Taylor Swift circa 2017 was rumored to have hidden in a suitcase a few times in order to escape the gaze of paparazzi when exiting her Tribeca apartment. In a statement to the Spin, the photographer from the Splash (who obtained the exclusive shot) retreated and denied confidence of its accuracy and cited the photo merely as evidence as to why fans had that theory in the first place. Here, the media was quick to adjust its reporting ethics to satisfy the demand of online discourse –– in a decade when social media wasn’t even close to having the immense significance it has on the news cycle today. This power imbalance between audience and outlet has only grown more unstable over the years as more and more information is easily accessible about your favorite internet celebrity or microinfluencer, either because the person offers up personal information, or because they are constantly exploited by unethical reporting practices.
Why do we even read pop culture news? Is it to understand the fundamental complexities of a universally consumed industry, or is it more often to get intimately close with the people –– those who write and sing the soundtracks to our lives and direct and act in the visual frameworks from which we form our thinking and behavior –– who we mold from real people into inaccessible personas. Journalism itself is supposed to be the fourth estate that gets the public closer to those otherwise inaccessible parts of society. Inaccessibility is what feeds the demand for entertainment news, so the latter is more often the intent of this consumption.
The impact of this dynamic is evident in the academic efforts, such as RIT’s study, on the interaction between social media marketing and parasocial relationships; an attempt to understand how the modern digital age has evolved the dynamic between fan and celebrity into something peculiarly intimate –– parasocial, even.
There are quite a few instances in which celebrities have felt compelled to share details about their intimate lives, completely irrelevant to their careers.
Notably, Harry Styles has been victim to obsessive cries from the public to offer up defensive clarifications about his sexuality, particularly in regards to his relationship with former One Direction bandmate Louis Tomlinson.
Sometimes, these cries are successful. Kit Connor, the 21-year-old actor known for his queer lead character in “Heartstopper” on Netflix, took a temporary leave from social media after fan discourse heavily influenced Connor to clarify his bisexuality after accusations of queerbaiting.
Connor took to X, then known as Twitter, and said, “Twitter is so funny man. Apparently some people on here know my sexuality better than I do.”
Parasocial relationships –– the prevalent dynamic where audiences worship celebrities under one-sided personal contexts, holding them to the same standards as close friends or family rather than merely a virtual persona –– began way earlier than with Swift, Connor, or Styles.
Freddie Mercury and Elton John were queer icons of ‘70s popular culture and were surrounded by sexuality rumors in the media. But the invasiveness to which this occurred was far less than what can be seen in today’s reciprocal relationship between fans and the news cycle. For artists like Mercury and John, it was more about the music –– and yeah, maybe the glittery jumpsuits and particular clubs they hung out at –– but neither artist felt the need to give into pressures of leaving the closet. John even told the Today Show in 2012, reflecting on when Rolling Stone first inquired about his sexuality in 1976, “I’ve been waiting for people to ask me this,” John said. “I live with my manager, I’m openly gay outside, I thought it was common knowledge.” Of course, sexuality at this point in history was not as widely discussed, but the disparity between how the media handled such intimate details versus the public was irrevocably different.
Sometimes, parasocial relationships can be a threat to the safety of these beloved people. Princess Diana was an OG it-girl whose expository spotlight ultimately contributed to her death, as evidence showed that paparazzi swarming her private car played into the conditions of her fatal traffic collision.
Psychologically, the one-sided dynamic between celebrity and fan in parasocial relationships mirrors that of religious worship. Celebrities are idolized in ways made possible only through media, but this insatiable need to feel close to religiously worshiped figures has no place in journalistic media consumption. No cameras are going to catch Jesus walking around the residential streets of West Hollywood in their pajamas or having dinner in New York City on a first date –– or being ambushed in their private car.
Reputable entertainment journalism is possible. There are great examples of it in trade publications like Variety and Deadline that explore the intricacies of the media industry: breaking news of the business deals among the big six legacy conglomerates, introspective analyses of films and how they function in society, and exposés on corruption of individual power such as when the New York Times broke the Harvey Weinstein story.
Parasocial relationships aren’t going anywhere. The obsessive manner in which fans and consumers of media discuss things online is a normal part of human behavior that has existed long before the prominence of social media. Currently, the media often acts as an echo chamber for hearsay while neglecting genuine investigative and ethical practices due to the unfeasible pace at which the news cycle operates. Where the distinction between tabloid junk and real reporting about celebrities lies is when the reporting serves the public truthful and significant information that is sourced, fact-checked, and above all, ethical regardless of the rapid news cycle accelerated by social media and 24-7 live coverage.
The way in which the media amplifies obsessive, all-consuming interests must exist alongside ethical entertainment news. Journalism is meant to report on the truth, not manufacture it to satisfy public expectations.
Byline: Georgie Gassaro is a Junior Journalism major who thinks we could all do with a bit more reputable journalism in the entertainment industry. She can be reached at ggassaro@ithaca.edu.