Cameo is part of a growing set of new media platforms trending toward direct routes for monetizing fame. Cameo allows fans to book personalized shout-out videos and provides celebrities—celetoids and reality stars in particular—access to new modes of income, which became increasingly important amid the pandemic. This research explores how the direct monetization of the fan-celebrity relationship is re-shaping the power dynamic of these parasocial relationships. Using digital ventriloquism as an analytical lens to study reality stars (e.g. Real Housewives) on Cameo, this study introduces the concept of paid puppeteering on digital platforms, defined as a form of digital ventriloquism in which a celebrity’s public persona is manipulated and incentivized through financial means on a paid digital platform for the illusion of close parasocial connections with fans. Paid puppeteering reinforces celebrities as gig workers as Cameo mitigates fan access to celebrities—for a fee.

This study analyses eighteen in-depth interviews with adults in the Midwest who watch Bravo’s reality (RTV) docusoap franchise Real Housewives. Shifting the gaze away from RTV effects and towards the proliferation of RTV, RTV stars (celetoids) and what Graeme Turner calls the ‘demotic turn’, this study examines the show’s appeal and whether a latent desire for celetoid-type fame exists among the main viewer groups analysed here (straight women and gay men). A desire for fame appears to be present among the men in this study, and younger men tended to conceive celetoid-type fame as desirable. This study also finds that men and women gravitate towards different character types. Straight women appear less intensely drawn to Real Housewives than gay men, both in terms of buying Real Housewives products and attempting to connect with the women on the show via Twitter. These findings are consistent with the hypothesis that the profusion of RTV, the demotic turn and celetoids factor into new desires among regular people for celetoid-type fame. This study also adds to recent research that shows that a desire to be famous is now characteristic of younger generations.

Despite popular interest in reality television, social media, and self-branding, much scholarship focuses on a single platform and places the burden of self-branding on the individual alone. Drawing on 6 years of research into the Real Housewives (RH) franchise and interviews with “Housewives,” I focus on the women’s performances of identity and self-branding across platforms. This article demonstrates that the women of RH become experts at working the system that exploits them via a form of labor I conceptualize as “emotional camping.” Successfully branded “Housewives” tend to be (1) dedicated to Bravo, (2) inclined to present as walking GIFs on Instagram, and (3) seemingly authentic. I argue this self-branding strategy affords these women a semblance of privacy in their highly public careers. These findings are a critique of and feminist mediation into the legitimate labor reality stars do for networks and themselves across platforms.

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