Category: Entertainment

Suno, the AI music generator that’s managed to both rankle the music industry and lure some of its biggest talent to its side, has added music company BMG as its latest licensing partner as it prepares new models powered by licensed work.

The partnership will see Suno pay for BMG’s repertoire of recordings from its artists, while also covering the use of any BMG songs to train Suno’s past models. BMG joins Warner Music Group in settling with the music-generation company, which has been the target of a series of lawsuits alleging unauthorized use of audio recordings to train its data.

“We believe the future of music will be more participatory, creating entirely new ways for artists and fans to connect,” Suno CEO and co-founder Mikey Shulman said in a statement. “Building that future responsibly means working directly with the people who make music and the companies that represent them. Together with BMG, we can develop new experiences that give artists and songwriters real choice, generate new revenue, and make music a bigger part of people’s lives.”

Celine Joshua, BMG’s executive vice president of global marketing and streaming, framed music’s future as one where artists and songwriters “share in the value” platforms such as Suno may create.

“Choice is the guiding principle,” Joshua said. “This agreement establishes strong protections, clear economics, and new creative possibilities for artists and their fans. As we enter the era of creation, we look forward to shaping that future together with our creators and Suno.” 

The settlement marks BMG’s most notable acceptance of AI’s role in music since the generative era began. It sued Anthropic in California federal court earlier this year for allegedly using its copyrighted works, including songs by the likes of Bruno Mars and the Rolling Stones, to train its models in what it called a scheme of “widespread and systematic infringement.” The case, similar to one brought by other music publishers in 2023, is ongoing.

BMG also joined a collection of other music labels and companies last month, including WMG, Universal Music Group and Sony Music, in proposing a new set of guidelines for how AI-generated music could chart on music tracking lists, specifying that only tracks that were “substantially human made” qualify for the industry’s measure of success.

The deal with BMG also gives Suno another layer of legitimacy as it prepares its new industry-backed models, which Suno said on Monday would come soon. Last week, Suno said it would begin watermarking songs downloaded from the platform to help signify the use of AI and limit song downloads for its three usage tiers to combat slop, efforts the company is taking to further legitimize its outputs among the music industry.

Still, Suno is facing ongoing lawsuits from UMG and Sony Music for copyright infringement, and last month a German court found that the company was violating U.S. and German copyright laws.

Unwell, the media company co-founded by married couple Alex Cooper and Matt Kaplan, has landed its first outside investor: Patrick Whitesell, co-founder of WME and former executive chairman of successor company Endeavor.

Whitesell’s WTSL, an investment firm focused on media, entertainment and sports he launched after exiting Endeavor and WME last year, has invested an undisclosed sum in Unwell that values the business at $500 million, according to Unwell. Cooper and Kaplan, who self-funded the company targeting Gen Z women audiences, retain a majority ownership stake. Formed in 2023, Unwell says it has been profitable from day one and sees the WTSL investment as growth capital.

Unwell said that in addition to the funding, WTSL brings “deep strategic expertise, industry relationships and a proven track record of supporting some of the most innovative companies and storytellers in media,” including Peyton Manning’s Omaha Productions.

“Trust has become the ultimate distribution channel and 70 million women a month tune into Unwell,” Cooper, whose “Call Her Daddy” podcast remains the company’s tentpole franchise. “We’re scaling on all fronts, combining nimbleness, social-first premium content, and our understanding of culture to serve this highly influential audience. With WTSL’s backing, the company is now also poised to accelerate our media platform’s growth through acquisitions and investments.”

Whitesell said in a statement, “Alex, Matt and the team have demonstrated an exceptional ability to anticipate where audiences are headed and create entertainment experiences that resonate deeply,” he said. “The company’s growth, audience connection and cultural relevance set it apart, and we believe Unwell is uniquely positioned to help define the present and future of media.”

News of the funding from Whitesell’s WTSL comes after a pair of recent exposés alleging behind-the-scenes chaos at Unwell. According to a Vanity Fair story in June, one Unwell freelancer alleged that Kaplan “creates the most toxic work environment that I’ve ever seen”; anonymous sources also said Kaplan had questioned employees about their sex lives and commented on their physical appearance. In April, Bloomberg reported that Kaplan “has earned a reputation for frequently yelling at staff members” and said Unwell’s employees were “looking for the exit.”

Cooper, in an interview at Cannes Lions this June with the Wall Street Journal, was asked about the allegations. “I will just kind of leave it at ‘Don’t believe everything that you read on the internet’ — but I think everyone knows that at this point,” she said. Cooper also said, “I think that we have done a really incredible job at Unwell, and I think if you walk the halls, there are so many people that are so happy to work at this company. … I think, unfortunately, being a woman in this industry is extremely difficult because you’re held to a completely different standard. Whether it’s a smear campaign being created for someone’s narrative, whatever it be.”

Kaplan is the founder of ACE Entertainment, whose credits include “To All the Boys I’ve Loved Before,” one of Netflix’s most-watched original films to date, and popular Gen Z series “XO, Kitty” (also for Netflix).

“As the premier media company for women, we’re collaborating with some of the biggest brands in the world on creator-led strategies,” Kaplan said in a statement. “Brands realize buying paid ads or influence just isn’t enough in such a disparate media landscape. And, it’s difficult to find a platform like Unwell that meets Gen Z where they are on their terms. That’s something legacy media still hasn’t unlocked.”

Unwell says its audience is 89% female, with 72% between the ages of 18 and 35. The company claims to have nearly 100 million followers across platforms and generated more than 1.7 trillion earned media impressions in 2025 alone. Its podcast network of more than a dozen shows is supported by a “significant” SiriusXM partnership and video engagement on YouTube. In 2024, Cooper inked a three-year deal with SiriusXM worth as much as $125 million over the course of the agreement.

Beyond podcasting, Unwell has expanded into series for premium streaming services and YouTube as well as live events.

The company produced the “Hannah Montana 20th Anniversary Special” on Disney +; partnered with Peacock on live programming from the Paris Olympics; launched reality series “Love Overboard” with Hulu, and has a slate of shows with Netflix, including “Let’s Marry Harry” and “Icebreaker,” set to shoot this fall. Unwell also has a growing portfolio of YouTube-native series announced earlier this year at the streaming giant’s Brandcast event.

Unwell also has staged nationwide tours, spring break experiences, SXSW activations and other live events (which the company estimates have been attended by more than 150,000 fans in person). The company also has a consumer products business spanning energy drinks, hydration products and stick packs.

There was a time when talky slabs of recent political history like “The Brink of War,” carried by skilled name actors who aren’t quite stars, were largely the preserve of Emmy-chasing TV networks. Today, with a bit of added Christian-right rhetoric, they’re ready for the big screen, as the growing faith-based film industry expands its palette in terms of subject matter — but not cinematic style, as evidenced by this dutifully drab gray-flannel enterprise from writer-director Michael Russell Gunn.

The latest from so-called “values-based” distributor Angel Studios comes hot on the heels of their Fourth of July release “Young Washington,” which has drummed up nearly $47 million in theaters, and shares with that Great Man biopic the kind of textbook American patriotism that recalls, well, a certain kind of textbook. The story of how the 1986 Reykjavik Summit between Ronald Reagan and Mikhail Gorbachev paved the way for the next year’s nuclear arms control treaty between the United States and the Soviet Union, it feels veritably designed (right down to its PG rating) to bore kids in history classrooms for generations to come. Adult audiences may be more willing when “The Brink of War” opens wide on Friday, but it’s doubtful they’ll be much more entertained.

“Young Washington” was stolidly old-fashioned, but still rousing in its gung-ho way. “The Brink of War” is a far dustier, more static affair: Its drama is all in two aging men seated at a table, arguing with each other over two days about nuclear disarmament in a remote Icelandic consulate building. That doesn’t have to be dull, of course, and if you squint a little at the screen, you can just about see the first-rate Broadway play that could emerge from this material — with no casting changes required — if the telling were just a little more tense, and the writing just a little more witty.

Gunn’s stiff script is attentive to the political dynamics and rhetorical thrust of the talks, and if its repeated emphasis on American honor, freedom and statesmanship makes for a somewhat pious exercise, you can’t deny the narrative stakes are high. The lines of conflict are established early and clearly: Where Gorbachev merely wants to discuss the banning of ballistic missiles, Reagan’s equal emphasis on human rights — in particular, the Soviet Union’s restrictions on Western travel for its citizens — complicates the discussion, while his insistence on pushing the controversial Strategic Defense Initiative continues to be a sticking point for the other side. (No surprise that the film glides over American political opposition to the latter proposal, unambiguously taking Reagan’s side on all fronts.)

What’s crucially lacking here is a particularly compelling sense of Reagan and Gorbachev as human characters. Jeff Daniels and Jared Harris, respectively, put forward solidly recognizable impressions of the men we knew from televised speeches and newscasts, but aren’t given many notes to play: The leaders’ inner lives are limited to standard-issue exchanges with their wives about professional duty and strain, which don’t vary much in tone from the pithy aphorisms they share with their right-hand men about diplomacy, or lack thereof. Even when religion comes up for discussion, it’s in predictably on-message Angel Studios fashion, as Reagan chides his atheist opponent for “denying [his people] the hereafter.” (“This is worse than propoganda!” protests one of Gorbachev’s aides; irony is not one of the film’s stronger suits.) At one point, Reagan spills some chicken salad sandwich filling on his shirt; it’s about the most unguarded moment we get.

Reagan also, naturally, gets the leading perspective, as well as the most generous sounding boards in the supporting ensemble: not just his wife Nancy (Hope Davis), who doesn’t travel to Reykjavik but provides repeated counsel over the phone, but his Secretary of State George Shultz (played with an air of gruff, salt-of-the-earth decency by J.K. Simmons), on hand to straighten out Team America’s priorities when the negotiations go awry.

Though the film’s lens is consistently ennobling — abetted by everything from DP Magdalena Górka’s sober official-portrait lighting to Austin Wintory’s overbearing score — Daniels gets Reagan’s combination of folksy squareness and flintier social conservatism. It’s a more substantial portrayal than Dennis Quaid’s in the tackily propagandistic 2024 biopic “Reagan,” though we’re still left with the impression that, in the ranks of American presidents on screen, the erstwhile movie star remains a less dynamic movie subject.

Harris, meanwhile, plays Gorbachev as an altogether more aloof, intractable and unknowable figure, which is precisely how the film wants it — though Branka Katić gives the canniest, funniest performance here as his watchful, image-conscious wife Raisa, here placed in a remote PR war with the U.S. First Lady where, yet again, America gets to come out on top. The film could use a few more such colorful secondary strands adjoining the main conflict, though one subplot involving a maybe-romance between two jaded journalists assigned to the summit is oddly framed and abruptly dropped.

Fairly deliberate for much of its two-hour running time, “The Brink of War” suddenly races toward a denouement in its final quarter-hour — somewhat eliding the fact that the Reykjavik Summit was, at least in the short term, a failure, with the two men’s talks ultimately stalling, and folding it into the clearer success story of the next year’s treaty. As the film’s single most lumpen line of dialogue reminds us at the close: “A journey of a thousand miles doesn’t begin with the most incredible arms deal in history — it begins with a single step.” Gunn’s film, on the other hand, is content to skip a few steps where necessary.

The Writers Guild of America has fired back at Paramount Skydance CEO David Ellison after he threatened to start pulling Paramount out of California on Oct. 1 if California AG Rob Bonta refused to come to the bargaining table and settle the antitrust suit to stop the studio’s acquisition of Warner Bros.

“By threatening to leave the state because it doesn’t want the government to enforce the law, Paramount further proves the danger of its outsized power over the industry and what that will mean for writers and the creative community,” the WGA told Variety in a statement. “This type of behavior is precisely why the merger should be blocked.”

The WGA, along with Bonta and his coalition of 12 states, is suing to block the $110 billion Paramount-Warner Bros. merger. Filed jointly with the WGA West and East branches, the guild’s suit claims the merger violates antitrust law and would inflict irreparable harm on industry scribes.

The AG’s lawsuit claims the transaction violates the Clayton Act by diminishing competition in three key markets: wide-release theatrical distribution, “top-grossing” theatrical distribution and basic cable licensing. Bonta, in response to the news that Paramount may split town, wrote on X Tuesday, “In a span of weeks, Paramount agreed to halt the merger until a court decision or until June 2027, asked for a November trial, and is now back with another attempt to blackmail the state into letting an illegal deal through. Paramount has lost the plot as it continues to lose in court. It didn’t work the first time — on the eve of our July lawsuit — and it won’t work this time.”

Oct. 1 is the day when Paramount will begin paying Warner Bros. shareholders a $7 billion ticking fee for every day that passes without a closed deal. The AG’s lawsuit is set to go to trial on March 2, 2027. If no settlement is reached, Paramount would be on the hook for over $1 billion to WBD shareholders by the end of the trial.

Ellison wrote in a recent New York Times op-ed that he believes the reason the states are opposed to a combined Paramount-Warner Bros. is not because of industry consolidation, but because Ellison would have control over CNN if the two studios were allowed to merge. During the acquisition process Ellison has made no secret that he is a friend of President Donald Trump, a longtime critic of the network. The turbulence behind the scenes at CBS News and its marquee program, “60 Minutes,” has also stoked fear that CNN may be mismanaged under Ellison’s control.

“Great news organizations like CNN and CBS News are here to tell it straight down the middle,” Ellison wrote. “That requires newsrooms that reflect the whole world, not one side of it. And it requires independence. Our journalists will continue to answer to the facts and to all the people they serve — not to any party or cause. These were founding principles for both CNN and CBS News, for legends like Ted Turner and Edward R. Murrow, and it is exactly that kind of independence that has always fueled the greatness of ‘60 Minutes.’”