olympic use. Guarino Sabaté said he had submitted the music through the International Skating Union’s recommended rights-clearance process months ago and had competed with the program without issue during the season, including at last month’s European championships in Sheffield.

However, on Tuesday the 26-year-old thanked his fans after Universal gave him permission to use the Minions soundtrack.

“Huge THANK YOU to everyone who reposted, shared and supported. Because of you Universal Studios reconsidered and officially granted the rights for this one special occasion,” Guarino Sabaté wrote on Instagram. “There are still a couple things to be tied up with the other 2 musics of the programme but we are so close to accomplishing it! And it’s all thanks to you!! I’m so happy to see that the minions hitting Olympic ice is becoming real again!! I’ll keep you posted.”"

Minions copyright decision drives Spanish Olympic figure skater, well, bananas; The New York Times, February 2, 2026

 Alex Valdes, The New York Times; Minions copyright decision drives Spanish Olympic figure skater, well, bananas

"Spanish figure skater Tomàs-Llorenç Guarino Sabaté might not speak Minion, but if he did, he might have plenty to say.

With only days before the start of competition at the Milan Cortina Winter Olympics, Guarino Sabaté was informed that, because of copyright issues, he will not be able to perform his routines to the Minions music mix he has been using throughout the 2025-26 season. He has also done his routines in an outfit reminiscent of the movie characters: a yellow T-shirt and blue overalls.

Universal Pictures, which owns the subsidiary Illumination, which in turn owns the Minions franchise, told Guarino Sabaté he cannot use the music. In an Instagram post, the skater said he “followed all due procedures and submitted my music through the ISU ClicknClear system in August, and competed with this program for the entire season.”

However, Guarino Sabaté was told Friday — one week before the start of the skating competition — that he did not have permission...

In a statement, the International Skating Union said: “Copyright clearances can represent a challenge for all artistic sports. While the ISU does not have a contractual relationship with ClicknClear, we continue to work collaboratively with rights clearance stakeholders to ensure that thrilling performances can be accompanied by stirring music.”...

ClicknClear is a “music rights tech company delivering officially licensed music to choreographed sports athletes/teams and performing arts ensembles that use music in their routines worldwide,” according to its website."

Figure skater forced to scrap Olympic routine after Minions music copyright dispute; The Guardian, February 2, 2026

 Bryan Armen Graham, The Guardian ; Figure skater forced to scrap Olympic routine after Minions music copyright dispute

"The Spanish figure skater Tomàs-Llorenç Guarino Sabaté faces a last-minute scramble to redesign his Olympic short program after a copyright dispute blocked him from using music from the Minions franchise just days before competition begins at the Milano Cortina Winter Games.

The six-time Spanish national champion, who is set to make his Olympic debut in the men’s singles event, said he learned late last week that the routine he has performed throughout the 2025-26 season would not be cleared for Olympic use. 

Guarino Sabaté said he had submitted the music through the International Skating Union’s recommended rights-clearance process months ago and had competed with the program without issue during the season, including at last month’s European championships in Sheffield.

The ruling means the 26-year-old must now adapt or replace choreography he has refined for months, a daunting task in a sport where musical timing and muscle memory are inseparable...

Rights to the Minions property are controlled by Illumination and parent studio Universal Pictures. It was not immediately clear which specific licensing hurdle ultimately blocked Olympic clearance, but music licensing in figure skating has grown increasingly labyrinthine in recent years, particularly as the sport has shifted toward contemporary popular music...

“It’s a complex issue, frankly, because the music industry has no common clearance platform,” Smith said. “There are multiple buckets of rights, and within those buckets the clearance process isn’t done on a single platform. Tracking tools have improved, but the facilitated process just isn’t there.”

The $1.5 Billion Reckoning: AI Copyright and the 2026 Regulatory Minefield; JD Supra, January 27, 2026

 Rob Robinson, JD Supra ; The $1.5 Billion Reckoning: AI Copyright and the 2026 Regulatory Minefield

"In the silent digital halls of early 2026, the era of “ask for forgiveness later” has finally hit a $1.5 billion brick wall. As legal frameworks in Brussels and New Delhi solidify, the wild west of AI training data is being partitioned into clearly marked zones of liability and license. For those who manage information, secure data, or navigate the murky waters of eDiscovery, this landscape is no longer a theoretical debate—it is an active regulatory battlefield where every byte of training data carries a price tag."

YouTubers sue Snap for alleged copyright infringement in training its AI models; TechCrunch, January 26, 2026

 Sarah Perez, TechCrunch; YouTubers sue Snap for alleged copyright infringement in training its AI models

"A group of YouTubers who are suing tech giants for scraping their videos without permission to train AI models has now added Snap to their list of defendants. The plaintiffs — internet content creators behind a trio of YouTube channels with roughly 6.2 million collective subscribers — allege that Snap has trained its AI systems on their video content for use in AI features like the app’s “Imagine Lens,” which allows users to edit images using text prompts.

The plaintiffs earlier filed similar lawsuits against Nvidia, Meta, and ByteDance over similar matters.

In the newly filed proposed class action suit, filed on Friday in the U.S. District Court for the Central District of California, the YouTubers specifically call out Snap for its use of a large-scale, video-language dataset known as HD-VILA-100M, and others that were designed for only academic and research purposes. To use these datasets for commercial purposes, the plaintiffs claim Snap circumvented YouTube’s technological restrictions, terms of service, and licensing limitations, which prohibit commercial use."

ESDEEKID CALLS OUT THE CHAINSMOKERS OVER ‘4 RAWS’ REMIX; Billboard, January 3, 2026

 Jessica Lynch, Billboard; ESDEEKID CALLS OUT THE CHAINSMOKERS OVER ‘4 RAWS’ REMIX

"UK rapper EsDeeKid has publicly called out The Chainsmokers after the duo shared a remix of his track “4 Raws” that he says was released without his approval.

In a post on X on Jan. 2, EsDeeKid wrote that the remix was “getting NUKED,” writing, “that chainsmokers remix is getting NUKED mate wow please. don’t remix my sh– and think it’s cool to post to all DSPs.”"

‘A nasty little song, really rather evil’: how Every Breath You Take tore Sting and the Police apart; The Guardian, January 15, 2026

 Ben Beaumont-Thomas, The Guardian; ‘A nasty little song, really rather evil’: how Every Breath You Take tore Sting and the Police apart

"This week’s high court hearings between Sting and his former bandmates in the Police, Stewart Copeland and Andy Summers, are the latest chapter in the life of a song whose negative energy seems to have seeped out into real life.

Every Breath You Take is the subject of a lawsuit filed by Copeland and Summers against Sting, alleging that he owes them royalties linked to their contributions to the hugely popular song, particularly from streaming earnings, estimated at $2m (£1.5m) in total. Sting’s legal team have countered that previous agreements between him and his bandmates regarding their royalties from the song do not include streaming revenue – and argued in pre-trial documents that the pair may have been “substantially overpaid”. In the hearing’s opening day, it was revealed that since the lawsuit was filed, Sting has paid them $870,000 (£647,000) to redress what his lawyer called “certain admitted historic underpayments”. But there are still plenty of future potential earnings up for debate."

‘Clock Is Ticking’ For Creators On AI Content Copyright Claims, Experts Warn; Forbes, January 9, 2026

Rob Salkowitz, , Forbes; ‘Clock Is Ticking’ For Creators On AI Content Copyright Claims, Experts Warn

"Despite this string of successes, creators like BT caution that content owners need to move quickly to secure any kind of terms. “A lot of artists have their heads in the sand with respect to AI,” he said. “The fact is, if they don’t come to some kind of agreement, they may end up with nothing.”

The concern is that AI models are increasingly being trained on synthetic data: that is, on the output of AI systems, rather than on content attributable to any individual creator or rights owner. Gartner estimates that 75% of AI training data in 2026 will be synthetic. That number could hit 100% by 2030. Once the tech companies no longer need human-produced content, they will stop paying for it.

“The quality of outputs from AI systems has been improving dramatically, which means that it is possible to train on synthetic data without risking model collapse,” said Dr. Daniela Braga, founder and CEO of the data training firm Defined.ai, in a separate interview at CES. “The window is definitely closing for individual rights owners to secure favorable terms.”

Other experts suggest that these claims may be overstated.

Braga says the best way creators can protect themselves is to do business with ethical companies willing to provide compensation for high-quality human-produced content and represent the superior value of that content to their customers. As models grow in capabilities, the need will shift from sheer volume of data to data that is appropriately tagged and annotated to fit easily into specific use cases.

There remain some profound questions around the sustainability of AI from a business standpoint, with demand for services among enterprise and consumers lagging the massive, and massively expensive, build-out of capacity. For some artists opposed to generative AI in its entirety, there may be the temptation to wait it out until the bubble bursts. After all, these artists created their work to be enjoyed by humans, not to be consumed in bulk by machines threatening their livelihoods. In light of those objections, the prospect of a meager payout might seem unappealing."

The Trump Administration's Deportation Reels Keep Getting Copyright Strikes for Using Music Without Permission; Reason , February/ March 2026 Issue

 AUTUMN BILLINGS , Reason; The Trump Administration's Deportation Reels Keep Getting Copyright Strikes for Using Music Without Permission

"As masked Immigration and Customs Enforcement (ICE) agents deploy to U.S. cities, the Trump administration is also running a social media campaign. Its effort to stay viral online is colliding with copyright law.

Between January 26 and November 10, 2025, the Department of Homeland Security (DHS) posted 487 times on Instagram—more than 28 percent of the agency's total posting since joining the platform in 2014. The posts promote the crackdown by mixing 20th century propaganda with modern memes, and they feature a wide range of popular imagery and audio.

But not all the content they use has been licensed—or welcomed. Several creators have pushed back on the unauthorized use of their copyright-protected work."

Amazon Prime slammed for streaming ‘It’s a Wonderful Life’ with key scene cut out: ‘Sacrilege’'; New York Post, December 25, 2025

Ariel Zilber, New York Post; Amazon Prime slammed for streaming ‘It’s a Wonderful Life’ with key scene cut out: ‘Sacrilege’

"The existence of the abridged version is rooted not in a creative choice by Amazon, but in the film’s famously tangled copyright history, according to the University of Connecticut.

In 1974, the distributor failed to renew the movie’s copyright, sending “It’s a Wonderful Life” into the public domain.

For nearly two decades, television stations freely aired the film — especially during the holidays — without paying royalties.

But the legal landscape shifted in the 1990s.

While the film itself had fallen into the public domain, the rights to two underlying elements had been properly maintained: the original short story “The Greatest Gift,” by Philip Van Doren Stern, and the musical score by Dimitri Timokin, a UConn legal blog noted.

Republic Pictures, later acquired by Paramount, used those copyrights to effectively reclaim control over the movie’s distribution, arguing that any exhibition of the film required licensing the copyrighted story and music.

The “Pottersville” sequence is the portion most directly adapted from Stern’s story.

Legal experts say the abridged version appears to be a workaround — by removing that specific sequence, distributors may have believed they could avoid infringing on the short story’s copyright while still offering a version of the film."

Natasha Lyonne says AI has an ethics problem because right now it’s ‘super kosher copacetic to rob freely under the auspices of acceleration’; Fortune, December 20, 2025

Marco Quiroz-Gutierrez , Fortune; Natasha Lyonne says AI has an ethics problem because right now it’s ‘super kosher copacetic to rob freely under the auspices of acceleration’

"Asteria partnered with Moonvalley AI, which makes AI tools for filmmakers, to create Marey, named after cinematographer Étienne-Jules Marey. The tool helps generate AI video that can be used for movies and TV, but only draws on open-license content or material it has explicit permission to use. 

Being careful about the inputs for Asteria’s AI video generation is important, Lyonne said at the Fortune Brainstorm AI conference in San Francisco last week. As AI use increases, both tech and Hollywood need to respect the work of the cast, as well as the crew and the writers behind the scenes. 

“I don’t think it’s super kosher copacetic to just kind of rob freely under the auspices of acceleration or China,” she said. 

While she hasn’t yet used AI to help make a TV show or movie, Lyonne said Asteria has used it in other small ways to develop renderings and other details.

“It’s a pretty revolutionary act that we actually do have that model and that’s you know the basis for everything that we work on,” said Lyonne.

Marey is available to the public for a credits-based subscription starting at $14.99 per month."

Government's AI consultation finds just 3% support copyright exception; The Bookseller, December 15, 2025

 MAIA SNOW, The Bookseller; Government's AI consultation finds just 3% support copyright exception

"The initial results of the consultation found that the majority of respondents (88%) backed licences being required in all cases where data was being used for AI training. Just 3% of respondents supported the government’s preferred options, which would allow data mining by AI companies and require rights holders to opt-out."

The Disney-OpenAI Deal Redefines the AI Copyright War; Wired, December 11, 2025

BRIAN BARRETT, Wired; The Disney-OpenAI Deal Redefines the AI Copyright War

 "“I think that AI companies and copyright holders are beginning to understand and become reconciled to the fact that neither side is going to score an absolute victory,” says Matthew Sag, a professor of law and artificial intelligence at Emory University. While many of these cases are still working their way through the courts, so far it seems like model inputs—the training data that these models learn from—are covered by fair use. But this deal is about outputs—what the model returns based on your prompt—where IP owners like Disney have a much stronger case

Coming to an output agreement resolves a host of messy, potentially unsolvable issues. Even if a company tells an AI model not to produce, say, Elsa at a Wendy’s drive-through, the model might know enough about Elsa to do so anyway—or a user might be able to prompt their way into making Elsa without asking for the character by name. It’s a tension that legal scholars call the “Snoopy problem,” but in this case you might as well call it the Disney problem.

“Faced with this increasingly clear reality, it makes sense for consumer-facing AI companies and entertainment giants like Disney to think about licensing arrangements,” says Sag."

Disney's deal with OpenAI is about controlling the future of copyright; engadget, December 11, 2025

 Igor Bonifacic, engadget; Disney's deal with OpenAI is about controlling the future of copyright

"The agreement brings together two parties with very different public stances on copyright. Before OpenAI released Sora, the company reportedly notified studios and talent agencies they would need to opt out of having their work appear in the new app. The company later backtracked on this stance. Before that, OpenAI admitted, in a regulatory filing, it would be "impossible to train today's leading AI models without using copyrighted materials."

By contrast, Disney takes copyright law very seriously. In fact, you could argue no other company has done more to shape US copyright law than Disney. For example, there's the Sonny Bono Copyright Term Extension Act, which is more derisively known as the Mickey Mouse Protection Act. The law effectively froze the advancement of the public domain in the United States, with Disney being the greatest beneficiary. It was only last year that the company's copyright for Steamboat Willie expired, 95 years after Walt Disney first created the iconic cartoon."

Has Cambridge-based AI music upstart Suno 'gone legit'?; WBUR, December 11, 2025

 

Tiziana Dearing 

Rob Lane

, WBUR; Has Cambridge-based AI music upstart Suno 'gone legit'?

"The Cambridge-based AI music company Suno, which has been besieged by lawsuits from record labels, is now teaming up with behemoth label Warner Music. Under a new partnership, Warner will license music in its catalogue for use by Suno's AI.

Copyright law experts Peter Karol and Bhamati Viswanathan join WBUR's Morning Edition to discuss what the deal between Suno and Warner Music means for the future of intellectual property."

Disney Agrees to Bring Its Characters to OpenAI’s Sora Videos; The New York Times, December 11, 2025

 Brooks Barnes, The New York Times; Disney Agrees to Bring Its Characters to OpenAI’s Sora Videos

"In a watershed moment for Hollywood and generative artificial intelligence, Disney on Thursday announced an agreement to bring its characters to Sora, OpenAI’s short-form video platform. Videos made with Sora will be available to stream on Disney+ as part of the three-year deal...

“The rapid advancement of artificial intelligence marks an important moment for our industry, and through this collaboration with OpenAI we will thoughtfully and responsibly extend the reach of our storytelling,” Robert A. Iger, the chief executive of Disney, said in a statement.

Disney is the first major Hollywood company to cross this particular Rubicon."