If the thought of having to work the rest of your natural life sounds bad, imagine doing that AND THEN having to stay on the job in the afterlife.

That’s not just a science-fiction plot, it’s becoming science fact, thanks to artificial intelligence. And while you (probably) won’t be conscious of your post-mortem contributions to the engines of capitalism, it is very possible that a former employer could attempt to replicate them without your knowledge or consent.

Such is the case for the late art critic Brian Sewell, who singed the pages of the London Evening Standard with his blistering critiques of art until his death in 2015 at the age of 84. Now, nearly ten years later, multiple sources have disclosed to Deadline that the paper, which this week stopped its daily print edition in favor of a weekly print and digital publication, will use an AI version of Sewell to review an upcoming National Gallery exhibit called Van Gogh: Poets and Lovers.

Though the Standard‘s editor-in-chief Dylan Jones has yet to confirm this news, Deadline‘s source disclosed that the decision was made at the top level by proprietor Lord Evgeny Lebedev. The new iteration of the paper will be known as The London Standard.

This is not good news for the living writers and other humans staffing the Standard; after the 197-year-old institution cut the number of issues it publishes weekly, the paper’s management also cut its staff, canning around 150 people, of whom 70 worked in the editorial department.

The Evening Standard debuted as a daily in 1827. In 2009, new owner Lebedev stopped charging for the paper, apparently counting on popularity with the capital’s commuters to generate enough advertising revenue to compensate for the loss of newsstand sales revenue.

No details were provided about the legality of this move, if it is in fact true. Sewell was survived by his partner, the artist Dean Marsh, but it’s not known if he or Sewell’s estate gave permission to the Standard to use his signature style to craft new art reviews.

That style ran the gamut from acerbic to nasty. He’s on the record that Banksy should have been “put down at birth;” he’s quoted as saying “never been a first-rank woman artist,” following that with the companion sentiment that “only men are capable of aesthetic greatness.”

Sewell’s was obviously a voice for our times, and it’s unsurprising that a failing institution should want to bring him back from the beyond.