permission

Scary. Terrifying. Deeply misguided.

Those were among the visceral reactions this week from Emily Blunt, Whoopi Goldberg, Natasha Lyonne and many other actors and filmmakers over the sudden fame of Tilly Norwood.

Norwood isn’t real — the brunette who appears in a comedy sketch on her Instagram page is in fact a computer-generated composite.

“I may be AI, but I’m feeling very real emotions right now,” states a message on Norwood’s Instagram page. “I am so excited for what’s coming next!”

The sentiment was not widely shared, at least in Hollywood, where anxieties about the use and abuse of artificial intelligence replacing actors runs deep.

Norwood’s creator ignited a furor after she announced that the digital actress would soon be signed by a talent agency.

This week, SAG-AFTRA weighed in with a withering response. Two years ago, the union’s members engaged in a 118-day strike to fight for more AI protections in their contracts with major studios.

“To be clear, ‘Tilly Norwood’ is not an actor, it’s a character generated by a computer program that was trained on the work of countless professional performers — without permission or compensation,” the guild said. “It doesn’t solve any ‘problem’ — it creates the problem of using stolen performances to put actors out of work, jeopardizing performer livelihoods and devaluing human artistry.”

Norwood was created by AI through Xicoia, a London-based AI talent studio launched by Dutch actor Eline Van der Velden. Xicoia is working with estates and Hollywood stars who want to appear as their younger selves on screen, according to Deadline, which first reported talent agency interest in Norwood.

Van der Velden, who is also the founder of AI production company Particle6, was not available for comment on Wednesday. But in a statement posted on Instagram following the backlash, Van der Velden stressed that Norwood is “a creative work — a piece of art.”

“I see AI not as a replacement for people, but as a new tool — a new paintbrush,” Van der Velden said. “Just as animation, puppetry, or CGI opened fresh possibilities without taking away from live acting, AI offers another way to imagine and build stories.”

SAG-AFTRA President Sean Astin disputed the claim.

He said in an interview with The Times that the material used to create Norwood was “improperly obtained” from SAG-AFTRA members’ work without permission, compensation or acknowledgment.

“It manipulates something that already exists, so the conceit that it isn’t harming actors — because it is its own new thing — ignores the fundamental truth that it is taking something that doesn’t belong to them,” Astin said.

“We want to allow our members to benefit from new technologies. … They need to give permission for it, and they need to be bargained with.”

Norwood has 44,000 followers on Instagram and is portrayed as an aspiring young actor based in London who enjoys shopping and iced coffee.

The social media page depicts Norwood in various scenes. In one, she’s armed and ready to battle a monster; in another, she’s running away from a collapsing building in a futuristic city.

At an industry panel in Zurich on Saturday, Van der Velden touted her creation.

“With Tilly, you know, when we first launched her, people were like, ‘That’s not going to happen,’” Van der Velden said. “And now, we’re going to announce which agency is going to be representing her in the next few months. It’s all changing and everyone is starting to see the light, fortunately.”

Talent agencies have represented digital characters used in ad campaigns. And seeing such avatars in the mainstream has become increasingly common — in 2024, Japanese digital character Hatsune Miku performed at Coachella and an AI model was featured in the August issue of Vogue magazine for L.A. brand Guess.

And some studios, including Lionsgate, have partnerships with AI startups to explore using the technology in areas such as storyboarding. Others, such as Netflix and Amazon MGM Studios, have series that use AI in visual effects.

Tech companies have argued that they should be able to train their AI models on content available online and bring up relevant information under the “fair use” doctrine, which allows for the limited reproduction of content without permission from the copyright holder.

But the proliferation of AI has also fueled concerns that AI companies are using copyrighted material to train their models without compensation or permission. Earlier this year, Disney, Universal and Warner Bros. Discovery sued AI companies over copyright infringement.

Some actors called for a boycott of any agents who decide to represent Norwood. “Read the room, how gross,” “In the Heights” actor Melissa Barrera wrote on Instagram.

“Our members reserve the right to not be in business with representatives who are operating in an unfair conflict of interest, who are operating in bad faith,” Astin said.

Walt Disney Co., Universal Pictures and Warner Bros. Discovery on Tuesday sued a Chinese artificial intelligence firm called MiniMax for copyright infringement, alleging its AI service generates iconic characters including Darth Vader, the Minions and Wonder Woman without the studios’ permission.

“MiniMax’s bootlegging business model and defiance of U.S. copyright law are not only an attack on Plaintiffs and the hard-working creative community that brings the magic of movies to life, but are also a broader threat to the American motion picture industry,” the companies said in their complaint, filed in U.S. District Court in Los Angeles.

The entertainment companies requested that MiniMax be restrained from further infringement. They are seeking damages of up to $150,000 per infringed work, as well as attorney fees and costs.

This is the latest round of copyright lawsuits that major studios have brought against AI companies over intellectual property concerns. In June, Disney and Universal Pictures sued AI firm Midjourney for copyright infringement. Earlier this month, Warner Bros. Discovery also sued Midjourney.

Shanghai-based MiniMax has a service called Hailuo AI, which is marketed as a “Hollywood studio in your pocket” and used characters including the Joker and Groot in its ads without the studios’ permission, the studios’ lawsuit said. Users can type in a text prompt requesting “Star Wars’” iconic character Yoda or DC Comics’ Superman, and Hailuo AI can pull up high quality and downloadable images or video of the character, according to the document.

“MiniMax completely disregards U.S. copyright law and treats Plaintiffs’ valuable copyrighted characters like its own,” the lawsuit said. “MiniMax’s copyright infringement is willful and brazen.”

“Given the rapid advancement in technology in the AI video generation field … it is only a matter of time until Hailuo AI can generate unauthorized, infringing videos featuring Plaintiffs’ copyrighted characters that are substantially longer, and even eventually the same duration as a movie or television program,” the lawsuit said.

MiniMax did not immediately return a request for comment.

Hollywood is grappling with significant challenges, including the threat of AI, as companies consolidate and reduce their expenses as production costs rise. Many actors and writers, still recovering from strikes that took place in 2023, are scrambling to find jobs. Some believe the growth of AI has threatened their livelihoods as tech tools can replicate iconic characters with text prompts.

While some studios have sued AI companies, others are looking for ways to partner with them. For example, Lionsgate has partnered with AI startup Runway to help with behind the scenes processes such as storyboarding.

A WOMAN has been left fuming after claiming her ‘psycho’ neighbour chopped down her garden’s trees without permission.

In a video, she shared the before and after of her outdoor space, with her garden looking like a mess after the massacre. 

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On her account, she shared the entire story – and people are split in the comments. 

She claimed: “About two months ago, our neighbor asked us to remove our trees because flowers were falling into his yard. 

“Of course I felt terrible but we said no, because I loved those trees for many reasons. “However, we immediately had them professionally cut back (which we do every other year, per our landscaper’s recommendation). He lost it. 

“He sent a bunch of unhinged messages to my husband but we thought it had blown over after we had the trees cut back and the flowers stopped blooming.

“Fast forward to this past weekend, while we weren’t home (which he knew), they were mysteriously chopped down. Every last one. 

“They were cut aggressively and conveniently in a way that ensured nothing fell into his yard.”

She shared how she had asked neighbours if they had seen what happened – and word got back to the person they suspect did it. 

The woman claims he then started sending her husband “threatening messages” filled with “profanity and intimidation.”

The social media user said she wasn’t sharing the story for sympathy but because she felt “heartbroken”. 

She said she has filed a police report and is trying to get justice over the incident.

People were quick to tune in on the tree debacle, with one saying: “Huge trees are a pain in a garden but you cannot just go in neighbors garden and cut them down!”

Another also supported her saying: “What type of psycho goes to another person’s yard and cuts down their trees!!!! 

“It’s truly insane. I’m sorry this was done to you.”

However, some people took the neighbour’s side.

One wrote: “Why do people plant their trees so close to the border?”

Another added: “understand your feelings but anything hanging over his yard I presume he can legally cut back?”

What are your rights if a neighbour’s tree hangs into your garden?

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In order to prevent overhanging branches turning into furious rows between neighbours, Natalie Welsh, head of property at HCB Widdows Mason shared what your rights are in this tricky situation.

“It can be really frustrating when branches or plants from your neighbour’s garden start to spill over into your space”, she said.
“In England and Wales, you’re allowed to cut back any branches that cross onto your property, but only up to the boundary line.

“Just make sure you don’t step onto your neighbour’s land or damage the tree itself.”

When trimming a tree back, you are not allowed to lean into your neighbour’s garden, since that can be considered trespassing.

Natalie advised that before taking any drastic action, it’s best to have a friendly chat with your neighbour first.

AMC Networks, known for series such as “Breaking Bad” and “The Walking Dead,” is partnering with AI startup Runway to use AI tools for marketing and developing its TV shows.

Runway’s AI technology will help AMC Networks ease access to standout scenes and generate pictures for promotional use.

The tech will also be used to speed up “pre-visualization” during development, which is when studios use images to come up with the look of a show before filming takes place.

Runway also said AMC Networks is exploring AI to be used for honing special effects ideas.

“As we explore the transformative potential of AI across our business, we see powerful opportunities to enhance both how we market and how we create,” said Stephanie Mitchko, the executive vice president of global media operations and technology at AMC Networks, in a statement.

“Our objective is always to use every tool at our disposal to help our creative partners fully realize the stories they want to tell,” Mitchko said.

Entertainment companies have been exploring how to use AI in their processes, which supporters say can help reduce costs and allow creatives to test bold ideas without as many financial constraints.

Last year, Runway announced a partnership with Lionsgate, in which Runway will create a new AI model for the studio to help with behind-the-scenes processes such as storyboarding. The company’s technology has also been used in series like “House of David” on Amazon Prime Video, according to Variety.

“We’re building the foundations for a new era of media — the way content gets made and green-lit is changing rapidly, and that’s impacting everything from production timelines and methodologies to distribution models and marketing tactics,” said Cristóbal Valenzuela, co-founder and CEO of Runway in a statement.

AI remains a controversial topic in Hollywood. Some creatives and unionized workers have expressed concerns about how AI could reduce jobs. Writers have complained that AI models are being trained on their scripts without their permission or adequate compensation.

Tech industry executives have said that they should be able to train AI models with content available online under the “fair use” doctrine, which allows for the limited reproduction of material without permission from the copyright holder.

AI filmmaking technology is advancing rapidly, such as with Google’s unveiling new features in its Veo 3 text-to-video tool and its Flow editing software. But experts say that artificial intelligence companies need to license content from professional studios in order to take the tools to the next level.

On 1 December, Netflix began streaming Farha (2021) worldwide, despite immense pressure directed at the platform to prevent its debut. The film is director Darin J. Sallam’s first full-length feature and chronicles the coming-of-age story of its heroine, Farha, a 14-year-old Palestinian teenager who possesses a voracious appetite for books and learning. Farha’s cultural background is that of a villager – her Arabic dialect infused with the authenticity often associated with Palestinian grandparents, particularly the generation born in the decade just before or that of the Nakba itself. Yet, what makes Farha a distinguished heroine isn’t necessarily her linguistic veracity, it is her bravery and her desire to pursue her education at a school in the neighbouring city. At the start of the film, she is seen at one with the land, collecting water from the local spring, eating figs straight from the communal trees and collecting almonds in her satchel, still intact and unpeeled. She goes through the motions of her chores in the village, but her mind often wanders into the literary worlds of the books she reads, novels gifted to her by her best friend Fareeda, who is from a city-dwelling family not far from the village from which Farha hails.

The first scenes of the film show Farha as a dreamer, a girl who urges her father, a man of mayoral standing, to register her in the city’s school. Her father is hesitant as he believes her economic livelihood is best secured through the arrangement of marriage and that the local Quran recitation learning groups provided by the Sheikh are a sufficient education. Still, Farha fights for her desire to learn and secures the support of many an ally in her extended family and community to finally convince her father. On the eve of the Nakba, he signs her enrolment certificate. Throughout the film, there are peripheral present-absent signifiers of just how troubling the situation in Palestine has become. Talk of resistance tactics and meetings between rebels and the officials hint that the historical events of the Nakba and its tragedy are on the cusp of eruption. These more politicised characters weave in and out of frames of the film, infiltrating the scenes with reminders, only to give way to Farha’s experience, which remains at the centre. Slowly but surely, the viewer’s understanding expands organically with Farha’s, and we see that this curious girl, who had very little understanding of the depth of this dire situation, is forced to contend with its brutality as a witness and as a survivor of violence, loss and dispossession. In fact, Farha’s father hides her in a closet where she remains trapped throughout the most violent moments that befall her village, and she is left alone to deal with the aftermath.

The film was produced by TaleBox, a production company co-founded by Sallam and producer Deema Azar. Ayah Jardaneh also served as the producer of the film. The film likewise received support from Laika Film & Television, Chimney, The Jordan Film Fund – Royal Film Commission, the Swedish Film Institute and the Red Sea Film Fund (an initiative of the Red Sea Film Festival). It remains a largely Jordanian-based initiative, highlighting the lived experience of Palestine and Palestinians, with support from European-based organisations. On a political level, Farha has depicted the tragedy of the Nakba for the first time through film and employs what the late Palestinian American scholar, Edward Said, has called the “permission to narrate” the Palestinian experience against many odds.

OPINION: Israel’s terror against Gaza’s children on Netflix

In response to the 1982 Israeli invasion of Lebanon and its aftermath, Said penned “Permission to Narrate” for the Journal of Palestine Studies in 1984. In it, he notes: “A disciplinary communications apparatus exists in the West both for overlooking most of the basic things that might present Israel in a bad light and for punishing those who try to tell the truth.” In short, Said’s argument can be summed up as such: despite declassified archives, countless human rights reports, international organisation inquiries and both official and ethnographic accounts of Palestinian plight and dispossession from Nakba to diaspora and from Nakba to military occupation, the Palestinians have been denied the right to narrate their own stories. They have also been denied the privilege of seeing their experience reflected back at them through film and literature and, by extension, preventing them from experiencing the catharsis that comes with artistic acknowledgement and representation. Farha has granted the Palestinian diaspora permission to narrate this story on one of the world’s largest entertainment streaming platforms. More importantly, Farha’s story has been recounted, in numerous iterations and manifestations, 700,000 times by the first generation of the dispossessed. The trauma of that memory remains forever fixed in the minds of the descendants of those who were forcibly displaced – a global diasporic population of nearly six million people and counting – approximately half of the total population of 12 million Palestinians across the historical homeland and outside of it. This population has been classified by the international community, despite its many failures towards it, as ipso facto stateless.

Palestinian’s culture and heritage is the best weapon against the Occupation – Cartoon [Sabaaneh/MiddleEastMonitor]

While on the one hand, Farha has been hailed by many viewers as an incredible feat, it comes as no surprise that the film has been targeted by Israeli officials and has caused outrage. Israel’s Finance Minister Avigdor Lieberman issued a statement condemning Netflix, stating his belief that: “It’s crazy that Netflix decided to stream a movie whose whole purpose is to create a false pretence and cite against Israeli soldiers.” Though Farha has been screened globally in many film festivals and series since its debut in 2021, at venues such as Dubai-based Cinema Akil and intentional film festivals, including the Toronto Film Festival, the Red Sea Film Festival and others, it is its recent reincarnation on Netflix and its screening at Saraya, a theatre in Jaffa that has caused the most outrage towards the film. The Israeli government has threatened to act against Saraya and has encouraged a mass exodus of subscribers to Netflix. While many regional and international news networks hail the film for its artistic and historical merits, there is also a cacophony of discordant opinions about it, with publications like Fox News and The Times of Israel labelling the film as “terrible” or as “lies and libels”, whilst other major publishers such as The New York Times tiptoe around the film’s representations, selecting its words carefully to maintain its readership. Sites such as IMDb and Rotten Tomatoes have seen an onslaught of divided reviews: either five-star glowing recommendations from the film’s supporters or comments of rage and disbelief from its detractors.

In all the opinions emerging in the now global conversation surrounding this film, there has been no mention of Sallam’s other smaller work, The Parrot, a 2016 short film she co-directed with Amjad Al-Rasheed. In eighteen powerful minutes, The Parrot follows the story of a Tunisian Jewish family who arrives in Haifa and takes up residence in a home belonging to a Palestinian Greek-Orthodox family. Their clothing, blue-tinted walls and Christian iconography, which borrow heavily from the aesthetic and colour-scape of local churches, are left behind by the displaced family. The breakfast and tea on the table are still hot, and the new occupants, played by Tunisian actress Hend Sabry as Rachel and Palestinian citizen of Israel Ashraf Barhom as Mousa, are haunted by the spectre of the family that once lived there and by the constant echoes of the parrot that was left behind and calls out after the Palestinian boy who owned him asking for a kiss. The parrot also repeats “where are you?” and “why are you looking at me like that” incessantly.

OPINION: Healing with humour, Palestinian comedians strike a chord in occupied cities

Yet, for viewers who are unaware of the Nakba, this imagery and the story of Palestinian displacement remain subliminal. Instead, what takes centre stage is the othering of Eastern Jews who find themselves in Euro-Israeli modernity, one that they can’t quite figure out. As such, by the end of the short film, many viewers would engage in a conversation about the depiction of an intense encounter between the Tunisian Jewish family and their Ashkenazi neighbours, who look at the architecture and structure of the house in Haifa with envy, bewildered at how Eastern Jews, othered and orientalised, had acquired such luck. The film is as much a critique of ethnic relations among Israelis as it is about the Palestinian exodus, and, like Farha, it tells a tragic tale through beautifully directed cinematography and crafted set and costume designs. The pleasing nature of Sallam’s use of pastels, verdure and white stone almost works as an antidote to the harsh emotional blow to the nerves that her cinematic tales have delivered thus far and will continue to do in the future.

The views expressed in this article belong to the author and do not necessarily reflect the editorial policy of Middle East Monitor.

A HOMEOWNER was left stunned after her neighbour took matters into their own hands with their DIY project.

She took to Reddit to explain what happened, and people were left divided on it all.

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The problem started when her neighbours decided to add a small building to the back of their garden.

Initially, the project made no difference to the homeowner and she thought nothing of it.

That is until she came home from work one day to discover they had replaced their shared fence for their benefit.

It turned out the small outbuilding had a small window on the wall next to the shared fence, but because of the normal fence panels no light could get into the window.

That’s when the neighbours decided to take matters into their own hands.

The homeowner explained: “I came home from work today and this is how the fence looks, the neighbour has had a building built at the bottom of the garden and a window on the building just the other side of that fence.

“I understand it’s to allow light to pass through the window bit it looks white and why should my privacy be invaded for their benefit?”

Alongside the post, the homeowner shared a picture of the new fence, which had large holes in the design to allow light through.

However, as well as letting light into her neighbour’s new space, the new fence allowed them to peek right into her garden.

After sharing the post on Reddit users were left divided over how the homeowner should go about the problem.

One said: “That is certainly one of the most moronic things I’ve ever seen.”

Meanwhile, a second suggested adding plants to the area to solve the problem.

They explained: “You can buy laurel trees that are already a couple of metres high to give a hedge a head start.

“This is what I did last year. I planted 10 two metre high laurels last spring and they are doing really well.”

And while someone else suggested adding another shed on their side of the fence, another person had an easier plan.

They said: “Instead of a shed, just put two garden chairs directly facing it, then sit there and look in through their window.

“Privacy works both ways and when they don’t have it, they will want it back.”