Many know the singer Chappell Roan for her latest album The Rise and Fall of a Midwest Princess, and her smash-hit sensations “Good Luck Babe” and “Hot to Go!”. She truly stands out amongst her peers for embracing her queer identity, as well as for her rebellious attitude. However, recently she has landed in some controversy in light of her stance against unhealthy attachments by fans towards their favourite artists. In light of this, one must wonder: can artists ever reject such parasocial relationships when much of their stardom depends on it?
One can argue that by virtue of their work, celebrities and artists can never truly reject the fans who gave them their ‘big break’, and that such ‘harassment’ for photos and videos is simply part of the job. However, in an Instagram post from late August, Roan specified how she viewed her career as an artist as a “project” wherein she needs to “draw lines and set boundaries”. She spoke of how she chose this career due to her love of music and art, and does not “accept harassment of any kind because [she] chose this path”. Modern artists are changing their views as to what their fans are entitled to, opening a pathway for debate and for more celebrities to speak out against harassment from fans.
But firstly, why are parasocial relationships spreading so rapidly?
With the growing popularity of platforms like Instagram, X (formerly Twitter), and TikTok, where many artists maintain a significant presence, an increasing number of fans are forming parasocial relationships—emotional attachments to celebrities they have never met in person. Particularly after the lockdown of 2020, when interactions with friends and family were limited, many people found that seeing public figures on screens became their primary source of social connection. This subconsciously creates a sense of intrinsic safety and comfort when watching familiar faces online, when in-person interactions were unavailable.
However, this sense of comfort has developed into the emergence of a modern idolisation of celebrities. By forming attachments to public figures who we do not know, we are subconsciously able to forget that these people have real personalities of their own. They become almost like fictional characters, a blank canvas for fans to project any personality on to. As a result, many assume that in the real world, the artist or celebrity will fit into the mould they have created for them—often getting angry or upset when they don’t. Perhaps this is why many have spoken out against Chappell Roan for asserting her boundaries on Instagram. Whilst this can manifest in more dangerous ways, such as stalking, it can also manifest as other forms of “harassment”, such as demanding for photos or videos to be taken.
In this digital age, watching celebrity interviews about ‘crazy fan’ stories seems a little humorous to people who have more distance from the world of fame—indeed, the idea of having many adoring fans of your work is often what draws some to a life of showbusiness. However, there is almost always a difference between what people envision stardom to be like and its reality. One can plan televised appearances and interviews, and to some extent, paparazzi interactions, as part of the ‘job’ of a celebrity. Here, the artists know what to expect: a relatively normal interaction with a professional television host whilst receiving money for their appearance on the show. What they cannot plan for is the reactions of the public.
In recent years, younger generations of celebrities have become less afraid of speaking out against the reactions of their fans. Actress Millie Bobby Brown has described her experience with a disgruntled fan after she rejected being filmed by them, and Chappell Roan has denoted how some fans get away with “predatory behaviour” by disguising it as “‘superfan’ behaviour”. The guise, and indeed the competitiveness of being recognised as a superfan by today’s social media standards, has blurred the lines between what is an acceptable way to interact with a celebrity and what is not. Many feel entitled to take a photo or a video with a celebrity as they hold the belief that they ‘made them famous’, as though attempting to establish an even exchange. However, there already is an equal exchange between fans and artists: by listening to their music or watching their movies, the fans can enjoy the work put out by their favourite public figures, whilst the celebrities feel supported by their fans. Therefore, the idea that celebrities owe fans pictures and videos on top of this only seems exploitative of the artist, making them wish to withdraw from being so prominently in the public eye. In doing so, they make themselves appear more unattainable, making their fans desire more photos—and thus, the cycle continues.
How, then, should celebrities respond to the parasocial relationships fans are forming with them? Despite potentially inappropriate behaviour, the root feeling behind a fan’s actions is often appreciation. Whilst some fans may not correctly handle themselves and situations like stalking should be dealt with more seriously, overall celebrities should navigate through a lens of care for their fans. With her Instagram post, Chappell Roan was able to strip away the layers of idolisation and allow her fans to see the feelings of the vulnerable woman beneath, humanising herself without appearing condescending. If some choose to dislike her for this, it seems these are the very “superfans” Chappell Roan should be distancing herself from. Other celebrities should follow this trend and discuss their own experiences with parasocial relationships too, both to humanise themselves and allow others to consider if they truly wish to be part of this world of fame. Celebrities are people too; they deserve a neutral space in the world to relax from their work in the public eye.