No one has been shown to own “brain rot” as a whole. The dispute reported in October 2026 concerns a particular character, Tung Tung Tung Sahur—also called Triple T—and its use in the Roblox game Steal a Brainrot. It raises separate questions about human authorship, trademark claims, platform takedowns and the many creators who helped turn a character into a meme. The sources available do not establish a final court ruling.
What is the dispute about?
The Guardian reported on October 6, 2026, that Tung Tung Tung Sahur was created in 2025 by an Indonesian teenager using the online name Noxa, with help from OpenAI’s image-generation tool. The character is depicted as an anthropomorphic kentongan, a drum associated with waking Muslims for the pre-dawn Ramadan meal. It became part of the “Italian brain rot” meme genre and spread through social video, fan art, cosplay and merchandise, according to the report.
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The reported legal conflict focuses on the character’s use in a game, not on ownership of the entire meme genre or every work described as brain rot. Do Big Studios released Steal a Brainrot on Roblox in May 2025 with recognizable meme characters. In September 2025, Spyder Games LLC and Speedy Simulator Gaming LLC, described in the report as Do Big’s owners, received a cease-and-desist letter from Mementum, which represents Noxa. The character was initially removed while the parties tried to negotiate. The game owners then sued Mementum in the Northern District of California, the Guardian reported.
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Who could own the character under copyright law?
The key US copyright question is not simply whether AI was involved. It is what human-authored expression, if any, can be identified in the finished character and how much creative control a person exercised over that expression.
The US Copyright Office’s January 29, 2025 report says copyright may protect original expression created by a human even when a work also contains AI-generated material. It says copyright does not extend to purely AI-generated material or to material where human control over expressive elements is insufficient. The Office’s view is that prompts alone, when used with generally available AI technology, do not provide enough control; whether other human contributions qualify depends on the facts of each work.
That leaves room for human-authored elements, creative arrangement or selection, and later modifications to matter. It does not mean that all AI-assisted art is unprotectable—or that prompting alone necessarily makes a person the copyright owner. The Office’s report sets out a general framework; it does not decide who owns Triple T or settle trademark claims.
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What is known about Triple T’s creation?
The Guardian described French trademark-related dispute documents as outlining a process of about 15 minutes and seven prompts, including an instruction to draw a “pentungan sahur with a face and legs.” Do Big’s lawyer Aaron Moss argued that sparse prompts and choosing a preferred output are not enough to establish human authorship. That is a party’s argument as reported by the newspaper, not a court finding. The available account does not settle what other creative choices or modifications were made, or how a court would assess them.
How are copyright, trademark and a takedown different?
These are distinct routes, even when they concern the same character. Copyright concerns protectable expression and human authorship. Trademark concerns the use of a name, symbol or other identifier in ways that may raise questions about source or commercial confusion. A platform takedown is a process for requesting removal under a platform’s rules or applicable legal procedures; its outcome is not itself a court judgment that settles ownership.
The Guardian’s account says Mementum advanced a US trademark-related claim despite not yet holding a US trademark registration for Triple T, and notes that some US infringement arguments can be made without registration. That does not establish that the claim will succeed, what precise mark or use it covers, or that copyright and trademark questions have the same answer. The complaint, counterclaim, current trademark records and actual takedown notice are not established in the available reporting.
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Why does the case cross borders?
The Guardian’s account places an Indonesian creator, a French agency, a California lawsuit and a character reportedly popularized in part in Latin America in the same story. That geography helps explain why a meme can generate disputes in several settings, but it does not mean that one country’s law automatically governs every claim or use. The available sources do not provide a comparative account of Indonesian, French or EU copyright law.
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Can one creator own a meme made popular by many people?
Legal rights in a specific character and the cultural work of a meme community are not the same thing. Fabian Mosele, a video creator quoted by the Guardian, put the collective contribution this way: “There are a ton of creators who made these characters come to life.” That describes a real tension in meme culture: one person may originate a recognizable design, while others supply the jokes, videos and variations that give it reach and meaning.
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That collective contribution does not, by itself, decide who holds copyright or a trademark. Conversely, a claim to legal rights in a particular character would not mean its creator made every remix or cultural association alone. Mementum co-founder Eben Jeda told the Guardian that internet-native creativity can go global quickly while its originators remain economically invisible. The competing interest is whether enforcing a claim over a character could restrict the remixing that helped make it widely recognizable.
Content creator Adam Aleksic described archetypes as “empty vehicles” for people to project their expectations, desires or narratives onto. His point is about how memes function culturally, not a legal test for ownership. The distinction matters: cultural influence can be shared across a community even where legal rights, if established, attach to particular expression or uses.
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What would a court need to resolve?
A meaningful answer would depend on evidence and precise claims, not simply on whether Triple T is popular or AI-assisted. Among the questions are:
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- What human creative choices can be documented in the character’s design, selection and any later modifications?
- What specific expression or mark does each side say is protected?
- Which uses of the character and which commercial markets are actually in dispute?
- How do the separate platform, trademark and copyright processes relate to each other?
- How should legal rights, if any, be distinguished from the wider community’s contribution to the meme’s spread?
The Guardian quoted Cornell Tech and Cornell Law School professor James Grimmelmann saying the case could produce a concrete court decision about what is copyrightable when AI is involved. That is a possibility, not a prediction. The available sources do not establish a final ruling or independently confirm the lawsuit’s current status.
What the story does—and does not—show
The US Copyright Office said its broader AI initiative received more than 10,000 comments in its 2025 announcement. That figure concerns the initiative as a whole, not this lawsuit or public opinion about Triple T. The Office’s director, Shira Perlmutter, said: “Where that creativity is expressed through the use of AI systems, it continues to enjoy protection.” Read alongside the Office’s report, the point is that human creativity can remain protectable in AI-assisted work; it is not a determination about this character.
For now, the careful answer to “Who owns brain rot?” is that the question is too broad. The reported fight concerns one character and particular commercial uses. Whether any party can establish rights in that character—and how far those rights would reach—remains unresolved in the sources available.
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