The digital character, created by the AI “talent studio” Xicoia, made its debut at the Zurich Film Festival in a short film titled AI Commissioner. According to Particle6 CEO and Xicoia founder, Eline Van Der Velden, the project was “100% AI generated.” Van Der Velden framed the innovation as an extension of creative possibility, comparing it to the introduction of puppetry, animation, or CGI. “I see AI not as a replacement for people, but as a new tool – a new paintbrush,” she said. “Creating Tilly has been, for me, an act of imagination and craftsmanship … it takes time, skill and iteration to bring such a character to life.”
But her defence has done little to stem a tide of criticism from actors and industry unions. The Screen Actors Guild – American Federation of Television and Radio Artists (Sag-Aftra) issued a strongly worded statement accusing Xicoia of building Norwood using “stolen performances.” The union argued that the character was trained on the work of countless performers without consent or payment. “To be clear, ‘Tilly Norwood’ is not an actor,” the statement read. “It doesn’t solve any problem – it creates one: using stolen performances to put actors out of work, jeopardising livelihoods and devaluing human artistry.”
Prominent actors have also voiced alarm. Emily Blunt, speaking on a Variety podcast, warned that developments like Norwood threaten the heart of cinematic storytelling. “Good Lord, we’re screwed,” she said. “That is really, really scary. Come on, agencies, don’t do that. Please stop taking away our human connection.” Similarly, Natasha Lyonne, who has herself been exploring “ethical AI” in filmmaking, urged industry resistance: “Any talent agency that engages in this should be boycotted by all guilds. Deeply misguided & totally disturbed. Not the way. Not the vibe. Not the use.”
Other actors, including Melissa Barrera, Mara Wilson and Ralph Ineson, have publicly condemned the project, aligning with Sag-Aftra’s call for a human-centred creative process. For them, the issue is not simply technological experimentation but the ethical boundaries of performance and ownership.
As the debate deepens, the arrival of Norwood has underscored a growing divide in Hollywood: between those who see AI as an artistic tool and those who view it as a direct threat to human creativity. With industry voices hardening on both sides, the question now is whether AI characters like Tilly will be remembered as bold innovation—or the start of a dangerous erosion of the acting profession.