While the previous statement might read more like a “Jeopardy!” clue read by Ken Jennings or Mayim Bialik, it could also be a line from what may look like a “teen idol” manifesto – a very declaration of the nearly formulaic success of every celebrity who has been granted that coveted status. The modern-day teen idol deemed a representative of Generation Z described above – Olivia Rodrigo of “Bizaardvark” and “drivers license” fame – has already followed the teen idol manifesto by the book, and her Disney+ special, which is scheduled for a Friday, March 25, release, is just another assignment from said manifesto.
A quick glance at the synopsis of “OLIVIA RODRIGO: driving home 2 u (a SOUR film)” makes it clear that Rodrigo is set to follow in the footsteps of Katy Perry, Justin Bieber and One Direction, arguably the three biggest teen idols of the 2010s, by not just headlining a musical tour of her own but by bringing said tour home (and maybe to movie theaters as well, if it weren’t for the pandemic) to her adoring fans, coupled with a pseudo-exclusive backstage pass to her life, or her PR-polished version of it, at least.
“Katy Perry: Part of Me,” “Justin Bieber’s Believe” and “One Direction: This Is Us” paved the way for the solidification of the aforementioned formula (which had already been a concert film backbone ever since Hollywood gave birth to concert films) within the teen idol life cycle, complementing, or in some cases essentially replacing, the concept of a celebrity memoir – and for good reason.
Unlike a memoir, or any written medium attributed to the celebrity/teen idol in question, a concert film is a near-perfect wax figure of a concert. Sure, a myriad of fans might have experienced the real thing – but concert films are replays of said experiences at little additional cost. They may even be the closest thing to this experience that fans who couldn’t afford concert tickets or who live in countries and regions where concerts are sporadic or restricted can take part in while still supporting the artist in question.
Ultimately, concert films make up a win-win situation for everyone involved. From a purely PR-centric perspective, they are an excellent marketing tool with room for malleability and creativity. From the point of view of the teen idol, they essentially translate to the nearest thing to immortality that humans have achieved. From a fan’s point of view, well, who doesn’t want more of their favorite artist.
The 2010s had cultivated concert films as a teen idol’srite of passage, but one shouldn’t have expected for the product life cycle to go ahead and allow them to fade into obscurity by the end of that decade. For the most part, teen idolsare here to stay, and, after all, following a manifesto to the letter is a much easier task than figuring fame out alone.
