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	<title type="text">Charles Pulliam-Moore | The Verge</title>
	<subtitle type="text">The Verge is about technology and how it makes us feel. Founded in 2011, we offer our audience everything from breaking news to reviews to award-winning features and investigations, on our site, in video, and in podcasts.</subtitle>

	<updated>2026-09-25T22:32:28+00:00</updated>

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		<entry>
			
			<author>
				<name>Charles Pulliam-Moore</name>
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			<title type="html"><![CDATA[Pokémon card resellers have turned collecting into an online blood sport]]></title>
			<link rel="alternate" type="text/html" href="https://www.theverge.com/games/1001002/pokemon-30th-celebration-scalping-resellers" />
			<id>https://www.theverge.com/?p=1001002</id>
			<updated>2026-09-25T18:32:28-04:00</updated>
			<published>2026-09-26T08:00:00-04:00</published>
			<category scheme="https://www.theverge.com" term="Entertainment" /><category scheme="https://www.theverge.com" term="Gaming" /><category scheme="https://www.theverge.com" term="Nintendo" /><category scheme="https://www.theverge.com" term="Report" />
							<summary type="html"><![CDATA[Earlier this month, Pokémon card content creator Natalie Roush posted a video to her YouTube and Instagram pages that enraged the larger collection community. In the now-deleted video, Roush shows off two premium boxes of cards that had not yet been officially released, and implores viewers not to be mad. But they were; other creators [&#8230;]]]></summary>
			
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<img alt="A digital illustration of hands holding two 30th Celebration Pokémon cards." data-caption="" data-portal-copyright="Image: The Verge, Shutterstock" data-has-syndication-rights="1" src="https://platform.theverge.com/wp-content/uploads/sites/2/2026/09/268781_Pokemon_PARKIN_v3.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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<p class="has-drop-cap wp-block-paragraph">Earlier this month, <em>Pokémon </em>card<em> </em>content creator Natalie Roush <a href="https://kotaku.com/roush-pokemon-tcg-30th-celebration-set-stolen-cards-ultimate-premium-2000735067">posted a video to her YouTube and Instagram pages</a> that enraged the larger collection community. In the now-deleted video, Roush shows off two premium boxes of cards that had not yet been officially released, and implores viewers not to be mad. But they were; other creators <a href="https://www.youtube.com/watch?v=Hyk61SA2MBI">claimed that cards Roush had purchased were stolen</a> from the manufacturer and mocked her for <a href="https://www.dexerto.com/pokemon/youtuber-opens-unreleased-180-pokemon-box-then-promotes-2262-affiliate-listing-3407060/">trying to sell them at exorbitant prices</a>. The Roush situation was a high-profile example of the way <em>Pokémon </em>card collecting culture has been upended by the influencer economy and people trying to profit off the hobby. Though Roush has been relatively quiet in the days since the blowup, <em>Pokémon </em>collectors have been up in arms over a different — but very much related — problem.</p>

<p class="wp-block-paragraph">When the <em>Pokémon Trading Card Game</em>’s long-awaited <a href="https://www.theverge.com/games/940833/pokemon-tcg-30th-celebration-set-release-date-futuristic-rare">30th Celebration set</a> finally released last week, collectors across the country lined up outside of stores in hopes of getting their hands on some shiny pieces of cardboard. The anniversary set has unusually strong pull rates — the rate at which you’re likely to find rare “chase” cards in a given set — giving more fans the cards they’ve always dreamed of, and potentially upsetting the aftermarket Poké-conomy. Some diehard Poké-fans even camped out overnight because a resurgence in popularity has made the cards much more difficult to find and buy in person. But another group of <em>Pokémon </em>card hunters was able to secure the highly sought-after set without having to travel to physical retailers or navigate the online Pokémon Center.&nbsp;</p>
<div class="youtube-embed"><iframe title="Pokémon TCG: 30th Celebration 🎉 | Available September 16" src="https://www.youtube.com/embed/05w9UVH6zoQ?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p class="wp-block-paragraph">Those people — resellers who often use automated bots to buy dozens of boxes of cards as soon as they’re available for preorder online — might not have had any intention of collecting the 30th Celebration set for themselves. But they <em>have</em> been trying to offload their spoils at marked-up prices to fans who haven’t had a chance to buy cards for themselves. Most retailers can’t keep cards on shelves, but there are plenty of videos online of resellers showing off <a href="https://www.youtube.com/watch?v=9S-w9kQ4vI8">piles of product</a> they were able to obtain either by placing orders with bots or using inventory checking programs that alert them when brick-and-mortar stores receive stock. It’s also easy to find <a href="https://www.youtube.com/watch?v=IkPY2sYjsyM">footage of resellers getting into altercations</a> over cards, and in one recent instance, a 72-year-old man was <a href="https://aftermath.site/pokemon-scalper-gps-tracker-guilty/">arrested and charged with a first-degree misdemeanor</a> for tracking a <em>Pokémon </em>delivery worker’s location with a device secretly planted in her car.</p>

<p class="wp-block-paragraph">Though flipping trading<em> </em>cards is nothing new, the <em>Pokémon </em>reselling economy has gotten much bigger in recent years as people have taken note of how durable the franchise’s popularity is. Many resellers like <a href="https://www.youtube.com/@BotterBoyNova/videos">BotterBoyNova</a> started off with other kinds of valuable merchandise before realizing that <em>Pokémon </em>products can be sold for far beyond the manufacturer&#8217;s suggested retail price, or MSRP. When I spoke with Nova recently, he told me that — like many millennials — he’s been a <em>Pokémon </em>fan since the mid-’90s. Nova was originally a content creator whose videos were mostly focused on reselling sneakers, but seeing how easy it was to profit from reselling <em>Pokémon </em>products convinced him that he needed to get in on the action.</p>

<p class="wp-block-paragraph">“Resellers in what&#8217;s described as the ‘Sneaker Twitter’ space are tapped in with practically every category of collectible that can resell for a profit,” Nova explained to me via Discord. “It&#8217;s not a situation where I&#8217;m singling out the <em>Pokémon</em> card market. It just so happens that it&#8217;s highly profitable and difficult to purchase for MSRP, and those are the conditions that our community specializes in.”</p>
<div class="youtube-embed"><iframe title="I didn&apos;t think this was possible" src="https://www.youtube.com/embed/qFZptvE-tv0?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p class="wp-block-paragraph">Rather than operating independently, Nova works with Polar Chefs — a “cook group” community that sells monthly subscriptions to a variety of reseller tools and services. Subscriptions range from $660 per year to $75 per month, and they come with access to Polar Chefs’ private Discord server, restock alerts, and a selection of bots that can be used to buy cards. These bots make it easy for people to create multiple accounts on retailers’ websites that are attached to virtual credit cards, while the buyer’s IP address is spoofed with proxies. Technically, <a href="https://walton.uark.edu/initiatives/supply-chain-research/posts/fighting-scalping-bots-may-be-a-losing-battle-for-retailers.php">this kind of process isn’t illegal</a> — at least not yet; Congress <a href="https://www.theverge.com/2016/12/9/13897204/ticket-bots-scalpers-congress-law-lin-manuel">outlawed concert ticket-focused bots in 2016</a> and lawmakers have <a href="https://tonko.house.gov/news/documentsingle.aspx?DocumentID=4508">proposed doing the same for retail bots</a>. But it does violate most retailers’ terms of service, which is why some resellers’ orders are canceled.</p>

<figure class="wp-block-pullquote has-text-align-left"><blockquote><p>Retail bots aren’t illegal, but they do violate most retailers’ terms of service.</p></blockquote></figure>

<p class="wp-block-paragraph">Using Polar Chefs’ tools, Nova has been able to purchase massive amounts of <em>Pokémon </em>cards at MSRP from various retailers without being blocked by websites’ anti-bot security measures. Nova described his process of securing cards with bots as being “almost completely hands free,” and explained that the real work doesn’t begin until he has to sort and sell his inventory to a couple of bulk buyers.</p>

<p class="wp-block-paragraph">“During most weeks, I spend less than 3-5 hours a week on the reselling side of things (setting up bots, buying inventory, selling and fulfilling inventory),” Nova said, noting that he’s commonly asleep while pre-programmed bots make purchases for him. “I wait for notifications to come in from Polar Chefs which inform me of releases, bot adjustments I need to make, etc.”</p>

<p class="wp-block-paragraph">Though it is difficult to pinpoint exactly when <em>Pokémon </em>reselling really exploded in the past few years, the rise of groups like Polar Chefs feels reflective of the way that the creator economy evolved during the covid-19 pandemic. Resellers like Nova are influencers whose videos are designed to sell people on the idea that they could also be making money by flipping cards at scale. And monetized cook groups are prime examples of how online hustle culture has become more focused on the sale of how-to guides and courses for practices that can be seen as morally suspect.</p>
<img src="https://platform.theverge.com/wp-content/uploads/sites/2/2026/09/gettyimages-2295635860.jpg?quality=90&amp;strip=all&amp;crop=0,0,100,100" alt="" title="" data-has-syndication-rights="1" data-caption="&lt;p&gt;PASADENA, CALIFORNIA – SEPTEMBER 16: Pokémon card collectors wait in line outside a Best Buy store for a chance to purchase the new 30th Celebration set on September 16, 2026 in Pasadena, California.&lt;/p&gt; | Getty Images" data-portal-copyright="Getty Images" />
<p class="wp-block-paragraph">There’s an argument to be made that the scarcity created by resellers is part of what has driven the popularity of platforms like Whatnot — an online marketplace where people can pay for things like sealed <em>Pokémon </em>products, which are then opened on livestreams by the seller before they’re sent to the buyer. Many Whatnot streamers present themselves as entrepreneurs who are providing their audiences with a helpful service while also entertaining them. But the platform has been accused of <a href="https://www.nytimes.com/athletic/7121448/2026/03/16/whatnot-sports-cards-breaks-repacks-gambling/">operating more like an illegal gambling operation</a>, and there is an entire ecosystem of creators whose content documents <a href="https://www.youtube.com/watch?v=sssrr7LZUpA">Whatnot streamers scamming their customers</a>.</p>

<p class="wp-block-paragraph">But with the 30th Celebration packs flooding the market with rare cards, the scammers could be out of luck. Over the past week, X and Reddit have been <a href="https://www.reddit.com/r/PokemonTCG_Singapore/comments/1wk7ylv/scalpers_in_scalper_discord_want_to_sue_pokemon/">inundated with screenshots</a> from unnamed Discord servers where people claiming to be resellers appear to be melting down over not being able to sell their overpriced cards. One of the more widely circulated images features a person insisting that resellers are “the people that actually ensure [The Pokémon Company] makes money,” while complaining that “there&#8217;s literally no value in these sets because everyone can pull the rare bullshit.” In another, a reseller says they are filing a class action lawsuit against The Pokémon Company “for independent vendors who suffered severe financial asset devaluation due to artificial market saturation.”</p>
<div class="youtube-embed"><iframe title="I am Pokémon’s Biggest Villain…" src="https://www.youtube.com/embed/9S-w9kQ4vI8?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p class="wp-block-paragraph">The absurdity of these posts suggests that they might have been written by people making fun of actual resellers, as does the fact that while searching Discord I found some posts that use the exact same wording. Those posters might have just been looking for attention, but the state of the larger reselling economy does seem to be having a negative impact on <em>Pokémon </em>cards’ availability.</p>

<p class="wp-block-paragraph">Even though <a href="https://www.pokebeach.com/2026/05/pokemon-tcg-printed-10-billion-cards-in-2025-as-overwhelming-demand-outpaced-production-capacity">The Pokémon Company is printing more cards than ever</a>, almost everything about the modern aftermarket economy has made it harder for ordinary people — especially children — to participate in the hobby. Nova told me that he thinks casual collectors who just want to pull cool cards for themselves are completely justified in feeling that resellers are making <em>Pokémon </em>less accessible. He also believes that collectors whose interest in the cards is “incentivized by monetary gain” are hypocrites for taking issue with resellers. Aside from actually <em>playing </em>with them, the real fun of <em>Pokémon </em>cards is in the hunt and delight when you’re able to find a pack that shocks you with its contents. It’s an experience everyone’s supposed to be able to enjoy, but it’s being ruined by hustlers.</p>
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			<author>
				<name>Charles Pulliam-Moore</name>
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			<title type="html"><![CDATA[Paramount will need to release way more movies to make this merger work]]></title>
			<link rel="alternate" type="text/html" href="https://www.theverge.com/entertainment/999056/paramount-warner-bros-discovery-merger-annual-film-quota-guardrails" />
			<id>https://www.theverge.com/?p=999056</id>
			<updated>2026-09-22T18:26:07-04:00</updated>
			<published>2026-09-22T18:26:07-04:00</published>
			<category scheme="https://www.theverge.com" term="Business" /><category scheme="https://www.theverge.com" term="Entertainment" /><category scheme="https://www.theverge.com" term="Film" /><category scheme="https://www.theverge.com" term="TV Shows" />
							<summary type="html"><![CDATA[Now that Paramount has reached a settlement with the 12 states that were suing to block its $110 billion merger with Warner Bros. Discovery (WBD), the studio is even closer to becoming one of the world’s biggest production houses. In addition to spending at least $300 million more on film and TV projects produced in [&#8230;]]]></summary>
			
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<p class="wp-block-paragraph">Now that <a href="https://www.theverge.com/entertainment/998302/paramount-warner-bros-discovery-merger-settlement">Paramount has reached a settlement</a> with the <a href="https://www.theverge.com/policy/964916/paramount-warner-bros-discovery-states-lawsuit">12 states that were suing</a> to block its <a href="https://www.theverge.com/entertainment/886478/warner-bros-discovery-paramount-merger-agreement">$110 billion merger with Warner Bros. Discovery</a> (WBD), the studio is even closer to becoming one of the world’s biggest production houses. In addition to spending at least $300 million more on film and TV projects produced in the US, <a href="https://www.hollywoodreporter.com/business/business-news/whats-in-paramount-antitrust-settlement-cnn-film-california-1236706918/">Paramount says</a> that it will release a minimum of 30 movies annually after it absorbs WBD. On paper, these goals make it sound like Paramount is trying to ensure that the entertainment industry won’t be harmed by its WBD acquisition. But when you look at the studios’ recent output, it seems very much like Paramount CEO David Ellison is making promises to the public that he might not be able to keep.</p>

<p class="wp-block-paragraph">In a <a href="https://oag.ca.gov/news/press-releases/attorney-general-bonta-announces-settlement-warner-brosparamount-litigation">statement about the settlement</a>, California Attorney General Rob Bonta stressed that the settlement was designed to maintain consistent film output and domestic production while “protecting the livelihoods of workers above and below the line.” (Of course, any redundancies caused by a merger of this scale will likely lead to layoffs, which makes Bonta’s claim that the settlement “protects workers, jobs, and Hollywood” questionable in the first place.) In <a href="https://www.sagaftra.org/statement-sag-aftra-president-sean-astin-and-national-executive-director-chief-negotiator-duncan">a statement of their own</a>, Screen Actors Guild – American Federation of Television and Radio Artists (SAG-AFTRA) president Sean Astin and chief negotiator Duncan Crabtree-Ireland thanked Bonta and noted that the settlement represents “the lowest standards that our employers must meet.”&nbsp;</p>

<p class="wp-block-paragraph">Though the acquisition — which has not yet officially been finalized — would permanently fuse Paramount and WBD, the settlement only requires the newly merged company to adhere to a few rules for just five years. In the first two years, Paramount/WBD has to either put out 30 films annually or pay $30 million per film into healthcare and retirement funds managed by Hollywood’s biggest unions. During the following three years, the merged studio would need to release 32 films annually, and if it fails to meet any of these requirements during this five-year period, it will be forced to sell off its 49 percent stake in Miramax Studios to one of its competitors.</p>
<img src="https://platform.theverge.com/wp-content/uploads/sites/2/2026/09/Paramount_WB_chart_v2.jpg?quality=90&amp;strip=all&amp;crop=0,0,100,100" alt="" title="" data-has-syndication-rights="1" data-caption="" data-portal-copyright="" />
<p class="wp-block-paragraph">In terms of overall output, these proposed goals would be a step up for both Paramount and WBD as separate corporate entities. Over the past six years (including projects slated to debut later in 2026), Paramount has released an average of 15 films annually while WBD has averaged 17. Assuming that the newly merged studio will stick to Paramount and WBD’s previously announced release slates for 2027 and 2028, it would need to put more than a few new projects on the board in order to avoid multimillion dollar penalties. But that probably isn’t all that much of a concern to Paramount because the settlement doesn’t require the new company to <em>produce </em>the projects necessary to hit its annual movie quota.</p>

<p class="wp-block-paragraph">Paramount/WBD could fulfill its obligations by distributing films that it acquires from other production houses. These films would carry the Paramount/WBD branding, but they would be the products of labor carried out by teams with no direct connection to the studio. Paramount/WBD could also flood the zone with completely new, original films it greenlights and finances itself. But many of those movies could feel less ambitious because the settlement <a href="https://www.hollywoodreporter.com/business/business-news/whats-in-paramount-antitrust-settlement-cnn-film-california-1236706918/">only requires that 20 percent of them have production budgets over $50 million</a>.</p>

<p class="wp-block-paragraph">Paramount appears to have convinced Bonta and his fellow attorneys general that absorbing WBD will give it the ability to basically double its usual output. But that logic presumes every single aspect of both studios’ production pipelines will continue to operate normally once Paramount and WBD become one. Though Paramount/WBD could ramp internal production up, what feels much more likely to happen is the studio doing the bare minimum to abide by the settlement&#8217;s terms. Everything about this settlement makes it seem like Ellison is playing a long game, and after those guardrails disappear in five years, Paramount/WBD will be in an even stronger position to shape the broader entertainment landscape.</p>

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			<author>
				<name>Charles Pulliam-Moore</name>
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			<title type="html"><![CDATA[All roads lead to cable]]></title>
			<link rel="alternate" type="text/html" href="https://www.theverge.com/column/997843/streamers-cable-fast-channels" />
			<id>https://www.theverge.com/?p=997843</id>
			<updated>2026-09-19T16:47:40-04:00</updated>
			<published>2026-09-20T08:00:00-04:00</published>
			<category scheme="https://www.theverge.com" term="Column" /><category scheme="https://www.theverge.com" term="Streaming" /><category scheme="https://www.theverge.com" term="The Stepback" />
							<summary type="html"><![CDATA[This is The Stepback, a weekly newsletter breaking down one essential story from the tech world. For more on streaming platforms, FAST channels, and the future of entertainment, follow Charles Pulliam-Moore. The Stepback arrives in our subscribers’ inboxes at 8AM ET. Opt in for The Stepback here. How it started Before Netflix fully committed to becoming a streaming [&#8230;]]]></summary>
			
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<p class="wp-block-paragraph"><em>This is </em><a href="https://www.theverge.com/the-stepback-newsletter">The Stepback</a>,<em> a weekly newsletter breaking down one essential story from the tech world. For more on streaming platforms, FAST channels, and the future of entertainment, <a href="https://www.theverge.com/authors/charles-pulliam-moore" data-type="link" data-id="https://www.theverge.com/authors/charles-pulliam-moore">follow Charles Pulliam-Moore</a>.</em> The Stepback<em> arrives in our subscribers’ inboxes at 8AM ET. Opt in for </em>The Stepback<em> <a href="https://www.theverge.com/newsletters">here</a>.</em></p>

<h2 class="wp-block-heading">How it started</h2>

<p class="wp-block-paragraph">Before Netflix fully committed to becoming a streaming service and <a href="https://www.theverge.com/23883662/netflix-dvd-shutdown-complex-tech-packaging-mail">leaving DVDs behind</a>, the company experimented with the idea of <a href="https://www.vox.com/2017/9/13/16288364/streampunks-book-excerpt-youtube-netflix-pivot-video">giving its subscribers a physical box</a> that could access high-resolution digital copies of movies. Films would have been downloaded to the box in the evening and become available to users the next day. But Netflix changed course around 2006 once it saw people were flocking to watch grainy viral videos on YouTube. Though Netflix had already been making waves by disrupting the movie rental business, pivoting to streaming turned the company into a powerhouse that posed a threat to traditional cable services.</p>

<p class="wp-block-paragraph">People loved being able to instantly access large catalogs of movies from their computers without having to sign up for expensive cable plans. Once the company got into original series in 2012, its binge model helped generate buzz and drive new sign-ups. As Netflix’s user base continued to grow in those early years, other companies, like Amazon, Disney, and NBC, realized there was money to be made by launching (or contributing to) streaming services of their own. And while cable didn’t completely disappear as streaming took off, the number of people subscribed to cable plans <a href="https://finance.yahoo.com/media-advertising/articles/cable-tv-shrinking-forever-100-160540253.html">began (and has continued) to drop</a> over the past decade.</p>

<h2 class="wp-block-heading">How it’s going</h2>

<p class="wp-block-paragraph">Streaming is now <a href="https://www.niemanlab.org/2025/06/streaming-is-now-the-main-way-people-watch-tv/">the most common way</a> that people consume films and television, and many people subscribe to multiple services in order to be able to access all of the things they want to watch. The proliferation of streaming services has led to an explosion of media, but the streaming market&#8217;s maturation has also made it much more difficult for companies <a href="https://fortune.com/2026/03/06/gen-z-analog-lifestyle-subscription-economy-burnout/">to find and keep new subscribers</a>.&nbsp;</p>

<p class="wp-block-paragraph">Platforms have tried to get ahead of that issue and stay on top of their finances <a href="https://www.theverge.com/23901586/streaming-service-prices-netflix-disney-hulu-peacock-max">with countless price hikes</a> that have made it much more expensive to keep up with shows compared to when streamers first hit the scene. In hopes of courting more price-sensitive customers, many companies have introduced ad-supported tiers to their paid services. But some have also launched free ad-supported television (FAST) services that look and feel a <em>lot </em>like traditional cable.</p>

<p class="wp-block-paragraph">Unlike regular streamers where constant ads and endless choices have become an annoyance, FAST services like Tubi, Roku, and Pluto TV keep things relatively simple. In exchange for watching a few commercials, users can browse through entertainment libraries or choose to focus on <a href="https://www.mediaplaynews.com/rocky-sailor-moon-channels-among-content-headed-to-pluto-tv-in-march/">channels that are dedicated to specific series</a>. When you look at the way that most FAST services present their channels in long lists, it’s easy to get the sense that they’ve been intentionally designed to mimic old cable interfaces. That might speak to entertainment executives beginning to think that icon-dense carousels aren’t necessarily the best way to show off a streamer’s offerings. It could also be a sign that <a href="https://www.vanityfair.com/hollywood/2020/01/martin-scorsese-streaming-algorithms-moviegoers?srsltid=AU7gw4U4Njq2SjWTkaDDc-zJz4TOwpfh5FH6Ks5Yz9IgtY1kbRiQaypy">viewers have grown weary</a> of the algorithms streamers use to suggest what content to watch. But it also feels like as the streaming wars have carried on, newer companies realized that the old guard got a few things right.</p>

<h2 class="wp-block-heading">What happens next</h2>

<p class="wp-block-paragraph">Because people still want to keep up with all of the new stuff coming out of the paid streamers without having to individually sign up for every service, we’re probably going to see even more bundling in the future. Bundling gives consumers a way to save money on their entertainment budgets, and almost every single one of the <a href="https://deadline.com/2026/09/roku-adds-30-new-streaming-bundles-1237105830/">major streaming companies</a> has offered <a href="https://www.theverge.com/entertainment/995707/prime-video-is-bundling-amc-plus-britbox-mgm-plus-pbs-masterpiece-and-starz">some kind of deal</a> that gives you <a href="https://www.theverge.com/2021/9/21/22686594/paramount-plus-showtime-bundle">access to one or more of their competitors</a>. Similar to FAST channels, streaming bundles are reminiscent of the tiered cable packages telecoms sell, and some companies, like Verizon and T-Mobile, include access to streaming bundles as perks for their subscribers.</p>

<p class="wp-block-paragraph">More individual streaming platforms will likely roll out <a href="https://www.theverge.com/streaming/963733/netflix-always-on-channels-bundles">always-on channels</a> that are designed to give people a way to watch certain series without having to choose a particular episode for themselves. For services like <a href="https://www.theverge.com/2024/12/4/24312385/max-always-on-live-hbo-channels">HBO Max</a>, that would be almost like a return to the way HBO’s various channels air on terrestrial television. In addition to helping viewers deal with decision paralysis, <a href="https://www.theverge.com/2024/4/15/24131034/disney-plus-fast-channels-streaming">always-on channels could also help</a> streaming services ensure that user engagement stays high. And if every streamer in the game decides that paywalled always-on channels, bundles, and even more price increases are the way forward, it’s really going to feel like we’ve come full circle back to cable.</p>

<h2 class="wp-block-heading">By the way</h2>

<ul class="wp-block-list">
<li>More streamers have also begun experimenting with <a href="https://www.theverge.com/tech/858277/disney-plus-vertical-video">vertical content</a> in an effort to meet mobile users where they are. Some of this is a clear response to platforms like TikTok, but it’s also a sign that Hollywood <a href="https://variety.com/2026/tv/news/disney-embraces-microcontent-short-form-streaming-1236625030/">might be serious about getting into microdramas</a>.</li>



<li>Cable prices gradually rose as well, but <a href="http://hollywoodreporter.com/business/business-news/streaming-inflation-raising-prices-cable-1236691404/"><em>The Hollywood Reporter</em></a> has a great breakdown of how much more quickly the cost of streaming services rose.</li>
</ul>

<h2 class="wp-block-heading">Read this</h2>

<ul class="wp-block-list">
<li>You should definitely check out <a href="https://www.nytimes.com/2026/09/13/business/media/cable-television-cable-center-museum.html"><em>The New York Times</em>’ piece</a> looking back on the history of the Cable Center museum in Denver.</li>



<li><a href="https://digiday.com/future-of-tv/future-of-tv-briefing-every-major-streaming-subscription-price-increase-since-2019/"><em>Digiday</em> has a great breakdown</a> of just how much more expensive streaming services have become since 2019.</li>



<li>Though many people have fallen out of love with binge-watching, <a href="https://www.thewrap.com/industry-news/business/streaming-binge-release-vs-weekly-demand-data/"><em>TheWrap</em> has an interesting report</a> about how the model may be coming back into favor.</li>
</ul>
						]]>
									</content>
			
					</entry>
			<entry>
			
			<author>
				<name>Charles Pulliam-Moore</name>
			</author>
			
			<title type="html"><![CDATA[Disney’s first CTO is Character.AI’s former CEO]]></title>
			<link rel="alternate" type="text/html" href="https://www.theverge.com/entertainment/997555/karandeep-anand-disney-character-ai" />
			<id>https://www.theverge.com/?p=997555</id>
			<updated>2026-09-18T14:54:39-04:00</updated>
			<published>2026-09-18T14:27:04-04:00</published>
			<category scheme="https://www.theverge.com" term="Disney" /><category scheme="https://www.theverge.com" term="Entertainment" /><category scheme="https://www.theverge.com" term="News" /><category scheme="https://www.theverge.com" term="Streaming" />
							<summary type="html"><![CDATA[You would think that a multimedia conglomerate as large as Disney would have a few chief technology officers by now, but the company has just appointed someone to the position for the very first time.&#160; Today, Disney announced that Karandeep Anand is joining the company as its new CTO. Anand will report directly to recently [&#8230;]]]></summary>
			
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<figure>

<img alt="An image of the Disney logo" data-caption="" data-portal-copyright="Illustration by Nick Barclay / The Verge" data-has-syndication-rights="1" src="https://platform.theverge.com/wp-content/uploads/sites/2/2025/05/STK080_VRG_Illo_N_Barclay_9_disney_.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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<p class="wp-block-paragraph">You would think that a multimedia conglomerate as large as Disney would have a few chief technology officers by now, but the company has just appointed someone to the position for the very first time.&nbsp;</p>

<p class="wp-block-paragraph">Today, Disney announced that Karandeep Anand is joining the company as its new CTO. Anand will report directly to <a href="https://www.theverge.com/news/872972/disney-ceo-bob-iger-replacement-josh-damaro">recently appointed CEO Josh D’Amaro</a>, and he will head up the company’s infrastructure, product, engineering, and data / AI platforms teams. Anand comes to Disney from <a href="https://www.theverge.com/ai-artificial-intelligence/951461/character-ai-is-adding-new-tools-for-chatbot-creators">chatbot startup Character.AI</a>, where he served as CEO for just over a year and <a href="https://www.theverge.com/entertainment/962897/character-ai-series-microdrama-vertical-video">oversaw the company’s push into microdramas</a>. </p>

<p class="wp-block-paragraph">Anand jumping ship to Disney comes as a bit of a surprise considering how this time last year, the company was <a href="http://character.ai">sending Character.AI cease and desist letters</a> due to the startup’s tools infringing on copyrighted IP. But Anand’s hiring could be a sign of how Disney wants to move forward with AI now that its <a href="https://www.theverge.com/ai-artificial-intelligence/899850/openai-sora-ai-chatgpt">partnership with OpenAI has fallen apart</a>.</p>
						]]>
									</content>
			
					</entry>
			<entry>
			
			<author>
				<name>Charles Pulliam-Moore</name>
			</author>
			
			<title type="html"><![CDATA[What Hollywood thinks about existential AI warnings]]></title>
			<link rel="alternate" type="text/html" href="https://www.theverge.com/ai-artificial-intelligence/997358/what-hollywood-thinks-about-existential-ai-warnings" />
			<id>https://www.theverge.com/?p=997358</id>
			<updated>2026-09-18T13:13:12-04:00</updated>
			<published>2026-09-18T12:35:19-04:00</published>
			<category scheme="https://www.theverge.com" term="AI" /><category scheme="https://www.theverge.com" term="Entertainment" />
							<summary type="html"><![CDATA[As the tech sector sounds alarms about AI’s potential to destroy humanity, entertainment labor groups are urging the public to stay focused on what’s already happening. The Verge reached out to Disney, Netflix, Amazon, Lionsgate, and other studios who have started using AI, as well film startups focused on bringing generative AI into the mainstream [&#8230;]]]></summary>
			
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<img alt="A digital illustration of a black circuit board and a red lens." data-caption="" data-portal-copyright="Cath Virginia / The Verge, Getty Images" data-has-syndication-rights="1" src="https://platform.theverge.com/wp-content/uploads/sites/2/2026/09/268764_hollywood_AI_slowdown_CVirginia.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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<p class="has-drop-cap wp-block-paragraph">As the tech sector sounds alarms about AI’s potential to destroy humanity, entertainment labor groups are urging the public to stay focused on what’s already happening. <em>The Verge</em> reached out to <a href="https://www.theverge.com/ai-artificial-intelligence/899850/openai-sora-ai-chatgpt">Disney</a>, <a href="https://www.theverge.com/streaming/966633/netflix-ai-titles-q2-2026-earnings">Netflix</a>, <a href="https://www.theverge.com/tech/991809/amazon-prime-video-ai-lip-sync-dubbing">Amazon</a>, <a href="https://www.theverge.com/2024/9/18/24248115/lionsgate-runway-ai-deal">Lionsgate</a>, and other studios who have started using AI, as well film startups focused on bringing generative AI into the mainstream to ask for their reaction to the recent <a href="https://www.theverge.com/ai-artificial-intelligence/991927/anthropic-ai-kill-all-humans">warnings</a> surrounding the technology. None have responded to our request for comment. The Screen Actors Guild – American Federation of Television and Radio Artists (SAG-AFTRA) and Writers Guild of America East (WGAE) did, however.</p>

<p class="wp-block-paragraph">The AI tools used in entertainment production differ from the AI systems that have sparked a recent round of whistleblowing and apocalyptic declarations. They do not seem to be as existentially dangerous as the AI systems that <a href="https://www.theverge.com/ai-artificial-intelligence/991927/anthropic-ai-kill-all-humans">drove former Anthropic researcher Jacob Coxon to quit his job</a> and prompted Anthropic alignment lead Evan Hubinger to insist that the technology could “kill all humans” at some point “within the next decade.”&nbsp;</p>

<p class="wp-block-paragraph">But despite the differences between entertainment-focused AI and the models developed by Anthropic and OpenAI, AI models that generate digital facsimiles of actors and attempt to replicate traditional filmmaking tools pose a threat to some human jobs. Similar to the way that the Hollywood unions advocated for protections and increased oversight around AI’s use <a href="https://www.theverge.com/2023/7/17/23798246/strike-hollywoods-writers-actors-wga-sag-aftra#dmcyOnBvc3Q6NDk4ODc=">during the 2023 strikes</a>, Coxon’s Anthropic exit has inspired <a href="https://www.theverge.com/ai-artificial-intelligence/995186/is-big-techs-ai-slowdown-a-safety-pact-or-a-cartel">a wave of AI researchers to speak out</a> in favor of stronger safety protocols. The heads of major AI companies including Anthropic, OpenAI, Google DeepMind, and X have also <a href="https://www.theverge.com/ai-artificial-intelligence/995141/ai-executives-politicians-safety-regulation-anthropic-dario-amodei">called for an industry-wide slowdown on the technology’s development</a>. While president <a href="https://www.theverge.com/ai-artificial-intelligence/994441/trump-mike-johnson-ai-industry-overreacting">Donald Trump has dismissed these concerns</a> as overreactions, some other US politicians have felt <a href="https://www.npr.org/2026/09/16/nx-s1-5969933/congress-ai-regulation">pressured to take legislative action</a>. Hollywood unions’ fight for strict rules around gen AI’s use did not stop the entertainment industry from embracing AI, but they have given Hollywood’s laborers a way to fight back in instances when they feel that AI tools are being used to harm them.&nbsp;</p>

<p class="wp-block-paragraph">When I recently spoke with the Screen Actors Guild – American Federation of Television and Radio Artists’ (SAG-AFTRA) chief negotiator Duncan Crabtree Ireland, he told me that the union recognized early on how AI could impact its members’ livelihoods. Most people might not have been familiar with the idea of studios completely replacing human actors with digital replicas, but SAG-AFTRA understood that it had an opportunity to shape public opinion about AI in Hollywood by<strong> “</strong>speaking out about it at the earliest possible point we could.”&nbsp;</p>

<p class="wp-block-paragraph">“We bargained for and achieved enforceable, meaningful guardrails around how this technology can be implemented by the major employers in our industry,” Crabtree-Ireland explained. “That doesn&#8217;t include companies like OpenAI, Anthropic, or Google directly, but it does encompass all of the companies who have built up businesses around the creation of professional level entertainment content in the United States.”</p>

<p class="wp-block-paragraph">Though Crabtree-Ireland believes we “should be concerned about the broader societal and social implications of AI,” he also thinks that some of the warnings about the technology being an extinction-level threat could potentially be hyperbole and overblown. Doomerism has become one of the more common ways that AI companies generate buzz around their products, but the fact that Coxon left Anthropic to sound the alarm has given Crabtree-Ireland pause. Hearing the message from “the CEOs of these companies or the billionaires who&#8217;ve made their billions off of doing the exact thing that they&#8217;re now warning us might not be good,” has left him unsure “what to trust or what to believe.” But he acknowledged that Coxon was able to achieve “traction with the public.”</p>

<figure class="wp-block-pullquote has-text-align-left"><blockquote><p>“The&nbsp;recklessness&nbsp;of the tech oligarchs pushing AI on our society has been matched only by their rampant dishonesty.”</p></blockquote></figure>

<p class="wp-block-paragraph">Getting people to believe that SAG-AFTRA’s fears about AI should be taken seriously was one of the union’s major goals when its members voted to strike. The key to doing that, Crabtree-Ireland told me, was leading the strike with a focused message that clearly laid out to the public what was at stake and steps that could be taken to prevent worst case scenarios. If not for that, Crabtree-Ireland thinks that the Alliance of Motion Picture and Television Producers (AMPTP) might not have agreed to some of the union’s demands like requiring that studios gain permission and compensate actors for the use of their AI-generated replicas. “If that principle hadn&#8217;t been established, I think the economic incentive to use replication and to replace human performances would have been much stronger” and “would have resulted in a much greater and faster adoption of digital replication.” Had the protections not been codified, Crabtree-Ireland is confident that entertainment workers would be in a much more dire position now.</p>

<p class="wp-block-paragraph">Writers Guild of America East (WGAE) executive director Sam Wheeler was much more pointed in his condemnation of the “tech oligarchs pushing AI on our society” whose recklessness “has been matched only by their rampant dishonesty.” But while Wheeler finds it hard to take AI companies’ warnings at face value, he noted that the WGAE “has long warned that unregulated artificial intelligence poses an existential threat to workers, to our democracy, and to the world.”</p>

<p class="wp-block-paragraph">“Guild members have bargained meaningful AI protections into their contracts; in 2023 WGA members spent 148 days on strike before the film and television studios agreed to real safeguards for film and television writers,” Wheeler said. “But collective bargaining is not a replacement for government regulation, and we are grateful to states like New York that continue to enact meaningful regulations in the absence of federal action.”</p>

<p class="wp-block-paragraph">Wheeler listed the disempowerment of workers, the degradation of the internet, the spread of disinformation, and increasing energy costs as some of the tangible societal harms AI has exacerbated. He urged policymakers not to be distracted by AI companies’ claims of ushering in an apocalypse because the real issue at hand is people behaving irresponsibly.</p>

<p class="wp-block-paragraph">“These harms are the result of decisions made by human beings,” Wheeler insisted. “The WGAE believes that addressing those concrete harms and holding AI companies and their executives liable for the destruction their products cause is the surest way to safeguard against any worst-case scenarios.”</p>
						]]>
									</content>
			
					</entry>
			<entry>
			
			<author>
				<name>Charles Pulliam-Moore</name>
			</author>
			
			<title type="html"><![CDATA[Resident Evil is a comedy first and a thrilling nightmare second]]></title>
			<link rel="alternate" type="text/html" href="https://www.theverge.com/entertainment/996416/resident-zach-cregger-review" />
			<id>https://www.theverge.com/?p=996416</id>
			<updated>2026-09-16T14:45:35-04:00</updated>
			<published>2026-09-16T14:45:35-04:00</published>
			<category scheme="https://www.theverge.com" term="Entertainment" /><category scheme="https://www.theverge.com" term="Film" /><category scheme="https://www.theverge.com" term="Gaming" /><category scheme="https://www.theverge.com" term="Movie Review" />
							<summary type="html"><![CDATA[When Paul W.S. Anderson’s Resident Evil hit theaters in 2002, video game movies were largely seen as a niche. Films like Mortal Kombat and Tomb Raider had proven that big-screen game adaptations could be successful, but the commercial and critical failure of projects like the 1993 Super Mario Bros. still cast a long shadow. And [&#8230;]]]></summary>
			
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											<![CDATA[

						
<figure>

<img alt="A man in winter clothing standing in the middle of a city street while holding a gun." data-caption="" data-portal-copyright="Image: Columbia Pictures" data-has-syndication-rights="1" src="https://platform.theverge.com/wp-content/uploads/sites/2/2026/09/DF-04181_r.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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<p class="wp-block-paragraph">When Paul W.S. Anderson’s <em>Resident Evil </em>hit theaters in 2002, video game movies were largely seen as a niche. Films like <em>Mortal Kombat</em> and <em>Tomb Raider</em> had proven that big-screen game adaptations could be successful, but the commercial and critical failure of projects like the 1993 <em>Super Mario Bros.</em> still cast a long shadow. And while Anderson’s vision of Raccoon City might have captivated audiences on the whole, many hardcore fans of Capcom’s games were left disappointed by the way the original movies wildly deviated from the source material.</p>

<p class="wp-block-paragraph"><a href="https://www.theverge.com/movie-reviews/719762/weapons-review"><em>Weapons</em></a><em> </em>director Zach Cregger’s new take on <em>Resident Evil </em>is a return to the franchise’s fundamentals and a choice example of how video game movies have evolved. Its story is stripped down and its zombified monsters are terrifying. It’s also chiefly a movie that’s trying to make you laugh. Cregger uses humor to amplify his <em>Resident Evil</em>’s<em> </em>horror — his spin on the games’ infected ghouls are meant to be as funny as they are disturbing. The film feels like it could be the beginning of a fantastic new era for the franchise, but what’s most impressive is how well it can work as one and done.&nbsp;</p>

<p class="wp-block-paragraph">Though this <em>Resident Evil </em>is peppered with nods to Capcom’s games, it focuses on Bryan (Austin Abrams), a medical courier character created for the movie. Like most people living in his mountain town, Bryan knows that a drive over to Raccoon City in the middle of winter can be hell, but a last-minute, high-paying delivery gig is enough to convince him to make the trip. Even with the treacherous weather and spotty cellphone reception, Bryan’s journey with his mysterious cargo is mostly uneventful as he first sets out. But he begins to understand what kind of danger he’s wandering into when he accidentally runs over a shambling woman (Andrea Miltnerová) who doesn’t seem to realize that she’s just been hit by an out-of-control car.&nbsp;</p>
<div class="youtube-embed"><iframe title="RESIDENT EVIL – Official Trailer (4K)" src="https://www.youtube.com/embed/mNd1gb19A-c?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p class="wp-block-paragraph"><em>Resident Evil</em>’s first big scare almost immediately establishes the sense of humor Cregger leans into throughout the film. You can feel the fear oozing out of Bryan as he trudges into the woods looking for the woman, but that tension momentarily evaporates as the film smash-cuts to him coaxing her into his car so that he can get her the medical help she clearly needs. The same dread rushes to the fore when Bryan witnesses how <em>Resident Evil</em>’s infected humans can mutate into creatures that feel like nods to <em>Katamari Damacy </em>and <em>The Legend of Zelda: Breath of the Wild</em>. But it’s hard not to laugh when Bryan muses about how interesting the zombies’ transformations are to see up close.</p>

<p class="wp-block-paragraph">Cregger knows that while viewers might not be familiar with <em>Resident Evil</em>’s lore, we can all appreciate how horror movies need their characters to make poor decisions. Abrams plays Bryan with a wide-eyed guilelessness that’s charming, but what really makes the character work is the way each monster encounter forces him to evolve into someone with better survival instincts.</p>

<p class="wp-block-paragraph">By building the film around a civilian instead of highly trained special agents, Cregger and co-writer Shay Hatten give themselves the ability to tell a story that leans into the survival aspect of survival horror. Because Bryan is a bit of a dolt who’s constantly screaming in terror and fumbling his bullets when he’s scared, it often feels like the movie is replicating the experience of playing (or watching someone else play) a <em>Resident Evil </em>game for the first time. Bryan finds a couple of guns and a very limited number of bullets, but they’re nowhere near enough to make him feel safe as he trudges toward Raccoon City making the occasional stop to search seemingly empty buildings in hopes of finding a way to call for help. </p>

<p class="wp-block-paragraph">The movie’s indoor scenes where Bryan’s rifling through drawers and tiptoeing down dark hallways are its most suspenseful because Cregger establishes early on that danger is always lurking just around the corner. Those moments are when it really seems like Cregger is channeling the essence of Capcom’s games, but you can also feel the director winking at his audience whenever Bryan talks about video games teaching him how to navigate his situation.</p>
<img src="https://platform.theverge.com/wp-content/uploads/sites/2/2026/09/FRM_4630_f1051_sRGB.jpeg?quality=90&amp;strip=all&amp;crop=10.081,0,79.838,100" alt="A man wearing a winter hat looking at a dead woman’s face where a strange tentacle is protruding from a wound." title="A man wearing a winter hat looking at a dead woman’s face where a strange tentacle is protruding from a wound." data-has-syndication-rights="1" data-caption="" data-portal-copyright="Image: Columbia Pictures" />
<p class="wp-block-paragraph">There’s a general straightforwardness to Cregger’s <em>Resident Evil </em>that sets it apart from many other recent video game adaptations. The film isn’t as concerned with overall character development as <em>The Last of Us</em> and its set pieces aren’t as large as <em>The Super Mario Galaxy Movie</em>’s. But those qualities work in the movie’s favor because they help draw your attention to all of the imaginative ways Cregger interpolates classic elements of <em>Resident Evil </em>storytelling and gameplay. </p>

<p class="wp-block-paragraph">Especially coming after <em>Weapons</em>, <em>Resident Evil </em>feels like Cregger putting his mark on a beloved gaming property while breathing new life into a film franchise that was always fun, but lost its way as it grew in scale. Cregger has found a way to make the world of <em>Resident Evil </em>seem primed for more cinematic exploration, and to show us how far video game movies have come.</p>

<p class="wp-block-paragraph"><em>Resident Evil </em>also stars Zach Cherry, Will Merrick, Zoé Bellas, Chris Lew Kum Hoi, Griffin Newman, and Magdalena Sittovaas. The movie hits theaters on September 18th.</p>
						]]>
									</content>
			
					</entry>
			<entry>
			
			<author>
				<name>Charles Pulliam-Moore</name>
			</author>
			
			<title type="html"><![CDATA[Anime reaction YouTubers are at war with copyright enforcers]]></title>
			<link rel="alternate" type="text/html" href="https://www.theverge.com/tech/993898/nicholaslighttv-remove-your-media-youtube-crunchyroll-viz-media" />
			<id>https://www.theverge.com/?p=993898</id>
			<updated>2026-09-11T13:05:27-04:00</updated>
			<published>2026-09-11T11:12:58-04:00</published>
			<category scheme="https://www.theverge.com" term="Creators" /><category scheme="https://www.theverge.com" term="Entertainment" /><category scheme="https://www.theverge.com" term="Report" /><category scheme="https://www.theverge.com" term="Streaming" /><category scheme="https://www.theverge.com" term="Tech" /><category scheme="https://www.theverge.com" term="TV Shows" />
							<summary type="html"><![CDATA[On September 6th, YouTuber Nicholas Light posted a video to one of his channels that made it seem like all of his content was about to be removed from the platform. In the video — ominously titled “My Channel will be Deleted Today” — Light alleges that he was on the receiving end of some [&#8230;]]]></summary>
			
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											<![CDATA[

						
<figure>

<img alt="A digital illustration depicting a thumbnail of a YouTube reaction video being placed in a garbage can. Next to the garbage can is a delete button from a mechanical keyboard." data-caption="" data-portal-copyright="Image: Cath Virginia / The Verge, Getty Images, Nicholas Light" data-has-syndication-rights="1" src="https://platform.theverge.com/wp-content/uploads/sites/2/2026/09/268740_Youtuber_account_deleted_CVirginia.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
	<figcaption>
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<p class="has-drop-cap wp-block-paragraph">On September 6th, YouTuber Nicholas Light posted a video to one of his channels that made it seem like all of his content was about to be removed from the platform. In the video — ominously titled “<a href="https://www.youtube.com/watch?v=FdIr2nfOz5k&amp;t=121s">My Channel will be Deleted Today</a>” — Light alleges that he was on the receiving end of some of the “thousands upon thousands of false copyright strikes” recently initiated by a company called Remove Your Media. Light spends much of the 13-minute video accusing Remove Your Media CEO Eric Green of being a troll who systematically targets creators whose content mentions or features clips of popular anime series like <em>Bleach </em>and <em>One Piece.</em>&nbsp;</p>

<p class="wp-block-paragraph">It’s not clear how many of Light’s 1.3 million subscribers made it to the end of the video where he admits that YouTube already removed the copyright strikes against his account and informed him that his channel would not be deleted. But in a follow-up video titled “<a href="https://www.youtube.com/watch?v=iT7pQy3BnRs">My Channel will NOT be deleted</a>” posted on September 8th, Light thanked himself and “every single person that contributed” to the ongoing conversation about Remove Your Media unfairly threatening creators’ livelihoods.</p>
<div class="youtube-embed"><iframe title="My Channel will be Deleted Today" src="https://www.youtube.com/embed/FdIr2nfOz5k?rel=0&amp;start=121" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p class="wp-block-paragraph">When I recently spoke with Light via email, he told me that over 60 of his videos had been temporarily taken down after he was hit with over a dozen copyright strikes stemming from Remove Your Media’s Digital Millennium Copyright Act (DMCA) takedown requests. Light said that “having a video taken down or struck is almost second nature” for people running reaction channels. But he insisted that the way Remove Your Media has been going after creators is abusive and unrelated to any legitimate interest in protecting copyrighted IP.</p>

<p class="wp-block-paragraph">“I think [Remove Your Media is] trying to get the attention of these companies, to hopefully get hired by them,” Light said. “But because they’re so sloppy, they’re damaging themselves. With all the major channels covering this, they’re doomed.”</p>

<p class="wp-block-paragraph">While it’s easy to get the sense that Light might have been playing up some of this drama for viewers’ attention, it is clear that a number of other content creators have similarly been hit with an inordinate amount of copyright strikes. Many of these creators specialize in anime and gaming reaction videos that feature blurred-out or otherwise altered pieces of copyrighted footage. The creators superimpose the altered copyrighted footage (like <a href="https://www.youtube.com/watch?v=VOeDBl7Zafw">anime opening sequences</a> or <a href="https://www.youtube.com/watch?v=8DPRrjQc_BA">full episodes</a>) onto videos of themselves reacting to and/or commenting on it.&nbsp;</p>

<p class="wp-block-paragraph">Though these types of videos are kind of<em> </em>like an inverse <em>Mystery Science Theater 3000 </em>where the on-camera creators are meant to be the focus, viewers can also use them as a (less-than-ideal) way to watch copyrighted material without having to pay for it. The creators insist that their content is fundamentally transformative and protected by fair use, but that has not kept YouTube from sending them warnings about their accounts potentially being erased.</p>

<figure class="wp-block-pullquote has-text-align-left"><blockquote><p>Remove Your Media feels it does not need to extensively review all of a creator’s videos to file DMCA takedowns in good faith&nbsp;</p></blockquote></figure>

<p class="wp-block-paragraph">Remove Your Media legal representative Evan F. Stone told me that Viz Media and Crunchyroll are two of the company’s “biggest anime clients.” Stone explained that Remove Your Media “reports thousands of allegedly infringing links every day” — some of which are “forwarded by the copyright owners themselves,” while others are discovered through online searches. Stone also noted that some clients are “very lenient” with certain types of content, despite their weak fair use defense. But he was adamant that the content being produced by YouTubers Remove Your Media has gone after is not transformative enough to fall under fair use.</p>

<p class="wp-block-paragraph">“Commentary, in this context, does not make the use transformative: these videos show the copyrighted work in its entirety, and a great deal of this content sits behind a paywall,” Stone said. “Add the fact that some viewers are watching these versions rather than the licensed versions, and the effect on the marketplace is real.”</p>

<p class="wp-block-paragraph">Stone also pointed out that some reaction video creators use their free YouTube channels as a way to encourage viewers to subscribe to their paid Patreon pages. In Remove Your Media’s view, when a reaction creator’s business model “is recording someone watching full episodes and selling those recordings, episode included, behind a Patreon paywall,” the company does not need to extensively review every single one of their uploads to file DMCA takedowns in good faith.&nbsp;</p>

<p class="wp-block-paragraph">“For any particular video a creator believes was noticed in error, the counter-notice exists for exactly that situation, and it works,” Stone said. “What [Remove Your Media] is seeing instead is channels countering every single video, full episode uploads included, swearing under penalty of perjury that each one was removed by mistake.”</p>

<p class="wp-block-paragraph">From Light’s perspective, channels like his are producing a unique kind of entertainment that also benefits copyright holders. “It’s free promotion for them at the end of the day,” he explains. Reaction videos of all genres have been popular on the internet for years, and it’s clear from view counts on YouTube that anime fans in particular are watching this kind of content. </p>

<p class="wp-block-paragraph">Light feels that because “the [anime industry] doesn’t do the best job promoting their works outside of Japan,” he and his peers have been picking up the advertising slack with their videos. And while Remove Your Media says that it works on behalf of certain anime distribution platforms including Crunchyroll and Viz Media, Light believes that “no company in the industry would want to align with a company so sloppy.” Crunchyroll&nbsp;did not respond to <em>The Verge</em>’s questions about whether it has hired Remove Your Media to enforce copyright and Viz Media would not comment on record.</p>

<p class="wp-block-paragraph">Similar to Light, Ron and Michelle Jackson — the couple behind the Rice &amp; Ginger YouTube channel — <a href="https://www.youtube.com/watch?v=TySlOD2Q19A">uploaded a video</a> last week announcing that their account might be deleted within a few days after being flagged hundreds of times for copyright violations. In addition to emphasizing that their video was not meant to be clickbait-y, the Jacksons encouraged viewers to subscribe to their Patreon page, and they said that the larger wave of creator takedowns is being caused by “one individual making hell for basically all of us.”&nbsp;</p>

<p class="wp-block-paragraph">The Jacksons did not respond to <em>The Verge</em>’s ask for comment about whether that unnamed individual might be Eric Green or Remove Your Media and how they were able to avoid having their channel deleted on the date (September 6th) listed in their first video addressing the situation. On September 9th, <a href="https://www.youtube.com/post/UgkxyNTazkz9XIokxb0Q7W3clkql5qyVDlkJ">the YouTubers said</a> that their account was now scheduled to be deleted the following day, and they described YouTube’s approach to enforcing copyright as a broken system that allows for AI-powered mass reporting. By September 10th, the Rice &amp; Ginger YouTube channel was still online, and the Jacksons were back with a new video thanking Light for speaking out on their behalf and “saving” their channel.</p>
<div class="youtube-embed"><iframe title="NicholasLightTV Saved Our Channel" src="https://www.youtube.com/embed/9spFtBc_R9o?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p class="wp-block-paragraph">When I reached out to YouTube asking how it handles DMCA takedown disputes between reaction video creators and IP rightsholders, policy communications manager Jack Malon said that the company “does not decide who owns the rights to content.” Rather than mediating the legality of who owns the copyrighted content and whether a creator’s videos fall under fair use, YouTube brings the two parties together and leaves it to them to work the matter out between themselves.</p>

<p class="wp-block-paragraph">“When we receive valid legal requests, we remove the content to comply with copyright law,” Malon said. “If uploaders believe they have the right to use the material, including for exceptions like fair use, they can file a counter notification.”</p>

<p class="wp-block-paragraph">Malon added that YouTube only removes creators&#8217; videos “when a rightsholder submits a valid and legal takedown request” because the company has to comply with copyright law. <a href="https://support.google.com/youtube/answer/2807684?hl=en&amp;co=GENIE.Platform%3DAndroid">According to YouTube</a>, creators can solve copyright strikes by submitting counter notifications — a process that involves providing evidence of ownership or permission to use all elements featured in the removed content. In response to my questions about how Remove Your Media selected the creators that were affected by the takedowns, he said that the company prioritized going after YouTube channels that generate “feeder traffic for paywalled copies of episodes nobody licensed to them.”</p>

<p class="wp-block-paragraph">“For any particular video a creator believes was noticed in error, the counter-notice exists for exactly that situation, and it works,” Stone said. “What [Remove Your Media] is seeing instead is channels countering every single video, full episode uploads included, swearing under penalty of perjury that each one was removed by mistake.”</p>

<figure class="wp-block-pullquote has-text-align-left"><blockquote><p>This drama highlights how certain dynamics of the creator economy may be changing</p></blockquote></figure>

<p class="wp-block-paragraph">Malon told me that, after a creator submits counter notifications, their videos can be restored and the strikes on their accounts can be resolved “if the rightsholder does not respond with proof of legal action to restrain the allegedly infringing content.” But it’s not entirely clear how YouTube confirms the validity of a claimant’s purported ownership of removed content.</p>

<p class="wp-block-paragraph">On September 10th, Light returned to his channel <a href="https://www.youtube.com/watch?v=DbaCRALCobA">with another video</a> lambasting both Remove Your Media and YouTube for the way the companies have gone about initiating and handling DMCA disputes. Light said that the Jacksons’ videos will be restored within 10 business days as a result of “all of the noise that [we] made together,” and he addressed people who have speculated that he might be leaning into this drama for financial gain.</p>

<p class="wp-block-paragraph">“It’s funny to me I start having problems with my AdSense the 10 days I choose to go after YouTube,” Light said, explaining that his videos have been demonetized during the DMCA fight. “Really makes you think. So maybe we should shut the fuck up when we say stupid shit like ‘he’s banking on the situation. He’s only doing this for money.’”</p>

<p class="wp-block-paragraph">Though Light and others who have spoken out about the way YouTube handles copyright issues might not be trying to capitalize on being deplatformed, this drama has highlighted how certain dynamics of the content creator economy may be changing. Anime reaction videos probably aren’t going away anytime soon, but it does seem like studios and distributors are becoming more aggressive about monitoring how their IP is being repurposed online. And while creators of all kinds still rely on fair use to produce the content that pays their bills, they may need to tread much more carefully if they want to avoid getting caught up in an aggressive purge.</p>
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					</entry>
			<entry>
			
			<author>
				<name>Charles Pulliam-Moore</name>
			</author>
			
			<title type="html"><![CDATA[Content creators drop the ball]]></title>
			<link rel="alternate" type="text/html" href="https://www.theverge.com/tech/990426/us-open-influencers-naomi-osaka-anastasia-zakharova-callaway-good-good-ad" />
			<id>https://www.theverge.com/?p=990426</id>
			<updated>2026-09-05T10:00:16-04:00</updated>
			<published>2026-09-05T10:00:16-04:00</published>
			<category scheme="https://www.theverge.com" term="Analysis" /><category scheme="https://www.theverge.com" term="Creators" /><category scheme="https://www.theverge.com" term="Entertainment" /><category scheme="https://www.theverge.com" term="Report" /><category scheme="https://www.theverge.com" term="Sports" /><category scheme="https://www.theverge.com" term="Tech" />
							<summary type="html"><![CDATA[During Naomi Osaka’s match against Anastasia Zakharova at this year’s US Open earlier this week, a gaggle of ring light-wielding influencers who were packed in a luxury suite became enough of a distraction that the umpire paused the match and repeatedly asked them to quiet down. Elsewhere in the USTA Billie Jean King National Tennis [&#8230;]]]></summary>
			
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<img alt="The USTA Billie Jean King National Tennis Center." data-caption="The USTA Billie Jean King National Tennis Center. | Getty Images" data-portal-copyright="Getty Images" data-has-syndication-rights="1" src="https://platform.theverge.com/wp-content/uploads/sites/2/2026/09/gettyimages-2293089524.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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	The USTA Billie Jean King National Tennis Center. | Getty Images	</figcaption>
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<p class="has-drop-cap wp-block-paragraph">During <a href="https://www.youtube.com/watch?v=6yxL0a2GtSs">Naomi Osaka’s match against Anastasia Zakharova</a> at this year’s US Open earlier this week, a gaggle of ring light-wielding influencers who were packed in a luxury suite <a href="https://people.com/influencers-slammed-disrupting-us-open-matches-with-lights-singing-12098953">became enough of a distraction</a> that the umpire paused the match and repeatedly asked them to quiet down. Elsewhere in the USTA Billie Jean King National Tennis Center, other creators could be seen asking US Open staffers to take full-flash photos of them while Osaka and Zakharova were playing.</p>

<p class="wp-block-paragraph">Last month, United States Tennis Association (USTA) media operations director Jeanmarie Daly said that <a href="https://sports.yahoo.com/articles/us-open-almost-doubling-credentials-220532739.html">the US Open was “almost doubling”</a> the number of content creators it was approving for credentials. There were “close to 100” influencers at this year’s tournament — up from <a href="https://www.reuters.com/sports/tennis/usta-brings-social-media-creators-courtside-amplify-us-open-content-2025-09-03/">54 last year</a>. But in a statement to <a href="https://abcnews.com/GMA/Culture/influencers-us-open-put-spotlight-fan-etiquette/story?id=136182511">ABC News</a>, USTA spokesperson Brendan McIntyre emphasized that the influencers whose antics disrupted Osaka and Zakharova’s match were not credentialed by the organization. McIntyre also <a href="https://www.nytimes.com/athletic/7565799/2026/09/04/us-open-influencers-2026-vip-list/">told <em>The Athletic</em></a><em> </em>that media credentials were not given to Meg Radice and Audrey Jongens — two lifestyle influencers whose access to the US Open was revoked after they <a href="https://www.nytimes.com/athletic/7565799/2026/09/04/us-open-influencers-2026-vip-list/">posted images of their badges to Instagram</a>. According to McIntyre, Radice and Jongens “were improperly submitted for credentials on a staff list provided by a food vendor,” and seems like the creators might have screwed themselves over by flexing for their followers.</p>

<p class="wp-block-paragraph">Though those creators weren’t exactly practicing proper US Open etiquette, they <em>were</em> doing their jobs (read: making content) with the single-minded focus that often makes their presence an annoyance to the people around them. These influencers were at the US Open to share the experience with their followers, and regardless of whether they were invited by the USTA directly or not, they were helping the organization advertise the event to an audience that might not have otherwise been paying attention.&nbsp;</p>

<figure class="wp-block-embed is-type-rich is-provider-tiktok wp-block-embed-tiktok"><div class="wp-block-embed__wrapper">
<blockquote class="tiktok-embed" cite="https://www.tiktok.com/@katticuspfinch/video/7680434314839936270" data-video-id="7680434314839936270" data-embed-from="oembed"> <section> <a target="_blank" title="@katticuspfinch" href="https://www.tiktok.com/@katticuspfinch?refer=embed">@katticuspfinch</a> <p>Tennis etiquette is that you don’t even GET UP IN THE MIDDLE OF A POINT but now at @US Open apparently it’s ring lights and photo shoots everywhere in the MIDDLE OF A POINT.  Listen, I love bringing new people to the open and I’m all for getting more people into tennis because it’s such a fun sport to watch but if you’re going to disrespect the players, you shouldn’t come to the match. And I LOVE content creators bringing tennis to everyone on social media but if you’re not going to be respectful of the game being played thats NOT OKAY. Yyou can see ring lights from all over the stadium and the umpire and players made it very clear that it’s a HUGE DISTRACTION and it’s now impacting the players ability to play the game we are all here to see. And apparently the us open and USTA are just fine with it because their staff is helping it happen.  @influencersinthewild @Tennis Channel  <a title="nyccontentcreator" target="_blank" href="https://www.tiktok.com/tag/nyccontentcreator?refer=embed">#nyccontentcreator</a> <a title="naomiosaka" target="_blank" href="https://www.tiktok.com/tag/naomiosaka?refer=embed">#naomiosaka</a> <a title="usopen" target="_blank" href="https://www.tiktok.com/tag/usopen?refer=embed">#usopen</a> <a title="tennistiktok" target="_blank" href="https://www.tiktok.com/tag/tennistiktok?refer=embed">#tennistiktok</a> <a title="usopentennis" target="_blank" href="https://www.tiktok.com/tag/usopentennis?refer=embed">#usopentennis</a> </p> <a target="_blank" title="♬ original sound - There I Ruined It" href="https://www.tiktok.com/music/original-sound-7565604701979364126?refer=embed">♬ original sound &#8211; There I Ruined It</a> </section> </blockquote> 
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<p class="wp-block-paragraph">Influencers have become an integral part of the advertising industry, <a href="https://www.iab.com/news/digital-ad-revenue-climbs-to-nearly-300b-as-iab-celebrates-30-year-anniversary/">with US creator ad spend</a> hitting $37 billion in 2025 and being projected to reach $44 billion by the end of this year. Companies are increasingly relying on content creators to market their products, but what happened at the US Open is a snapshot of how that reliance can lead to undesirable outcomes for everyone involved. Videos of the US Open disruptions have gone viral across social media and sparked a conversation about whether influencers are the best people to invite to exclusive functions. </p>

<p class="wp-block-paragraph">But the point many people seem to be glossing over is that influencers are usually only invited to events like the US Open, awards shows, and film premieres because a brand decided it was worth bringing them there. As irksome as creators can be when they take up too much public space, that kind of behavior is something the companies that hire them have to anticipate. And as reporter Jessica Schiffer notes, some brands have been scrambling to get ahead of any potential blowback by sending out “helpful reminders” on tennis etiquette. </p>

<figure class="wp-block-embed is-type-rich is-provider-x wp-block-embed-x"><div class="wp-block-embed__wrapper">
<blockquote class="twitter-tweet" data-dnt="true"><p lang="en" dir="ltr">Brands are so worried about getting caught up in the influencer discourse that they’re starting to outline tennis etiquette for people invited to the US Open by them. <a href="https://t.co/ecvk3gokqT">pic.twitter.com/ecvk3gokqT</a></p>&mdash; Jessica Schiffer (@jessicaschiffer) <a href="https://x.com/jessicaschiffer/status/2095946102629359699?ref_src=twsrc%5Etfw">September 4, 2026</a></blockquote>
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<p class="wp-block-paragraph">Before a rule change in 2024, the US Open was actually much more strict about <a href="https://www.espn.com/tennis/story/_/id/41006200/new-seating-policy-allows-free-fan-movement-us-open-stands">requiring attendees to stay in their seats</a> until breaks during the match when players switch sides of the court. Now attendees can get up whenever they want, and the event features designated spaces close to the tennis courts where people can move freely — something tournament <a href="https://www.usopen.org/en_US/news/articles/2024-08-14/free_fan_movement_expanded_video_review_highlight_rule_changes_at_2024_us_open.html">director Stacey Allaster described</a> as “an important addition to the fan experience at the US Open.&#8221; The influencers at this year’s US Open might not have technically been breaking any rules, but they were having a negative impact on other attendees’ viewing experience. And in the days after videos of the influencers began spreading online, <a href="https://www.cbsnews.com/newyork/news/us-open-tennis-fan-etiquette-content-creators/">the USTA put up new signage</a> outside stadiums asking spectators to “please refrain from using flash photography or other lighting.&#8221;</p>

<p class="wp-block-paragraph">Taking selfies and shooting videos are core elements of the content creation hustle, but brands working with influencers should have made clear that, during a tennis tournament, there are times when it’s best to just watch the matches. While the content creators might have been having fun, many of the people around them weren’t able to enjoy the match in peace. That kind of main character energy often <em>is </em>exactly what companies want because it’s what keeps influencers’ fans engaged. But brands have to understand that simply letting creators run wild isn’t always the best plan of action.</p>

<p class="wp-block-paragraph">Callaway Golf Company learned this the hard way last month after an ad produced by YouTube channel-turned-sports apparel company Good Good hit the internet and <a href="https://www.wkrn.com/news/national/callaway-latest-to-cut-ties-with-good-good-over-controversial-golf-ad/">immediately sparked outrage</a>. The video — a spoof of Curry Barker’s <em>Obsession </em>— features Good Good cofounder Garrett Clark grinning maniacally after shoving professional golfer Alexis Miestowski to the ground when she reaches for his Callaway-branded driver. Many saw the ad as being distasteful and making light of violence against women, which prompted Callaway to issue an apology and sever ties with Good Good.</p>
<div class="youtube-embed"><iframe title="Callaway ends ties with golf brand over controversial ad" src="https://www.youtube.com/embed/t0SgF8aSW08?rel=0" allowfullscreen allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div>
<p class="wp-block-paragraph">In <a href="https://x.com/callawaygolf/status/2092118421198790965?s=46">a statement</a> about the ad and subsequent backlash, Callaway CEO Chip Brewer said that “mistakes were made, and we are taking the matter very seriously.” Brewer also admitted that Callaway signed off on the video before it was posted, but he insisted that its content did not reflect the company’s values. Though Callaway was quick to take the ad down, the fact that it was approved in the first place is an issue in and of itself. Even if the ad hadn’t been misogynistic, it still wasn’t funny or a particularly good riff on <em>Obsession</em>, and a more responsible advertising head probably would have requested significant revisions.&nbsp;</p>

<p class="wp-block-paragraph">The video was very on-brand for Good Good — a company that targets the kind of young, bro-y men whose attention (and money) the golfing industry is very keen on capturing. As <a href="https://www.nytimes.com/athletic/7547165/2026/08/29/good-good-callaway-golf-industry-reaction-influencers/"><em>The Athletic</em></a> points out, Good Good is just one of many influencer outfits, including <a href="https://www.theverge.com/2020/1/22/21076650/barstool-sports-anti-union-tweets-threaten-fire-sue-lawyers-national-labor-review-board">Barstool Sports</a> and <a href="https://www.youtube.com/nolayingup">No Laying Up</a>, that have built successful partnerships with golf brands.&nbsp;</p>

<p class="wp-block-paragraph">Similar to the way that the brands who sent influencers to the US Open should have given them some behavioral direction, companies like Callaway have to be mindful about what it means to use “edgy” content creators as their ambassadors. Influencers who have built successful platforms tend to like having creative control over the content they make, but companies paying them for promotion have a personal responsibility to make sure that they’re not being represented by people acting foolishly.</p>
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					</entry>
			<entry>
			
			<author>
				<name>Charles Pulliam-Moore</name>
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			<title type="html"><![CDATA[Google needs Hollywood more than the studios need AI]]></title>
			<link rel="alternate" type="text/html" href="https://www.theverge.com/tech/987429/google-needs-hollywood-more-than-the-studios-need-ai" />
			<id>https://www.theverge.com/?p=987429</id>
			<updated>2026-09-01T18:50:29-04:00</updated>
			<published>2026-09-01T18:50:29-04:00</published>
			<category scheme="https://www.theverge.com" term="AI" /><category scheme="https://www.theverge.com" term="Analysis" /><category scheme="https://www.theverge.com" term="Disney" /><category scheme="https://www.theverge.com" term="Entertainment" /><category scheme="https://www.theverge.com" term="Film" /><category scheme="https://www.theverge.com" term="Google" /><category scheme="https://www.theverge.com" term="Report" /><category scheme="https://www.theverge.com" term="Streaming" /><category scheme="https://www.theverge.com" term="Tech" /><category scheme="https://www.theverge.com" term="TV Shows" />
							<summary type="html"><![CDATA[Google has reportedly been reaching out to a number of Hollywood’s biggest studios,&#160; hoping to strike licensing agreements that would allow it to train its AI models on copyrighted material in exchange for massive piles of cash. In theory, these deals would be a win-win: a huge financial boon to the studios that&#160;would also give [&#8230;]]]></summary>
			
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<img alt="An AI-generated image of Yoda holding a lightsaber." data-caption="" data-portal-copyright="Image: Disney" data-has-syndication-rights="1" src="https://platform.theverge.com/wp-content/uploads/sites/2/2026/09/ai-label-3.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" />
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<p class="wp-block-paragraph">Google has <a href="https://www.latimes.com/entertainment-arts/business/story/2026-08-31/how-google-is-courting-hollywood-to-use-its-ai-tools">reportedly been reaching out</a> to a number of Hollywood’s biggest studios,&nbsp; hoping to strike licensing agreements that would allow it to train its AI models on copyrighted material in exchange for massive piles of cash. In theory, these deals would be a win-win: a huge financial boon to the studios that&nbsp;would also give Google a significant advantage in its race to outpace other AI companies. But while there’s&nbsp; little downside for Google, these deals pose a distinct set of risks to each of the studios that might be thinking about going all-in on AI. Getting into bed with Google this way <em>might</em> benefit Hollywood in the short term, but it could just as easily backfire and leave the public feeling burned by the entertainment industry.</p>

<p class="wp-block-paragraph">Though Google has not yet been able to get Disney, Warner Bros. Discovery, or Universal to agree to anything officially, the company’s executives have been reaching out to multiple studio representatives with pitches focused on its AI technology, according to unnamed sources speaking to <em>The Los Angeles Times</em>. Google wants permission to train its AI models on the studios’ vast libraries of copyrighted content, and it’s willing to spend hundreds of millions of dollars to get ahold of them. Per <em>The LA Times</em>, Google could pay a studio like Disney / Pixar around $40 million just for the rights to generate outputs featuring a <em>single </em>copyrighted character. That payout could swell well into the billions the more characters Google’s deals encompass, and studios might be able to secure a portion of however much advertising revenue Google makes from AI-generated content featuring that IP on platforms like YouTube.&nbsp;</p>

<p class="wp-block-paragraph">As expensive as these partnerships would be for Google, they would also be an invaluable tool as the company continues to crystalize its position as one of the most prominent players in the AI game. Gemini being able to spit out Disney-approved images of Darth Vader and Snow White might not seem all that significant on its face, but that’s exactly the sort of thing that could get more ordinary, non tech-obsessed people seeing generative AI in a more positive (if innocuous) light. After years of hearing AI companies boast about their plans to disrupt society and eliminate jobs, public sentiment — especially among young people — about the technology <a href="https://www.pewresearch.org/short-reads/2026/08/18/young-adults-in-the-us-are-increasingly-wary-of-ai-concerned-it-will-take-jobs/">has shifted into the negative</a>. Even with tools like ChatGPT being as popular as they are, the larger AI industry has been so mired in controversy and plagued by <a href="https://www.theverge.com/news/858102/characterai-google-teen-suicide-settlement">concerns about its real world harms</a> that it would now be hard-pressed to put out products that would immediately curry widespread goodwill. Striking deals with film and TV studios would give Google a convenient way to shift the larger narrative about its AI ambitions.</p>

<p class="wp-block-paragraph">The content developed through these partnerships would presumably look better than the slop currently being churned out by models trained on ill-gotten source data, and having Google’s name and logos slapped all over official AI-generated Disney content would do wonders to legitimize this technology in people’s minds. But even if it didn’t, the partnership would still signal to the public that the entertainment industry sees generative AI as a tool worth embracing. It’s hard to quantify how valuable that framing would be to Google, whose DeepMind arm <a href="https://www.theverge.com/entertainment/953596/google-deepmind-a24-studio-ai-partnership">struck a $75 million investment deal with A24 earlier this summer</a>. But it’s very easy to imagine how taking Google’s AI cash could put studios on a path that ultimately alienates their workers and audiences.</p>

<p class="wp-block-paragraph">Regardless of whether a studio were to incorporate AI tools into their production workflows or simply feature user-generated AI content on their platforms (which was <a href="https://www.theverge.com/news/842348/disney-openai-sora-chatgpt-images">Disney and OpenAI’s plan</a> before <a href="https://www.theverge.com/ai-artificial-intelligence/899850/openai-sora-ai-chatgpt">their partnership collapsed</a>), striking a licensing agreement with Google would be a watershed moment.&nbsp;</p>

<p class="wp-block-paragraph">Lionsgate, a notable studio but not a major player, <a href="https://www.theverge.com/2024/9/18/24248115/lionsgate-runway-ai-deal">struck a licensing deal with Runway in 2024</a>. So far, nothing concrete has come out of that partnership, but <a href="https://www.theverge.com/entertainment/948609/lionsgate-runway-ai-shorts">the companies say they’re working on a plan</a> to release AI-generated shorts. Once any one of the big legacy studios hop on to the AI bandwagon and manage to actually make something they can show the world, more production houses have a reason to follow suit. AI’s potential to speed production timelines up while keeping costs down is one of the main things that has kept studios interested in utilizing the technology. Shareholders would absolutely love it if production houses could put out more movies while spending less money, but doing that by using AI tools would almost certainly <a href="https://www.theguardian.com/technology/2026/aug/22/the-hollywood-creatives-training-ai-to-do-their-jobs">put a significant portion of the entertainment workforce out of jobs</a>.</p>

<p class="wp-block-paragraph">What may be keeping Disney and other studios from rushing to take Google up on its offers is the way that people have reacted to seeing AI used in the production of films like <em>Spider-Man: Brand New Day</em>. Fans were dismayed to find <a href="https://kotaku.com/spider-man-brand-new-day-ai-concept-art-book-marvel-2000726642">AI-generated images in <em>Brand New Day</em>’s official artbook</a>, and the negative reaction might have been even more intense had people known about the technology’s use before the film hit theaters. It’s impossible to know for sure whether awareness about AI’s presence in <em>Brand New Day</em>’s production would have kept it from <a href="https://variety.com/2026/film/box-office/spider-man-brand-new-day-2-billion-worldwide-box-office-second-fastest-milestone-1236834058/">making $2 billion at the box office</a>. But it stands to reason that none of the studios is eager to be the first to learn what happens when they release a project that’s presented as being the product of Google’s AI tools.</p>

<p class="wp-block-paragraph">Though Google has everything to gain from Hollywood embracing AI, the studios have to be mindful of how endorsing this technology could leave them out on a limb. And as much as Google might be presenting its products as the solution to all of the entertainment industry’s issues, the AI industry needs Hollywood more than Hollywood needs more slop.</p>

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			<author>
				<name>Charles Pulliam-Moore</name>
			</author>
			
			<title type="html"><![CDATA[Musicians-turned-detectives are hunting for AI grifters]]></title>
			<link rel="alternate" type="text/html" href="https://www.theverge.com/entertainment/985866/h4rris-nihil-young-edm-suno-ai" />
			<id>https://www.theverge.com/?p=985866</id>
			<updated>2026-08-28T15:10:32-04:00</updated>
			<published>2026-08-29T08:00:00-04:00</published>
			<category scheme="https://www.theverge.com" term="AI" /><category scheme="https://www.theverge.com" term="Creators" /><category scheme="https://www.theverge.com" term="Entertainment" /><category scheme="https://www.theverge.com" term="Music" /><category scheme="https://www.theverge.com" term="Spotify" /><category scheme="https://www.theverge.com" term="Tech" />
							<summary type="html"><![CDATA[As audio-focused generative tools and platforms have gotten more sophisticated, the internet has become increasingly filled with AI-generated music whose melodies and vocals are algorithmically derived from the work of human artists. While some of the people pumping out this kind of content immediately own up to using AI, others have denied using the technology [&#8230;]]]></summary>
			
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<img alt="A digital illustration depicting Nihil Young and Max “H4RRIS” Harris." data-caption="" data-portal-copyright="Cath Virginia / The Verge, Max Harris, Getty Images" data-has-syndication-rights="1" src="https://platform.theverge.com/wp-content/uploads/sites/2/2026/08/268714_finding_and_shaming_AI_grifters_CVirginia.jpg?quality=90&#038;strip=all&#038;crop=0,0,85.33125,89.314310632479" />
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<p class="has-drop-cap wp-block-paragraph">As <a href="https://www.theverge.com/ai-artificial-intelligence/979345/suno-studio-2-0-midi-chatbot-custom-effects">audio-focused generative tools</a> and platforms have <a href="https://www.theverge.com/ai-artificial-intelligence/976636/suno-will-start-scanning-outputs-for-copyright-infringment">gotten more sophisticated</a>, the internet has become increasingly filled with <a href="https://www.billboard.com/music/rb-hip-hop/tyga-admits-ai-starface-album-1236311004/">AI-generated music</a> whose melodies and vocals are algorithmically derived from the work of human artists. While some of the people pumping out this kind of content <a href="https://www.npr.org/2025/06/17/nx-s1-5431544/timbaland-ai-music-suno-stage-zero-tata-generative">immediately own up to using AI</a>, others have <a href="https://www.theverge.com/ai-artificial-intelligence/976801/fenix-flexin-rubberz-ai-song-treblo">denied using the technology</a> until increasing public scrutiny <a href="https://ca.rollingstone.com/music/fenix-flexin-admits-use-ai-rubberz/">forced them to tell the truth</a>.&nbsp;</p>

<p class="wp-block-paragraph">For musicians — especially those creating art in technologically-focused spaces like electronic dance music — the increasingly complicated question of what is &#8220;real&#8221; and what isn&#8217;t feels particularly urgent and personal. Professional courtesy can make this only more complex;&nbsp; listeners can call out performers they suspect of using gen AI, but it&#8217;s something else for artists to raise concerns about their professional peers. There are some though, like 26-year-old EDM producer Max “H4RRIS” Harris, who are taking a stand against generative technology with videos calling out anyone they believe is trying to pass off AI slop as human-made art.</p>

<figure class="wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram"><div class="wp-block-embed__wrapper">
<blockquote class="instagram-media" data-instgrm-captioned data-instgrm-permalink="https://www.instagram.com/reel/DalEyjOMSNX/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"><div> <a href="https://www.instagram.com/reel/DalEyjOMSNX/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank"> <div> <div></div> <div> <div></div> <div></div></div></div><div></div> <div></div><div> <div>View this post on Instagram</div></div><div></div> <div><div> <div></div> <div></div> <div></div></div><div> <div></div> <div></div></div><div> <div></div> <div></div> <div></div></div></div> <div> <div></div> <div></div></div></a></div></blockquote>
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<p class="wp-block-paragraph">When I recently spoke with Harris, he told me that he sees AI-generated music as “a kind of decoy art form,” and he thinks that the people making it don’t really have anything meaningful to say with their creations. He feels that true art in any medium is “created by people that are trying to express feelings and messages,” and he believes that the only thing AI boosters are really interested in is making a quick profit.</p>

<p class="wp-block-paragraph">“I don’t consider AI-generated material to be art, and I don’t think this technology is really advancing art in any meaningful way,” Harris said. “It&#8217;s a technological advancement that’s giving people a way to steal real art and pass it off as their own.”</p>

<p class="wp-block-paragraph">Harris, originally from Maine, described his approach to making music as being fairly similar to working in other creative mediums. He always begins with a core concept before he starts “throwing more ideas down until I find something that sticks.” And as complicated as his workflow might look to someone unfamiliar with all of the tools and programs that he uses — his production setup includes Ableton Live, Novation Launchkey 49 MIDI controller, Ableton Push 3, Launchpad X, a couple of analog synthesizers, Serum, Diva, and the software sampler Kontakt — he said that the entire process is “really just me making creative decisions” that culminates in a sound that feels right.</p>

<p class="wp-block-paragraph">“Each of those decisions — and there’s hundreds of them to go into each song — brings me closer to evoking a specific kind of idea or emotion,” Harris explained. “And then once I have a song mapped out, I have to start making even more choices about how to mix it in a way that makes it sound good and presentable.”</p>

<p class="wp-block-paragraph">In Harris’ view, being a real artist means being able to make those kinds of experimental but informed creative decisions using your own studied understanding of a given medium. One of Harris’ biggest issues with gen AI is the way the technology often eliminates a user’s need to think about how songs (or books, films, podcasts, etc.) come together. But he has also been dismayed at the way that AI posers are muddying listeners&#8217; understanding of what human-made EDM actually sounds like.&nbsp;</p>

<p class="wp-block-paragraph">“Aside from the similar vocals, you can usually hear a sharp hissing throughout the track,” Harris said of AI-generated songs. “I think that comes from the way that these models often work by starting with a big white noise block and then making guesses about waveforms by referencing data taken from real songs.”</p>

<p class="wp-block-paragraph">Harris pointed to MANSA’s “<a href="https://www.youtube.com/watch?v=K_k4wA8H0sg">Midnight on My Mind</a>” and Danny and Ian Asher’s “<a href="https://www.youtube.com/watch?v=XGiqIs0028Q">Take Me (To The Moon)</a>” as what he thinks are examples of AI-produced songs that embody what he jokingly refers to as “the AI revolution” that’s responsible for polluting the EDM space. MANSA, Danny, and Asher have not publicly commented on whether they use generative tools in their music. But Harris and other EDM fans have noticed <a href="https://www.reddit.com/r/EDM/comments/1uertd1/new_ian_asherdanny_song_take_me_to_the_moon_is/">the similarities between</a> “Take Me (To The Moon)” and another person’s AI-generated track. There’s no definitive evidence that MANSA produced “Midnight on My Mind” with AI. Harris could very well be wrong about these songs being generated with AI. But his insistence that they are reflects the larger culture of mistrust that has developed in response to the growing presence of AI content online.</p>

<figure class="wp-block-pullquote has-text-align-left"><blockquote><p>“People are just straight up uploading original, copyrighted tracks of artists like Madonna and asking [AI] to remix them.”</p></blockquote></figure>

<p class="wp-block-paragraph">Harris holds AI production company Suno responsible for the recent spike in this kind of music being uploaded to the internet, but he also credits specific quirks of the platform for helping him learn how to spot songs worth calling out.</p>

<p class="wp-block-paragraph">“Something I’ve noticed with a lot of Suno-generated tracks is that a lot of the time, you’ll hear the vocals and other melodic elements will start stuttering at the same exact time,” Harris explained. “These models still have a hard time fully separating different parts of the songs they’re trained on, and they treat these elements like one big instrument. As a music producer, all of these things come across like choices that a human just wouldn’t make with their compositions because it just doesn’t make sense.”</p>

<p class="wp-block-paragraph">In some instances, the visuals accompanying AI tracks are part of what prompts Harris to accuse people of slinging AI. You might not be able to hear the generative models behind <a href="https://kkramermcginnis.substack.com/p/winning-souls-with-slop">evangelical Christian AI persona Lionsaddle’s music</a>, but you can clearly see the character’s fingers <a href="https://www.instagram.com/reel/DYvFgX1yECv/?igsi=eGk2cGZxMWhjNG1u">vanishing in and out of existence in videos</a>. There is also an overly glossy visual quality to most of the videos posted by <a href="https://www.instagram.com/midnitemanna?igsi=dmpxNTV6czA0ZTNi">Christian house musician Midnite Manna</a> that makes their content look a lot like what we typically refer to as AI slop.</p>

<figure class="wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram"><div class="wp-block-embed__wrapper">
<blockquote class="instagram-media" data-instgrm-captioned data-instgrm-permalink="https://www.instagram.com/p/DbQNzwfDkq_/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"><div> <a href="https://www.instagram.com/p/DbQNzwfDkq_/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank"> <div> <div></div> <div> <div></div> <div></div></div></div><div></div> <div></div><div> <div>View this post on Instagram</div></div><div></div> <div><div> <div></div> <div></div> <div></div></div><div> <div></div> <div></div></div><div> <div></div> <div></div> <div></div></div></div> <div> <div></div> <div></div></div></a></div></blockquote>
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<p class="wp-block-paragraph">Suno also came up multiple times during my conversation with 39-year-old Italian turntabilist-turned-producer Nihil Young. Young’s posts on Threads about people using Suno are what initially inspired Harris to make his videos. Like Harris, Young has spent the past few months watching multiple EDM newcomers’ stars rise after they post music he thinks was generated with AI tools like Suno’s. And while Young isn’t usually one to get involved with online discourse, he felt it was important to speak out about how many people are flooding the scene with AI tracks.</p>

<p class="wp-block-paragraph">“These songs are the sound of Suno, which to me means that the people behind the songs are just straight up uploading original, copyrighted tracks of artists like Madonna and asking the platform to remix them,” Young told me, referring to Josh Fawaz’s “Like a Prayer” cover, which <a href="https://au.rollingstone.com/music/music-news/josh-fawaz-adds-ai-credits-like-a-prayer-spotify-98573/">now includes AI credits</a> following a <a href="https://www.aljazeera.com/economy/2026/8/25/australias-music-charts-ban-ai-made-songs-amid-backlash-over-madonna-cover">wave of online backlash</a>. “If they can do it with major artists like her, they can do it with you, me, and everyone else, which just isn’t cool. They can take your entire catalog, feed it to Suno, and generate ‘new’ songs from that stolen work.”</p>

<p class="wp-block-paragraph">Young claimed that in response to his Threads posts, he received multiple hacking attempts and a wave of online harassment from AI defenders. He also told me that he thinks people bought fake followers to boost <em>his</em> Spotify numbers as a way of casting doubt on his authenticity. That spooked Young — who is raising a young daughter and just put out a new album of his own — to rethink whether he should continue. He’s taken a break from callouts, but he still thinks it’s important to know about the way AI music is harming human artists.</p>

<p class="wp-block-paragraph">“Music production is where most of my income comes from, and almost as soon as AI began rolling out, I started losing many of my clients,” said Young, who has previously done audio mixing and mastering work for Sony Music, Warner, and Universal. “I can only imagine what it’s been like for singers, graphics artists, and people working in other creative fields. Whether you realize it or not, this stuff is impacting everyone.”</p>

<p class="wp-block-paragraph">What Young wishes more listeners could appreciate is how easy it has become to generate entire songs with platforms like Suno. In his opinion, most people using AI to make music “aren’t actually doing anything creative and they don’t have a true artistic process” because many generative tools on the market involve some degree of autogeneration. When I brought up how detailed AI prompts can be, he insisted that many of the people posting AI music likely aren’t even writing their own inputs. Young noted that <a href="https://help.suno.com/en/articles/2462273">Suno’s Simple Mode</a> allows users to whip up songs by simply selecting a musical genre and clicking a button — a process that requires basically zero thinking. (Suno has not responded to a request for comment in time for publication.)</p>

<p class="wp-block-paragraph">As much as traditional artists might loathe generative production, there is no denying that AI songs are making their way into the mainstream. In 2024, Metro Boomin took shots at <a href="https://www.theverge.com/2025/1/15/24344381/drake-umg-lawsuit-kendrick-lamar-not-like-us">Drake</a> with a beat sampling comedian King Willonius’ “<a href="https://www.instagram.com/p/C5wvPViMW8P/?hl=en">BBL Drizzy</a>” — an AI track whose <a href="https://www.billboard.com/business/tech/metro-boomin-bbl-drizzy-future-ai-sampling-1235682587/">vocals, melodies, and instrumental elements</a> were generated by AI music startup <a href="https://www.theverge.com/tech/968375/sony-udio-lawsuit-songs-ai-copyright">Udio</a>. Metro Boomin’s “BBL Drizzy” went viral after the producer posted the beat to SoundCloud and <a href="https://www.complex.com/music/a/alex-ocho/metro-boomin-bbl-drizzy-drake-responds">invited other performers to rap over it</a>. Drake <a href="https://ca.billboard.com/music/rb-hip-hop/drake-metro-boomin-bbl-drizzy-beat-sexyy-red-collab-1235692138/">subsequently rapped over the beat himself</a> on Sexyy Red’s&nbsp; “U My Everything,” and that song managed to peak at 44 <a href="https://www.billboard.com/artist/drake/chart-history/hsi/">on the Billboard Hot 100</a>.&nbsp;</p>

<figure class="wp-block-pullquote has-text-align-left"><blockquote><p>“I also think that a lot of people these days are consuming music like fast food.”</p></blockquote></figure>

<p class="wp-block-paragraph">Wholly AI-generated songs (and people) are finding success, as well. Last summer, Vinih Pray’s Suno-created song “A Million Colors” also <a href="https://archive.is/LcmfG#selection-2177.106-2177.121">peaked at 44 on TikTok’s Viral 50 chart</a>, and AI artists Breaking Rust and Cain Walker <a href="https://www.billboard.com/pro/ai-artists-breaking-rust-country-music-chart-reactions/#recipient_hashed=69147c876d64538a97146072ef01e0685688348b33d4338593af6afad146766d&amp;recipient_salt=4aeea324818b0b8463dab0104e62dfadbef15ff3f224cc988721191125ae6b47&amp;utm_medium=email&amp;utm_source=exacttarget&amp;utm_campaign=billboard_MustRead&amp;utm_content=646323_11-13-2025&amp;utm_term=7584571">made it onto Billboard’s Country Digital Song sales chart — </a>a lesser-known chart focusing on individual song downloads. Meanwhile, Hallwood Media — a label founded by former Geffen Records president Neil Jacobson — <a href="https://www.billboard.com/pro/ai-music-artist-xania-monet-multimillion-dollar-record-deal/">signed AI avatar Xania Monet to a $3 million recording deal</a>. Certain segments of the industry are clearly trying to normalize AI-generated music, and people are definitely making money with their machine-generated tracks. Kapwing estimates that the top 10 most followed / streamed AI music creators on Spotify and YouTube <a href="https://www.kapwing.com/resources/the-most-streamed-and-top-earning-ai-music-artists/">collectively raked in over $6 million in 2025</a>. And with platforms like Deezer reporting that AI songs now account for <a href="https://newsroom-deezer.com/2026/07/ai-music-exceeds-50-percent-daily-uploads-deezer/">over 50 percent of new uploads</a>, that kind of music is getting harder for listeners to avoid — if they can even recognize it. While <a href="https://www.theverge.com/entertainment/977815/spotify-ai-persona-label-recommendations">streaming platforms</a> are beginning to <a href="https://www.theverge.com/tech/983145/apple-music-is-getting-ai-labels-later-this-year">more clearly label</a> AI songs, <a href="https://www.theverge.com/entertainment/830393/ai-music-deezer-survey-spotify">many listeners have reported</a> that they can’t really hear the difference between generative and human-made music.</p>

<p class="wp-block-paragraph">Aside from the people uploading all of these songs, no one has a way of being absolutely certain whether the tracks were generated with AI or made by an actual artist. AI music detection tools are <a href="https://arxiv.org/html/2501.10111v1">one potential solution</a>, but it’s not entirely clear how and, perhaps more importantly, <em>if</em> listeners might incorporate them into their lives. Judging by the numbers (which, of course, can be manipulated with paid streams), there do seem to be people who don’t mind the sounds of Suno and other AI tools. Young knows that most people’s ears probably aren’t well-attuned to identifying audio slop, but he still thinks that music lovers owe it to themselves to make the effort to find real, human artists.</p>

<p class="wp-block-paragraph">“In my opinion, it becomes obvious that you’re listening to AI-generated music when you put on a good pair of headphones,” Young told me. “But I also think that a lot of people these days are consuming music like fast food and listening to it through the speakers on their phone. Or they just have it on a background noise, and they don’t necessarily care what it sounds like.”</p>
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