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Rise of AI performers triggers concerns about human actors_我的网站

A |     

    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 |     据都市快报消息， 1月9日下午3点50分左右，日本兵库县的两名中国女游客在铁路道口等红绿灯时遭列车撞击身亡。一男子发现两名女子重伤倒地后报警，其中一女子当场身亡，另一女子送医后身亡。警方在两人的随身物品中发现中国护照。据上海电视台新闻综合频道《新闻坊》消息，通过入境时的指纹对比，两位中国姑娘的身份已经被确认，正在联系家属。调查发现，事故发生前，被撞的两名女性站在公路和铁路平交道口已放下的禁止通行护栏处。日本警方推测，两人或误以为铁轨内是“信号灯等待区”。

C | 列车司机说：“我看不到她们，因为她们在铁路道口的电线杆后面，被电线杆挡住了。”警方将继续调查当时发生的详细情况。《新闻坊》介绍说，发生事故的神户市垂水区路段，情况复杂是当地民众公认的危险地带。

D | 要穿过2条铁道线，在铁道与公路之间的“隔离区”等红绿灯过斑马线才能抵达对面，事故就发生在这个隔离区。

E | 这个隔离区不仅特别窄还是个斜坡，也就成年人的两肩那么宽，推自行车的话，前轮都要进入斑马线。因为过于危险，有警告牌写着禁止小学生穿越这条路，可以走西舞子车站的地下通道，有些绕道，需要多走10到15分钟。

F | 当地居民都知道在这个铁路线外侧，又窄又陡的隔离区等红绿灯很危险，感觉早晚要出事，但没想到会是在铁路线内侧发生这么严重的人身事故。根据电车司机的证词，发生碰撞时，两人是站在铁路线区域内，面朝公路方向，应该是等红绿灯要过马路。对于可能造成事故的理由，有以下猜测： 第一，电车经过时的噪音并没有想象中的那么大，公路上货车频繁经过，车速快，噪音也大，如果戴着耳机的话，很难在更早些的时候发现电车正在靠近。第二，穿越过铁道后，要摁下过马路的专用摁键，红绿灯才能切换。如果安全杆已经放下来，也可以越过这个安全杆，摁下这个摁键。但外国游客的话，可能很难留意到这个设置。第三，也可能是两个人一边说着话一边走，都未注意到自己还站在铁路线区域内。网友对此议论纷纷。有网友提出了疑问，“为什么会站护栏内等红绿灯”“火车来有声音，都不看吗？” 也有不少网友表示，事发路口及类似道口存在危险性且有误导性，“说老实话这个踏切我要是遇到了，也会不自觉地站栏杆里面。” 也有网友建议，最好画明禁止区域，做好安全指示。（综合自都市快报、新闻坊等） 本文系观察者网独家稿件，未经授权，不得转载。

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Published on:13:38:00