Where this was said
AI, Creative Theft, and the OpenAI Lawsuit
At 14:59 · chapter starts 13:30
The conversation pivots to AI and creative work, with Alaina venting that books like Victorian Psycho couldn't exist through AI because the human struggle and experience behind the writing is what gives it power. Paul agrees forcefully: the entire point of art is human connection — recognising that another person felt what you feel — and AI can never provide that. He then drops a bombshell: he was one of the four original plaintiffs in the first lawsuit against OpenAI on behalf of writers, alongside Sarah Silverman, Christopher Golden, and Richard Cadre. He spent two years in the lawsuit before the cases were consolidated and different lawyers were chosen. His verdict: if you use AI to create art, you're a 'scab' — exploiting stolen creative work. It's the most impassioned segment of the pre-book conversation.
Paul Tremblay was one of the first four plaintiffs to sue OpenAI on behalf of writers, alongside Sarah Silverman, Christopher Golden, and Richard Cadre. He calls any writer using AI a 'scab' — because AI trains on stolen books and produces work with zero human connection.
Paul Tremblay was among the first four plaintiffs to sue OpenAI on behalf of writers, alongside Christopher Golden, Richard Cadre, and Sarah Silverman.
A man in a vegetative state signs his body over to a Silicon Valley tech giant, which then implants AI and nanobots to remote-control him like a video game character. His estranged daughter is hired to 'Weekend at Bernie's' him across the country. It's part satire, part nightmare.
