AI actor Tilly Norwood releases a musical video arguing that artificial intelligence can expand creativity in film
Updated
March 13, 2026 2:18 PM
AI Actor Tilly Norwood. PHOTO: INSTAGRAM@TILLYNORWOOD
As Hollywood prepares for this weekend’s Oscars, a different kind of performer is stepping into the spotlight — one that doesn’t physically exist.
Tilly Norwood, described as the world’s first AI actor, has released her debut musical comedy video, Take the Lead. The project arrives at a moment when artificial intelligence has become one of the most contentious topics in the film industry.
The message of the song is simple. AI should not be seen as a threat to actors. Instead, it can become another creative tool. The release also offers a first look at what Norwood’s creators call the “Tillyverse”. It is envisioned as a cloud-based entertainment world where AI characters can live, interact and perform.
Behind the character is actor and producer Eline van der Velden. She is the CEO of production company Particle6 and AI talent studio Xicoia. Van der Velden created Tilly as a way to experiment with how artificial intelligence could be used in storytelling.
The timing is not accidental. The entertainment industry has spent the past few years debating the role AI should play in filmmaking and acting. Questions about digital replicas, automated performances and creative ownership continue to divide artists and studios.
Norwood’s musical video enters that debate with a different tone. Instead of warning about AI replacing actors, the project suggests that the technology could expand what performers are able to do.
The video itself also serves as a technical experiment. The song Take the Lead was generated using the AI music platform Suno. The video was then produced using a combination of widely available AI tools and Particle6’s own creative process.
One of the newer techniques used in the project is performance capture. Van der Velden physically acted out Tilly’s movements and expressions so the digital character could mirror a human performance. But the production was far from automated. According to Particle6, a team of 18 people worked on the video. The group included a director, editor, production designer, costume designer, comedy writer and creative technologist. In other words, the project still relied heavily on human creativity.
“Tilly has always been a vehicle to test the creative capabilities and boundaries of AI,” van der Velden said. “It’s not about taking anyone’s job”. She added that even with powerful tools, good AI content still takes time, taste and creative direction.
The project also reflects how quickly production technology is evolving. Tools that once required large studios are now accessible to smaller creative teams experimenting with AI-driven storytelling.
For Particle6, the character of Tilly Norwood acts as a testing ground. Each project explores how AI performers might be developed, directed and integrated into entertainment. Whether audiences embrace digital actors remains an open question. Many in the industry are still wary of how AI could reshape creative work.
But projects like Take the Lead show another possibility. Instead of replacing performers, artificial intelligence could become part of the creative process itself. In that sense, Tilly Norwood may represent something more than a virtual performer. She is also an experiment in how humans and machines might collaborate in the future of entertainment.
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CES 2026 and the move toward wearable robots you don’t wear all day.
Updated
January 28, 2026 5:53 PM
The π6 exoskeleton from VIGX. PHOTO: VIGX
CES 2026 highlighted how robotics is taking many different forms. VIGX, a wearable robotics company, used the event to introduce the π6, a portable exoskeleton robot designed to be carried and worn only when needed. Unveiled in Las Vegas, the device reflects a broader shift at CES toward robotics that move with people rather than staying fixed in industrial or clinical settings.
Exoskeletons have existed for years, most commonly in controlled environments such as factories, rehabilitation facilities and specialised research settings. In these contexts, they have tended to be large, fixed systems intended for long sessions of supervised use rather than something a person could deploy on their own.
Against that backdrop, the π6 explores a more personal and flexible approach to assistance. Instead of treating an exoskeleton as permanent equipment, it is designed to be something users carry with them and wear only when a task or situation calls for extra support.
The π6 weighs 1.9 kilograms and folds down to a size that fits into a bag. When worn, it sits around the waist and legs, providing mechanical assistance during activities such as walking, climbing or extended movement. Rather than altering how people move, the system adds controlled rotational force at key joints to reduce physical strain over time.
According to the company, the device delivers up to 800 watts of peak power and 16 Nm of rotational force. In practical terms, this means the system is designed to help users sustain effort for longer periods, especially during physically demanding activities_ by easing the body's load rather than pushing it beyond normal limits.
The π6 is designed to support users weighing between 45 kilograms and 120 kilograms and is intended for intermittent use. This reinforces its role as a wearable companion — something taken out when needed and set aside when not — rather than a device meant to be worn continuously.
Another aspect of the system is how it responds to different environments. Using onboard sensors and processing, the exoskeleton can detect changes such as slopes or uneven ground and adjust the level of assistance accordingly. This reduces the need for manual adjustments and helps maintain a consistent walking experience across varied terrain, with software fine-tuning how assistance is applied rather than directing movement itself.
The hardware design follows a similar logic. The power belt contains a detachable battery, allowing users to remove or swap it without handling the entire system. This keeps the wearable components lighter and makes the exoskeleton easier to transport. The battery can also be used as a general power source for small electronic devices, adding a layer of practicality beyond the exoskeleton’s core function.
VIGX frames its work around accessibility rather than industrial automation. “To empower ordinary people,” said founder Bob Yu, explaining why the company chose to focus on exoskeleton robotics. “VIGX is dedicated to expanding the physical limits of humans, enabling deeper outdoor adventures, making running and cycling easier and more enjoyable and allowing people to sustain their outdoor pursuits regardless of age.”
Placed within the wider context of CES, the π6 sits alongside a growing number of portable robots and wearable systems that prioritise convenience, mobility and personal use. By reducing the physical and practical barriers to wearing an exoskeleton, VIGX is testing whether assistive robotics can move beyond niche environments and into everyday life. If that experiment succeeds, wearable robots may become less about dramatic augmentation and more about quiet support — present when needed and easy to put away when not.