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WME has made a clear decision: none of its clients will be part of Sora 2, OpenAI’s latest video generation platform. The talent agency wants to protect its artists from the risks that come with advanced artificial intelligence tools, especially those capable of replicating likenesses and well-known characters without clear limits.
A tool that pushes the boundaries
On September 30, OpenAI unveiled Sora 2, the second version of its video generation model. The tool allows users to insert themselves into photorealistic scenes, as well as generate visuals based on popular IPs like Bob’s Burgers, SpongeBob, Pokémon, Gravity Falls, Grand Theft Auto, and Red Dead Redemption. Technically impressive, yes. But ethically and legally? Much more complicated.
The core issue is how easily Sora 2 can imitate famous characters, settings, or even actors’ faces. With just a prompt, users can create a scene mimicking a specific universe or a well-known person—without necessarily having the rights to do so. For creators and especially performers, that’s a red flag.
Chris Jacquemin, head of digital strategy at WME, didn’t wait for the dust to settle. On October 1, just a day after the tool was officially presented, he sent a memo to agents confirming WME was opting out all clients from Sora 2 and any related platforms. To read Gwen Stefani headlines magical 2025 Disney Christmas Parade
Even in a so-called opt-in model
OpenAI CEO Sam Altman reacted to the wave of concern coming from studios and rights holders by explaining that Sora 2 would be based on “more granular control,” allowing IP owners to approve or deny use of their content. In theory, that means no one is forced to participate.
But for WME, that’s not enough. Jacquemin pointed out that even if the use of a person’s likeness is opt-in, there’s still potential exposure—especially if the studios that control their IP haven’t opted out. Simply put, WME didn’t want to take any chances.
From my perspective, this is more than a legal precaution. It’s a clear message: talent agencies are no longer willing to sit on the sidelines while AI platforms test the limits of consent and control. In a world where one prompt can resurrect your image, your voice, or your style, boundaries matter more than ever.
Protection through technology partnerships
To further shield its clients, WME has joined forces with two tech firms, Loti and Vermillio. These companies specialize in identity protection and copyright enforcement by detecting and removing unauthorized content. It’s a practical addition to the agency’s defense strategy.
What’s notable is that these services are made available to all WME clients free of charge. Agents have been encouraged to make sure every artist is using them. That kind of proactive approach gives me hope. It shows the industry is learning to adapt—and take responsibility. To read Toho expands into Europe with bold anime distribution moves
For artists, it’s reassuring to know that support now includes:
- Detection of unauthorized use of image and voice
- Takedown services when likenesses are exploited
- Partnerships with firms focused on protecting individuals, not just IP
A growing resistance in Hollywood
WME’s move is not an outlier. The major Hollywood studios are watching AI tools like Sora 2 closely. Disney, Universal, and Warner Bros. Discovery have already sued companies like Midjourney over suspected violations of their intellectual property. The legal road ahead is long, but the message is clear: this tech is not a free pass.
There’s also growing concern that the idea of “interactive fan fiction,” presented by OpenAI as a new revenue model for the industry, crosses into murky territory. Sure, it sounds playful and participatory. But when it risks bypassing creators, actors, and writers, then we’re not talking fan fiction anymore. We’re talking exploitation.
The real question now is: will this pushback force new negotiations? Will the courts have to decide what AI is allowed to recreate—or who’s entitled to say no? One thing is certain: WME has chosen its side, and others may follow.
As someone who spends a lot of time watching how stories are told and who gets to tell them, I think we’re at a pivotal moment. Creative tools are evolving fast, but respect for the people behind the screen can’t be lost in the process.
