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At the first-ever TIME100 AI Leadership Forum in New York City on Wednesday night, three leaders from music, fashion, and entertainment spoke during an onstage panel about how AI has changed how they worked creatively and the role they see for AI in the arts, moderated by TIME deputy editor Kelly Conniff.
Across the board, the panelists agreed that AI is best used as partner and collaborator and cannot replace the distinctly human parts of the creative process. However, they can help users gain deeper knowledge, and shorten the more tedious parts of the brainstorming and ideation process.
Christopher Brearton, partner at independent studio AGBO, said that using AI tools could look like leaving a story idea meeting with not only a rough plot and characters but also a quick mockup with images and videos of what it might look like.
“Having an AI tool to help open that aperture and expand and continue the creative momentum, and not have breaks in your creative process, has been really fundamentally changing what we do,” he said. “Ultimately, you still go back to the human storytellers, the human creators, the human actors and directors, just with a faster idea â€Ķ It allows you to spend more time being creative and less time doing the routine tasks that used to take so much time.”
AGBO has also developed an AI-based “white space analytical tool,” which basically shows them everything that has already been done as well as what hasn't been done, or what will appeal to a specific audience. But human decisionmakers still have the final say on the exact storyline or character they want to go with, based on all of this background information.
“We can generate a character set and a universe in a span of a couple of days, as opposed to a decade,” Brearton said. “Then we go back and iterate on it with the human touch. â€Ķ Just because you have an AI tool doesn't mean you can be a great storyteller.” For example, the upcoming Avengers movies, which AGBO worked on, will still be made largely traditionally, but creatives might have been inspired by what they learned with AI.
Leanne Elliott Young, founder and CEO of the IoDF platform, thinks that AI can actually enable the customer to have a closer conversation with fashion brands and deeper understanding of products, counter to the interactions that they normally have on short-form, dopamine-driven social media.
“I think the use of AI and how we're using AI gives us the time and perspective to actually observe and hold up as a mirror of what it means to be human,” said Young. “We found that a lot of consumers of fashion want to know a lot more about the brand, they want to know where it was made, they want to know conversations that happened on the studio floor.”
In her view, AI could allow each garment to be a persistent carrier of information, from its inception to the next leg of its journey post-purchase and beyond. This technology layer will facilitate a deeper understanding of the craft and artisan behind each garment, she said, but the idea of being able to touch something and spend time with it and see the craft and artisan will never be lost.
For comedian King Willonius, his viral AI-made sample of “BBL Drizzy,” satirizing Drake, has not only received interest from the music community but from Drake himself, who resampled it, in a way, cementing its cultural value.
In response to the reception of his work, Willonius feels like it was a lot easier for him to create a piece of AI music as a comedian. “A lot of musicians probably wouldn't have done what I did, because they didn't want to get blackballed,” he said, “but I found since then, a lot of musicians, they want to kind of explore these tools â€Ķ As a creative, you want to be able to make better art, and I think that these tools allow you to iterate really fast, whether or not you use what it creates. It's a great collaborator, so if you're stuck in a studio, or trying to figure something out, these tools allow you to do that.”
With how commonplace and accessible AI tools are becoming, Willonius thinks that taste will be the differentiator. “The challenge will be, if I can make 100 songs in an hour, then which song is the song that I actually put out? So, having good taste is actually going to be a premium, moving forward,” he said. “I always say that everybody knows how to fry chicken, but not everybody knows how to fry chicken. That's how AI is. Because you can get the same prompt, and have the same ingredients, but each one of us is gonna have a completely different output based on our experiences and in our taste.”
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Nolte: Luddites in Art Directors Union Attack Martin Scorsese for Using AI

As Breitbart News reported last week, legendary Oscar-winning director Martin Scorsese announced he has embraced artificial intelligence (AI), and as Breitbart News predicted, the Luddites are whining about it. | Entertainment

Source: Breitbart News Network | Published: June 10, 2026

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Stonewall’s Legacy Can’t Be Taken for Granted

📌 Source: TIME
📅 Published: June 8, 2026
Each year since 1988, the National Trust for Historic Preservation has issued its list of America’s most endangered historic places, spotlighting sites at risk from neglect, climate change, and development. This year, Stonewall National Monument in New York City is among them.
The National Trust’s endangered list is often associated with crumbling facades or vulnerable landscapes. Stonewall, by contrast, reminds us that history can also be endangered by something less visible but equally devastating: erasure of stories, denial of truth, and political attempts to silence communities. Stonewall’s inclusion on this list signals that LGBTQ+ history itself is under threat, and that protecting Stonewall is connected to protecting the rights and dignity of the people whose lives are bound to it.
As the first and only LGBTQ+ visitor center within the National Park Service, our endangered designation underscores what we already know: our histories, including sites like Stonewall, are not guaranteed to endure. In an era marked by federal efforts to strip away transgender protections and a broader political movement seeking to sanitize or ignore queer contributions to the American story, a permanent physical presence is a radical act. We are anchoring a history that many would prefer to see erased.
Stonewall occupies a singular place in American history because, much like we are seeing today, it helped unite and transform a community long relegated to the margins into a visible force demanding recognition, dignity, and equal rights. In the early hours of June 28, 1969, police raided the Stonewall Inn, a gay bar in New York City's Greenwich Village. But instead of quietly dispersing, patrons and neighborhood residents resisted, sparking several nights of demonstrations that crystallized growing frustration with discrimination and police harassment. The uprising became a turning point in the struggle for LGBTQ+ rights, energizing a new generation of activists and helping propel a movement that would reverberate far beyond New York.
One year later, in 1970, thousands gathered for the Christopher Street Liberation Day March, a protest now widely recognized as the first Pride parade. What began as a commemoration of the uprisings at the Stonewall Inn soon evolved into an annual tradition that spread across the United States and around the world. Over the decades, Stonewall became a global symbol of resistance and liberation, representing the enduring power of collective action to expand the boundaries of freedom and belonging in American life.
To create the Stonewall National Monument Visitor Center, we made a pivotal, deliberate decision from the outset. It would be a non-profit organization, privately and independently run, and entirely supported by donations. This choice was born of a desire for narrative sovereignty, ensuring that our story would never be subject to the shifting whims of political administrations.
Too often, the contributions of women, and specifically women of color, are marginalized or left unrecognized in the very movements they lead. Yet, this visitor center was conceived, built, and fought for by us: two queer women of color. Our identities added a deep layer of complexity to an already improbable undertaking.
Throughout this journey, we have primarily remained in the background, performing the quiet, unglamorous, and painstaking work required to build something new and necessary. But these times demand a different kind of stewardship. When symbols like flags are contested, when history is selectively remembered, and when even a national monument to LGBTQ+ resistance can appear on an endangered list, we cannot afford to remain invisible. We are stepping forward, alongside so many others, to safeguard this legacy, a task that requires visible leadership.
Now, we are asking our allies and advocates to do the same: to further their efforts to move from silent support to active, public commitment to protecting LGBTQ+ history and rights. The National Trust’s designation is not just a stark warning sign; it is a call to action for policymakers, donors, and communities across the country to recognize that places like Stonewall are irreplaceable.
In recent years, we have witnessed a coordinated effort to pressure corporations to withdraw their support for diversity and inclusion programs. Organizations like ours, which sit at the intersection of history and advocacy, find themselves in the crosshairs of a culture war that casts support for LGBTQ+ rights as a liability rather than a core value. Navigating the fundraising frontline in this climate is a sobering reminder of how undervalued LGBTQ+ history is. We live in a world that frequently celebrates the Pride aesthetic in June but turns away from the enduring, uncomfortable truths of our history when political pressure increases.
How can a nation embrace rainbow branding while failing to robustly protect the very sites where LGBTQ+ liberation took root? How can we claim progress if the physical and narrative foundations of that progress remain precarious?
In the 23 months since we first cut the ribbon to open our doors, the Stonewall National Monument Visitor Center has welcomed over 115,000 visitors from all 50 states, the District of Columbia, Puerto Rico, and 93 countries. Every day, we see the weight of this global reach in the faces of those who enter: the elders who were there in 1969, seeing long-overdue validation, and the youth who, for the first time, see a reflection of their own courage. That history, our history, is worth protecting.

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Paramount Games Studio Launches, Paramount Skydance (NASDAQ:PSKY) Dives

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So while the news division of entertainment giant Paramount Skydance (PSKY) is undergoing a seismic shift, Paramount also made a move that probably should have been expected, but is actually quite new. Paramount opened up Paramount Games Studio, an organization devoted toward video game production at the studio. Oddly, investors were not happy here, and sent Paramount shares down nearly 4% in the closing minutes of Friday’s trading.
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The new report from Variety suggested that Paramount Games Studio would serve as “â€Ķa unified gaming studio” that combines Skydance Interactive and Skydance New Media with Paramount’s extensive lineup of intellectual property. Previously, Paramount licensed its IP to other game studios to handle production.
The studio has two titles in development right now: Marvel 1943: Rise of Hydra, and a Star Wars game that has no title yet, a collaborative affair with Disney’s (DIS) Lucasfilm. Another title will be announced later today at the Summer Game Fest event. This move makes particular sense as Warner Bros. Discovery (WBD) already has a gaming division, and if the merger between Warner and Paramount goes through, Paramount will need to accommodate that content as well.
Speaking of the News Divisionâ€Ķ
Reports out at Paramount suggest that CBS News personality and 60 Minutes alum Lesley Stahl has new agency representation, possibly ahead of an upcoming firing or departure. With Scott Pelley recently fired, and most of CBS News in turmoil ahead of the potential merger and acquisition of CNN, some are starting to wonder: when does David Ellison himself get involved?
Reports suggest that Weiss and new executive producer Nick Bilton are looking for more specialists and fewer generalists on the show to offer more authority and authenticity, but they are running off talent with decades of experience in the process. And some are beginning to wonder if Ellison himself is looking to turn 60 Minutes into the next Dateline NBC: a diminished TV operation, but a big deal on YouTube and podcasts.
Is Paramount Stock a Good Buy Right Now?
Turning to Wall Street, analysts have a Moderate Sell consensus rating on PSKY stock based on one Buy, four Holds and four Sells assigned in the past three months, as indicated by the graphic below. After a 10.4% loss in its share price over the past year, the average PSKY price target of $11.29 per share implies 9.78% upside potential.
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Prices and rides won’t change at Silverwood in first summer under new owners, park directors reassure

When news broke that the Herschend Family Entertainment Corp. intended to buy Silverwood Theme Park from its owners and founder, regular park-goers were quick to wonder how this would change the largest theme park in the Pacific Northwest.

Source: Spokane Spokesman-Review | Published: June 4, 2026

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Nolte: ‘Supergirl’ Budget Revealed as Whopping $175 Million

Tucked away inside the far-left Deadline’s free ad (“Supergirl Advance Tickets Go On Sale Before DC Pic’s June 26 Opening”) for the upcoming Supergirl is the real news: this sucker cost $175 million to produce. | Entertainment

Source: Breitbart News Network | Published: June 4, 2026

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