The word idol has a special meaning in East Asian cultural circles, which is different from the definition of an idol in European and American pop culture circles. In European and American culture, an idol has a more abstract meaning; an idol can be someone you like or admire, and he can even be an ordinary person around you. In East Asian culture, besides the above meaning, the idol is also a profession, different from a singer, actor, or host. It, therefore, inevitably gives birth to idol-related industries and economies. From an economic and sociological point of view, idols are tools created by capital, products driven by the fan economy, and the root of fan culture. The Japanese media system is organized around a general fascination with idols and the ideal consumer products used to satisfy its audience’s most common desires and aspirations. In this sense, becoming a fan means becoming a loyal consumer of idol-related products. This phenomenon began to develop in Japan around the 1970s and later spread to Korea and China (Corgi, 2022). While the public measures idol groups in terms of the industry and the sectors that build the market, the audience lie somewhere in between (Livingstone, 1998). Miller is absolutely obsessed with her past and her relationship with her best friend Lisa and ex-boyfriend. It's intriguing but equally terrifying to see a grown woman completely infatuated with past events to the point where she is willing to risk everything to try to return to that time. Everyone else has managed to move on but not Samantha. She has everything she could ever want- money, fame, a huge following of young women who are obsessed with her every word- but she can't let go of the past. Miller's life is a car crash in slow motion- the reader will be gripped to see what happens next. I couldn't help but think of the movie Single White Female when I read about Miller's actions! Cohen, J. (2001). Defining Identification: A Theoretical Look at the Identification of Audiences with Media Characters. Mass Communication & Society, 4, 245-264. Throughout the majority of this book I didn’t like a single character. But it actually worked really well to keep me engaged and wanting more. By the end there were two characters that really stole my affections, one of which managed to bring a huge smile to my face as they showed their true cunning and strength. This is a book that is going to stay with me for a long time. I wish I could erase it from my memory and read it all again from the start.

Notably, of all the characters Tesfaye helped create for the show, his is one of the few who isn’t required to spend their time on screen parading around in their underwear – or less. But he has given himself some eyebrow-raising dialogue, including (I’ve replaced the body parts with vegetables, to render the thing publishable): “I want to grab you by the pumpkin while you suffocate on my parsnip”. For the first two instalments of this colossally gormless series, Jocelyn’s face is frozen in a glassy-eyed, brink-of-tears moué, as she weathers the sheer relentless hell of being a rich, popular, conventionally attractive American woman in her early 20s who lives in an enormous mansion in Los Angeles. A gripping read from start to finish. People are going to be talking about this book for a long time to come! Thank you to NetGalley and to Random House UK for the ARC in exchange for my honest review. Idol will be out on May 12th - guaranteed to be a hit!Mansor, N. A., Abdul Razak, R., Mohamad, Z. Z., Din, N., & Abdul Razak, A. (2020). The Affective Economy and Online Fan Communities: A Case Study of Johnny & Associates. In N. Suki, & N. Suki (Eds.), Leveraging Consumer Behavior and Psychology in the Digital Economy (pp. 91-105). IGI Global. Then again, it is sometimes inaccurate to use psychology to explain all the content of communication theory. So, although fans also play a crucial role in the collective orientation of the social action structure, sometimes, without a clear code of conduct as a guide, human interaction, with all its inequalities and imbalances, cannot continue, and the interaction inevitably leads to the dysfunctional development of society. The only time I laughed reading this was when the MC is send to talk to the woman accusing her of sexual assault by her agent, because that is so unrealistically stupid that it genuinely made me laugh out loud. I really liked Samantha for the first part of the book then this changed to a rabid dislike of her, but there are reasons for this and I think readers will either empathise or totally loathe her This novel is a true examination of what it means to be a celebrity, and how we put them upon a pedestal. It is also an examination of sexual abuse, and especially how people construct narratives for their entire life. So, in this instance, which narrative is true?

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Samantha is a social media guru, loved, adored, cherished by millions of girls who stand by her feminist vocality and vegan lifestyle…until she is accused of sexual assault…by a former female best friend ( Lisa ) and her life becomes, well in the words of one author comment ‘gloriously messy’

Overall though this book really tries to be woke to instead fall into all the harmful tropes and ultimately not say anything important.

Fan culture is a comprehensive cultural medium and socio-cultural phenomenon in which individuals or groups can consume culturally and economically. Due to the fans’ psychology of worship and pursuit of virtual or natural objects that exist within them, they are more willing to over-consume and give unpaid time to what they like. When the fandom culture becomes radical, it becomes a toxic fandom culture. Furthermore, in the Web 2.0 era, this phenomenon of toxic fetish culture is even more severe. As media channels have expanded and idols have become more exposed, so has the search for an audience, and what was once a media frame has become a target audience. In other words, communication methods have also changed from point-to-point communication to peer-to-peer communication.