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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 |     　　记者从工商银行、农业银行、中国银行、建设银行了解到，四家大型商业银行已率先落地财政部等部门联合发布的《关于进一步做好财政金融协同促内需政策有关工作的通知》(财金〔2026〕71号)中关于中小微企业贷款和服务业经营主体贷款贴息政策。　　四家银行明确，对于2026年8月1日以来发放的、符合条件的中小微民营企业流动资金贷款，中央财政按照流动资金贷款本金给予年化1个百分点、期限不超过2年的贴息支持。　　单户企业在单家银行可享受中小微企业贷款贴息的贷款规模上限由每年5000万元提高至7500万元，单户企业在单家银行可享受服务业经营主体贷款贴息的贷款规模上限由每年1000万元提高至2000万元。　　四家银行明确，银行在办理中小微企业贷款贴息和服务业经营主体贷款贴息业务过程中，不会委托任何第三方(包括社会中介)办理，也不收取任何费用。广大客户切勿轻信银行官方渠道以外人员的电话、短信等其他渠道信息，谨防各种形式的诈骗，保障财产和信息安全。　　记者还了解到，对于符合贴息条件的中小微民营企业贷款和服务业经营主体贷款，银行将及时报送政府相关部门审核。政府相关部门审核通过后，银行会通过手机短信等途径告知客户具体贴息情况。此外，对于8月1日到银行公告发布前已经办理的小微企业贷款和服务业经营主体贷款，企业也不必担心，银行会直接把符合贴息条件的业务报送给政府相关部门审核，无需企业做任何操作。　　此外，中国邮政储蓄银行也已发布公告，明确了中小微企业贷款财政贴息政策执行方案。　　此前，多家银行已经陆续发布了个人消费贷款(含信用卡分期)的财政贴息政策落实方案，并已经开始执行。　　(央视新闻客户端 总台央视记者 王雷)。

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