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April 16 (UPI) — Health and Human Services Secretary Robert F. Kennedy, Jr. on Thursday testified before seven congressional committees, often clashing with Democrats about decisions he has made about vaccines and department priorities.

The testimony is Kennedy’s first trip to the Capitol this year and the first time that he has appeared before Congress in more than seven months, The Washington Post reported.

In addition to unilaterally remaking the Center for Disease Control and Prevention’s vaccine advisory committee and the agency’s recommended childhood vaccine schedule — which were blocked by a federal judge in March — he has changed the Food and Drug Administration‘s recommendations on diet and shepherded medications through federal approval processes while allegedly ignoring data on them.

Kennedy also was asked by members of Congress about the Trump administration’s 12.5% budget request decrease, which amounts to about $16 billion that it sought for its fiscal year 2027 budget proposal, NPR reported.

“Our children are the sickest generation in modern history — decades of failed policy, captured agencies and profit-driven systems have caused it,” Kennedy said during a hearing before the House Ways and Means Committee.

“Parents across this country demanded change — and we are delivering it,” he said.

Kennedy said that the measles vaccine “certainly” could have saved the life of a child who died in Texas last year during an outbreak in the state.

More than 1,700 measles cases have been reported through the first 3 1/2 months of 2026, compared to more than 2,200 reported in all of 2025.

He also was asked by Rep. Linda Sanchez, D-Calif., about ending an influenza vaccine public awareness campaign while investing money in marketing efforts for his remade food pyramid.

“You suspended this pro-vaccine messaging campaign, but somehow you’re spending taxpayer dollars to drink milk, shirtless in a hot tub with Kid Rock?” Sanchez asked.

Kennedy also was accused of “diminishing science” by Rep. Bradley Scott, D-Ill., with his support for $5.7 billion in cuts to the National Institutes of Health meant for drug development.

“Nobody wants to make the cuts,” Kennedy said in response to several questions about reducing the HHS budget, but said the nation needs “to tighten our belt” because of the national debt, which he blamed on Congress.

Avid Technology, the editing software company, is the latest entertainment industry player to introduce AI into its toolbox.

The company behind industry-standard platforms Pro Tools and Media Composer said it is entering a multiyear partnership with Google Cloud.

The goal is to implement both generative and agentic AI so that users can turn the “mostly manual process into an intelligent, AI-assisted experience,” Avid said in a statement Thursday morning.

“The primary bottleneck in Hollywood is manual labor [in editing] and managing thousands of hours of high-risk footage,” Avid Chief Executive Wellford Dillard told The Times. “This isn’t us just adding a new tool. It’s going from static files sitting on hard drives, to living data that understands its context.”

Google’s Gemini models and Vertex AI will be embedded directly into Avid’s processes, offering customers a chance to accelerate their editing time. Avid’s Media Composer, the editing system used on most professional film and TV productions, will now include a Gemini extension that could enhance metadata and generate B-Roll.

The company said that, overall, using AI on its platforms enables systems to understand the context of every file — allowing users to describe what they need based on visual movements, on-screen dialogue and emotional cues.

Dillard said that when someone uses Media Composer for editing, it can often be frustrating to click in and out of the application in search of the right shot buried within hours of footage. Now, he said, clients can describe the shot to AI, which could find it faster.

Anil Jain, global managing director at Google Cloud, said that these tools can do both simple functions like tweaking a scene’s background, or achieve more complex tasks, like creating promotional material.

“Most storytellers don’t get excited about putting together a promo, but if they could leverage AI to help do it a lot faster, then it becomes more interesting, gets it done and opens up the possibility of more creative time,” Jain said.

Avid, founded in 1987, is based in Burlington, Mass., and has since established itself as a pioneer in digital audio and video editing software. The company said its software was used to edit 87% of this year’s Oscar-winning productions, including the movies “K-Pop Demon Hunters” and “One Battle After Another.”

Avid is one of the many media companies that has recently incorporated AI into its services. In March, Netflix acquired Ben Affleck’s AI filmmaking company, Interpositive. Disney invested $1 billion into OpenAI’s now shuttered Sora platform. Even in the music industry, the “Big Three” labels have inked individual deals with AI startups like Udio, Klay and Suno — after suing a few of the same companies for copyright infringement.

Ramesh Srinivasan, a professor of information studies at UCLA, said these kinds of deals are the “new normal” and that “almost every single industry is being sort of eaten up by the Pac-Man of AI.”

But he said he’s not sure that this kind of AI will only be used for mechanical tasks.

“Editing is a task that involves creativity and human artisanship. An editor is not just someone who mechanically reproduces a number of steps. They have a sense of storytelling in mind,” said Srinivasan. “In terms of AI-created content, the initial research is showing that it is flattening creativity. It’s putting out the dominant patterns that it can copy, rather than reflect, the specific diverse and creative ways we can write, or edit.”

To Dillard, Avid’s CEO, incorporating AI is a way to ensure that creators can make enough content to keep up with audiences’ increasing demands.

“The demand for content is almost insatiable, and dollars are limited. This work can help compress those production timelines [and make] more content,” Dillard said. “Our hope is that we’re actually enabling the world, within the same budget constraints that the studios have today. You’re producing more content, and you are also opening the doors for smaller production houses to be able to produce more content competitively.”

April 16 (UPI) — British Prime Minister Keir Starmer put the big five social media firms on notice Thursday that he was considering state intervention, including the nuclear option of a ban, if they did not do more to protect children from being harmed by their products.

Starmer warned executives from Meta, Snap, Google, TikTok and X at a meeting in Downing Street that something had to give, saying a ban on children accessing their platforms would be “preferable to a world where harm is the price” for social media use.

“Things can’t go on like this, they must change because right now social media is putting our children at risk. In a world in which children are protected, even if that means access is restricted, that is preferable to a world where harm is the price of participation,” said Starmer.

“I am determined we will build a better future for our children, and look forward to working with you on this. I do think this can be done. I think the question is not whether it is done, the question is how it is done,” he added.

Executives attending the meeting included Google U.K. managing director Kate Alessi, Markus Reinisch, a public policy principal at Meta, and X’s global government affairs director Wifredo Fernandez.

TikTok was represented by Alistair Law, director of public policy for northern Europe, while Snap was represented by Europe president Ronan Harris.

Starmer put to the firms the negative impacts of social media use on children’s ability to concentrate, their sleep, relationships and the way they view the world that have been flagged by parents and child experts.

“It’s clear to me that parents aren’t asking us for tweaks at the edges, they’re asking us whether a system that clearly isn’t working for children should be allowed to continue at all. Companies have to grip this and work with us to do better by British children,” he said.

No. 10 had earlier acknowledged that some of the tech firms had “stepped up” by disabling autoplay of videos for children by default and providing better tools to parents to limit the amount of time their children spend looking at screens, but took a much tougher line at Thursday’s meeting.

Starmer’s Labour administration has previously pushed back on pressure from parents, educators and child safety advocates for an Australia-style ban for children younger than 16 on fears it could drive them onto the dark web and make them more vulnerable when they eventually begin using the apps by hindering development of their digital skills.

Most social media sites operating in Britain do not permit children younger than 13 to use their products.

However, in the past three months, Starmer’s administration has twice been forced to use its House of Commons majority to override two efforts by the House of Lords, the upper chamber of Parliament, to amend a government bill to include a ban for children younger than 16.

The most recent of these was on Wednesday in which the government defeated the Lords’ latest attempt to force through a ban, but with a reduced majority from the previous vote on March 10. More than 240 of 650 MPs either failed to show or abstained.

In January, 60 Labour Party backbenchers signed a letter urging Starmer to bring forward a ban.

The government managed to fend off the first challenge in March by launching a three-month public consultation on how to proceed with anticipation inside his administration growing that Starmer will yield to pressure for a ban when the findings are published in the summer.