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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.
。    九月，抚顺广袤的田野上，瓜果飘香、稻浪翻滚，满满的收获、美丽的景致、忙碌的身影，共同勾勒出一幅多彩的丰收画卷。         　　9月20日，记者在辽宁三友农业生物科技有限公司新品种培育大棚里看到，一朵朵银白色的木耳、一颗颗鲜嫩肥美的松茸长势良好。

二 | 辽宁三友农业生物科技有限公司珍稀菌菇事业部负责人邹世龙说，这都是公司培育的新品种，大面积推广后会给农民带来可观的收入。         　　自2009年开始，抚顺县就将食用菌产业确定为农业产业“一县一业”主导产业，从2015年到2020年，连续5年制定《抚顺县城郊型特色农业扶持政策》，支持抚顺单片黑木耳产业生产、深加工、销售和品牌建设，促进抚顺单片黑木耳产业发展。         　　抚顺县农业依托自然资源优势，合理规划特色农产品的种植区域，形成了以辽宁三友农业生物科技集团有限公司为核心的食用菌特色农业产业链，食用菌产业不断壮大，带动广大农民增收致富。         　　目前，食用菌产业已经成为抚顺县农业的支柱产业，食用菌生产总量从2014年的3500万袋提升到现在的5000万袋，增长42.9%；产值从1.7亿元提升到2.6亿元；带动农户从2000户增加到3300户，增长65%，户均增收2万元。         　　抚顺单片黑木耳产品以其独特的品质和口感，驰名全国，获国家农产品地理标志保护认证，被全国食用菌协会评为“全国食用菌产业化发展示范县”。现阶段，抚顺单片黑木耳产量排名全省第一，产品驰名全国。         　　九月正是榛子成熟季。

三 | 新宾满族自治县下夹河乡双河村的蓝天家庭农场有野生山榛子50亩，榛子园内工人们忙着采收榛子，脸上洋溢着丰收的喜悦。野生山榛子对涵养水源、保护自然生态环境有着重要作用，其果实营养丰富，口味独特，深受消费者青睐。蓝天家庭农场农场主黄丽娟说：“我们农场有野生山榛子50亩，因为野生山榛子皮薄，个头小，产量较低，能产出近8000公斤。摘下来炒熟了按照等级售卖，分别为30元/公斤、40元/公斤、50元/公斤。”蓝天家庭农场通过种植榛子，进一步增加了收入，在农闲时期延长了农业生产时间，实现了致富增收。         　　连日来，新宾满族自治县红升乡张家村的葡萄采摘园一片生机盎然。满园的葡萄已经成熟，沉甸甸地挂在枝头，色泽诱人，散发着自然的果香，吸引了许多游客前来采摘。         　　走进葡萄园，一眼望去，颗颗饱满的葡萄在阳光下晶莹剔透，宛如一串串璀璨的宝石。

四 | 园内种植的康贝尔葡萄采用科学的灌溉和施肥方法，加之适宜的气候条件，葡萄的甜度和口感都达到了最佳状态，吸引了不少游客前来体验采摘的乐趣，也赢得了省内外多家葡萄销售商的青睐，成为市场上的抢手货。红升乡张家村党支部书记谷峰说，张家村采摘园有20亩的康贝尔葡萄，现在正值采摘期，通过微信、抖音等电商平台销售，预计能销售到10月份左右。         　　张家村葡萄采摘园成立于2017年，采用村集体+农户入股的方式，经过多年发展，目前占地面积20亩，园内葡萄每公斤售价10元，拥有固定经销商，每年收益十分可观。村内除了每年年底给农户分红，还会定期为大家分享葡萄种植经验，极大改善了当地农户的生活水平。特色产业的发展不仅促进了当地经济的增长，更为乡村振兴注入了新的活力。                   责任编辑：刘春阳。

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Published on:10:58:47