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Anthropic CEO says he’s sticking to AI “red lines” despite clash with Pentagon

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Anthropic CEO says he’s sticking to AI “red lines” despite clash with Pentagon

Hours after a bitter feud between the Pentagon and Anthropic ended with the Trump administration cutting off the artificial intelligence startup, Anthropic CEO Dario Amodei told CBS News in an exclusive interview Friday night he wants to work with the military — but only if it addresses the firm’s concerns.

“We are still interested in working with them as long as it is in line with our red lines,” he said.

The conflict centers on Anthropic’s push for guardrails that explicitly prevent the military from using its powerful Claude AI model to conduct mass surveillance on Americans or to power autonomous weapons. The Pentagon wants the ability to use Claude for “all lawful purposes,” and says it isn’t interested in either of the uses that Anthropic was concerned about.

The military gave Anthropic a Friday evening deadline to either meet its demands or get cut off from its lucrative Defense Department contracts. With the two sides still seemingly still far apart, President Trump on Friday ordered federal agencies to “immediately” stop using Anthropic’s technology. Then, Defense Secretary Pete Hegseth declared the company a “supply chain risk,” directing military contractors to also stop working with the AI startup.

In his interview later Friday, Amodei stood by the guardrails sought by Anthropic, which is the only company whose AI model is deployed on the Pentagon’s classified networks.

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“Our position is clear. We have these two red lines. We’ve had them from day one. We are still advocating for those red lines. We’re not going to move on those red lines,” Amodei later said. “If we can get to the point with the department where we can see things the same way, then perhaps there could be an agreement. For our part and for the sake of U.S. national security, we continue to want to make this work.”

Amodei told CBS News that Anthropic has sought to deploy its AI models for military use because “we are patriotic Americans” and “we believe in this country.” But the company is worried that some potential uses of AI could clash with American values, he said.

Mass surveillance is a risk, Amodei argued, because “things may become possible with AI that weren’t possible before,” and the technology’s potential is “getting ahead of the law.” He warned that the government could buy data from private firms and use AI to analyze it.

In theory, artificial intelligence could also be used to power fully autonomous weapons that select targets and carry out strikes without any human input. Amodei said his company isn’t categorically opposed to those kinds of weapons, especially if U.S. adversaries develop them, but “the reliability is not there yet” and “we need to have a conversation about oversight.”


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Since AI technology is still unpredictable, Amodei is concerned that autonomous weapons could target the wrong people by mistake. And unlike with human-powered weaponry, it’s not clear who is responsible for the decisions made by fully autonomous weapons.

“We don’t want to sell something that we don’t think is reliable, and we don’t want to sell something that could get our own people killed or that could get innocent people killed,” he said.

Amodei called the guardrails around surveillance and autonomous weapons “narrow exceptions,” and said the company has no evidence that the military has run into either of them.

The Pentagon’s position is that federal law already prevents it from surveilling Americans en masse, and fully autonomous weapons are already restricted by internal military policies, so there is no need to put restrictions on those uses of AI in writing.

Emil Michael, the Pentagon’s chief technology officer, told CBS News in an interview Thursday: “At some level, you have to trust your military to do the right thing.”

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“But we do have to be prepared for the future. We do have to be prepared for what China is doing,” Michael said, referring to how U.S. adversaries use AI. “So we’ll never say that we’re not going to be able to defend ourselves in writing to a company.” 

As a compromise, Michael said the military had offered written acknowledgements of the federal laws and military policies that restrict mass surveillance and autonomous weapons — though Anthropic said that offer was “paired with legalese” that allowed the guardrails to be ignored.

As the conflict between Anthropic and the Pentagon escalated this week, top military officials accused the company and Amodei of trying to impose their values onto the government. Hegseth called Anthropic “sanctimonious” and arrogant, Michael said that Amodei has a “God-complex” and Mr. Trump called the AI startup a “radical left, woke company.”

“Their true objective is unmistakable: to seize veto power over the operational decisions of the United States military. That is unacceptable,” Hegseth alleged.

Said Mr. Trump: “Their selfishness is putting AMERICAN LIVES at risk, our Troops in danger, and our National Security in JEOPARDY.”

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Asked if weighty questions about AI guardrails should be left up to Anthropic rather than the government, Amodei told CBS News that “one of the things about a free market and free enterprise is, different folks can provide different products under different principles.”

He also said: “I think we are a good judge of what our models can do reliably and what they cannot do reliably.”

In the long run, he said, Congress should probably weigh in on AI safeguards.

“But Congress is not the fastest moving body in the world. And for right now, we are the ones who see this technology on the front line,” said Amodei.

With Anthropic and the Pentagon unable to reach a deal by Friday, the military is now expected to phase out its use of Anthropic’s AI technology within six months and transition to what Hegseth called “a better and more patriotic service.”

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Hegseth also labeled Anthropic a “supply chain risk” and said all companies that do business with the military are now expected to cut off “any commercial activity with Anthropic.” 

Amodei called that an “unprecedented” move for an American firm rather than a foreign adversary, and he said the government’s statements have been “retaliatory and punitive.” And he argued that Hegseth doesn’t have the legal authority to bar all military contractors from working with Anthropic, and can only stop them from using Anthropic for government contracts.

He also said that Anthropic hasn’t formally received any information from the Pentagon informing it of a supply chain risk designation, but “when we receive some kind of formal action, we will look at it, we will understand it and we will challenge it in court.”

Asked if he has a message for the president, Amodei said “everything we have done has been for the sake of this country” and “for the sake of supporting U.S. national security.”

“Disagreeing with the government is the most American thing in the world,” he said. “And we are patriots. In everything we have done here, we have stood up for the values of this country.”

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Video: How Trump’s Election Lie Could Impact 2026 Midterms

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Video: How Trump’s Election Lie Could Impact 2026 Midterms

new video loaded: How Trump’s Election Lie Could Impact 2026 Midterms

The Trump administration is putting the weight of the federal government behind his false claims about the 2020 election in order to investigate key swing states ahead of the midterms. Nick Corasaniti, a New York Times reporter focusing on elections, homes in on the states that have become the prime targets and why.

By Nick Corasaniti, Coleman Lowndes, James Surdam, Nikolay Nikolov and Rafaela Balster

March 12, 2026

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‘Songs from the Hole’: The story behind JJ’88’s documentary and visual album

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‘Songs from the Hole’: The story behind JJ’88’s documentary and visual album

Actors gaze up to the sky during JJ’88’s “ROOT” in the hip-hop artist and former inmate’s documentary and visual album Songs from the Hole. Before the song starts, protagonist and producer James “JJ’88” Jacobs describes meditating on his and others’ redemption while incarcerated and in solitary confinement.

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“‘I’m dangerous,’ they said.”

Through tears over the phone, James Jacobs, the hip-hop artist who goes by the stage name of JJ’88, tells his father that the hearing to reduce his sentence was denied. In April 2004, a 15-year-old Jacobs shot and killed an 18-year-old at a party in Bellflower, Calif. At the time he received the letter rejecting his request for a resentencing in 2020, he had lived more years in prison than outside of it.

“They don’t believe me. They don’t believe who I am,” he continues. “They said that all the work that I’m doing, my art and my advocacy work … they said that it’s not real. They say I am a clear and present threat to the community.”

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In 2020, Jacobs was denied a hearing to reduce his prison sentence. His father, pictured here, grapples with the news while trying to comfort his son.

In 2020, Jacobs was denied a hearing to reduce his prison sentence. His father, pictured here, grapples with the news while trying to comfort his son.

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As his father tries to comfort him, an automated voice cuts in: “You have 60 seconds remaining.”

Filmmaker and director Contessa Gayles was in the room with Jacobs’ father as he received that call.

“I remember, too, after that moment, obviously being incredibly concerned for you and your well-being,” Gayles tells Jacobs during an interview with NPR, “but I hesitated, for a long time, to ask you if you wanted to continue with the film. … I just was too afraid for your answer.”

The pair had been working with Jacobs’ producer on a documentary and visual album together. But he said he did want to continue.

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“I’ve seen hard moments in film before, I’ve seen hard moments talked about in music — really hard moments — and this was one of the hardest moments in my life,” Jacobs says. “I love [Shakespeare’s] Titus Andronicus — it’s a tragic story, and I remember reading that and I was, like, ‘this is art too’ — it doesn’t always have to be this fairytale Disney ending that I was used to, as a kid and as a fan of films. Some stories end in, ‘this guy found spiritual enlightenment but died in prison.’ That’s the wisdom of the world, I guess. That’s the wisdom of our universe. I couldn’t argue with it, so I was comfortable [with continuing the film].”

Actor Miles Lassiter, as “kid James,” wears antlers in Songs from the Hole. Jacobs says it’s the image he’s asked about most often. “These antlers, along with being [for the song] ‘Most Hunted,’ are very gun-hunting, violent-culture — the experience, as a Black man, was that [Black men] were being hunted like deer, like buck in this country. And early references of Black men in this country — we were called Bucks. And so I thought — we [Jacobs and Gayles] thought — it was fitting … that this character represented the coming-of-age through antlers and the symbolism of being hunted with antlers on his head.”

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Songs from the Hole follows Jacobs’ story as he reflects on his coming-of-age within California’s state prison system, finds healing in an unlikely place and contemplates forgiveness. After meeting and befriending Gayles when she was on assignment for CNN at California’s Correctional Training Facility, commonly known as Soledad State Prison, in 2017, Jacobs and his producer, Richie Reseda, reached out with an ambitious idea: to direct and bring to life the visual album that Jacobs had written entirely from solitary confinement. The request reached Gayles at an important moment of her career: when she was ready to pursue independent filmmaking.

Gayles says she was inspired, during the making of Songs from the Hole, by the 2014 film Boyhood. “I was just thinking about representations that we have of white childhood and the plethora that exists of those depictions, and that often, with storytelling around Black people — Black young people — it’s very limited in scope. And so I was just meditating on, ‘[Richard] Linklater spent 12 years making [Boyhood] about white childhood,’ and I was just saying in my head, ‘we deserve to have as much space to be as indulgent and wide-ranging with how we tell the stories of Black childhood.’”

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Reneasha Jacobs holds a photograph of her and James’ older brother, Victor Benjamin. Benjamin was shot and killed on April 19, 2004.

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Actors reenact a memory from Jacobs' childhood in Songs from the Hole. In the film, Jacobs says, "Memories are crucial in maintaining your sanity in prison. I remember — maybe accurately or inaccurately — but I remember things from my childhood and relive them, sitting on that bunk, and it reminds me that I was a person and I am a person before being incarcerated."

Actors reenact a memory from Jacobs’ childhood in Songs from the Hole. In the film, Jacobs says, “Memories are crucial in maintaining your sanity in prison. I remember — maybe accurately or inaccurately — but I remember things from my childhood and relive them, sitting on that bunk, and it reminds me that I was a person and I am a person before being incarcerated.”

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Actor Myles Lassiter portrays young Jacobs lying in the bed of a pickup truck, holding a toy gun, during the song, "Most Hunted." Jacobs says the visual was important to him because "in the song itself, I mentioned ... a couple of references to 'Friday,' one of them being during the hook, 'the government launched four drones. Still, I need a Glock to walk Smoke home. I'm not a man with it. I'm a man without it.' And those lines kind of hint toward quotes from the film 'Friday,' which is where Craig [played by Ice Cube] is in the room with his father. He just discovered that his father just discovered that he owns a gun. And [his dad] says, "Back in my day, we would use these," [referencing his fists]. Are you a man or are you not?" And [Craig] says, 'I'm a man without it. I'm a man without this gun.' And I knew when I first saw that, that I was like, 'I'm a man without a gun, but in this world, they don't see a man unless I have a gun."

Actor Myles Lassiter portrays a young Jacobs lying in the bed of a pickup truck, holding a toy gun, during the song, “Most Hunted.” Jacobs says the visual was important to him because “in the song itself, I mentioned … a couple of references to ‘Friday,’ one of them being during the hook, ‘the government launched four drones. Still, I need a Glock to walk Smoke home. I’m not a man with it. I’m a man without it.’ And those lines kind of hint toward quotes from the film ‘Friday,’ which is where Craig [played by Ice Cube] is in the room with his father. He just discovered that his father just discovered that he owns a gun. And [his dad] says, ‘Back in my day, we would use these [referencing his fists]. Are you a man or are you not?’ And [Craig] says, ‘I’m a man without it. I’m a man without this gun.’ And I knew when I first saw that, that I was like, ‘I’m a man without a gun, but in this world, they don’t see a man unless I have a gun.’”

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Throughout its production, the visual album quickly evolved into a documentary, heavily inspired by Beyoncé’s Lemonade. Where Beyoncé added poetic interludes between songs, in Songs from the Hole, the audience learns about Jacobs’ story and how his music spiritually liberates him while simultaneously being among the reasons officials cited for not considering his request for resentencing.

Gayles uses messages Jacobs wrote while in solitary to portray his vision for the album. When asked about the decision, Galyes says, "We really made use of 88's handwriting because it was so much a part of his process." She said she also felt "it would be more impactful to have the audience experience 88 in a similar manner to his loved ones ... which is primarily over phone calls and letters."

Gayles uses messages Jacobs wrote while in solitary to portray his vision for the album. When asked about the decision, Galyes says, “We really made use of 88’s handwriting because it was so much a part of his process.” She said she also felt “it would be more impactful to have the audience experience 88 in a similar manner to his loved ones … which is primarily over phone calls and letters.”

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Reneasha Jacobs, James’ older sister, holds an old photograph of herself and her two brothers from when they were kids. James shot and killed someone on April 16, 2004. Three days later, their older brother was murdered.

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The film relies heavily on Jacobs’ letters and recorded phone calls, through which he, Gayles and Reseda talk about the album’s production. The letters consist of scripts, shot lists and lyrics. Through the calls, Jacobs serves as the film’s narrator, speaking about his life and the symbolism of the imagery he’d dreamt up in solitary. The film explores cultural themes that touch on Black boyhood, familial relationships, growing up in the church, crime, forgiveness and redemption.

Hoy depicts Jacobs forgiving the man who murdered his brother. In the film, Jacobs says, "Tears start coming down my face. And I said, 'Man, you killed my brother.' And the first thing out of his mouth was, 'I'm sorry for what I took from you, bro.' ... And I just told him, 'Man, I forgive you. If you want my forgiveness, you have it.' And I got up and left."

Actor Devonte Hoy depicts Jacobs forgiving the man who murdered his brother. In the film, Jacobs says, “Tears start coming down my face. And I said, ‘Man, you killed my brother.’ And the first thing out of his mouth was, ‘I’m sorry for what I took from you, bro.’ … And I just told him, ‘Man, I forgive you. If you want my forgiveness, you have it.’ And I got up and left.”

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Jacobs was released in 2022, after serving 18 years in prison.

Now, with the film streaming on Netflix and the team holding screenings in prisons across the country, Jacobs says he hopes the parole board commissioners who kept him locked up think differently about him if they see the film.

“If only you understood me, you’d see my humanity,” he says in the film.

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“I would absolutely love to show this film to the commissioners that told me I was a danger to society,” he told NPR. “I would love it. I can’t wait to catch word that they watched it so that I can see — let’s talk again; I don’t even have to go to board, but I would love to talk to you now.”

Actor Devonte Hoy depicts an older Jacobs talking to his father through glass during a visitation. In the film, Jacobs says he had just finished writing two verses of his song, "Steel Grave," and rapped both verses over the phone for his dad. When he finished, Jacobs says his father asked him, "What happens to the character? You just described he was in this dark world. Does he ever come out?"

Hoy depicts an older Jacobs talking to his father through glass during a visitation. In the film, Jacobs says he had just finished writing two verses of his song “Steel Grave,” and rapped both verses over the phone for his dad. When he finished, Jacobs says his father asked him, “What happens to the character? You just described he was in this dark world. Does he ever come out?”

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Songs from the Hole is currently streaming on Netflix. Find more of JJ’88’s work at linktr.ee/jj_eightyeight and on Instagram, at @jj_eightyeight, and more of Contessa’s work on her website, ContessaGayles.com, or on Instagram, at @contessagayles.

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ICE Lawyer Who Told Judge She Was Overwhelmed Is Running for Congress

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Julie T. Le, a former government lawyer, described in stark terms how overstretched the legal system had become during the administration’s immigration crackdown in Minnesota. Now, she said, she hopes to fix the “system’s failures” by running for Congress.

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