Someone turned Draco Malfoy into a girl with AI, and now I need to know what happens next

Meet Miss Malfoy (that’s what I’m calling her), the internet’s gender-flipped take on Draco Malfoy, the platinum-blond Slytherin who spent seven books making Harry’s life hell. Fan artists have been drawing her for years. Now the idea has jumped to AI animation, complete with cinematic scenes, dialogue and a slow-burn romance. Creator Foyege’s In Another Universe series reimagines the Potter story with Draconia and Harry at its heart, and it's oddly compelling.

It’s weird to watch, no question. And I had to ask the team’s more in-the-know Gen Z members if it’s ‘okay’ and not some weird, lewd corner of the internet I’d rather not give oxygen to (I’m uncomfortable with the more common ‘Milfoid’ term surrounding some of this; it feels a bit Incel-y). I was told 'all of the internet is weird, so here we are. But there are some interesting design insights and AI uses here, not least how Foyege’s shorts, in particular, get Hogwarts right; the character design is instantly familiar, but there’s also that slightly uncanny thing about seeing a generated face move and talk.

A fan art AI trend that's weird and revealing

People are watching, and many have become actively engaged and want to know what happens next. Fans have spent years drawing, writing about, and arguing over Draco. He’s arrogant, privileged and spiteful, then gradually turns out to be far more complicated than the school bully we first meet. By flipping his gender and changing his relationship with Harry, the character gets a whole new playground to work in (and yes, I'm sure there are parts of this fan fiction I'd rather not find), and fans are already on X debating why it does and doesn't work.

But ultimately, videos like those by Foyege represent a new, professionalised aspect of fan fiction. This works because nobody needs the backstory explained. Blond hair, green and silver, a face that’s permanently unimpressed: job done. With fan fiction, the creator can skip the introductions, go straight to the interesting stuff, and pull familiar ideas in new directions. And the enemies-to-lovers trope? It works because familiar insults become flirting, hostility hides affection, and two people who’d rather 'Depulso' each other than share a room end up at the centre of a love story.

What AI adds is performance, and that’s both an odd thing to write and a very 2026 reality. A writer can describe a moment and an artist can draw it, but a voiced, animated scene brings timing and expression. Even a short clip can feel like a scene from a parallel-universe film, and Foyege’s movies drew me in with clever edits, camera movement, subtle details, and even a K-Pop-like power ballad to tie it all together, hitting every emotional hook and hanging dramatic ending Netflix has spent a decade mastering.

AI has it's problems

I’m not about to declare that the future of cinema has arrived with AI because a slick shot tells us nothing about whether the story works, how much human direction went into it, or how many hours were spent fixing glitches by hammering prompts into a keyboard. Hitting ‘generate’ doesn’t make you a filmmaker, and even those behind the emerging tech, like Autodesk's VP of M&E Strategy, Maurice Patel, have told me "it's terrible at directed content". Quality animation remains the preserve of studios like Laika, which excel at real human-made art, and Wildwood shows that in every frame.

But writing it all off because AI was involved feels lazy, too. Someone still has to decide what the story is, which moments earn screen time and how the characters should act. Someone has to work out what makes this Draco still Draco, what’s changed, and why anyone would come back for episode two. That’s where the creativity lives.

And yes, the thorny questions remain: copyright, training data, and using characters from a world other people built. Loving Harry Potter doesn’t make every use of it ethically straightforward, and one popular fan video doesn’t mean everyone has made peace with AI-generated work.

Even so, some audiences clearly will engage with AI-assisted storytelling if it gives them something they actually want to watch. What I like most is that there isn’t one definitive 'Miss Malfoy'. The 'Malfoid' thing is a shared idea, and every artist and creator puts their own spin on it. People draw their own Draconia, write their own stories, or try their hand at animation, and one fan’s version becomes the jumping-off point for the next.

That’s closer to a participatory fandom than a standard film release, and AI speeds some of that up by opening production to more people; while the reality is that one in a hundred ideas are good, there’s something engaging about watching all the failures until one video or idea lands. But someone with an idea can now take it further than they could before. Generative AI brings its own questions and trade-offs, and its origins in scraping artists' work casts a dark cloud it will never escape, but it also offers a new way to experiment.

This weird fan-fiction 'Miss Malfoy' trend doesn’t mean AI has cracked creativity, and it’s certainly no argument for replacing the artists who built the worlds we love, as a human wrote Harry Potter, and more humans developed it into films and games. It shows that people bring their own ideas and attachments to whatever tools they pick up. AI can make a character who looks the part, but can it make us care what happens to her? That’s still up to a human.

Watch the Foyege videos for yourself.

Ian Dean is Editor, Digital Arts & 3D at Creative Bloq, and the former editor of many leading magazines. These titles included ImagineFX, 3D World and video game titles Play and Official PlayStation Magazine. Ian launched Xbox magazine X360 and edited PlayStation World. For Creative Bloq, Ian combines his experiences to bring the latest news on digital art, VFX and video games and tech, and in his spare time he doodles in Procreate, ArtRage, and Rebelle while finding time to play Xbox and PS5.