The Business of Fame: 1920-2020

Where Greta Garbo was elusive, Oprah was relatable. Her producer later told her: “You are America—that’s the whole point.” This made TV a natural medium for Oprah. Oprah was playing herself; TV amplified her authenticity.

But after listening to Brud CEO Tyler McFedries on Reid Hoffman’s Masters of Scale podcast, I’m coming around to the concept.

The next generation of celebrities will make money through a combination of subscription and micropayments. Fans will pay recurring revenue to support and gain access to their favorite celebrities, but will pay additional money for à la carte items.

His point is that Brud can create digital characters who are infinitely more scalable and globally appealing. A digital celebrity could theoretically produce unlimited content for unlimited languages and cultures: she could produce a dozen Instagram photos, release a feature-length film, and give six interviews—all in a single day.

In OnlyFans and the Evolution of the Influencer, I wrote that I’m skeptical of digital celebrities like those created by the company Brud. Computer-created influencers seem at odds with the trend toward more authentic, relatable influencers.

Today, the first fan of Taylor Swift is treated the same as the most recent fan. Long-time, dedicated fans get the same level of access and treatment as everyone else. Over the next decade, that will change.

Despite their social media prowess, the Kardashians still needed a TV show to jumpstart their fame. Charli D’Amelio only needed a smartphone and the TikTok app.

In the summer of 2019, D’Amelio was a 15-year-old teenager living in suburban Connecticut. She downloaded TikTok and posted her first video. Less than 12 months later, she became the most-followed person on TikTok with ~40 million followers (she has 91 million today).

Just because something is artificial doesn’t mean that it isn’t authentic. Brud’s characters are carefully constructed to have clear values, beliefs, and personalities.