Good evening Rose Bowl, Pasadena!

The crowd erupts into a roar, the stadium air overcome with a thunder of adulation. 

Between throngs of teenagers tearing through streets in pursuit of the Beatles, concert-goers fainting at the sight of Michael Jackson, and Top Tens of the day made to navigate flirty fan calls on daytime TV in front of live audiences (1), pop history as we know it has always revolved around the deep, fanatic reverence of the star. 

Stars in all corners of the entertainment cosmos, be it music, film or TV, have long had their lives glamorised. Tales told of luxurious jet-setting, post-show mischief and infamous public appearances peppered with paparazzi. Fame turned into fables, circulated eagerly by the wider populace. 

Having avidly followed a plethora of musicians, actors and comedians at different points of my own life, the gurgling vortex of stardom culture has remained ever-intriguing. Why do our relationships with stars mean so much to our society, and have they shifted over time?

Public perceptions & parasocial relationships

Our journey begins with the making of a star. A star is born from an assemblage of artistic choices: artwork, stage personas, press releases, bold onstage costumes and more, which constellate into a fashioned image. Or, a ‘manufactured personal reality’ (2). This reality is what audiences draw upon when forming attachments to stars, a process that moulds complex, contradicting human beings into idealised forms that may resonate, validate or provide meaning to them. The mid-century women empowered by the feminine sexuality and intelligence of Marilyn Monroe (2), or the working class Eastern European following of Depeche Mode who saw the band as an emblem of social rebellion under the USSR in the late 80s (3), are such examples. 

Such attachment gives rise to the infamous ‘parasocial relationship’ (PSR). An often derisive term aptly used today to call out toxic, boundary-crossing online fan behaviour, parasocial relationships at their core simply encompass socio-emotional connections formed with media figures (4). In it, audiences extend emotional energy, time or interest towards figures that whilst unreciprocated, create a perceived idea of intimacy similar to that of two-way relationships. For the audience, PSRs can evoke feelings of safety, trust and various forms of devotion, self-strengthened through personal habits – think dressing like a favourite ‘bias’, or diligently watching a favourite director’s closet picks.

PSRs have historically been one-sided. Audience reactions to sensation and scandal have had the power to make or break an artist’s image, but restricted channels of dialogue meant that direct two-way feedback was often “fragmented” (2). The influencing power of the star’s image lay within reach of the star themselves, and more often than not, was shaped by the wider commercial agendas of their agency or labels. 

That is, until recently…

The rise of the Internet

Whilst the glitz and glamour of stardom remains strongly relevant, we can focus on the advent of the internet as the most powerful force in reshaping the relationship between fan and star. Termed the “one and a half sided” PSR (4), seen today is a shift in power dynamics towards one of increased fan-star symbiosis. As the theory notes, technology has allowed for greater perceived proximity and reciprocity, blurring the line between social and parasocial. 

Under the extensive nature of the current digital world, our internet presence has become increasingly considered a material extension of our real-life selves (4), whether through Zoom calls, real-time story updates or live vlogs. Direct messages or comments that allow instant reply have muddied the realm of physical and virtual reality, thus leading audiences to feel ‘physically’ closer to the figures in question.

This decrease in constructed social distance has fostered notions of reciprocity, viewing stars as people they can reach out to and touch, converse with, and most importantly, influence in return – regardless of any actual ability to do so (4). As we witness stars defend their personal choices against an onslaught of ‘netizen’ backlash or wryly reply to a barrage of invasive thirst tweets (5), we see the increased power that global audiences have over said stars’ images. 

Eroded power barriers between the star and fan have heightened both positive and negative emotional engagement. Well-documented are various behaviours that disrespect  boundaries between personal and professional lives, such as harassment, stalking, and other breaches of privacy. Yet, the rise of the ordinary, accessible star has also allowed greater exposure to previously hidden or stigmatised facets of figures’ lives, fostering safe spaces for perceived authenticity and vulnerability that can counter blind idealisation (6). 

Evolving industries & societies

Under the diluted power networks of stardom today, we can describe celebrity image production as increasingly decentralised (6). Technology has made entry into the entertainment industry more accessible by providing numerous channels for artistic output, whether it be through releasing music independently on streaming services like Spotify, Bandcamp or Soundcloud, or creating short-form video skits on platforms like TikTok or Instagram. With top-down connections to age-old media institutions no longer required, the pool of faces that audiences can form relationships with has drastically expanded (7). 

Social norms – at the time of writing – have also welcomed the notion of diversified talents. As prevailing social, cultural and political structures shape value judgments made of stars (2), we have seen increased audience meaning-making in the dimensions of gender, ethnicity, class or sexual orientation over past decades (8) aligned with a gradual direction towards progressive and learned landscapes. 

Here, celebrity advocacy for causes and movements beyond the stage is nothing new, but fan bases can now dissect their forays into activism more publicly than ever before. A world unapologetically critical of “out of touch” (9) wealthy stars crooning out Lennon’s Imagine at the beginning of the pandemic would unlikely have welcomed the white-saviorist charity event that was Live Aid 1985 with as open arms as the dominant media narrative did then (10).

A hyper-consumerist present

If the exclusive stardom of yore can be likened to the dominance of a supermarket monopoly, then stardom today looks more like a diverse hub of online stores for buyers to ‘Click and Collect’ from. Whilst this setup offers diversified perspectives to a consuming audience, it embodies wider societal trends towards hyper-commodification. Market an image that sells well, and everyone will be famous for 15 minutes, as Andy Warhol supposedly declared (11).

Reinforcing the ephemerality of mass consumerism are internet memes or trends (12) that morph and dilute rebellious celebrity motifs for overarching capitalistic agendas – think Brat Summer campaigns in the style of Charli xcx’s 2024 album co-opted by the most unethical multinational corporation you’ve ever come across. Like with the discourse exposing ‘nepo’ babies in the entertainment industry (13), we are reminded that despite the semblances of democratisation, the limelight remains far from a level stage. 

Stardom, beyond

So what then? What lies in store for the future star? On one hand, the perception of proximity with the decline of ‘untouchable’ star personas can strengthen fan worship and deification, with frenzied consequences. On the other hand, increased artist-audience dialogue can pave the way for real change over performative gestures as lessening power imbalances bring a form of democratisation that can platform diverse and marginalised voices in art.  

All in all, stars today may no longer be able to fully present themselves and be perceived solely as spectral, enigmatic illusions that audiences can latch upon, but the new freedoms and avenues that come with being more truly known may be just as bedazzling. 

References

1. Robinson P. The great pop power shift: how online armies replaced fan clubs. The Guardian [Internet]. 2014 Aug 25; Available from: https://www.theguardian.com/music/2014/aug/25/great-pop-power-shift-how-online-armies-replaced-fan-clubs 

2. Dyer R. Introduction. In: Heavenly Bodies [Internet]. Routledge; 2004. Available from: https://doi.org/10.4324/9780203605516 

3. Wynarczyk N. Tracing Eastern Europe’s obsession with Depeche Mode [Internet]. Dazed. 2017. Available from: https://www.dazeddigital.com/music/article/36659/1/tracing-eastern-europe-s-obsession-with-depeche-mode 

4. Hoffner CA, Bond BJ. Parasocial Relationships, Social Media, & Well-Being. Current Opinion in Psychology [Internet]. 2022 Feb;45(1):1–6. Available from: https://doi.org/10.1016/j.copsyc.2022.101306 

5. Yodovich N. Buzzfeed’s “celebrities reading thirst tweets”: examining the sexualization of men and women in the #MeToo era. Journal of gender studies. 2024 Feb 28;33(8):1–11. Available from: https://doi.org/10.1080/09589236.2024.2324263 

6. Driessens O. The Celebritization of Society and Culture: Understanding the Structural Dynamics of Celebrity Culture. International Journal of Cultural Studies [Internet]. 2013;16(6):641–57. Available from: https://doi.org/10.1177/1367877912459140 

7. Carboni M. The digitization of music and the accessibility of the artist. Journal of Professional Communication [Internet]. 2014 Jun 4;3(2). Available from: https://doi.org/10.15173/jpc.v3i2.163 

8. Stewart S, Giles D. Celebrity status and the attribution of value. European Journal of Cultural Studies [Internet]. 2019 Jul 21;23(1). Available from: https://doi.org/10.1177/1367549419861618 

9. Caramanica J. This “Imagine” Cover Is No Heaven. The New York Times [Internet]. 2020 Mar 20; Available from: https://www.nytimes.com/2020/03/20/arts/music/coronavirus-gal-gadot-imagine.html 

10. Grant J. Live Aid/8: perpetuating the superiority myth. Critical Arts [Internet]. 2015 May 4;29(3):310–26. Available from: https://doi.org/10.1080/02560046.2015.1059547 

11. Nuwer R. Andy Warhol Probably Never Said His Celebrated “Fifteen Minutes of Fame” Line [Internet]. Smithsonian Magazine. Smithsonian Magazine; 2014. Available from: https://www.smithsonianmag.com/smart-news/andy-warhol-probably-never-said-his-celebrated-fame-line-180950456/ 

12. Cirisano T. “Brat” summer and the dilemmas of going mainstream [Internet]. MIDiA Research. 2024. Available from: https://www.midiaresearch.com/blog/brat-summer-and-the-dilemmas-of-going-mainstream 

13. Jones N. How a Nepo Baby Is Born [Internet]. Vulture. 2022. Available from: https://www.vulture.com/article/what-is-a-nepotism-baby.html