As the threat of artificial intelligence continues to creep into the music industry, major record labels are proposing new guidelines for how music generated by artificial intelligence should be treated on the charts.
The coalition of labels, which includes the industry’s biggest players like Sony Music, Universal Music Group and Warner Music Group, as well as some smaller independent labels like BMG and Concord, is trying to establish a new framework for official charts that better separates human creativity from purely synthetic and unauthorized AI creations.
The proposed guidelines unveiled Wednesday say that AI music would qualify for the charts if the AI service used to create it is “properly authorized and lawful” and if it doesn’t violate any copyright laws. The track also has to be “substantially human-made,” and it shouldn’t raise concerns about stream or chart manipulation.
“The principles are intended to provide a unified roadmap for the consideration of official chart compilers, industry bodies and affiliated stakeholders worldwide,” wrote the coalition. “Together, the organizations proposing these principles stand ready to work with charts and industry bodies around the world to discuss these principles and support implementation of these important safeguards for human creativity by charts and industry bodies.”
The labels are hoping that official charts can both “accommodate appropriate use of AI” and maintain “an authentic celebration of human artistry.”
AI-generated tracks are becoming increasingly prevalent on streaming platforms.
Recently, Spotify added a verification badge to distinguish human artists from AI, and Tidal banned AI-generated music from receiving royalties on its platform. Deezer, a French streaming platform, was the first to detect, tag and exclude AI-generated music from algorithmic recommendations.
The company recently disclosed that up to 90,000 AI tracks are being uploaded to the platform daily, representing more than 50% of its new music uploads.
Netflix stock plunged 9% on Friday morning to $67.74 a share, after the streamer’s second quarter earnings report renewed concerns among investors and analysts about the streamer’s future growth.
The Los Gatos-based company on Thursday narrowed its 2026 forecast to $51 billion to $51.4 billion from $50.7 billion to $51.7 billion, causing equity analysts to cut their estimates. The stock reached a new 52-week low on Friday and is down 49% from a year ago.
“This outlook likely reinforces investor concerns,” wrote analysts from Guggenheim Securities in a research note on Friday, which has a “buy” rating on the stock.
Netflix did not immediately respond to a request for comment on its declining stock price.
Investors have been skittish about the amount of time people spend on the streaming platform. Netflix’s share of TV viewing time in the U.S. has steadily declined in recent months as YouTube has gained market share, according to Nielsen data.
Investors are concerned that if people spend less time watching Netflix, it could cause people to cancel their subscriptions and make it more challenging for Netflix to raise prices in markets like the U.S.
Netflix said engagement is healthy on its platform and its programs continue to draw large audiences with popular shows like crime drama series “I Will Find You.”
Netflix said subscribers watched more than 97 billion hours on the streaming service in the first half of the year, up 2% from a year ago.
“We are increasingly concerned that younger generations are less interested in long form content as their time migrates to ‘free’ social media platforms,” wrote Jeffrey Wlodarczak, CEO of Pivotal Research Group in a report on Friday, who has a hold recommendation on Netflix stock. “We believe this will result in slower subscriber growth and attempts by the company to offset this via more aggressive price increases and investment in content.”
Netflix executives in a Thursday earnings presentation emphasized that measuring engagement at the company goes beyond hours spent watching the streaming service.
“There is not a linear relationship between view hours and revenue and profit because all hours are not created equal,” said Greg Peters, Netflix co-CEO on an earnings presentation on Thursday. “All hours don’t provide the same kind of value to the business.”
The streamer said it plans to allocate just over 5% of its content spend on live programming this year. Live content has been a key driver for subscriptions, accounting for six of the top 10 new member sign-up days over the last five years, the company said, even though it makes up roughly 1% of overall watch time this year.
The company is also diversifying the content it offers on its platform, adding live sports games and video podcasts, in addition its large library of TV shows and movies.
Netflix revenue rose 13% to $12.6 billion in the second quarter. Net income was $3.4 billion, up 9% from a year ago.
The company said its advertising business is on track to reach $3 billion in revenue this year, double the amount in 2025.
The television industry has changed dramatically over the last decade, but one tradition that won’t die is the annual gathering of ad-buying execs in Manhattan to hear the pitches of networks and streamers looking to sell their commercial time.
This past week’s lavish presentations, known as the upfronts, included the usual array of big-name actors (Arnold Schwarzenegger and Jennifer Lopez), NFL legends (Tom Brady and Mike Tomlin) and “Real Housewives,” past and present.
Jennifer Lopez and Brett Goldstein speak onstage during the 2026 Netflix Upfront at Sunset Pier 94 Studios on May 13.
(Dimitrios Kambouris/Getty Images for Netflix)
The selling buzzwords are far different from the days when the presentations were a vehicle for networks to boast about their ratings and present new program line-ups. The 2026 upfronts talked a lot about “connections” and “community” as the personalized nature of TV viewing brought on by streaming video-on-demand has been fully integrated into the buying and selling of commercials.
“Three of us could be watching the same show, maybe at a different time, maybe at the same time, but receive very different advertising based on what ad technologies, know about us as an audience segment,” said Josh Mattison, executive vice president of digital revenue pricing, planning and operations for Walt Disney Co. “The old model would be, hey, did 10 million people watch this ad? I think the new model is, which 10 million people watch this ad.”
Here’s a sampling of what ad executives were seeing and hearing this week:
Using new ad tools that target viewers
Every company presentation touted advancements in the ability to target consumers now that advertising has become the main source of revenue growth in the streaming business. They also played up new services — such as NBC’s Performance Insights Hub — providing advertisers with up to date information on the effectiveness of their advertising so they can adjust accordingly.
Streamers can take the consumer research collected by advertisers and align them with the viewing habits of their subscribers. The data are analyzed in a secure room to protect consumer privacy.
Netflix doesn’t ask subscribers for personal information in the sign-up process, as it can discourage people from buying the service. But the company does use the viewer habits on the platform to help advertisers reach the customers they seek.
“We are seeing where there is overlap and use that to help our advertisers target better,” Amy Reinhard, president of advertising for Netflix, told The Times. “It’s all based on viewer preferences.”
Every company is turning to AI to respond to the needs of advertisers. NBC now offers them the chance to insert commercials that relate to the action seen on the screen during live sports events.
Creators are going mainstream
YouTube’s annual upfront gatherings used to have the feel of an alternative show business universe, with personalities who built their rabid followings on the streaming platform far away from the audiences for traditional TV.
Now creators such as the sports stunt group Dude Perfect have their own studios. Beast Industries, the corporate home of MrBeast, held its own invitation-only breakfast for marketing executives at a high-end New York venue . YouTube stars, such as Jesser, are landing shows on other platforms.
At YouTube’s presentation at Lincoln Center, longtime favorites such as “Call Her Daddy” podcast mogul Alex Cooper and “SubwayTakes” host Kareem Rhama appeared on stage to announce new projects on the platform, looking more like established show producers rather than social media renegades.
Ten years ago, YouTube advertisers had to worry about their spots running next to Islamic State videos. Now it’s become common for marketers to embrace YouTube stars and fully integrate products and messages into their programs.
“When creators talk about your products on YouTube, viewers are 13 times more likely to search for your brands and five times more likely to buy,” said Paul Downey, president of Americas & Global Partners for YouTube.
Mary Ellen Coe, chief business officer for YouTube, told The Times that advertisers can determine if a creator is right for their brand by looking at audience numbers, subscriber data and comments from their communities of fans. But many have their own personal focus groups at home that introduce the hottest YouTube personalities.
“Most of these advertisers have children and teenagers and they go nuts for them,” Coe said.
“My kids don’t watch TV — they watch YouTube,” said Anthony Pedalino, vice president and head of media investment at the ad buying firm Giant Spoon. “So I think this is a bit of future proofing.”
Other companies are seeking creators for their platform.
Amazon Prime Video introduced an alternative feed of some of its NBA games on its streaming platform Twitch, which will turn them into a “CreatorCast.” The streamers who are regulars on the site call the action live in an effort to bring in younger fans. The format will be used in WNBA games in the league’s new season.
Fox touted its creator initiative that develops programs for Tubi, the company’s fast-growing ad-supported streaming platform that now has 100 million active users. The company also has a partnership with TikTok to support creators who want to turn their short-form clips into full-length programs.
There’s always room for comfort food
Amid all the innovations in ad buying and audience measurement presented during the week, many of the programs and personalities offered up by the major networks and streamers were extremely familiar.
“They may be resigned to the fact that people are going to go to emerging platforms for more niche and esoteric programs,” Pedalino said.
Oprah Winfrey made an entrance on the Beacon Theatre stage to promote the move of her podcasts to Amazon Prime Video.
Disney rolled out the cast of “Scrubs” to announce another 10-episode order of the early 2000s sitcom for Hulu. The series had a successful reboot as Gen Z viewers continue to devour vintage programs. Amazon Prime announced “The Greatest,” a Michael B. Jordan-produced mini-series on legendary heavyweight fighter Muhammad Ali, not exactly uncharted territory.
Fox introduced a reboot of “Baywatch,” which was canceled after a single season on NBC in 1990, but went on to become a worldwide hit in syndication over the decade that followed. The slow-motion shots of toned lifeguard bodies running into Venice beach waters are coming back without a hint of irony.
Netflix brought out the set of “Pop Culture Jeopardy” at its presentation at Sunset Pier 94 Studios, NBC previewed comedies with proven prime time stars and touted its 100th anniversary which will be celebrated with an old-fashioned variety special later this year.
