Bethell’s century, which took the tourists to 302-8 and a lead of 119, makes the 22-year-old the seventh youngest man to score a Test hundred for England against Australia.
Having come in during the first over, he strolled to the nineties but 29 balls passed with Bethell a hit away from a century.
Harry Brook, England’s vice-captain, wafted and waved at Mitchell Starc bouncers at the other end. Bethell’s dad, Graham, took deep breaths in the stands.
It was the man that mattered most who appeared the calmest of all.
Bethell had, of course, been here before.
In November 2024, he reached 96 against New Zealand in his second Test, only to nick behind off Tim Southee.
His response afterwards, that it would have been “flair” to “smack that through the covers” hinted at Bethell’s freer side – the one that had him pictured doing the YMCA during England’s ill-fated mid-Ashes trip to Noosa.
This hundred showed all of his maturity that is so highly regarded by England – and what persuaded them to make him their youngest captain on last year’s white-ball tour of Ireland.
“He played in a way that Test cricket has been played for many generations,” said former England captain Michael Vaughan on Test Match Special. “You respect the ball and have good technique.
“It was a technical masterclass. A masterclass in composure and calmness.
“The strokeplay, when he got a chance to score, he didn’t try to overhit it. We have seen a batting masterclass from someone who let the ball come.
“He didn’t hit the ball in the air that often. It was a throwback.”
Though the landmark came with a flick for four over mid-wicket off Beau Webster’s spin, Bethell’s first ton was moulded in a style from the old school.
While defending the danger area around his stumps, he timed back-foot punches rather than slashing cuts and clipped from his pads to keep the score moving.
A glorious on-drive off Michael Neser was the highlight and a dismissive pull off Cameron Green through mid-wicket a statement.
“I had two shots and a half,” said Cook, famed for his cuts, pulls and clips, on TNT Sports.
“Four shots would help anyone be world-class. He has guts and determination.
“There were some really tough balls but he has a nice solid technique down the ground.
“Clip, pull, drive and cut. A classic number three innings.”
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As the new year begins, novelists send characters to great heights in Tibet and Wyoming, to the great depths of the 19th century Atlantic and back in time, to early 20th century Pakistan. Meanwhile, nonfiction authors contemplate a Spanish shipwreck, a racially motivated murder, the origins of great ideas and how laughter can change our lives. Happy reading!
Guo, whose 2017 memoir “Nine Continents” detailed her difficult road to personal and artistic freedom, pours that experience into Ishmaelle, a young woman from England’s coast who joins the crew of a whaling ship named the Nimrod. Yes, it’s a retelling of Herman Melville’s “Moby Dick” and yes, it’s well worth your time. By adding in new characters while adhering to the original story, the author creates something new, strange and thrilling.
Set in 1869, when Europeans were forbidden to enter Tibet, this slow-paced yet tense novel follows the perspectives of Balram, an Indian surveyor, and Katharine, a woman of mixed English and Indian heritage, as they both attempt expeditions for different purposes. During their treks both characters meet a man named Chetak, whose eerie folkloric tales underscore the power structures they’ll each have to surmount before reaching their goals.
While most of this stunning book takes place in Pakistan, an important section leads two brothers to college at Dartmouth in the United States, a place about as far in every respect from their Rawalpindi origins as possible. Mueenuddin, whose gift for satire shines whether he’s describing society matrons or gangsters, never loses sight of his theme: How do any of us ever manage to justify our treatment of the underserved?
Crux: A Novel By Gabriel Tallent Riverhead: 416 pp., $30 (Jan. 20)
A “crux” refers to the toughest point in a climb; it also means a decision point, as well as a place where two things cross. For Tallent’s sophomore novel, two characters who are climbers have reached an important moment in their teenage lives. Daniel and Tamma (he’s straight, she’s queer) have been close friends for years, scrabbling all over Joshua Tree peaks, but as their home lives and individual paths diverge, their bond wavers.
Vigil: A Novel By George Saunders Random House: 192 pp., $28 (Jan. 27)
It seems unfair that, after his spectacular “Lincoln in the Bardo,” Saunders returns with not just another novel featuring a ghost, but with a new novel even more spectacular than the last. “Who else could you have been but exactly who you are?” says the newly incarnated Jill “Doll” Blaine, sent to comfort nefarious oil tycoon K. J. Boone in his last hours alive — a statement that in no way diminishes the political urgency of this spare, lovely book.
We’ve all heard that laughter is the best medicine; funny stuff isn’t merely diversion, but essential to our health. Author Duffy, who hosts the TED Talks podcast “How to Be a Better Human,” believes that anyone, from age 10 to age 103 (he gives examples of each), can make you laugh, help you form community and even lead you to make better decisions. One of the latter? Learn to laugh at yourself; it can signal “general intelligence and verbal creativity.”
By Sylvester Allen Jr. and Belle Boggs University of North Carolina Press: 296 pp., $30 (Jan. 27)
The titular Outlaw was the first Black constable of Graham, N.C. In 1870, he was killed by lynching by members of the local Ku Klux Klan, no doubt in part due to his efforts to build coalition between members of different races and social classes. Allen, a native of Graham and a playwright who wrote a drama based on Outlaw’s legacy, and Boggs, a scholar, connect the terrorism and hatred behind this man’s murder to the present day.
By George Newman Simon & Schuster: 304 pp., $30 (Jan. 27)
So many cartoons depict great ideas using light bulbs that we’ve forgotten many of the greatest ideas come about from long deliberation and careful winnowing. Canadian professor Newman uses archaeological terms for the process: surveying, gridding, digging and sifting. Who knew that Jordan Peele rewrote “Get Out” 400 times, or that Paul Simon composed his “Graceland” album by combing through all of his previous work?
In 1708 the San José, a treasure-laden Spanish galleon, sunk off the coast of Colombia. In 2015 a man named Roger Dooley found the galleon’s wreck and brought back artifacts proving it. Unfortunately, with little education, few bona fides and a sketchy reputation, Dooley received no credit for the discovery. Sancton tracked down Dooley — now in his 80s and somewhat reclusive — and thus is able to provide a fascinating conclusion to the tale.
By Jennifer Breheny Wallace Portfolio: 288 pp., $30 (Jan. 27)
Loneliness pervades our society and to heal it, people need to feel that they actually matter to others — something author Wallace saw when she researched and wrote her 2023 bestseller “Never Enough,” which focused on adolescents and burnout. Now Wallace shares her findings from talking with people of all ages and hearing what a difference it makes when connections are made and individuals are recognized for even the smallest contributions.
Patrick is a freelance critic and author of the memoir “Life B.”
The Trump administration made work requirements for low-income people receiving government assistance a priority in 2025.
The departments of Health and Human Services, Agriculture and Housing and Urban Development have worked to usher in stricter employment conditions to receive healthcare, food aid and rental assistance benefits funded by the federal government.
The idea is that public assistance discourages optimal participation in the labor market and that imposing work requirements not only leads to self-sufficiency, but also benefits the broader economy.
“It strengthens families and communities as it gives new life to start-ups and growing businesses,” the Cabinet secretaries wrote in a New York Times essay in May about work requirements.
Yet many economists say there is no clear evidence such mandates have that effect. There’s concern these new policies that make benefits contingent on work could ultimately come at a cost in other ways, from hindering existing employment to heavy administrative burdens or simply proving unpopular politically.
Here is a look at how work requirements could affect the millions of people who rely on the Supplemental Nutrition Assistance Program (SNAP), Medicaid and HUD-subsidized housing:
SNAP
What President Trumprefers to as his “Big Beautiful Bill” in July expanded the USDA’s work requirements policy for SNAP recipients who are able-bodied adults without dependents.
Previously, adults older than 54, as well as parents with children under age 18, at home were exempted from SNAP’s 80-hours monthly work requirement. Now, adults up to age 64 and parents of children between the age of 14 and 17 have to prove they’re working, volunteering or job training if they are on SNAP for more than three months.
The new law also cuts exemptions for people who are homeless, veterans and young people who have aged out of foster care. There are also significant restrictions on waivers for states and regions based on how high the local unemployment rates are.
The Pew Research Center, citing the most recent census survey data from 2023, notes 61% of adult SNAP recipients had not been employed that year, and that the national average benefit as of May was $188.45 per person or $350.89 per household.
Ismael Cid Martinez, an economist at the Economic Policy Institute, said the people who qualify for SNAP are likely working low-wage jobs that tend to be less stable because they are more tied to the nation’s macroeconomics. That means when the economy weakens, it’s the low-wage workers whose hours are cut and jobs are eliminated, which in turn heightens their need for government support. Restricting such benefits could threaten their ability to get back to work altogether, Martinez said.
“These are some of the matters that tie in together to explain the economy and [how] the labor market is connected to these benefits,” Martinez said. “None of us really show up into an economy on our own.”
Angela Rachidi, a researcher at the conservative think tank American Enterprise Institute, said she expects the poverty rate to decline as a result of the work requirements but even that wouldn’t ultimately affect the labor force.
“[E]ven if every nonworking SNAP adult subject to a work requirement started working, it would not impact the labor market much,” Rachidi said by email.
Medicaid
Trump’s big bill over the summer also created new requirements, starting in 2027, for low-income 19- to 64-year-olds enrolled in Medicaid through the Affordable Care Act’s Medicaid expansion or through a waiver program to complete 80 hours of work, job training, education or volunteering per month. There are several exemptions, including for those who are caregivers, have disabilities, have recently left prison or jail or are pregnant or postpartum.
The nonpartisan Congressional Budget Office has predicted that millions of people will lose healthcare because of the requirements.
Nationally, most people on Medicaid already work. The majority of experts on a Cornell Health Policy Center panel said that new national requirements won’t lead to large increases in employment rates among working adults on Medicaid, and that many working people would lose healthcare because of administrative difficulties proving they work.
Georgia is currently the only state with a Medicaid program that imposes work requirements, which Gov. Brian Kemp created instead of expanding Medicaid. The program, called Georgia Pathways, has come under fire for enrolling far fewer people than expected and creating large administrative costs.
Critics say many working people struggle to enroll and log their hours online, with some getting kicked out of coverage at times because of administrative errors.
And research released recently from the United Kingdom-based research group BMJ comparing Georgia with other states that did not expand Medicaid found Georgia Pathways did not increase employment during the first 15 months, nor did it improve access to Medicaid.
Kemp’s office blames high administrative costs and startup challenges on delays because of legal battles with former President Biden’s administration. A spokesperson said 19,383 Georgians have received coverage since the program began.
HUD
HUD in July also proposed a rule change that would allow public housing authorities across the country to institute work requirements, as well as time limits.
In a leaked draft of that rule change, HUD spells out how housing authorities can choose to opt in and voluntarily implement work requirements of up to 40 hours a week for people getting rental assistance, including adult tenants in public housing and Section 8 voucher-holders.
HUD also identified two states — Arkansas and Wisconsin — where it could trigger implementation based on existing state laws if and when the HUD rule change is approved. The proposal remains in regulatory review and would be subject to a public comment period.
HUD spokesman Matthew Maley declined to comment on the leaked documents, which broadly define the age of work-eligible people being up to age 61, with exemptions for people with disabilities and those who are in school or are pregnant. Primary caregivers of disabled people and children under 6 years old are also exempted.
HUD’s proposed rule change also notes that it is only defining the upper limits of the policy, allowing flexibility for local agencies to further define their individual programs with additional exemptions.
In a review of how housing authorities have tested work requirements over time, researchers at New York University found few successful examples, noting only one case where there were modest increases in employment — in Charlotte, N.C. — as compared to seven other regions where work requirements were changed or discontinued “because they were deemed punitive or hard to administer.”
South Korean President Lee Jae Myung delivers a speech during a press conference to mark his first 30 days in office at the Yeongbingwan (state guest house) of the Blue House, in Seoul, South Korea, 03 July 2025. Photo by Kim Min-Hee /EPA
Dec. 26 (Asia Today) — President Lee Jae-myung has ordered a formal review of lowering the age threshold for juvenile offenders exempt from criminal punishment, reviving a long-running debate amid growing public concern over youth crime. Legal experts broadly support the intent but caution that the move may have only limited deterrent effects.
During a policy briefing with the Ministry of Justice on Dec. 19, Lee instructed officials to place the issue of lowering the minimum age for criminal responsibility on the Cabinet agenda, according to officials.
Under South Korea’s Criminal Act, established in 1953, children aged 10 to under 14 are classified as juvenile offenders and are exempt from criminal punishment, instead receiving protective measures focused on education and rehabilitation. The system was designed to prioritize the reformability of minors over punitive sanctions.
Critics argue, however, that crimes committed by juvenile offenders have risen sharply in both number and severity. According to the Supreme Court’s Judicial Yearbook 2025, 7,294 juvenile offenders received protective dispositions in 2024, more than double the 3,465 recorded in 2020.
Serious offenses, including sexual crimes and acts of extreme violence, have also increased. Police data show that between Jan. 1 and Sept. 10, 2024, juveniles under 14 accounted for about 20 percent – 63 out of 318 suspects – arrested in deepfake-related sexual crimes, highlighting concerns over new forms of digital abuse.
Many in the legal community agree that the age standard should reflect changes in adolescents’ physical and mental maturity as well as the social environment. Kim Ji-yeon, an attorney with Lawyers for a New Future for Youth, said the widespread perception that offenders under 14 cannot be criminally punished has been exploited. “Some youths commit serious crimes like deepfake offenses believing authorities cannot punish them,” she said, noting that the non-disclosure of juvenile criminal records has also been abused.
Kim added that lowering the age by about one year could help address these problems, even if it partially conflicts with the system’s rehabilitative purpose. “In reality, victims are often even younger, and protecting minor victims must be a priority,” she said.
Shin Hye-sung, a lawyer at Yulwoo Law Firm and a former juvenile court judge, also voiced support for lowering the age in cases involving sexual crimes. “Many 13-year-olds today are far more mature than in the past and capable of committing serious offenses,” he said. “Allowing the possibility of criminal trials could have a necessary deterrent effect.”
Still, Shin stressed the limits of such a reform. “Lowering the age will not bring dramatic change,” he said, noting that the rise in juvenile cases is largely driven by school violence. “Contrary to public perception, it is extremely rare for children under 14 to commit crimes serious enough to warrant criminal trials. Since such cases are uncommon, the overall impact of an age cut would likely be modest.”
As the issue returns to the National Assembly agenda, attention is focused on whether the proposal – which has repeatedly stalled in the past – can gain enough consensus to move forward this time.
Masashi “Jumbo” Ozaki, whose 113 worldwide victories were the most of any player from Japan, died Wednesday in his home country after a battle with colon cancer, the Japan Golf Tour said. He was 78.
Ozaki was revered in Japan, a big hitter with a sense of style who won 94 times over 29 years on the Japan Golf Tour, the last one coming at the 2002 ANA Open when he was 55.
He rose to No. 5 in the world ranking in 1996 at age 49. Ozaki often got overlooked for never winning outside Japan except for the New Zealand PGA Championship. He was inducted into the World Golf Hall of Fame in 2011.
“He is an indispensable, one-of-a-kind figure in discussing men’s golf, both now and in the future,” the tour said in a social media post.
Ozaki competed in 49 majors, his best finish coming in the 1989 U.S. Open at Oak Hill when he finished three shots behind Curtis Strange. He played the Masters for the 19th and final time in 2000 when he was 53 and tied for 28th.
Isao Aoki was the first Japanese player in the World Golf Hall of Fame, and Hideki Matsuyama became the first to win a major at the 2021 Masters. Both were inspired in some fashion by Ozaki, the pioneer in a nation now obsessed with golf.
Ozaki won the Japan Open five times and the Japan PGA Championship six times. He led the Japan Golf Tour money list a record 12 times, including five in a row from 1994 through 1998. He won his final money title in 2002, when he was 55.
When he was inducted into the Hall of Fame, Ozaki said his one regret was not playing more outside of Japan.
“But I dedicated my life to Japanese golf and am extremely grateful the voters thought I was worthy of this honor,” he said upon his election. He received 50% of the vote on the International ballot.
Ozaki was looked upon as the Arnold Palmer of golf in Japan with his powerful swing, charisma and sense of style, often wearing silk shirts and baggy pants. And his skill was not limited to just golf. He played the guitar and had three songs reach the pop charts in Japan, according to the Hall of Fame.
His first love was baseball, and he spent three years pitching professionally before turning to golf. That was evident when Ryo Ishikawa, who won his first Japan Golf Tour title at age 15, spoke of Ozaki’s influence. Ishikawa said he would visit Ozaki about 10 times a year to get advice.
“Jumbo used to be a baseball player, so he always tried to teach me the link from pitching or hitting to golf,” Ishikawa said in 2010 interview with the Associated Press. “Jumbo wanted me to hit the ball far.”
Ozaki traveled with an entourage when he did play outside Japan in the majors, usually renting a house and bringing a sushi chef so his people would feel at home.
He has two younger brothers who also played on tour, Naomichi (Joe) and Tateo (Jet).
Ozaki played in the 1996 Presidents Cup, partnering with Vijay Singh to beat the American duo of Fred Couples and Davis Love III. He qualified for the 1998 team but decided against the trip to Australia, and his brother, Joe, played instead.
It’s been one surprise after another lately from Lindsey Vonn. And the announcement that the 41-year-old slopes queen has qualified for the Milano Cortina Olympics in February isn’t the last of it.
It might have been her post on Instagram that stated unequivocally that this will be the end.
“I am honored to be able to represent my country one more time, in my 5th and final Olympics!” Vonn said.
Vonn’s remarkable and inspiring comeback from injuries and a seven-year hiatus from top-level competitive skiing has injected the U.S. team narrative with an irresistible story line. That her quest will culminate in the mountains of northern Italy just two months from now will make it must-watch television and social media video.
The last two weeks have thrust Vonn back onto the international stage as well as the podium, which she climbed in four of her first five races this season. That includes a spectacular win in the downhill in St. Moritz, Switzerland, on Dec. 12.
That marked her first World Cup victory since 2018. And now it’s official that Vonn will compete in her fifth Olympics where she won gold in the downhill and bronze in the super-G at the 2010 Games in Vancouver and bronze in the downhill in the 2018 Games in PyeongChang.
Much of the astonishment circles back to her age. Vonn’s win in St. Moritz made her the oldest woman to win a World Cup race — by seven years. Federica Brignone of Italy set a record a year ago when she won 10 races at age 34.
She also is the first World Cup winner with titanium implants in her right knee. And she’ll become the first quadragenerian to lead the U.S. Alpine skiiing squad seven years after she had all but retired.
In a moving column on Feb. 10, 2019, at the World Championships, The Times’ Helene Elliott wrote what essentially was a sendoff for Vonn: “She went all out to the very end, because that’s the only way Lindsey Vonn knew how to ski. She was bruised and battered as she went to the start gate on Sunday for the final race of her career, sore all over and her right eye blackened by the impact of a crash she suffered during a super-giant slalom race earlier in the week at the World Championships. Her ligaments tore and her bones sometimes broke but her competitiveness was never dimmed, never dented, never compromised.”
Well, 2026 is around the bend and Vonn is back and intact, her competitiveness never compromised still. She has not officially qualified for the Olympics in the super-G, but she’s the fastest American and No. 3 in the world, so count on that as her next headline.
“Lindsey qualifying for the 2026 Olympic team is a testament to her resilience and dedication, and the remarkable results she’s delivered on the World Cup this season,” Sophie Goldschmidt, U.S. Ski & Snowboard’s president and CEO, said in a statement. “She’s proven once again that elite performance isn’t just about past success, it’s about rising to the moment, race after race.
The stand-up comic turned actor has spent the past decade as one of Hollywood’s most bankable and visible stars, headlining megahits like the “Jumanji” films alongside a steady output of comedies and animated features, while still selling out arena tours and releasing hit Netflix comedy specials. Off-screen, his face turns up everywhere: pitching banking apps, tequila and energy drinks.
In the era of artificial intelligence, though, that guarantee has begun to erode. A quick Google search for “Kevin Hart AI” turns up unofficial versions of his voice, available with a few clicks.
A series on how the AI revolution is reshaping the creative foundations of Hollywood — from storytelling and performance to production, labor and power.
That helps explain why, one evening last month on the Fox lot, the head of Hart’s entertainment company, Hartbeat, was on an industry panel talking not about box office or release strategies but AI. Jeff Clanagan painted a picture of a landscape in which movie stardom is no longer protected by traditional channels, as attention splinters across platforms and audiences fragment. In that environment, AI can be both a risk and a lever.
“The most valuable resource right now is attention,” Clanagan told the audience of 150 studio executives, filmmakers, investors and technologists gathered at Hollywood X, an invitation-only event focused on responsible adoption of AI. “You’re competing for it everywhere — everybody is always on a second screen. That fragmentation is where the disruption is.”
Hollywood was built on the idea that a small number of stars could reliably command attention and turn it into leverage. As AI and algorithm-driven platforms reshape how attention is created and distributed, even the most recognizable names are newly exposed — not only to dilution but to the prospect of being replaced altogether.
Jeff Clanagan, right, president and chief distribution officer of Kevin Hart’s entertainment company, Hartbeat, speaking on a panel at last month’s Hollywood X event.
(Randall Michelson)
In parts of Asia, synthetic performers are no longer hypothetical. In Japan, the anime-style virtual pop star Hatsune Miku has sold out concerts and headlined festivals. In China, AI hosts run shopping streams on the video platform Douyin. And in the U.S., Lil Miquela, a computer-generated influencer created by the Los Angeles startup Brud, has amassed millions of followers and appeared in major fashion campaigns, including a Calvin Klein ad with Bella Hadid.
For studios, brands and producers, the appeal isn’t hard to see. A virtual performer doesn’t call in sick, miss a shoot or carry off-screen baggage. There’s no aging out of roles, no scheduling crunch. They don’t need trailers, negotiate contracts or arrive with riders, entourages and expense accounts in tow.
The old mythology was that a star might be discovered at Schwab’s lunch counter or in an audition room. Hollywood has always chased the “it factor.” What happens when the performer is, quite literally, an it?
That question came into sharp focus this fall with the appearance of Tilly Norwood, a photorealistic, AI-generated character that took the guise of a rising British actor, styled to read mid-20s and approachable — exactly the kind of star Hollywood is always looking for.
It landed in an industry already on edge. Hollywood was still reeling from strikes, layoffs and a prolonged contraction, with anxiety about AI simmering just below the surface. The response was immediate and visceral.
SAG-AFTRA warned that projects like Tilly risked relying on what the union called “stolen performances,” arguing that AI-generated actors draw on the work of real performers without consent or compensation, concerns that were central to the union’s 2023 strike. On a Variety podcast, Emily Blunt was shown an image of Tilly and paused. “No — are you serious? That’s an AI?” she said. “Good Lord, we’re screwed.”
SAG-AFTRA members march in one “Unity Picket” on strike day 111 at Walt Disney Studios in Burbank on Nov. 1, 2023.
(Myung J. Chun / Los Angeles Times)
Even some of Hollywood’s most tech-forward figures have drawn a line. On the press tour for his latest film, “Avatar: Fire and Ash,” James Cameron — the director who once warned of Skynet in “The Terminator” — called the idea of AI replacing actors “horrifying,” arguing that human performance would become increasingly “sacred.”
Yves Bergquist, an AI researcher who directs the AI in Media Project at the USC Entertainment Technology Center — a think tank supported by major studios and technology companies — expects AI to continue to encroach on territory once reserved solely for humans.
“Will we see AI movie stars?” Bergquist asks. “Probably.” But he draws a line between what the technology can generate and what audiences are willing to invest in emotionally.
“Prince writing his songs is a great story,” he says. “Pushing a button and making music is not. Very soon — it’s already starting — we’re going to have this us-versus-them mentality. These are the machines and we’re the humans. And we’re not the same.”
The actor that didn’t exist
“Are you allowed to speak to me from L.A.?” Eline van der Velden, the creator of Tilly Norwood, asks with a quick, nervous laugh on a video call from London — a nod to how radioactive the subject of synthetic performers has become.
The question isn’t entirely a joke. Three months ago, when Van der Velden presented her latest project at an industry conference in Zurich, it touched off one of Hollywood’s most heated debates yet over AI and performance, one that still hasn’t fully cooled.
Van der Velden, 39, came up as an actor before pivoting into production, eventually landing in London, where she founded Particle6, a digital production company known for short-form video work for broadcasters and major platforms. She was in Zurich to introduce its newest offshoot, Xicoia, an AI studio designed to build and manage original synthetic characters for entertainment, advertising and social media. “It’s not a talent agency — we’re making characters,” she says. “So it’s really like a Marvel universe studio in a way.”
Eline van der Velden, creator of the AI-constructed Tilly Norwood, at Web Summit 2025 in Lisbon, Portugal.
(Florencia Tan Jun/Sportsfile via Getty Images)
Tilly Norwood was meant to be the first and most visible example of that approach. Conceived as a recurring character with an unfolding story arc, Tilly was built to exist across short-form videos and scripted scenarios. As part of the Zurich presentation, Van der Velden screened a short satirical video titled “AI Commissioner,” introducing Tilly as a “100% AI-generated” actor — smiling on a red carpet and breaking down on a talk-show couch.
Other short videos featuring Tilly had already circulated online, including a montage placing her in familiar movie genres and a parody riffing on Sydney Sweeney’s controversial American Eagle jeans ad (“My genes are binary”). The “AI Commissioner” video itself had been posted on YouTube months earlier. By then, photorealistic synthetic characters were no longer novel and similar experiments were spreading online.
In Hollywood, it triggered an immediate backlash. Press accounts out of Zurich, amplified by Van der Velden’s remark that Tilly might soon be signed to an agent, collided with an industry already on edge about AI. Van der Velden was stunned at the intensity of the outcry: “Tilly was meant to be for entertainment,” she says. “It’s not to be taken too seriously. I think people have taken her way too seriously.”
Across the industry, working actors, already facing shrinking opportunities, recoiled at the idea of a fabricated performer potentially taking real jobs. Some called for a boycott of any agents who might take on Norwood. Speaking to The Times, SAG-AFTRA President Sean Astin demanded that the real-life actors used for AI modeling be compensated. “They need to know that it’s happening,” he said. “They need to give permission for it and they need to be bargained with.”
As the coverage ricocheted far beyond the trades and went global, the reaction escalated just as quickly. Asked when she knew Tilly had struck a nerve, Van der Velden answers matter-of-factly: “When I got the death threats. That’s when I was like, oh — this has taken a very different turn.”
Van der Velden understands why the idea of a synthetic performer unsettled people, especially in a business already raw from layoffs, strikes and contraction. “Tilly is showing what we can do with the tech at this moment in time, and that is frightening,” she says. But she argues that much of the backlash rests on fears that, in her view, haven’t yet materialized — at least not in the way people imagine them.
Tilly Norwood, an AI construct created by Particle6.
(Particle6)
“There’s a bad reputation around AI,” she says. “People try to swing all sorts of things at it, like, ‘Oh, it’s taking my job.’ Well, I don’t know of anyone whose acting job has actually been taken by AI. And Tilly certainly hasn’t taken anyone’s job.”
Union representatives argue that displacement is already occurring through subtler mechanisms: background roles increasingly filled by digital doubles, commercials replacing actors with synthetic performers and projects that never get greenlighted because AI offers a cheaper alternative. The impact shows up not in pink slips but in opportunities that vanish before auditions are ever held.
Even as the controversy grew, Van der Velden says she began hearing something else privately. Producers and executives reached out, curious about what Tilly could do, with several asking about placing the character in traditional film or television projects — offers she says she declined. “That’s not what Tilly was made for,” she says.
Van der Velden insists the character was never intended to replace actors, framing Tilly instead as part of a different creative lineage, closer to animation. “I was an actor myself — I absolutely love actors,” she says. “I love pointing a camera at a real actress. Please don’t stop casting actors. That’s not the aim of the game.”
With a background in musical theater and physics, Van der Velden spent her early career in Los Angeles acting, improvising at Upright Citizens Brigade and making YouTube sketches. An alter ego she created, Miss Holland — designed to make fun of rigid beauty standards — won an online comedy award and helped launch her career in the U.K., where she founded Particle6.
Tilly began as an exercise: Could Van der Velden design a virtual character who felt instantly familiar, the kind of approachable young woman audiences would naturally be drawn to? “It’s like building a Barbie doll,” she says, noting at one point she considered making Tilly half robot. “I had fun making her. It was a creative itch.”
She pushes back on the idea that synthetic characters are simply stitched together from parts of real people. “People think you take this actress’ eyes and nose and that actress’ mouth,” she says. “That’s not how it works at all.”
Over six months, a team of about 15 people at Particle6 worked on developing Tilly, generating more than 2,000 visual versions and testing nearly 200 names before selecting Tilly Norwood, one that fit what Van der Velden calls the “English rose” aesthetic they were looking for and wasn’t already taken. “It’s very human-led,” Van der Velden says, likening AI tools to a calculator for creatives. “You need taste. You need judgment. You still have to call the shots.”
Even as the technology advances, the uncanny valley remains a stubborn barrier. Van der Velden says Tilly has improved over the last six months, but only through sustained human steering. “It takes a lot of work to get it right,” she says.
That labor, she says, is what separates an emerging form of storytelling worth taking seriously from AI slop. “I’ve seen some genuinely amazing work coming out of AI filmmaking,” she says. “It’s a different art form but a real one.”
She sees Tilly less as a provocation than as a reflection. “She represents this moment of fear in our industry as a piece of art. But I would say to people: Don’t be fearful. We can’t wish AI away. It’s here. The question is, how do we use it positively?”
Her focus now is on what she calls Tilly’s “inside” — the personality, memory and backstory that give the character continuity over time. That interior life is being built with Particle6’s proprietary system, DeepFame, software designed to give the character memory and behavioral consistency from one appearance to the next.
“People ask me things like what her favorite food is,” Van der Velden says. “I’m not going to answer for Tilly. She has a voice of her own. I’d rather you ask her yourself — very soon.”
Hollywood fights back
While Van der Velden wishes the industry were less afraid of what AI might become, Alexandra Shannon is helping Hollywood arm itself for what’s already here.
As head of strategic development at Creative Artists Agency, one of the industry’s most powerful agencies, Shannon works with actors, filmmakers and estates trying to navigate what generative technology means for their work — and their identities.
The questions she hears tend to fall into two camps. “First is, how do I protect myself — my likeness, my voice, my work?” she says. “And then there’s the flip side: How do I engage with this, but do it safely?”
Those concerns led to the creation of the CAA Vault, a secure repository for approved digital scans of a client’s face and voice. Shannon describes it as a way to capture a likeness once, then allow performers to decide when and where it can be used — for example, in one shot created for one film. It doesn’t eliminate uncertainty, she says, but it gives talent something they’ve rarely had since AI companies entered the picture: control.
“There’s a legitimate way to work with them,” she adds. “Anything outside that isn’t authorized.”
Creative Artists Agency’s headquarters in Century City, where talent representatives are grappling with how to protect clients’ likenesses.
(Robert Gauthier / Los Angeles Times)
Those risks are no longer abstract. Unauthorized AI-generated images and videos resembling Scarlett Johansson have circulated online. Deepfake ads have falsely enlisted Tom Hanks to promote medical products. AI-generated images have placed Taylor Swift in fabricated scenarios she never endorsed. Once a likeness becomes live and responsive, Shannon says, control can erode quickly.
For all the panic around AI, Shannon rejects the idea that digital likeness will undercut human stars overnight. “It’s not about all of a sudden you can work with Brad Pitt and you can do it for a fraction of the cost,” Shannon says. “That is not where we see the market going.”
What CAA is intent on preserving, she says, isn’t just a face or a voice but the accumulated meaning of a career.
“For an individual artist, their body of work is built over years of creative decisions — what roles to take, what brands or companies to work with, and just as importantly, what roles not to do, what companies not to support,” she adds. “That body of work is a fundamental expression of who they are.”
Shannon doesn’t dispute that the tools are improving or that some AI-native personas will find an audience. But she believes their growth will sharpen, not weaken, what distinguishes human performance in the first place. “In a world where there’s this vast proliferation of AI-generated content, people will continue to crave live, shared, human-centered experiences,” she contends. “I think it’s only going to make those things more valuable.”
Not everyone is convinced the balance will tilt so neatly.
“The genie’s out of the bottle,” Christopher Travers says by phone from Atlanta, where he runs Travers Tech, advising companies and individual creators on generative video and digital-identity strategy. “There are now more than a million characters across all sorts of media, from VTubers to AI-generated performers.”
Travers got his start in generative AI with the backing of Mark Cuban, founding Virtual Humans in 2019, a startup focused on computer-generated performers and digital identities. These days, his journey would have been much easier. “It costs nearly nothing now,” he says. “And when cost drops, volume increases. There’s pressure on celebrities to keep up.”
Having watched countless virtual characters come and go, Travers wasn’t particularly impressed with Tilly Norwood herself. What mattered to him was the reaction.
“Tilly is maybe 1% of the story,” he says. “The other 99% is the worry and the fear. What it did was strike a chord. We all needed to have this conversation.”
What stardom looks like now
Few people have spent more time inside Hollywood’s old star-making system than mega-producer Jerry Bruckheimer, whose films like “Beverly Hills Cop,” “Top Gun” and “Pirates of the Caribbean” helped turn actors into global commodities.
Even amid the disruption reshaping Hollywood, he believes the industry still knows how to discover and elevate stars. “It’ll happen,” he told The Times earlier this year. “Timothée Chalamet is a star and Zendaya is a star. Glen Powell is becoming a star — we’re going to bring him up. Damson Idris is going to be a star. Now they have to be smart and make good choices on what they do. That’s up to them.”
Stellan Skarsgård as Luthen Rael in the series “Andor.”
(Des Willie / Lucasfilm Ltd.)
The industry may still know how to make stars, but keeping them there has become harder. Chalamet’s biggest box office successes, like “Wonka” and the “Dune” films, have arrived as part of franchises rather than as standalone vehicles. Powell’s latest film, last month’s remake of “The Running Man,” fell short of expectations.
Bruckheimer himself has been pragmatic about AI. During postproduction on his recent Brad Pitt–led Formula One drama, an AI-based voice-matching tool was briefly used to replicate Pitt’s voice when the actor was unavailable for looping, a demonstration of how AI can extend a star’s reach rather than replace them. “AI is only going to get more useful for people in our business,” he says.
If Hollywood has been having more difficulty launching fresh faces, it has become adept at keeping familiar ones on the screen. AI tools can smooth a face, rebuild a voice or extend a performance long after an actor might otherwise have aged out. Stardom no longer has to end with retirement — or even death.
Stellan Skarsgård, for one, is uneasy with the idea. In recent years, the veteran actor — a current Oscar front-runner for “Sentimental Value” — has been part of two of Hollywood’s most valuable franchises, playing Luthen Rael in the “Star Wars” series “Andor” and Baron Harkonnen in the “Dune” films, roles built to carry on through sequels and spinoffs.
Asked about the prospect of an AI version of himself playing those characters after he’s gone, the 75-year-old Skarsgård bristles. The question carries particular weight. Three years ago he suffered a stroke, an experience that forced a reckoning with his craft and sense of mortality.
“SAG has been very adamant — there was a strike about it,” Skarsgård says. “And I do hope it won’t be like that in the future, that it will be controlled and that money won’t have all the rights.” He pauses. “You should have rights as a person, to your own voice, your own personality.”
Those questions — about control, consent and what survives a person — moved from the abstract to the practical last month at Hollywood X on the Fox lot.
Onstage, Jeff Clanagan mentioned a documentary that Hartbeat, Kevin Hart’s entertainment company, is producing with the estate of comedian Bernie Mac, who died in 2008. Built around Mac’s own audiobook narration, the documentary will rely on authorized existing recordings, not newly generated performances, pairing traditional animation with AI-assisted imagery to visualize moments Mac had already described. Clanagan said the technology offered a faster, less expensive way to bring those scenes to life.
But that took some convincing. An Oscar-winning director attached to the project initially wanted to tell the story entirely through traditional animated reenactments. Clanagan said it took months of persuasion — including creating sample scenes to demonstrate the approach — before that resistance eased. “Once he saw it, he was converted, and now we’re doing a little bit of a hybrid,” he said.
That work, Clanagan added, has become part of the job, not just externally but inside Hartbeat as well. “Part of it is educating the talent community on what you can do and still be aligned,” he said, noting that much of the hesitation comes from fear stoked by headlines and unfamiliarity with the tools. “It’s about helping people understand the process. People are starting to believe.”
As the Hollywood X panel ended, attendees filed out of a theater named for Darryl F. Zanuck, one of the architects of the studio-era star system, then crossed the Fox lot toward a reception. Along the way, they passed by cavernous soundstages, some painted with towering murals: Marilyn Monroe in “The Seven Year Itch,” Julie Andrews in “The Sound of Music,” Bruce Willis in “Die Hard.” Faces from another era, still watching as the industry weighs what will endure.
Tarana Burke tells Marc Lamont Hill on Epstein, Trump and how widespread sexual violence is in the United States.
In 2017, a reckoning over sexual violence called “#MeToo” swept the globe. Eight years later, has the movement done enough for survivors? And what will it take for some of the world’s most powerful men accused of sexual misconduct to face consequences?
This week on UpFront Marc Lamont Hill speaks to founder of the Me Too movement, Tarana Burke.
The Department of Justice has released files related to the late convicted sex offender and financier Jeffrey Epstein after mounting pressure led President Donald Trump to sign the Epstein Files Transparency Act last month. Trump, who himself has been accused dozens of times of sexual assault and misconduct, has already appeared in photos, emails and other documents in connection with Epstein, causing a rift in his base. Other business elites, academics, politicians and world leaders have also been named in connection to Epstein. While some have faced minor consequences, only Ghislaine Maxwell has been criminally convicted as part of Epstein’s sex trafficking of minors. Will newly released documents lead to new convictions and genuine accountability for survivors?
NEXT time you’re exploring France, you might spot something that looks like a UFO.
However, it is more likely to be a swimmingpool, built back in the 1970s.
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France is home to a number of pools that look more like spaceshipsCredit: Piscine TournesolThey were built to increase swimming across the countryCredit: Wikimedia Commons/XfigpowerSome of them have been demolished over the yearsCredit: Piscine Tournesol
Called “Piscines Tournesol” – or “sunflower pools” – it aimed to build 1,000 swimming pools across the country.
This was launched by then Secretary of State for Youth and Sport, Joseph Comiti.
They hoped to encourage more people to swim, after the a series of drowning incidents.
Not only that, but it followed a poor performance from the French swimming team in the 1968 Summer Olympics.
After three girls die of cancer in a town in Mexico, a group of mothers and a scientist investigate the water supply.
When three young girls die from leukaemia within a year in a Mexican town, the authorities insist that the water is not contaminated. A teacher and local mothers demand answers and form an action group to investigate the cause. When they team up with a scientist, they find out their water is highly radioactive.
Corporate agriculture for export has depleted the aquifers, leaving behind an ancient layer of groundwater that is poisoning their town. This revelation prompts national outrage and leads the government to cut off the town’s water supply, while some officials still claim that the water is safe.
As the community turns against the women, they face a difficult choice. They must either give up their activism or keep fighting for clean water and environmental justice.
The Age of Water is a documentary film by Isabel Alcantara Atalaya and Alfredo Alcantara.
WASHINGTON — The U.S. Department of Health and Human Services on Thursday unveiled a series of regulatory actions designed to effectively ban gender-affirming care for minors, building on broader Trump administration restrictions on transgender Americans.
The sweeping proposals — the most significant moves this administration has taken so far to restrict the use of puberty blockers, hormone therapy and surgical interventions for transgender children — include cutting off federal Medicaid and Medicare funding from hospitals that provide gender-affirming care to children and prohibiting federal Medicaid dollars from being used to fund such procedures.
“This is not medicine, it is malpractice,” Health Secretary Robert F. Kennedy Jr. said of gender-affirming procedures on children in a news conference on Thursday. “Sex-rejecting procedures rob children of their futures.”
Kennedy also announced Thursday that the HHS Office of Civil Rights will propose a rule excluding gender dysphoria from the definition of a disability.
In a related move, the Food and Drug Administration issued warning letters to a dozen companies that market chest-binding vests and other equipment used by people with gender dysphoria. Manufacturers include GenderBender LLC of Carson, California and TomboyX of Seattle. The FDA letters state that chest binders can only be legally marketed for FDA-approved medical uses, such as recovery after mastectomy surgery.
Proposed rules would threaten youth gender-affirming care in states where it remains legal
Medicaid programs in slightly less than half of states currently cover gender-affirming care. At least 27 states have adopted laws restricting or banning the care. The Supreme Court’s recent decision upholding Tennessee’s ban means most other state laws are likely to remain in place.
Thursday’s announcements would imperil access in nearly two dozen states where drug treatments and surgical procedures remain legal and funded by Medicaid, which includes federal and state dollars.
The proposals announced by Kennedy and his deputies are not final or legally binding. The federal government must go through a lengthy rulemaking process, including periods of public comment and document rewrites, before the restrictions becoming permanent. They are also likely to face legal challenges.
But the proposed rules will likely further intimidate health care providers from offering gender-affirming care to children and many hospitals have already ceased such care in anticipation of federal action.
Nearly all U.S. hospitals participate in the Medicare and Medicaid programs, the federal government’s largest health plans that cover seniors, the disabled and low-income Americans. Losing access to those payments would imperil most U.S. hospitals and medical providers.
The same funding restrictions would apply to a smaller health program when it comes to care for people under the age of 19, the State Children’s Health Insurance Program, according to a federal notice posted Thursday morning.
Moves contradict advice from medical organizations and transgender advocates
Dr. Mehmet Oz, the administrator of the Centers for Medicare and Medicaid Services, on Thursday called transgender treatments “a Band-Aid on a much deeper pathology,” and suggested children with gender dysphoria are “confused, lost and need help.”
Polling shows many Americans agree with the administration’s view of the issue. An Associated Press-NORC Center for Public Affairs Research survey conducted earlier this year found that about half of U.S. adults approved of how Trump was handling transgender issues.
Chloe Cole, a conservative activist known for speaking about her gender-transition reversal, spoke at the news conference to express appreciation. She said cries for help from her and others in her situation, “have finally been heard.”
But the approach contradicts the recommendations of most major U.S. medical organizations, including the American Medical Association, which has urged states not to restrict care for gender dysphoria.
Advocates for transgender children strongly refuted the administration’s claims about gender-affirming care and said Thursday’s moves would put lives at risk.
“In an effort to strongarm hospitals into participating in the administration’s anti-LGBTQ agenda, the Trump Administration is forcing health care systems to choose between providing lifesaving care for LGBTQ+ young people and accepting crucial federal funding,” Dr. Jamila Perritt, a Washington-based OB/GYN and president and CEO of Physicians for Reproductive Health, said in a statement. “This is a lose-lose situation where lives are inevitably on the line. “
Rodrigo Heng-Lehtinen, senior vice president at The Trevor Project, a nonprofit suicide prevention organization for LBGTQ+ youth, called the changes a “one-size-fits-all mandate from the federal government” on a decision that should be between a doctor and patient.
“The multitude of efforts we are seeing from federal legislators to strip transgender and nonbinary youth of the health care they need is deeply troubling,” he said.
Actions build on a larger effort to restrict transgender rights
The announcements build on a wave of actions President Trump, his administration and Republicans in Congress have taken to target the rights of transgender people nationwide.
On his first day in office, Trump signed an executive order that declared the federal government would recognize only two immutable sexes: male and female. He also has signed orders aimed at cutting off federal support for gender transitions for people under age 19 and barring transgender athletes from participating in girls’ and women’s sports.
On Wednesday, a bill that would open transgender health care providers to prison time if they treat people under the age of 18 passed the U.S. House and heads to the Senate. Another bill under consideration in the House on Thursday aims to ban Medicaid coverage for gender-affirming care for children.
Young people who persistently identify as a gender that differs from their sex assigned at birth are first evaluated by a team of professionals. Some may try a social transition, involving changing a hairstyle or pronouns. Some may later also receive hormone-blocking drugs that delay puberty, followed by testosterone or estrogen to bring about the desired physical changes in patients. Surgery is rare for minors.
Swenson, Perrone and Shastri write for the Associated Press. Shastri reported from Milwaukee. AP writer Geoff Mulvihill contributed to this report.
