POP STARS BARBIE TV
Now and in the future, labels and artists have a better chance of building an artist’s brand, tapping into identity drivers, and cultivating fandom by working on TV and film projects that are as specialised as possible.
In other words, the result of niche being the new mainstream is that mainstream is becoming the new niche.
POP STARS BARBIE SERIES
This is part of what makes it possible for YouTube content creators making slime videos to have millions of subscribers, while a Max series premiere fails to crack 1 million views.
The streaming era allows niche audiences to find each other and scale.
The good news is that “niche” does not necessarily mean small - it just means specialised. By diluting the content enough to appeal to as many people as possible, it will only ever have light resonance for anyone. Labels can continue to try and crack the traditional mainstream through blockbuster films like Barbie, but this strategy will have diminishing returns. The Hollywood Reporter noted that The Idol premiere drew 913,000 viewers - a lacklustre number, but in line with other recent Max debuts. This pathway to the mainstream will not last forever, as TV and film are fragmenting into niches, too. With their film and TV roles, Harlow and Lipa are tapping into these competing identity drivers, which amplifies their ability to cultivate fandom.Ībout this report Audible Magic has commissioned MIDiA to produce a White Paper on the rising power of UGC and the untapped opportunity to monetise the growth in UGC consumer behaviours and new platforms. But 40% say the same about the movies and TV shows they watch, 40% about the clothes they wear, and 30% about the sports teams they support. Roughly half of all consumers say that the music they listen to is “very much” a reflection of who they are (MIDiA Research consumer survey, Q1 2023). Identity is the root of fandom - we become fans of something or someone because it resonates with who we are, or who we want to be. The Hollywood strategy is not just about competing for attention, but also for identity. Lipa’s polished, pop star aesthetic - she just collaborated with Versace! - is a perfect fit for Barbie, as is her contribution to the film soundtrack, helping her sustain mainstream attention between album cycles. White Men is a perfect vehicle for the self-aware sense of humour and earnestness Harlow is known for. These roles help Harlow and Lipa build their respective brands in new formats. It is telling that both Harlow and Lipa’s films tap into the past, mainstream success of other franchises: White Men is a remake, and Barbie is, well, Barbie. So, as record labels struggle to produce new stars, it makes sense that they might look to film and TV for help. As MIDiA has noted, TV and film are some of the last remaining spaces where mainstream cultural moments still happen. But that process is happening more quickly in music than in TV and film, where the barrier to entry is still limited by things like production costs.
There is a lot we can learn from this summer’s slate of releases - and next summer’s may look very different.Īcross entertainment, consumption is fragmenting – such that a few “mainstream” hits are being replaced by more, smaller hits for individuals and their communities. This strategy is increasingly important in today’s fierce competition for attention and fandom. And next month, Dua Lipa will appear in Barbie.Ĭasting artists in film and TV is a classic strategy for helping them reach new audiences, unearth new revenue streams, and expand their cultural clout. The Weeknd (who is now going by Abel Tesfaye) stars in Max’s controversial new series, The Idol, in which BLACKPINK's Jennie also makes her acting debut. Late last month, Jack Harlow made his acting debut in a Hulu remake of 1992 basketball comedy White Men Can’t Jump. 2023 is already shaping up to be another big year for music artists in Hollywood.
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