The US is accusing China of plagiarizing Anthropic models. We have three problems with that accusation.

Michael Kratsios, assistant to the president of the United States, did not bite his tongue this week when claimed that “We have information indicating that Moonshoot AI distilled Fable from Anthropic for the development of its K3 model.” Or in other words, they accuse China of plagiarizing the American company’s advanced AI model. There are several fundamental problems with that accusation. Let’s see them. Fear of Kimi K3. This model has just burst onto the AI ​​scene with overwhelming force. Benchmarks show that Kimi K3 is one of the best AI models in the worldwith performance close to Fable 5 and GPT-5.6, the best public models from Anthropic and OpenAI. This milestone has triggered its popularity among users and companies, and also the alarms in Washington. The immediate consequence has in fact been political, because since the Trump Administration there is now open talk of sanctions for “theft of technology” if the accusation is confirmed. The accusation. In his text, Kratsios explains the supposed mechanism used by Moonshot AI to copy his model. It states that the Chinese startup would have built an internal platform to make mass queries to US models, changing access methods to avoid detection and then transferring its capabilities to Kimi K3. He also adds that the company has managed to access servers with Nvidia GB300 chips in countries outside China to avoid export restrictions. Where is the evidence? The first problem we have with that speech is that a key piece of that speech is missing from the start: Kratsios does not support this accusation with technical evidence. It does not provide usage records, it does not provide examples of prompts and responses, nor query patterns. Nor does it provide independent analyzes that any researcher could review. What we have right now is an official story and accusation, not a proven “infringement.” The controversy over distillation. The key word in that speech is “distillation.” In AI, distill a model It means training a new one using the responses of another. The “master” model answers thousands or millions of questions, and the “student” model learns to imitate its reasoning patterns at lower cost and size. The industry itself describes distillation as a legitimate and standard technique when applied to permitted or proprietary models. The red line appears when it is applied to third-party models, on a large scale and without permission, which according to the US Government is theft of intellectual property. But crime, what is called crime, is not. The second problem is that the statement and the accusation are not supported by any clear and defined legal framework. Neither the US nor China currently have a specific law that says under what conditions distilling a rival model is an intellectual property crime. You may violate an API’s terms of service or even end up obtaining sensitive information from companies, but there is no jurisprudence about it. In fact, until recently the debate in the US was about regulating US frontier models like Mythos, which were considered too dangerous. Suddenly the debate is now on sanctioning the distillation of models. Everything is moving too quickly, once again, to adapt the legislation. Hypocrisy made in USA. The third big problem we have with that accusation is that the big American models—including those at Anthropic—have been trained on massive data sets that mix websites, books, code, newspaper articles, and other materials of which a notable portion is protected by copyright. own Anthropic reached an agreement with justice these days for that reason, Meta has already discovered it stealing terabytes of copyrighted books to train your models. Double yardstick. In the US, AI companies defend themselves by arguing that That falls under “fair use” of the content, but the authors neither gave their permission nor charged for it. That same industry and that same Government that have made it normal to train models on other people’s content complain that a Chinese startup uses the outputs of its models to train its own. They are not identical practices, but the double standard is difficult to ignore. AI, once again, as a weapon. The Trump administration is taking this issue to another scale. By accusing Moonshot AI of using restricted chips and developing Kimi K3 by distilling Fable 5, he places distillation in the same box as industrial espionage or the theft of military secrets. AI is no longer a software product and becomes a strategic technological weapon. And there it is not so important to provide evidence or be technically precise: it is important that what China has done is an attack on its (former?) technological hegemony. If this type of accusation sounds familiar to you, you have a good memory. In Xataka | An AI model did not have access to the internet. So he thought it was better to have it and decided to hack something along the way

Cinema has been accusing Netflix and Amazon of suffocating it for years. Now it has new saviors: Netflix and Amazon

In Las Vegas, before thousands of theater owners, the head of Amazon MGM Studios promised that at least 15 of its films a year would reach theaters. He did so days after Netflix, which has been avoiding cinemas for years, announced that it will respect traditional exhibition windows for Warner Bros. films, thus building new bridges of understanding with its former enemies, traditional cinemas. Coincidence or highly studied public relations move? 15 a year doesn’t hurt. Mike Hopkins, director of Prime Video and Amazon MGM Studios, He was very direct with the exhibitors: “While some competitors have entered and exited the theatrical waters, for us this is neither a test nor an experiment. Our commitment to release at least 15 films each year in your theaters is underway.” The theater owners responded with a standing ovation. Amazon backs this promise with figures: they have been announcing for some time an investment of $1 billion annually in movies for theaters. The ‘Hail Mary’ gift. Immediately afterwards, Ryan Gosling spoke. The actor and producer of ‘Salvation Project’the science fiction film that has been dominating the global box office for weeks, thanked the exhibitors for their decisive role in the film’s success. He later said that the production, which has accumulated more than $525 million at the global box office, was going to extend its exhibition window, delaying its arrival on digital platforms. A true gift of good will for a sector that appreciates any oxygen cylinder. In the other corner. On the other hand we have Netflix. In April 2025, his co-CEO Ted Sarandos described going to the movies as “an outdated concept”. Obviously, given the platform’s trend-setting power, the statement did not sit particularly well with exhibitors. Months later, when Netflix announced its intention to acquire Warner Bros. Discovery for around 80,000 million dollars, the alarm became something more concrete: the main studio committed to the exhibition passed into the hands of the platform most hostile to traditional cinema. Collect cable. Sarandos partially retreated in January 2026 in an interview: “When this deal closes, we will have a phenomenal theatrical distribution engine that generates billions of dollars of theatrical revenue that we do not want to put at risk. We will manage that business as it is today, with 45-day windows.” He clarified his comment about “outdated” cinema: he was referring to locations without access to theaters, not to the experience itself. Internally, suspicions did not subside: according to the CEO of the Cinemark chainNetflix intended to approach a window of only 17 days. Cinemas are improving. The point is that a slight improvement is detected in the situation of cinemas. According to Comscorethe US box office accumulated from the beginning of this year until April 12 reached $2.26 billion, 23% above the same period of the previous year and the best figure since 2019. Ticket sales grew by 16%, reaching 154 million viewers. This improvement has been echoed among production companies: Universal, which during the pandemic reduced its windows to 17 days, has already announced that will extend its guaranteed minimum to 45 days since January 2027. In this context, MGM’s congratulations and Netflix’s change in philosophy make sense. Reasons for suspicion. The rooms, however, have reasons to be reticent. David Zaslav, CEO of Warner, promised three years ago 20 films a year from Warner Bros. for rooms. He never kept his promise. But we may be seeing the winds of change blowing. The box office in slight but clear improvement, the expansion of windows and the regulatory pressure They are creating a panorama in which it is more profitable for platforms to be allies of cinemas than enemies. Although the rooms know that they have to make sure before burying the hatchet. In Xataka | Spotify killed the record and the industry pivoted to concerts. Netflix killed cinema and the industry was left with a “space crisis”

More and more people are accusing Spotify of artificially inflating their listeners. There is no way to check the numbers.

The doubts about the listening figures that Spotify handles They have always been there, but they have increased in recent times, when the possibility has been put on the table that some of their most listened to artists are actually the result of bot farms. At the moment there is nothing firm on the table, but we do have something indisputable: between this and the artists fleeing in a pack Spotify is going through one of the biggest reputational crises in its history. The demand. In early November 2025, rapper RBX, Snoop Dogg’s cousin, filed a class-action lawsuit against Spotify in California that has opened an uncomfortable debate for the music industry. streaming. According to the court document, between January 2022 and September 2025 an unspecified but “substantial” amount of the almost 37 billion views accumulated by Drake on the platform they would have been generated by botsautomated accounts (who listen to Drake 23 hours a day, something implausible) and traffic from, for example, Türkiye, masked with a VPN. Drake is not to blame. The Canadian artist not listed as accused (the lawsuit points exclusively to Spotify), but it appears to be an indirect beneficiary of this ecosystem where supervision is, to put it mildly, very relaxed. What is relevant is not whether Drake knew about these anomalies or not, but rather an issue that, if revealed as true, would reach the level of structural embezzlement: transparency about listening on Spotify is practically zero. How Spotify (doesn’t) work. The main problem with Spotify’s system lies in the opacity that surrounds its systems to detect fraud. The company has never publicly explained the exact thresholds that trigger its alarms, nor the criteria that distinguish an organic spike in activity from artificial manipulation. This lack of transparency generates detailed situations in this article: while emerging artists see their income blocked by a few thousand reproductions considered suspicious, statistical anomalies of colossal dimensions can persist for years. A lot of fraud. An analysis held in France in 2023 estimated that between 1% and 3% of all streams in the country were fraudulent. If these percentages were extrapolated globally, the losses would exceed $510 million. But Beatdapp, a company specialized in detecting fraud in streaming, dramatically raised that estimate in 2024: at least 10% of all reproductions would be artificial, which implies annual losses of between 2,000 and 3,000 million dollars. Other cases. These demands are not born in a vacuum. During 2024 and 2025, several cases have confirmed that the manipulation of streams and opaque commercial influence are common problems at Spotify. For example, in 2025, the Turkish Competition Authority opened a formal investigation against Spotify for alleged anti-competitive practices. The trigger was allegations from several top Turkish artists that certain performers were getting disproportionate visibility in exchange for direct payments to Spotify editors, all combined with the use of bots to artificially inflate national chart positions. Spotify has launched an internal investigation in what is the first case of editorial corruption reported by relevant artists. On the other hand, in September 2024, a 52-year-old musician living in North Carolina was accused of artificial inflation of streams through AI. Specifically, up to $10 million in fraudulent royalties through hundreds of thousands of songs created with AI that it played with up to 10,000 bot accounts. Smith strategically dispersed the fake wiretaps among tens of thousands of topics to prevent any of them from accumulating suspicious numbers. Spotify admits the fraud operated for years undetected. Header | Amber on Flickr / Alexander Shatov in Unsplash

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