The Rage Cycle

The story begins with all the buzz around Sound of Freedom, a film released by a small(er) studio called Angel Studios, that made use of social media in a uniquely dishonest way. There were two narratives around Sound of Freedom:

1. The film the left doesn’t want you to see; blows the lid off what’s reallyhappening in the child sex trafficking (Hollywood customers, Democratic Party donors and operatives)
2. Q Anon conspiracy-riddled fabrication, distorts a very real issue and exploits the children who are truly victims of the heinous crime of trafficking; glorifies one operative (Tim Ballard) with questionable credentials.

The truth is, it’s just a film. Yes, there’s a glorified hero. Yes, there are children depicting the trauma and tragedy of child sex trafficking. Is this the match to light the pyre on the democrats child-trafficking-youth-extension-plot-of-supreme-evil? No. This is clever (?) marketing.

Get the right to claim it’s a “real” story, that it reveals truths only whispered about in conspiracy echo chambers; get the left to claim it’s right-wing propaganda. Both sides will shout until they’re hoars and then they’ll all go see the film.

Meanwhile, Jess and Melissa didn’t see anything about the film because it wasn’t in their internet neighborhoods. We recently talked about how the internet is a wide enough place with smart enough algorithms that we are all living inside customized echo chambers. These are your internet neighborhoods. Mine (Kasie) are:

• Heavily GenX
• Libertarian politics
• Taylor Swift
• Drinking. Lots of Drinking.

The second separate-but-equal internet brew-ha-ha is Barbieheimer. The release of both Oppenheimer and Barbie on the same day (July 21) spawned an internet frenzy around seeing both films to get the film equivalent of sweet-and-savory. Again, this was only part of certain internet neighborhoods. Me and Charlie never saw it, but it was everywhere for Hollie. Who, incidentally, isn’t old enough to see Oppenheimer.

So how does it work? It’s a little bit like the Crisis Cycle in a prior episode. Movie promoters (savvy marketers) identify specific internet neighborhoods through influencers and podcasters. They put the movie’s talking points in those influencers’ space (some of them are probably paid) and then let the frenzy begin. And the more likes, shares, and discussions spawned, the more traction the idea of the film gets. This, as it turns out, translates into ticket sales.

Not convinced? Sound of Freedom – an indie film – has grossed $155 million since its July 4th release. Barbie is on the cusp of $1 billion globally and Oppenheimer is close with $500 million. Like they say, sooner or later that adds up to real money.

Harnessing the echo chambers, it turns out, is a winning marketing strategy. It’s a strategy that will likely shift into high gear as primary season approaches. We’re already seeing Robert Kennedy Jr. make the podcast rounds since mainstream media (MSM) is ignoring him but good. And we’re waiting for the deep bench of Republican primary candidates to get a clue as to how to put themselves in the right echo chambers with Trump sucking up all the air in MSM.

So what’s the appeal? Most listeners believe the niche operatives (podcasters and influencers) are more honest and less biased than MSM. You read that right. Even when they know they’re listening to a podcaster with a lean (er… Meghan Kelly) listeners believe the podcaster is more fair. More truthful. And not beholden to big corporate interests. And YET where are the rules and regulations determining who pays Kelly (Joe Rogan, Russell Brand, all of Barstools)? There aren’t any. So our podcasters are beholden to advertisers just like traditional media and yet we still claim they’re honest, direct, and trustworthy. Why?

Because we want to believe them. We agree with them. And so we want to believe them.

Content creators stoke the rage fire to keep you engaged. They want eyeballs. They want likes, shares, followers, patrons, supporters, and merch buyers.

Content creators make money three ways:

• Streaming itself – YouTube and TikTok both pay creators, Twitch enables in-app tipping
• Merch – popular creators have t-shirts, coffee mugs, hoodies, plushies, etc.
• Patrons – behind the scenes, exclusive interviews, etc. Patrons support for extra access to the creators.

If you’re not buying merch or paying as a patron, you’re at least contributing to some metric that gets the creator paid.

AND until FTX (the digital currency exchange that imploded) we haven’t seen content creators have to pay for saying crazy shit. 

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