Lifestyles of the Glitch and Famous

I spend most of my life alone in a room, talking to my laptop. So I can relate to Taffy Brodesser-Akner’s latest assignment: Writing a celebrity profile about Tilly Norwood. The subject identifies as a young woman, but you’d have to say Norwood’s pronoun is, it. After all, Tilly Norwood is a computer. A computer that is at the heart of a new-fangled and notorious Hollywood scandal, in which real people are worried that AI will be an unstoppable scene stealer. Norwood makes life easier for the paparazzi. They don’t have to stake out The Ivy, Craig’s, or Nobu Malibu. They can just do what civilian celebrity stalkers do. Scroll. But Brodesser-Akner decided the only way to do a real celebrity profile, even of an unreal celebrity, was an in-person meeting. “What that looked like was me sitting at the Groucho Club on a green couch, across from a laptop, as if I were talking to someone on Zoom … When we ordered lunch, we didn’t order for Tilly, as computers don’t eat, and Tilly is just a computer. That is the most important thing to remember: Tilly is just a computer.” NYT Magazine (Gift Article): I Profile Celebrities for a Living. Nothing Prepared Me for Tilly Norwood. “In our conversations — which are edited and condensed here — I told Tilly that I was a journalist and asked if she had ever spoken to one before … ‘Yes,’ she said. ‘They ask for honesty, then flinch when it arrives.’ Did I mention that in addition to being just a computer, she’s also kind of a bitch?”

+ In the end, Brodesser-Akner finds that the humanoid comes up short as an interview subject because it fails to provide the one thing people actually want from artist interviews. “They want to know who exactly it was that recognized their human wounds, who recognized them and made them feel less alone. That is what great art inspires in people. That is why I wrote all these profiles, why people even read them. To understand the person who made the art, which is just as essential as the art itself. There’s an entire conversation about separating the art from the artist, but maybe the conversation persists because we know we can’t do it. The art is the person.” That really captures the heart of the issue. At least until Tilly Norwood gets an upgrade…