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The Girl Who Was FiredA virtual AI actress has gathered massive followers and stirred widespread heated debate on Chinese social media - unlike conventional celebrities, this breakout star is entirely artificially generated.
Fang Taozi, an AI-generated character who stars in the hit AI short drama series The Girl Who Was Fired, has posted lifestyle vlogs, launched social media accounts, shared her breakfasts, workouts and pets, landed brand deals and has a fanbase.
Since the drama debuted on short video platform Douyin on June 12, it has accumulated 200 million views. Fang's Douyin account has attracted more than 400,000 followers.
Fans interact with her as if she were a real celebrity, creating fan edits, discussing fictional relationships and building a community around her imagined life.
This raises a question that has become increasingly urgent for the entertainment industry: Does Fang Taozi represent the first generation of AI celebrities? The answer depends on how "celebrity" is defined, said Zhang Peng, a cultural researcher and associate professor at Nanjing Normal University, in an interview.
If celebrity status is measured by public attention, emotional connection and commercial value, Fang appears to meet many of the criteria. She has fans, a personal brand and even advertising opportunities.
Whether AI can truly become stars depends not on the technology itself, but on their ability to forge genuine emotional connections with audiences and sustain their appeal over time, added Zhang.
However, Shi Wenxue, a Beijing-based cultural critic, argues that AI stars have indeed emerged, but they should be viewed as part of the broader lineage of virtual idols.
From the 1958 US virtual musical group Alvin and the Chipmunks to Hatsune Miku, Luo Tianyi and the hyper-realistic digital human Liu Yexi, virtual performers have existed in various forms for decades.
From the perspective of how she is created, Fang Taozi represents a technological advance. Her emergence is largely a product of the current economic environment of the film and television industry.
The rise of AI performers has also triggered concerns among human actors, especially those working in smaller productions.
Human performers bring personal experience, emotional interpretation and unpredictability - qualities that remain difficult to reproduce. But for industries that require large volumes of affordable content, AI characters offer obvious advantages: They do not age, can work continuously and can be customized for different audiences.
AI short dramas are cheaper, faster and free from the risks associated with human performers, raising concerns over the future of lower-level entertainment jobs in areas such as short dramas, advertising, background acting and voice work, said Zhang.
In Shi's view, beneath the debate lies a familiar tension: technological efficiency versus the threat of displacement for human workers.
The question is not whether AI will completely replace actors, but which parts of acting and entertainment can be automated, he noted.
Rather than presenting an AI figure only as a digital image, Chinese platforms appear to be building complete entertainment ecosystems around AI characters, including dramas, social accounts, fan interactions and commercial partnerships.
China's AI stars have grown out of the audience's desire for emotional companionship, while Hollywood's AI experiments have been shaped by industry battles over efficiency and costs, noted Zhang.
According to Shi, Fang Taozi's sudden popularity is, in many ways, a reflection of audience psychology. Whether they are moviegoers, fans or casual viewers, audiences have grown weary of formulaic content, scripted fan service, predictable performances and fragile celebrity personas. An idol like Fang Taozi offers an alternative: She cannot be involved in scandals, play diva or break character, and her persona can be adjusted to meet audience demands. But the model also comes with risks, particularly the limitations of its creators and the potential for excessive commercialization.
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B | 8 月 25 日消息，科技媒体 Windows Latest 昨日（8 月 24 日）发布博文，从 BetaWiki Discord 频道挖掘出更多线索，指出微软 Project Aion 主要面向企业用户，定位为没有开始菜单的 AI 系统。曾于今年 7 月报道，微软曾于 2024 年启动开发 Project Aion 系统项目，内部名为 CopilotOS，围绕着 Copilot AI 构建，描述为用户表达、娱乐、学习和处理日常事务的主要入口。Aion 被描述为“一款可以在运行 AOSP、Win3 甚至 Windows 11 的各种新型 AI 专用设备上运行的智能体 Copilot 操作系统”。底层方面，该系统基于 Microsoft Edge 浏览器和 Web3 轻量化 Windows 代码库构建，是完全针对 AI 场景设计开发的系统，没有传统开始菜单和桌面图标，一切均基于 AI 交互实现。Copilot OS 完整介绍。来源：微软系统没有开始菜单、桌面图标和传统任务栏应用。用户点击 Copilot 按钮后，会看到以姓名开头的问候语，例如“Good afternoon, Nathan”，随后出现 3 张卡片：“Stay on Top”“Create something new”和“News of the day”。

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D | 用户询问毛伊岛餐饮信息时，启动器会变成聊天窗口，并列出餐厅名称及 Tripadvisor 等旅行网站链接。如果用户随后询问下周一的会议安排，系统会在旁边打开第 2 个独立聊天窗口。每段对话都会变成独立应用，拥有单独图标，并支持最小化和关闭。任务栏会根据对话内容生成图标，例如用鸡尾酒杯代表毛伊岛餐饮对话，用日历代表会议对话。关闭聊天后，对话会保存为“My Stuff”中的卡片，用户可以从原位置重新打开。Spaces（空间）是按目标组织任务的功能。泄露截图展示了名为“TURKEY TRIP”的空间，描述和目标卡片写着“Planning a trip to Turkey in September”。页面还提供 Personal 主题、Creative 对话风格，以及 Edge、WhatsApp、YouTube、Word、Turkish Airlines、Expedia 和 Airbnb 等应用入口，并配有“一键起草行程”操作。泄露演示显示，Aion 能够搜索 SharePoint 和电子邮件。用户询问“Scott Schenone 最近在做什么”时，Copilot 自动识别其为高级设计总监，并从内部文件中总结他参与的 Lanai 项目及近期工作。在搜索框中输入斜杠，会触发微软内部称为 Context IQ 上下文智能的功能，从 Microsoft 365 调取同事和文件，并直接加入提示词。