
Katie Price declares 'Jordan is back' as alter-ego helps up bag huge AI deal
Former glamour model has signed a deal with American firm OhChat to revive her old alter-ego Jordan by creating an AI version of her - and it will be out tomorrow
Katie Price is officially bringing back her old alter-ego Jordan while becoming the first British celebrity to trademark an artificial intelligence version of herself. The 47-year-old reality TV star has signed a deal with American firm OhChat, which describes itself as "the leading platform to live out your uncensored dreams through AI-powered text, voice and images."
As part of the agreement, the mum-of-five had to record 30 phrases to say so that the company could develop an AI version of her. Promotional videos shared on social media including YouTube and Instagram show Jordan - her former glamour modelling persona - saying in a voice similar to Katie's: "It's Jordan here. No more looking at those cheeky mags."
After confirming that the launch date is tomorrow, June 9, she promises fans: "You can have me all for yourself." The launch comes months after rumours began spreading that Katie was hoping to revive Jordan in a bid to emulate the early days of her career when she was best known for topless modelling.
Katie has now described the Jordan days as the best of her life and said that the AI deal is "a genius move" and can make her "feel like her again."
She told The Sun: "Jordan's back and now I'm in competition with Jordan. I love it and they've really captured my voice and personality - you see me moving and everything. It's scarily weird but fascinating."
Katie added: "I couldn't be more excited to bring back the iconic Jordan, someone who I hold near and dear to my heart, and who my fans have been asking to see again. From my digital twin styling to its tone of voice, I wanted to be involved every step of the way to create the most authentic experience possible for my fans. Jordan is back, and my fans will absolutely love this."
Meanwhile, a source told the newspaper that using AI allows Katie to "go back in time and bring back Jordan." The insider explained that she owns copyright but the deal allows her image to be used for anything from TV shows to OnlyFans - but she doesn't need to do it by herself, as it's all done for her.
According to the source, Kate is also planning to do a photoshoot standing next to Jordan - and even do a TV special where she interviews her alter ego. Describing the new business venture, the insider said it is "all really exciting, if a bit surreal."
We reported on rumours that Katie was looking to revive Jordan in a bid to regain her fortune back in September 2024. The former model was a prominent figure in the UK's glamour scene in the 1990s, amassing an estimated £45million fortune. However, her career and finances have declined in recent years, with Katie being declared bankrupt twice.
At the time, sources said Katie believed that returning to her old-day job roots will bring in the money. A source told The Sun last year: "Katie is desperate to go back to the glory days and is convinced a return to her glamour modelling roots will make it happen." However, the insider added: "But she doesn't seem to understand that times have changed and there isn't an audience for Jordan these days."
In the 1990s and early 2000s, Katie appeared on the covers of various magazines, including Loaded, Maxim, FHM, and American Playboy. She "retired" the Jordan persona after meeting her first husband, Peter Andre, in the I'm a Celebrity jungle in 2004. Katie shifted her focus to launching novels, beauty products, fragrances and electricals. After three divorces, Katie has found it challenging to sustain a career that once saw everything she touched turn into gold.
In 2019, Katie was first declared bankrupt, owing creditors £3.2million, and then again last year due to an unpaid tax bill of £760,000. Her Mucky Mansion near Horsham, West Sussex, was repossessed after she failed to meet mortgage repayments, and she has been instructed to pay 40 per cent of her earnings to creditors.

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ITV News
2 hours ago
- ITV News
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Metro
2 hours ago
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The game's out on Xbox Series X/S, PlayStation 5, and PC on October 29… a week before Ninja Gaiden 4, which is just four days after Keeper. So, very impressive showcase, typically moronic release scheduling. Email gamecentral@ leave a comment below, follow us on Twitter. To submit Inbox letters and Reader's Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. Arrow MORE: Best new mobile games on iOS and Android – June 2025 round-up Arrow MORE: Best of Summer Game Fest 2025 trailers – Mortal Shell 2, Game Of Thrones and more Arrow MORE: Resident Evil Requiem trailer reveals release date and new main character


Scotsman
3 hours ago
- Scotsman
‘Significant challenges' in use of AI within UK screen sector
Hans Lucas/AFP via Getty Images Scottish researchers were among those to create the report Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... The use of artificial intelligence (AI) within the UK screen sector raises 'significant legal, ethical, and practical challenges' such as the use of copyrighted material being used without the permission of the rights holders, a report has warned. Other issues highlighted by the British Film Institute (BFI) report include the safeguarding of human creative control, the fear of jobs being lost as positions are replaced through the use of AI, and investment in training in new skills. Advertisement Hide Ad Advertisement Hide Ad High energy consumption and carbon emissions, and the risks to creative content around biased data, are also described as being of concern. The report, which has been carried out in partnership with CoSTAR universities Goldsmiths, Loughborough and Edinburgh, analyses how the screen sector is using and experimenting with rapidly evolving generative AI technologies. It warned that the 'primary issue' was the use of copyrighted material – such as hundreds of thousands of film and TV scripts – in the training of generative AI models, without payment or the permission of rights-holders. 'This practice threatens the fundamental economics of the screen sector if it devalues intellectual property creation and squeezes out original creators,' the report said. Advertisement Hide Ad Advertisement Hide Ad But it added that the UK's strong foundation in creative technology – as it is home to more than 13,000 creative technology companies – means that the UK screen sector is well positioned to adapt to the technological shift. Getty Images The report – titled AI in the Screen Sector: Perspectives and Paths Forward – said generative AI promises to democratise and revolutionise the industry, with the BBC, for example, piloting AI initiatives. Meanwhile, projects such as the Charismatic consortium, which is backed by Channel 4 and Aardman Animations, aim to make AI tools accessible to creators regardless of their budget or experience. It said this could empower a new wave of British creators to produce high-quality content with modest resources, though concerns about copyright and ethical use remain significant barriers to full adoption. Advertisement Hide Ad Advertisement Hide Ad The report sets out nine key recommendations it suggests should be addressed within the next three years to enable the UK screen sector to thrive in using AI. These include establishing the UK as a world-leading market of IP licensing for AI training, and embedding sustainability standards to reduce AI's carbon footprint. It also calls for structures and interventions to pool knowledge, develop workforce skills and target investments in the UK's creative technology sector, while it urges support for independent creators through accessible tools, funding and ethical AI products. The BFI's director of research and innovation, Rishi Coupland, said: 'AI has long been an established part of the screen sector's creative toolkit, most recently seen in the post-production of the Oscar-winning The Brutalist, and its rapid advancement is attracting multimillion investments in technology innovator applications. Advertisement Hide Ad Advertisement Hide Ad 'However, our report comes at a critical time and shows how generative AI presents an inflection point for the sector and, as a sector, we need to act quickly on a number of key strategic fronts. 'Whilst it offers significant opportunities for the screen sector such as speeding up production workflows, democratising content creation and empowering new voices, it could also erode traditional business models, displace skilled workers, and undermine public trust in screen content. 'The report's recommendations provide a roadmap to how we can ensure that the UK's world-leading film, TV, video games and VFX industries continue to thrive by making best use of AI technologies to bring their creativity, innovations and storytelling to screens around the globe.' Professor Jonny Freeman, director of CoSTAR Foresight Lab, said: 'This latest CoSTAR Foresight Lab report, prepared by the BFI, navigates the complex landscape of AI in the screen sector by carefully weighing both its transformative opportunities and the significant challenges it presents. Advertisement Hide Ad Advertisement Hide Ad 'The report acknowledges that while AI offers powerful tools to enhance creativity, efficiency, and competitiveness across every stage of the production workflow – from script development and pre-production planning, through on-set production, to post-production and distribution – it also raises urgent questions around skills, workforce adaptation, ethics, and sector sustainability.' CoSTAR is a £75.6 million national network of laboratories that are developing new technology to maintain the UK's world-leading position in gaming, TV, film, performance, and digital entertainment.