Emotion Recognition AI under the GDPR and AI Act

Emotion Recognition Systems (“ERS”) are AI systems designed to identify or infer a person’s emotions or intentions from biometric signals. Depending on the system, those signals may include facial movements, or physiological indicators such as heart rate. The systems have been marketed for uses ranging from healthcare to recruitment, employee monitoring and education.

However, these uses have prompted significant scientific, legal and ethical concerns. The main issue is that an observable expression does not necessarily reveal a person’s internal emotional state. When uncertain inferences are used to assess a person, the consequences may extend beyond inaccuracy to discrimination, intrusive monitoring and interference with individual autonomy.

In Europe, ERS are governed by the General Data Protection Regulation (GDPR) which regulates the processing of personal data used and generated by these systems. Also, the EU Artificial Intelligence Act (AI Act) which introduces more targeted rules, prohibitions, transparency duties and requirements for high-risk systems. Together, the regimes impose significant constraints, but important questions remain about their scope and practical application.

In July 2025, the Dutch Data Protection Authority described AI-based emotion recognition as “questionable and risky”. It highlighted the absence of scientific consensus, the possibility of inaccurate or discriminatory conclusions and the intrusive nature of monitoring faces. The regulator was particularly concerned about uses that could affect decisions in employment or education. Its intervention reflects a broader shift from treating emotion recognition as an experimental analytics tool towards viewing it as a technology capable of materially affecting privacy, equality and individual autonomy.

The GDPR

The GDPR does not expressly refer to emotion data, but its definition of personal data is sufficiently broad to capture many ERS inputs and outputs. Article 4(1) covers any information relating to an identified or identifiable person. In Nowak v Data Protection Commissioner, the Court of Justice of the European Union confirmed that subjective information, including assessments and, may constitute personal data where it relates to an individual by reason of its content, purpose or effect.

The treatment of biometric and health-related inputs requires greater care. A facial image or physiological measurement is not automatically special-category data. Under Article 9 GDPR, biometric data receives special protection where it is processed for the purpose of uniquely identifying a person. Physiological information

may constitute health data where it reveals information about an individual’s physical or mental health.

Controllers must identify an Article 6 lawful basis and, where special-category data is involved, a separate Article 9 condition. Consent may be difficult to rely upon in employment or educational settings because of the imbalance of power between the parties. Legitimate interests may also be difficult to establish where monitoring is intrusive, unexpected or capable of influencing significant decisions.

A data protection impact assessment is also likely to be required where ERS involve innovative technology, systematic monitoring or processing that presents a high risk to individuals. The assessment should address not only data security but also the system’s scientific validity, the possibility of discriminatory outcomes, the consequences of incorrect inferences and whether less intrusive alternatives are available.

Article 13 applies where personal data is collected directly from the individual, while Article 14 may apply to derived information that was not obtained directly from them. A controller may therefore need to explain both the collection of the underlying signals and the generation and use of emotional inferences.

Although the GDPR requires information about the purposes, data categories and, in appropriate cases, the logic and consequences of automated decision-making, it does not necessarily give an individual access to a detailed technical explanation of every inference. This creates a practical transparency gap. As a person may be told that their behavioural and biometric data is processed without understand which emotions were attributed and whether the output asserted was accurate.

The AI Act

Article 3(39) of the AI Act defines an emotion recognition system as an AI system intended to identify or infer the emotions or intentions of natural persons based on their biometric data. The definition therefore contains three central elements: there must be an AI system; it must identify or infer emotions or intentions; and it must do so using biometric data.

Article 5(1)(f) prohibits the use of such systems to infer emotions in workplaces and educational institutions, except where the use is intended for medical or safety reasons. It reflects both the disputed reliability of the technology and the unequal power relationships present in those environments. A breach may attract an administrative fine of up to EUR 35 million or 7% of worldwide annual turnover, subject to the Act’s proportionality rules.

Outside prohibited workplace and educational uses, emotion recognition systems are generally listed as high-risk under Annex III. This classification brings requirements relating to risk management, data governance, technical documentation, record-keeping, transparency, human oversight, accuracy, and cybersecurity.

Following the EU’s 2026 AI Omnibus reforms, the high-risk requirements for stand-alone Annex III systems are scheduled to apply from 2 December 2027. This does not, remove the need to prepare gathering performance evidence, redesigning governance processes and negotiating appropriate contractual protections may require substantial lead time.

Article 50(3) requires deployers of emotion recognition systems to inform individuals who are exposed to them. That transparency obligation applies from 2 August 2026 and is not confined to systems classified as high-risk. It should be addressed alongside, rather than treated as a substitute for, the more extensive transparency requirements under the GDPR.

What Businesses Should Do Now

Organisations considering ERS should begin with a detailed assessment of the actual use case rather than the vendor’s label. They should determine whether the system infers an emotion or intention, whether it does so use biometric data, where it will be deployed and whether its output will influence a decision about an individual. In workplace and educational contexts, the starting point should be that emotion inference is prohibited unless a narrowly construed medical or safety exception can be demonstrated.

Due diligence should extend beyond ordinary technical and contractual review. Providers should be required to produce evidence of the system’s scientific basis, testing methodology, demographic performance and known limitations. A data-mapping exercise should identify the signals collected, the inferences generated, the lawful bases relied upon, any Article 9 data and the parties that receive or use the output. Organisations should also establish proportionate retention periods, restrict access and ensure that individuals receive meaningful information about the system’s operation and consequences.

Human oversight must be substantive; reviewers should have the authority and contextual information required to question an output. Emotional inferences should not determine high-impact decisions, including recruitment, disciplinary action or access to services. Without independent supporting evidence and a meaningful opportunity for the affected person to challenge the conclusion.

Contracts should allocate responsibility for regulatory classification, technical documentation, audit rights, performance monitoring, incident management and material changes to the system. Organisations should also establish a process for reviewing the use case as regulatory guidance, scientific evidence and the technology itself evolve.

Conclusion

Emotion recognition occupies an unusually difficult position at the intersection of data protection, AI governance and contested science. The GDPR provides a broad framework for regulating the personal data on which ERS rely, but its conventional concepts of lawful basis, transparency and automated decision-making do not resolve every difficulty created by uncertain emotional inferences. The AI Act responds more directly by prohibiting certain uses, classifying other systems as high-risk and requiring individuals to be informed when they are exposed to the technology.

The Dutch DPA’s intervention is a clear indication that regulators will not treat emotion recognition as an ordinary analytics feature. For businesses, compliance should therefore begin before procurement and should extend beyond documentation. The central question is whether its use is defensible, necessary and proportionate to the risks it creates. Where an organisation cannot prove the legitimate purpose of the system, it becomes a decision whether to deploy the system at all.

Andrea Motha, July 2026

The Media Act of 2024: Practical Implications for the UK’s Entertainment Industry

The Evolution of Regulations

The UK media landscape has changed dramatically since the Communications Act 2003 with the takeover of digitalisation and on-demand viewing services. UK audiences increasingly choose online streaming services, smart TV’s and digital news outlets over traditional broadcasting services creating increased pressure for the UK media to adapt to technological innovation and customer expectations. The Media Act 2024 represents one of the biggest reforms in broadcasting legislation in the last two decades, working to modernise traditional framework while supporting the increasing prominence of UK Public Service Broadcasters.

For existing participants in the entertainment industry, these reforms extend beyond traditional change and have the potential to influence commercial strategy and contractual relations. As this Act continues to evolve, those operating within the UK’s media sector should consider possible effects on future compliance obligations and costs but also increased commercial opportunities and greater investment. The Media Act 2024 acts not just as a regulatory change but a development that could influence the way entertainment companies create and monetise content in the years ahead.

 

Modernised Viewing Habits and Content Distribution

Television, streaming and online entertainment are effectively merging as traditional broadcasters no longer compete with only each other. Linear TV now operates in a market dominated by streaming services such as Netflix, Amazon Prime Video and Disney + that prioritise monetised subscriptions and commercial strategy. The Act responds to this shift by updating regulations to ensure the UK media framework reflects modernised viewing habits. One of the most significant changes is the growing accessibility of Public Service Broadcasters’ streaming services. As smart TVs and online platforms become increasingly popular, ensuring UK broadcasters remain easily accessible becomes commercially detrimental. Greater visibility helps broadcasters attract a wider audience, increase the value of their digital services and expand advertising opportunities. For many in the industry, the Act creates a new commercial environment where success is not just measured by high-quality production but also the ability to engage with audiences across an array of platforms. This shift demonstrates the growing importance of digital distribution and investment in content that can compete in an increasingly international marketplace.

 

The Commercial Impact on Public Service Broadcasters

The Media Act 2024 will commercially impact Public Service Broadcasters, which face ongoing rise in competition from global streaming networks. Services such as BBC iPlayer, Channel 4 streaming, ITVX and more digital platforms are becoming central to the consumption of UK media. The Act’s aim of increasing the accessibility of Public Service Broadcasters is in place to help maintain their relationship with viewers. Larger audiences bring in potential for higher subscriptions and advertising revenue. This factor is largely important when looking into new ways traditional broadcasting services can compete with international streaming companies who are in possession of more financial resources. By supporting these UK broadcasters, the Media Act 2024 could encourage industry broadcasters to invest more confidently creating higher demand for entertainment, shows, films and content produced by UK production companies.

The Media Act 2024 is more than just about improving the commercial impact of the evolving market on broadcasters, it also has the potential to influence how money flows through the entirety of UK media production. An increase in the demand for original content provides wider opportunity for independent production companies and creative professionals who have previously relied on streaming and broadcaster commissions. As competition for viewer attention continues to grow, it is vital for entertainment businesses to continue developing distinctive and original programmes that attract audiences in both domestic and international markets. This creates potential growth across the entire production chain from the writers, directors and actors to the editors and postproduction team.

High-quality UK content has become a valuable commercial asset as successful programmes work to generate additional income through international distribution, licensing agreements and format sales. For production companies, the ability to create content that is accessible and popular across multiple platforms allows for an increase in market value and the opportunity for future investment. The Act aims to have implications beyond broadcasting, operating throughout a commercially connected entertainment eco-system. This is evident through the effects on Channel 4 as a previously commission reliant business that was heavily dependent on its contracts to fund distinctive UK programmes. The Media Act 2024 removed this restriction allowing Channel 4 to operate an in-house studio to produce its own shows.

 

New Regulations for Global Streaming Services

New regulations also have a massive impact on streaming services such as Netflix, Amazon Prime Video and Disney + which have become major competitors in the UK market. These on-demand services have transformed the expectations of the global market surrounding convenience, viewer habits and content choices. The Act addresses the idea of on-demand services adapting the original regulatory framework to create a consistent environment between traditional broadcasters and digital platforms. For streaming companies, the Act may introduce more responsibilities and operational costs for the business to ensure they are meeting the requirements of new regulations and UK standards.

The Act could provide a commercial advantage for streaming services as compliance to these standards could increase viewer’s confidence and trust in digital entertainment. A more reliable and transparent streaming market may be more attractive to customers as they help support long-term business growth. The Media Act 2024 encourages streaming platforms to consider the importance of the UK as a creative market enticing international companies to invest in original, high-quality production and further attracting higher subscription rates. This increases the opportunity for partnerships between global platforms and British companies looking to expand in the industry, evident in Netflix’s extensive co-production model with UK- based Public Service Broadcasters. Ultimately, larger businesses who can absorb costs and adapt to new regulations will likely succeed within the industry.

Economic Growth

The Media Act 2024 contributes to continued growth of the UK economy with a 9.4% estimated total UK Gross Value Added encouraging further investment in entertainment production. The UK has already established itself as an attractive location for film and television companies due to its skilled workforce, talents and facilities. However, by creating a modern media environment, abiding to new regulations may increase confidence amongst investors looking to develop new projects or collaborate with UK-based companies. Commercial benefits extend beyond broadcasters and streaming platforms, creating opportunities for a wide range of businesses involved in the entertainment industry. The increase in production has the future potential to support employment amongst freelancers and creative professionals while generating income for companies involved in areas such as post-production, marketing and distribution. Additional revenue can further be obtained through international investment.

 

Conclusion

Despite the possible benefits of the Media Act 2024, entertainment businesses are still at risk of commercial pressures caused by regulatory change. It is possible businesses will need to invest in resources into compliance, technology and adapt business strategy to meet new expectations. For smaller broadcasters and independent companies these additional costs could create financial challenges. This could have significant impacts on a small business in a market where securing investments is already a major priority.

However, the overall success of the Media Act 2024 is more likely to be measured on how effective businesses within the entertainment industry use the opportunity it creates. By enforcing relations between Public Sector Broadcasters and streaming services the Act attempts to support a more competitive and innovative market.

The Media Act 2024 represents significant commercial development for the UK entertainment. Whilst businesses adapt the Act creates opportunities for increased investment, stronger audience engagement and continued growth within the creative sector. Businesses that are able to evolve with changing regulations will likely benefit from an expanding digital landscape.

Evie Harrison, July 2026

AI and the ASA: Regulating the Future of Advertising

Artificial Intelligence (AI) has rapidly become one of the most significant developments in the advertising industry. With the introduction of AI tools capable of producing sophisticated video content using realistic images and generating marketing copy, AI has enabled businesses to produce advertising content at lower costs within quicker times than ever before. Although the presence of new technologies creates exciting opportunities for creativity, it raises important questions about accuracy and consumer protection, as AI systems can generate content that appears realistic but is not always grounded in factual or verifiable information. 

In the UK, the Advertising Standards Authority (ASA) is responsible for regulating advertising, to ensure advertising remains legal and truthful. Whilst AI is transforming the way advertisements are created, the ASA explicitly stated that the technology does not alter the standards expected of the advertisers. Businesses retain responsibility for any claim from the AI-generated advertisement is substantiated and do not mislead the consumers.  

Recent rulings involving AI-powered products with the regulator’s own increasing use of AI to promptly monitor online advertisement demonstrate how advertising is evolving alongside technological innovations. This article examines how ASA is applying established principles to the AI-generated content. It also considers a recent ruling involving an AI-advertising tool. This article also explores what these developments mean for advertisers operating in an increasingly AI-driven marketplace. 

AI in Advertising

One of the most significant challenges posed by Artificial Intelligence in advertising is the increasing realism of content that can be produced.  AI tools are not only capable of generating written promotions, but they can also create highly convincing images and videos that closely resemble product demonstrations. This enhanced realism may make it difficult for consumers to distinguish between authentic and digital footage. This is especially challenging when content is designed to persuade consumers into buying a product as they could be intrigued in a particular part of the product due to its AI-generation.  

This raises concerns when AI is used to imply the capabilities of an object which are not realistic or possible in everyday use. Even subtle improvements can exaggerate the effectiveness which will increase the likelihood that a consumer will purchase the product. Furthermore, in a competitive digital market where impressions can strongly influence a purchasing decision, a slight enhancement will encourage them to buy one product rather than the other. As a result, it could lead to lower sales, reduced production and ultimately leading to a potential business closure. Over time, increasing competition may encourage more businesses to rely on AI-generated promotional content, subsequently increasing the risk of exaggerated advertising claims. Overall, this causes the consumer base to struggle to differentiate between what is real and what is not. 

Consequently, the primary issue is no longer whether AI is being used, but how it shapes the overall impression of an advertisement. This places greater importance on established regulatory principles that focus on consumer perception, rather than the technology used to create the content. 

Case Study (ASA Ruling Against ‘WiggyDog’)

A recent example of the ASA’s approach to AI-generated content in advertisement is its ruling against ‘WiggyDog’, published on 25th March 2026. The case concerned an advertisement which included photorealistic scenes of a robot-dog toy behaving like a real puppy. This paid-for Meta ad, seen in January 2026, featured scenes of a brown and white puppy in different scenarios. Throughout the advert the toy was shown walking around, wagging its tail and responding to voice commands whilst interacting naturally with people. In one scene a girl was shown opening a toy box when the puppy climbed out. Further scenes presented this dog climbing onto a person’s leg and licking someone’s hand and tilting its head. A voice over-stated, “This robotic puppy looks so real it completely fooled my neighbour who is a veterinarian. I’ve been a grandmother for 15 years this is the smartest purchase I've ever made. Last month I got my granddaughter, Emma, this smart, robotic puppy called Wuffy. I still can't believe what this tiny guy can do. This isn't just some stuffed animal. Wuffy has smart technology inside that recognises Emma's voice and responds to her. He sits on command, barks when you talk to him, walks around the house, even tilts his head and wags his tail exactly like a real puppy.” The ASA considered that both the explicit claims and the visual presentation of the advert would mislead the average consumer to believe that the toy displays a high degree of realism and would function in a manner comparable to a living dog. However, when challenged, the advertisers were unable to provide evidence demonstrating that the toy could perform as it was portrayed in the advert. Therefore, the ASA concluded that this advertisement was exaggerating the product’s performance to increase the products sales. Moreover, this is a breach of the CAP code (edition 12) 3.1/3.7/3.11, which relate to misleading and substantiated product advertisement. Hence, the complaint was upheld, and the advertiser was instructed not to use the advert again in its existing form. Overall, this highlighted that advertisers should not use AI-generated content to enhance a product’s capabilities. 

The ASA’s decision in the WiggyDog case demonstrates its continued focus on the overall impression created by an advertisement, rather than the specific technology used to help produce it. Although the advert relied on highly realistic and potentially AI-generated visuals, the regulators were more concerned with how the product is perceived by the consumer. In this case, the imagery suggested that the robotic toy could replicate the behaviour and appearance of a living dog in a way that exceeds its actual capabilities. Thus, ASA treated the advert as misleading, not because of the use of AI, but because of the risk of giving the consumers an exaggerated expectation of the product’s performance. This reinforces the principle that all representations of the product must be supported by adequate evidence regardless of how it was produced. 

This ruling has wider implications for advertisers becoming more reliant on Artificial Intelligence to generate promotional content. It highlights that the use of advanced technology does not reduce the need to comply with the CAP Code. In addition, advertisers must ensure that any AI-generated content must clearly demonstrate the accurate use and what a consumer can expect from a product. The persuasive nature of AI content means that it can be effective at shaping consumer perceptions, but the advertisers must be aware of the unintentional risk of exaggerating a product’s capabilities. As a result, businesses using AI in their marketing must exercise a high level of scrutiny over how their adverts may be interpreted. This ensures that creative innovation does not come at the expense of clarity and honesty. 

The ASA’s Own Use of AI

While AI is transforming the way advertisers can create marketing content, it is also becoming an increasingly important tool for regulators. The ASA first implemented it in 2023 and processed around one million adverts; from 2024 onwards, the Active Ad Monitoring system has processed 28 million. The technology is used to identify adverts which may have breached the CAP Code by flagging them, which allows the ASA to target investigations more effectively and respond to emerging issues at scale. However, AI is not used to make final decisions only to flag possible breaches. This careful approach demonstrates that AI can be used without the risk of false breaches. Therefore, AI can provide great support for regulatory enforcement while ensuring it still relies on human judgement.       

Conclusion

Artificial Intelligence is reshaping the advertising industry by offering businesses new ways to create cost-effective marketing content. Although, as shown by the WiggyDog ruling, AI can also mislead consumers into purchasing products that do not match their expectations. Rather than introducing a completely new regulatory framework, the ASA has shown that the already existing principles are completely capable of regulating advertising with the increasing use of high technology. In addition, ASA have proved that their own adoption of AI has supported the regulation. As AI continues to become more sophisticated advertisers will need to balance their creativity with compliance to not breach the CAP Code to ensure that the enhancements made don’t betray the consumer's trust. 

Taylor-Jon Bethell, July 2026

The Legal Landscape of Holographic Music Shows: Is This the Real Life or Just Fantasy?

‘Welcome to Whitney Houston, very much live!’ - This is how the Whitney Houston hologram introduced herself at her posthumous hologram tour in 2020. Just two years ago, Drake left fans stunned as he performed beside a hologram of his younger self on the ‘It’s All a Blue Tour’. From Tupac’s holographic performance at Coachella to ABBA’s CGI concert, it’s clear that the technological landscape of live music shows is ‘Never Gonna Give You Up’ when it comes to evolving. Unlike some US states, there isn’t a codified personality right in the UK. This means our legal system is often forced to stretch older concepts to protect artists' rights.

Passing off

Instead, our courts generally use the tort law approach called ‘passing off’. Originally used to protect the IP rights of individuals where another person seeks to exploit a similarity between their goods and services, passing off can provide protection for celebrities' images or names from unauthorized use.

Three elements need to be satisfied to prove passing off:

1.      Goodwill (Hunting?)

The claimant's goods or services must possess goodwill or a reputation in the minds of the public, which is associated with their name, image, or other distinguishing features. In the context of a music artist, this requires demonstrating that their name, voice, performance style, or overall persona has established an attractive force which brings in custom, enduring even posthumously. Evidence to prove this often includes substantial album sales, successful past tours, streaming figures, merchandise sales, and continued cultural relevance. Take, for example, Cristiano Ronaldo. His success in trademarking his iconic ‘Siiuuu’ celebration for commercial purposes perfectly illustrates how a distinctive act can acquire significant goodwill and become a protected brand asset. But hunting for this level of goodwill, particularly for individuals who lack a well-established commercial presence, presents a significant challenge, as the reputation must be sufficiently widespread and distinctive to avoid confusion amongst consumers.

2.      Misrepresentation: The Great Pretender

The claimant must demonstrate that there has been a misrepresentation made by the defendant to the public, which may be intentional or unintentional. The core principle is that the defendant has deceived the public into believing their goods or services are associated with, or endorsed by, the claimant. Staging a Whitney Houston hologram concert without authorization from her estate would clearly constitute a misrepresentation, as it implies an official endorsement where none exists.

However, the Amy Winehouse hologram tour, planned by Base Hologram in 2018 with explicit authorization from her estate via her father, Mitch Winehouse, highlights the limitations of the misrepresentation element, despite the controversies that led to its indefinite postponement. While Amy’s ex-husband, Blake Fielder-Civil, called the tour ‘completely misleading’ because it ‘can’t have the same interaction to Amy,’ and a significant portion of fan backlash centred on perceived exploitation of her image for profit, these concerns do not equate to legal misrepresentation for passing off. This is because passing off is narrowly focused on commercial deception regarding the source or endorsement of goods and services, rather than broader ethical or artistic concerns. As the tour was authorised by Amy’s estate, there was no deception about the origin of the show, even if the public felt ‘deceived’ by the premise of a hologram depicting a ‘real’ Amy Winehouse concert. It seems some fans just wanted to tell the hologram, 'You know I'm no good... at being the real Amy!'

3.      Damage: A ‘Hard Day’s Night’ for Your Reputation

The final element is that the claimant must show that the misrepresentation caused or is likely to cause damage to their goodwill. This can be shown through loss of sales or damaged reputation. For example, the US rock band Pearl Jam alleged that the UK tribute band Pearl Jamm created confusion for Pearl Jam’s fans which would dilute the US band by benefiting from the goodwill of the original Pearl Jam without authorisation. Pearl Jamm ultimately changed their name to Legal Jam to avoid litigation, understanding that fighting on could mean that their legal costs would soon be ‘Livin’ on a Prayer’.

Can passing off stretch to cover an unauthorized posthumous hologram concert? While an artist’s goodwill can certainly endure beyond their final bow, applying this old-school legal track to cutting-edge digital resurrections is where the challenge truly hits. Proving quantifiable damage to enduring goodwill from a digital performance can be tricky if the estate isn't actively exploiting the likeness in similar ways. Can damage be done to an artist’s goodwill if they are no longer alive? The law hasn’t reached a clear conclusion yet. Therefore, while theoretically possible, passing off often remains a legal ‘stretch’ rather than a clear-cut solution for these new-age digital encores.

Personality rights in the US: Where the American Dream Extends to Your Stardom

While not recognized on a federal level, some states in the US offer a more direct form of protection through the Right of Publicity, considered as a type of personality rights, in either statute law or common law. When it comes to bringing stars back to life, it should be noted that approximately 20-25 states recognize a post-mortem right to publicity.

A significant recent development was the bill signed by Governor Andrew Cuomo in New York, which came into effect on May 29, 2021. This was particularly impactful because, prior to this law, New York, despite being a major entertainment hub and an ‘Empire State of Mind’, did not recognize a post-mortem right of publicity at all. The new bill protects the rights of those who have commercial value at the time of their death, if they were domiciled in New York, and extends 40 years after the 'deceased performer’s' death. These rights are defined as the protection of the individual’s ‘name, voice, signature, photograph or likeness’ against unwanted and unauthorized commercial exploitation and digital replicas. This would potentially include any technological advances ranging from holograms to the use of CGI.

For a globally recognized illustration of how publicity rights apply, consider the Michael Jackson performance at the 2014 Billboard Music Awards, which took place in California, a state with robust post-mortem publicity rights. With the use of a digital projection called Pepper’s Ghost illusion (commonly referred to as a hologram), the King of Pop appeared to perform his song ‘Slave to the Rhythm’ posthumously on stage. This groundbreaking appearance was explicitly authorized and overseen by Michael Jackson's estate. The estate's decision to license his likeness and performance for this commercial event was a direct exercise of their inherited post-mortem Right of Publicity. If such a performance were to be staged without the estate's explicit permission, the estate would have a clear and direct cause of action. This provides a much more straightforward legal challenge than relying solely on common law principles like passing off, as it directly protects the commercial value of his iconic identity. In the US, when it comes to a star's image, they truly mean business – no ‘Smooth Criminals’ getting away with unauthorized use!

Potential Solutions for UK Law: Striking a New Chord for Hologram Shows

1.  Getting in Tune: Why the UK needs to get Pitch Perfect on Personality Rights

Right now, protecting a celebrity's image in UK law often feels like trying to conduct a symphony with only one instrument – and that instrument is sometimes a bit off-key. But what if the UK introduced a new, dedicated personality right? That would be the legal 'chart-topper' we've all been waiting for! It would finally provide the full orchestra, simplifying legal action by letting artists and their estates skip the convoluted 'passing off' dance. This direct pathway would be pure harmony for protecting their image, especially when it comes to those crucial posthumous hologram shows.

Yet getting the UK legal system to adopt such a direct right isn't as simple as dropping a new single. Historically, UK law has been a bit of a traditionalist, preferring its tried-and-tested common law approach to privacy and image rights. It has resisted a broad, codified personality right, opting instead for a piecemeal strategy through various existing torts and statutes. Crafting such a sweeping new right also presents a complex challenge, requiring careful legislative drafting to ensure it strikes a delicate balance between safeguarding individual rights and upholding fundamental principles like freedom of expression and the right to parody.  Surely no one wants to accidentally silence a comedian's spot-on Boris Johnson impression, complete with the dishevelled blonde mop, just to protect a celebrity's digital clone.

2. From Vinyl to Virtual: Remixing Existing IP law for the Hologram Age

If a shiny new personality right is still stuck in legal production, the UK could always try giving its existing IP discography a serious remix. This approach involves adapting and extending current IP laws to better cover the nuances of digital likenesses and posthumous performances. The Copyright, Designs and Patents Act 1988 (CDPA) obviously wasn't drafted with digital resurrections in mind! While it graciously protects elements like original music recordings that might be part of a hologram, it's not quite ready for the main event – the resurrected star themselves. 

So, the bigger question for ‘remixing’ the CDPA is how it might specifically protect the likeness or persona of a deceased artist when that likeness is part of a newly generated performance, not just a recording of an old one. Parliament could start hitting refresh on some new definitions and interpretations within the CDPA. For instance, new statutory provisions could explicitly define a 'digital likeness' or 'AI-generated performance' of a deceased artist as a specific type of protected work. This would directly recognize and protect up-and-coming new digital forms such as holograms. The challenge, of course, is that even with such an upgrade, copyright inherently protects the expression of a work, not the underlying identity or persona of the person themselves. It's about owning the song, not the singer's face, making it a clever, but perhaps not entirely comprehensive, remix – a bit like putting a fresh beat on an old track, but it's still not a brand-new single.

Next up on our legal remix album are Performer's Rights, also found tucked away in the CDPA. These rights currently give performers control over the recording and exploitation of their live performances. However, just like a classic album, these rights generally end when the performer passes away, or they don't quite cover someone creating a brand-new digital doppelgänger which mimics their Moonwalk.

To truly give the digital encore its due, these rights would need a serious upgrade. Parliament could extend Performer's Rights to explicitly cover unauthorized digital reproductions or AI-generated ‘performances’ that mimic a deceased artist, giving their estates control over these stage appearances. More critically, these rights would need to be extended posthumously, ensuring that the artist's legacy isn't just a cheap cover version played without consent.

The Future is Holographic: Is UK law Ready to Rumble?

Having taken a deep dive into the legal concert hall, it's evident that the UK's current IP discography isn't quite ready for the holographic age. Its existing legal instruments – like the often-strained Passing Off and the classic CDPA – feel less like a protective symphony and more like a kazoo trying to back a rock concert. This leaves artists and their estates shockingly vulnerable when their digital selves rise for a posthumous encore. Across the Atlantic, the US legal system is seemingly hitting all the high notes with its robust publicity rights, making the UK's reliance on old-school legal mixtapes look out-dated. We've explored two potential paths for the UK to finally hit the right notes: either by bringing in a brand-new, dedicated Personality Right – the ultimate legal chart-topper – or by giving its existing IP laws a serious remix, updating Copyright and Performer's Rights for the digital age.

But this isn't just about ensuring a deceased pop star's hologram gets paid; it's about the entire future of digital identity. Hologram shows are no longer a sci-fi fantasy but a booming segment of the entertainment industry, with more ‘digital resurrections’ undoubtedly waiting in the wings. Beyond the stage, the rapid advancements in AI, deepfakes, and sophisticated digital avatars are posing fundamental questions for traditional intellectual property law globally. Even the K-pop industry has introduced several virtual idol groups which have performed on music shows. These technologies challenge established notions of authorship, ownership, and even personal identity, demanding that legal frameworks evolve at a speed previously unheard of. It's clear that if the UK wants to avoid being left in the legal dark ages, its IP laws must quickly learn to keep pace and brace themselves for future surprises.

Ultimately, for the UK to truly shine on the global stage of digital entertainment, its legal system needs to be able to conduct a full, modern orchestra. It's time to fine-tune the instruments, write new scores where necessary, and ensure that the legacy of every artist, whether performing from beyond the grave or creating groundbreaking digital art, is justly protected. Otherwise, the UK risks its legal system being out of sync with the times, while the holograms go on serenading the crowds without proper legal protection for its biggest stars.

Michelle Chung, June 2025

3D CGI CONCERTS – Who has the rights to the Digital Dead?

New technology has evolved to the point where the entertainment world has welcomed a strange new type of performance: one that the artist does not even need to be present for. From ABBA Voyage in London to resurrecting the dead, such as Tupac Shakur’s digital appearance at Coachella (2012), artists have been ‘performing’ without the need to physically be there. While undeniably impressive, these concerts cause some significant legal and ethical concerns: who actually owns the rights to the deceased artist’s image? And who, if anyone, has the right to ‘resurrect’ them?

Despite the common misconception that these apparitions are ‘holograms’, the technology behind them is in fact a mix of CGI (computer-generated imagery) and theatre tricks such as pepper’s ghost. There are two approaches to creating these digital ‘avatars’. The direct approach, used, for example, in the ABBA Voyage concert, uses live actors. These actors (or, in the case of ABBA Voyage, the actual members of the band) perform in front of a blue or green screen wearing sensors. Infrared cameras are used to record their performance. Motion capture records their movements and facial expressions (in this case, 160 cameras recorded the members of the band’s performances over a 5 week period). Theatre tricks, such as ‘pepper’s ghost’ from the 19th century helps to enhance the illusion, making it more realistic by projecting images of performance on a screen, creating the appearance of a 3D figure. The indirect approach, however, uses recordings of archival performances and compiles them to create a ‘new’ performance through digital or computer software.

Production companies, such as ILM (the company behind ABBA Voyage) and Dneg (a large, UK-Indian company based in London) are looking into how AI may help this technology evolve, with Dneg acquiring the AI company Metaphysic, merging it with its technology division (Brahma). This, while a huge advancement in technology, poses certain concerns; the technology has already evolved such that one can create the illusion of a person who is not actually there, including those who are deceased. For example, the ‘hologram’ (in reality, a CGI image) of Tupac Shakur at the 2012 Coachella, 16 years after his death in 1996. If AI gets involved, what could be created next? Who has the rights to the image being created?

The legal frameworks in place to protect artists are not clear cut and simple, and vary from country to country (or, indeed, state to state). While the use of their work is more clear, by getting permission from their record label or production company in respect of the master recordings, or the publisher (in respect of the songs), the use of an artist’s image is more complex.

Personality rights refer to the rights to control the use of one’s name, image, likeness and voice to avoid the exploitation of these characteristics in commercial contexts.

These are considered property, so can be passed to the estate or beneficiaries on the death of the artist.

An example of personality rights in action is in Ford v Midler, where Bette Midler refused an offer to use her voice in a Ford commercial. The company hired a singer to mimic her voice and used one of her songs, editing it to fit the advertisement. This was considered unlawful, as Midler had not given her consent for her voice to be used. The jury was in her favor and she was awarded in damages what she would have received for the commercial.

While the US does not have a federal law protecting personality rights, some states recognise rights of publicity, protecting artists against the unauthorised use of their name, image, likeness or voice in commercial contexts.

California’s Celebrities Rights Act (1985) protects the image, voice and likeness of a celebrity for 70 years after their death. This law was recently (as of January 2025) expanded to include ‘digital’ replications of the artists.

New York published a law on 21st May 2021 publishing post-mortem personality rights for ‘deceased performers’ and ‘deceased personalities’.

The artists must be domiciled in New York at the time of their death.

‘Deceased personalities’ are given traditional rights of publicity to protect them from the commercial use of their name, image and likeness for commercial purposes.

‘Deceased performers’ under this law are given more specific protection against the unauthorised use of ‘digital replicas’ replicating their likeness and work, where the intention is to deceive the public into thinking that the artist is present.

While this may be a step in the correct direction, is it enough?

In most cases, the public would be aware that the artist is deceased. Does that make it ethical to exploit them, using their image without their explicit consent, after their death?

In the UK, the law offers even less protection from these issues.

Personality rights are not recognised, an individual must rely on existing legal frameworks.

For example, passing off, protecting against false endorsements. The estate would need to prove that the artist had commercial ‘goodwill’, that the intention of someone using their image was to deceive the public and that damage occurred as a result.

Copyright laws state that permission would be needed from whoever owns the rights to the artist’s work to use it in a performance. While this may be clear and simple, the emergence of AI technology complicates it: if the voice and style of an artist is used to generate a new performance by AI (artificial intelligence) is that considered unlawful?

Trademark may help to clarify this issue: if an artist has trademarked their name or image, use could be considered an infringement. However, this only applies where there is a trademark, which many artists may not have.

Data protection may offer strong protection against the use of someone’s image, however, would not apply to deceased artists. This means that estates would not have much protection under GDPR for the rights of the artists.

While there are conversations about making changes to the law with the emergence of AI and other technology, as of yet the legal concerns are unclear.

If they were to be clarified, ethical issues would still remain. Who can actually consent for a deceased performer? Is it a tribute or exploitation? Where is the line, and should it have been drawn already?

In conclusion, technology is rapidly advancing and the law has yet to catch up. Without formal post-humous personality rights, estates have little protection. In the UK, they’re forced to rely on existing passing off, copyright or trademark laws which were not prepared to deal with digital forms. While some states in the US protect artists to a certain extent, there are no federal laws protecting artists or their estates from these computer generated resurrections.

This remains a complex legal and ethical question, and as technology continues to advance, the legal system must too.

by AMALIA PAUL

New Media Law

July 2025

For more information, please contact:

Ian Penman, ian@newmedia.law, +44(0)7765 244 111

National Law Journal, 2025. A New Year Brings New Restrictions Relating to AI and California Performers. National Law Journal. [online] Available at: https://www.law.com/nationallawjournal/2025/01/01/a-new-year-brings-new-restrictions-relating-to-ai-and-california-performers/ [Accessed 4 Jul. 2025]

California Civil Code § 3344.1 (1985). Use of Deceased Personality’s Name, Voice, Signature, Photograph, or Likeness. [online] California Legislative Information. Available at: https://leginfo.legislature.ca.gov/faces/codes_displaySection.xhtml?sectionNum=3344.1.&lawCode=CIV[Accessed 4 Jul. 2025]

New York Civil Rights Law § 50-f (2021). Right of Publicity for Deceased Performers and Personalities. [online] Available at: https://www.nysenate.gov/legislation/laws/CVP/50-F [Accessed 4 Jul. 2025]

 

Phil Collins wins first ever MiCANNES ARTIST ICON AWARD.

Music industry legend Phil Collins, felt by many to be the best rock drummer ever, was presented at his house in Geneva with the first ever MiCANNES ARTIST ICON AWARD in June, sponsored by New Media Law.

The award, conceived in recognition of a “lifetime’s achievement in music”, was presented to Phil by industry legend, Simon Napier-Bell, who - apart from writing a host of magnificent books about the music business - managed George Michael, The Yardbirds, Japan and Asia (to name but 4). Simon was in Geneva to interview Phil for the upcoming “Marquee - Birthplace of Rock” documentary.

New Media Law’s Ian Penman (also a Board Director of MiCANNES) was also on hand to congratulate Phil. As a lifetime Genesis fan, Ian was suitably generous in his praise of what Phil has achieved over a spectacular career, telling Phil:

“This is the first MiCANNES Artist Icon Award, and you are the first recipient - we simply couldn’t think of anyone better. It is for giving us a lifetime of amazing music, so THANKYOU for everything you have given us over the years”.

To which Phil responded: “You are very welcome. I enjoyed every minute of it!” In respect of the Award itself, Phil added: “It’s absolutely wonderful. These don’t come around very often you know! ”

Find out more about the MiCANNES AWARDS here…!

MiCannes '25 a massive success!

MiCANNES ‘25 was attended by record numbers in Cannes in early June.

Apart from the usual wonderful “Croisette networking”, and of course the 17 spectacular artists that showcased at MiCANNES ‘25, the industry enjoyed several fantastic panels hosted at the Mondrian Hotel on the Croisette, as per MiCANNES ‘24.

Highlights included the Catalogue Deals Panel and the 3D CGI Concerts Panel, on Wednesday 4th June. Both panels moderated by Ian Penman, of New Media Law.

For further details check out the Panels here: Panels – MiCannes

And read the amazing testimonials about MiCANNES here: Testimonials – MiCannes

And don’t forget to register for MiCANNES ‘26 now, to catch the “early bird special rate!”