AI companies are claiming your cultural heritage. The makers of ‘The AI Doc’ have a strong message for them. Written by Timothy Beck Werth on April 16, 2026.
AI companies have long used artists’ copyright-protected work without permission or payment for training their models. Companies like OpenAI, Anthropic, xAI, Meta, and Google are aggressively sourcing data from the internet, including cultural resources, to enhance AI capabilities. When speaking with Daniel Roher, the co-director of ‘The AI Doc: Or How I Became an Apocaloptimist’, his response to CEOs using protected work was clear: “Fuck you.”
Discussing AI copyright issues with Roher and producer Ted Tremper, it became apparent that some within the industry view training as fair use—a notion Roher dismisses.
Roher noted that individuals with financial interests are often dismissive of copyright concerns, likening their stance to tobacco companies denying health risks. He asserted, “The guy…is saying that he’s gonna train his model on what he wants?”
AI companies have claimed several defenses for using copyrighted material without paying, citing concerns like cost and competition with Chinese AI firms. The fair use legal doctrine is frequently referenced, but numerous lawsuits challenge this, arguing that AI companies must adhere to copyright laws.
The U.S. Copyright Office released a non-binding report suggesting training might not fall under fair use. However, early court rulings have often favored AI companies, and Big Tech continues to move forward without seeking permission.
According to Roher, the copyright battle isn’t over, emphasizing the challenge of modern technology clashing with outdated legislative processes. Roher also encouraged resisting Big Tech’s overreach.
Tremper, alongside Daniel Kwan and Joseph Gordon-Levitt, founded the Creators Coalition on AI to protect artists’ rights. While some AI companies have struck deals with major IP holders, Tremper argues this creates a two-tiered system, favoring large companies with legal power over individual creators.
Tremper criticizes the idea that extracting cultural works at scale could be considered fair use, questioning the fairness of a system that allows mass harvesting of creative content.
With ongoing legal battles, both artists and AI companies are preparing for decisions that could shape AI’s future. Roher and his colleagues urge vigilance and resilience against tech companies’ claims.
Timothy Beck Werth is the Tech Editor at Mashable, focusing on tech and shopping content. With 15 years in journalism, he has covered diverse topics from consumer technology to cultural articles for reputed publications.