Spanish figure skater Tomàs-Llorenç Guarino Sabaté received permission to use a medley of music from the Minions film for his short program at the 2026 Milan Cortina Olympics. Clearance for all four musical pieces, including the song "Freedom" by Pharrell Williams, was secured after discussions with Universal Pictures, Sony Music, rights managers and the artist, allowing the skater to perform in his Minions-inspired costume of overalls and a yellow shirt. The skater had used the routine throughout the season but was initially told he could not perform it at the Olympics because of copyright clearance concerns, a decision that prompted further negotiations and public attention. Approval arrived shortly before the competition opening, enabling the skater to keep the routine and wardrobe he had presented previously and to compete in the men's short program on Tuesday.

Original article (minions) (negotiations) (entitlement)

1) Actionable information: The article reports that clearance was obtained for Tomàs-Llorenç Guarino Sabaté to use Minions music (including Pharrell Williams’s “Freedom”) and that he was allowed to keep his Minions-inspired costume for the Olympics. It does not provide clear steps, choices, instructions, or tools that a typical reader can use soon. There are no contact details, forms, procedural steps, or checklists for how to secure music rights, and no practical “how-to” guidance for athletes, choreographers, or rights-holders. In short, the article contains no actionable instructions a reader can apply directly.

2) Educational depth: The article is shallow on explanation. It notes that rights clearance discussions took place with studios, record companies, rights managers, and the artist, but it does not explain the rights clearance process, the legal grounds for refusing or granting permission, typical timelines, licensing costs, or how those parties negotiate. It does not explore why some Olympic rules or venue policies raise copyright concerns, or how intellectual property and performance rules intersect in international sport events. Numbers, charts, or procedural detail are absent. As a result, the piece reports the outcome but does not teach readers about the systems or reasoning behind it.

3) Personal relevance: For most readers this is a sports/culture news item with limited personal impact. It might matter to a small group—figure skaters, choreographers, music rights professionals, or fans of the athlete—but it does not affect the general reader’s safety, finances, health, or responsibilities. The event is time- and place-specific, so practical relevance for ordinary decisions is limited.

4) Public service function: The article does not provide warnings, safety guidance, emergency information, or civic instructions. It recounts a controversy and its resolution but offers no contextual information that helps the public act responsibly or prepare for related issues. It mainly serves as reporting rather than public service.

5) Practical advice: There is no practical advice in the article that a typical reader could realistically follow. If someone wanted to secure music for a performance, the article gives no step-by-step approach, suggested contacts, or common pitfalls. Any reader seeking guidance on licensing would need to look elsewhere.

6) Long-term impact: The article focuses on a short-lived event—the permission being granted just before the competition. It does not help readers plan ahead, improve habits, or avoid future problems. It does not discuss policy changes, broader implications for other athletes, or lessons that would help someone prevent a similar last-minute scramble.

7) Emotional and psychological impact: The article is primarily a neutral news piece. It may create curiosity or mild interest but does not generate fear or provide constructive coping strategies. It neither offers calm analysis nor induces significant distress. It does not help readers respond to similar stressful situations in their own lives.

8) Clickbait or sensational language: The article appears straightforward and factual; it does not rely on overtly sensational phrasing. It reports a dispute resolved at the last minute, which naturally has some drama, but the tone is not exaggerated for clicks.

9) Missed chances to teach or guide: The article missed several educational and practical opportunities. It could have explained how music licensing for live sport performances normally works, typical stakeholders involved and their roles, how to check whether a piece is cleared for Olympic use, whether national federations or the IOC provide guidance, and what to do when clearance is denied close to competition. It could have suggested ways athletes and teams can plan licensing earlier, or described common contractual constraints with commercial films and recordings. None of that context is provided.

Added practical guidance the article omitted

If you need to use copyrighted music in a public performance, start early and document every step. Identify all rights you may need: composition (songwriter/publisher), sound recording (label/performing artists), and any additional rights tied to a film or franchise owner. Contact rights holders and request written licenses specifying the use, territory, duration, and media (live performance only or broadcast too). If negotiations stall, ask whether a limited, conditional, or short-term license is possible as an interim solution and get any temporary permission in writing.

Keep copies of all correspondence and approvals and share them with event organizers and governing bodies well before deadlines so venue or broadcaster concerns can be resolved earlier. If you are denied a license late, have a backup plan ready: an alternate music selection with cleared rights, an instrumental or public-domain piece, or a modified arrangement that avoids copyrighted sound recordings. For costumes or trademarked character likenesses, check whether the franchise owner restricts use and request clear written permission; if permission is unlikely, choose costume elements that allude to a look without using protected logos or exact character designs.

When assessing risk, weigh the likelihood and consequences of denial. High-profile events and broadcasts carry higher enforcement risk, so prioritize obtaining explicit written clearance for those. For lower-risk local performances, consider using royalty-free libraries or commissioning original music where you control the rights. For any negotiated license, ensure it states who bears responsibility for broadcast or streaming royalties and whether the license covers international broadcast if the event will be televised worldwide.

If you are an athlete or manager unfamiliar with licensing, consult a lawyer or an experienced rights manager early. Even simple, documented outreach to rights holders can prevent last-minute cancellations and reduce stress. These general actions will help you minimize surprises and protect both your performance plan and your reputation without relying on last-minute interventions.

"Clearance for all four musical pieces, including the song 'Freedom' by Pharrell Williams, was secured after discussions with Universal Pictures, Sony Music, rights managers and the artist."

This sentence uses passive voice ("was secured") and hides who actually obtained clearance. It helps the story seem neat and resolved while not naming the person or team who did the work. The wording shields responsibility and effort from any specific actor. That can make readers think the approval just happened without effort.

"He had used the routine throughout the season but was initially told he could not perform it at the Olympics because of copyright clearance concerns, a decision that prompted further negotiations and public attention."

The phrase "was initially told he could not perform it" uses passive voice and hides who denied permission. This softens the actor responsible and shifts focus to the refusal rather than who made it. It makes the conflict feel like a vague obstacle instead of a decision by a clear party.

"Approval arrived shortly before the competition opening, enabling the skater to keep the routine and wardrobe he had presented previously and to compete in the men's short program on Tuesday."

Saying "Approval arrived" treats approval as an event rather than a decision by people or organizations. This choice of words removes agency and frames the outcome as inevitable or natural. It downplays the role of negotiation and human choice in the result.

"The skater had used the routine throughout the season but was initially told he could not perform it at the Olympics because of copyright clearance concerns, a decision that prompted further negotiations and public attention."

The phrase "copyright clearance concerns" is vague and framed as a neutral technical issue. It hides specifics about what the concerns were and who raised them. That softness reduces blame or controversy by making the problem sound procedural rather than a contested decision.

"Clearance for all four musical pieces, including the song 'Freedom' by Pharrell Williams, was secured after discussions with Universal Pictures, Sony Music, rights managers and the artist, allowing the skater to perform in his Minions-inspired costume of overalls and a yellow shirt."

Listing large companies (Universal Pictures, Sony Music) and "the artist" together emphasizes big-name approval. This highlights corporate and celebrity endorsement and can make the outcome seem more legitimate because powerful groups agreed. It subtly privileges those institutions and the idea that their consent is decisive.

"He had used the routine throughout the season but was initially told he could not perform it at the Olympics because of copyright clearance concerns, a decision that prompted further negotiations and public attention."

The clause "prompted further negotiations and public attention" suggests that public attention influenced the outcome. That implies pressure helped change the decision without stating proof. It nudges readers to see the public as a force behind the reversal, which may mislead if the text gives no evidence for that causal link.

"The skater to perform in his Minions-inspired costume of overalls and a yellow shirt."

Describing the costume in playful detail without any critical context frames it as harmless and fun. This choice of language leads readers to view the costume positively and downplays any possible concerns about appropriateness or formality. It shapes a sympathetic image of the skater.

"Approval arrived shortly before the competition opening, enabling the skater to keep the routine and wardrobe he had presented previously and to compete in the men's short program on Tuesday."

The specific mention "men's short program" identifies the gender category but otherwise the text treats gender as a neutral fact. There is no bias about gender roles, but the text does use the event label to locate the performance. This is factual, not evaluative, so it does not add bias beyond naming the category.

The text conveys several emotions through descriptions of actions, decisions, and timing. Relief appears strongly when it says “clearance... was secured” and “approval arrived shortly before the competition opening,” signaling the end of a stressful uncertainty; these phrases suggest a release of tension and a return to normalcy because the skater can keep his routine and wardrobe. Frustration and disappointment are implied earlier when the skater “was initially told he could not perform it at the Olympics because of copyright clearance concerns,” which describes an obstacle that interrupted his season and prompted “further negotiations and public attention”; the words point to an unjust or upsetting setback that affected both the athlete and supporters. Persistence and determination are present in the description of the extended process—“discussions with Universal Pictures, Sony Music, rights managers and the artist” and the fact the skater “had used the routine throughout the season”—showing continued effort and refusal to abandon the chosen program. Pride and joy are suggested by the detail that he will perform in his “Minions-inspired costume of overalls and a yellow shirt,” which links identity and creative expression to the successful outcome and implies satisfaction in being allowed to present his intended artistry. Tension and urgency are signaled by timing words like “shortly before the competition opening” and “initially told he could not,” which create a sense of last-minute resolution and high stakes. Each emotion shapes the reader’s reaction by guiding sympathy toward the skater (frustration and relief encourage readers to feel compassion and cheer for the outcome), by building trust in the fairness of the final clearance process (detailing talks with major rights holders makes the result seem legitimate), and by creating mild suspense or excitement about the near-miss and the eventual approval. The writing persuades by choosing words that carry emotional weight rather than neutral descriptions: “secured,” “prompted further negotiations and public attention,” and “approval arrived” frame the story as a conflict resolved, which makes the outcome feel earned and important. Repetition of the clearance theme—the mention of multiple parties involved and the note that all four musical pieces, including a named hit, were cleared—amplifies the sense of effort and thoroughness, making the victory seem comprehensive. Naming the popular song and the costume color anchors the story in vivid, relatable details that heighten emotional engagement. The sequence of problem (denial), action (negotiations), and resolution (approval), presented in quick succession, increases dramatic impact and steers the reader to view the final permission as a satisfying resolution to a tense situation.