April Kae plays a Player II Series Precision Bass®.
The World’s Best-Selling Guitar Series Just Got Better: Player II Boasts Premium Specs and Never-Released Vintage Car-Inspired Colorways
HOLLYWOOD, Calif. /PRNewswire/ — Fender Musical Instruments Corporation (FMIC) today announces the arrival of the Player II Series – an update to Fender’s long-standing best-selling electric series, the Player Series – designed for musicians ready to take the next step in their creative journey.
Introducing the All New Player II Series. Vital versions of our most iconic models with modern upgrades for a new kind of player: modern “C” necks with smooth rolled edges, the return of rosewood fingerboards and new vintage colors unearthed from the vaults.
Since its inception in 2018, the Player Series has shown nearly 30% consecutive year-over-year growth globally and holds rank as Fender’s best-selling range of electric guitars of all time due to its accessible features that both capture the imagination of new players and satisfy the demands of more experienced guitarists alike. Available now, the Player II Series takes the best of its predecessor’s features and improves them with upgraded specs like rosewood fingerboards, modern “C” necks with rolled edges, and new vintage colors from the vaults exemplifying the innovation, culture, community, and lifestyle synonymous with Fender® Electrics.
At a time when data1 shows the global music industry is booming, with revenue at its highest since 1999 – the Player II series continues to inspire the next generation of musicians, ushering in a new kind of guitar player that takes creativity to a new level. The just-released lineup of models up the ante on the previous range with numerous innovative details and specs, new options for chambered ash and chambered mahogany bodies and never-released vintage colorways – Coral Red, Aquatone Blue, Hialeah Yellow and Birch Green – ’50s and ’60s vintage car colors pulled from the archives.
The 2024 campaign for the Player II Series, “The All New Player II” marks one of Fender’s most significant debuts yet. It begins with an electrifying hero film blending four distinctive renditions of The Kinks’ timeless hit, “All Day & All of the Night,” set in unique environments. For the film, All Day and All of the Night: The All New Player II Series | Fender®, Fender has partnered with acclaimed artists Julien Baker, singer-songwriter from Memphis and 1/3 of boygenius, DIIV, influential indie rock band, content creator and touring bassist (Fever 333) April Kae and alternative rock trio Wallows. The campaign includes four product marketing vignettes with the same artists and environments, skillfully highlighting key features of the Player II Series.
In addition to the hero film and ten product demo videos, Exploring the Player II Series, the multi-pronged campaign debuts various content pieces:
Player II Sessions, featuring performances and interviews with the four campaign artists, Julien Baker, DIIV, Wallows and April Kae, each showcasing an original performance. Watch the first Fender Session, featuring interview and performance by Wallows: Wallows Sessions | The Player II Series | Fender
New Fender series featuring Fender Next artists – Militarie Gun (Los Angeles), Joy Oladokun (Nashville), English Teacher (Leeds), Vacations (Australia), and additional content with artists based in Japan and China. Each docu-style episode will capture a “day in the life” of being a Player with the artists as they prepare for a show.
The Modern Creator, campaign series features stories through the eyes of four content creators, Monica Valli, Mary Spender, Gabriel Takei and Dovydas, as they share their unique musical journeys.
Player I vs. Player II Side By Sides, engaging select channels, such as Andy Ferris, for side-by-side comparisons highlighting the improvements from Player to Player II guitars and bases.
“The Player II Series represents our continued evolution in design and functionality,” said Justin Norvell, EVP of Product, FMIC. “We listened to the feedback from musicians around the world and incorporated their insights to refine and innovate our instruments. The re-introduction of rosewood fingerboards is a restoration of the ‘original Fender recipe’ and will no doubt be a fan favorite – but we didn’t want to stop there. We’ve also incorporated our rolled fingerboard edges for a broken-in feel, upgraded hardware, and have some new body options as well- which underscores our commitment to providing players and creators with the tools they need to express their unique sound and style. The Player II Series is not just an upgrade, it’s a detailed re-imagining of our core silhouettes, highlighting our dedication to quality and the continuous refinement of our instruments.”
Additionally, Player II offers new options for chambered ash and chambered mahogany bodies for the Player II Stratocaster and Telecaster models, which will be available in October. Designed for musicians ready to elevate their craft, the Player II Series sets a new standard for quality and performance in the mid-price range. Series includes:
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Player II Stratocaster®
Player II HSS Stratocaster®
Player II Telecaster®
Player II Jazzmaster®
Player II Jaguar®
Player II Mustang®
Player II LH Stratocaster®
Player II HH Telecaster®
Player II LH Telecaster®
Player II Precision Bass®
Player II Jazz Bass®
Player II Mustang Bass®
“Music is about a multisensory experience and the P-Bass provides that. It feels great to wear, it sounds great and it looks incredible. It’s classic but always feels current. It always feels relevant and that’s not something that can be said about any product let alone a guitar.” April Kae.
“This guitar feels like a magic guitar that fell into my hands and it’s perfect. I feel like I’m constantly chasing that one guitar and this is just perfect.” Zachary Cole Smith, DIIV
“The Player II Series Stratocaster feels like a great guitar and I was impressed by how it played very easy and simple. The tones are great. I think people are going to enjoy it.” Braeden Lemasters, Wallows
High-resolution artist, lifestyle, and product images can be found HERE.
For technical specs, additional information on new Fender products and to find a retail partner near you, visit www.fender.com.Join the conversation on social media by following @Fender.
1Billboard states the music industry’s total revenue in 2024 is $28.6 billion, which is the highest it’s been since 1999, not accounting for inflation.
PLAYER II SERIES MODELS:
Player II Stratocaster® ($799.99 – $899.99 USD, £739.00 – £809.00 GBP, €869.00 – €949.00 EUR, $1,299.00 – $1,449.00 AUD, ¥104,500 – ¥121,000 JPY) The Player II Stratocaster® radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 22 medium jumbo frets. Choose from alder, chambered ash or chambered mahogany bodies available in both classic Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Single-Coil Strat® pickups offer crystalline highs, musical mids and tight lows that elevate any genre. The 5-way blade switch lets you dial in everything from glassy neck pickup cleans to rowdy bridge pickup snarl and all points in between, while a 2-point tremolo and ClassicGear™ tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities. Available in LH model. Offered in Chambered Ash and Chambered Mahogany bodies.
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Player II HSS Stratocaster® ($829.99 – $929.99 USD, £759.00 – £829.00 GBP, €889.00 – €969.00 EUR, $1,349.00 – $1,499.00 AUD, ¥108,900 -126,500 JPY ) The Player II Stratocaster® HSS radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 22 medium jumbo frets. Choose from alder, chambered ash or chambered mahogany bodies available in both classic Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Single-Coil Strat® pickups and a Player Series Alnico II humbucker offer crystalline highs, musical mids and tight lows that elevate any genre. The 5-way blade switch lets you dial in everything from glassy neck pickup chime to rowdy bridge pickup roar and all points in between, while a 2-point tremolo and ClassicGear™ tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
Player II Telecaster® ($799.99 – $899.99 USD, £739.00 – £809.00 GBP, €869.00 – €949.00 EUR, $1,299.00 – $1,449.00 AUD, ¥104,500 – ¥121,000 JPY) The Player II Telecaster® radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 22 medium jumbo frets. Choose from alder, chambered ash or chambered mahogany bodies available in both classic Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Single-Coil Tele® pickups offer crystalline highs, musical mids and tight lows that elevate any genre. The 3-way blade switch lets you dial in everything from smooth neck pickup chime to cutting bridge pickup twang and all points in between, while a 6-saddle bridge, block steel saddles and ClassicGear™ tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities. Available in LH model. Offered in Chambered Ash and Chambered Mahogany bodies.
Player II HH Telecaster® ($829.99 USD, £769.00 GBP, €899.00 EUR, $1,349.00 AUD, ¥108,900 JPY) The Player II Telecaster® HH radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 22 medium jumbo frets. A classic alder body is available in both timeless Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico II humbuckers offer articulate highs, muscular mids and chunky lows that elevate any genre. The 3-way blade switch lets you dial in everything from creamy neck pickup warmth to rowdy bridge pickup roar and all points in between, while a 6-saddle bridge, bent steel saddles and ClassicGear™ tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
Player II Jaguar® ($829.99 USD, £759.00 GBP, €889.00 EUR, $1,349.00 AUD, ¥108,900 JPY) The Player II Jaguar® radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood fingerboard with smooth rolled edges and 22 medium jumbo frets. A classic alder body is available in both timeless Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V (Bridge) and Alnico II (Neck) Single-Coil Jaguar® pickups offer crystalline highs, musical mids and tight lows that elevate any genre. The 3-way blade switch lets you easily dial in everything from glassy neck pickup chime to cutting bridge pickup bite and all points in between, while a 6-saddle Jaguar bridge with Floating Tremolo, upgraded Mustang® saddles and ClassicGear™ tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
Player II Jazzmaster® ($829.99 USD, £759.00 GBP, €889.00 EUR, $1,349.00 AUD, ¥108,900 JPY) The Player II Jazzmaster® radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood fingerboard with smooth rolled edges and 22 medium jumbo frets. A classic alder body is available in both timeless Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Single-Coil Jazzmaster pickups offer crystalline highs, musical mids and tight lows that elevate any genre. The 3-way toggle switch lets you easily dial in everything from glassy neck pickup chime to cutting bridge pickup bite and all points in between, while a 6-saddle Jazzmaster bridge with Floating Tremolo, upgraded Mustang® saddles and ClassicGear™ tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
Player II Mustang® ($799.99 USD, £619.00 GBP, €729.00 EUR, $1,299.00 AUD, ¥104,500 JPY) The Player II Mustang® radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 22 medium jumbo frets. A classic alder body is available in both timeless Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Single-Coil Mustang® pickups offer crystalline highs, musical mids and tight lows that elevate any genre. The 3-way toggle switch lets you easily dial in everything from glassy neck pickup chime to cutting bridge pickup snarl and all points in between, while a 6-saddle hardtail bridge, bent steel saddles and ClassicGear™ tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
Player II Precision Bass® ($799.99 USD, £839.00 GBP, €979.00 EUR, $1,299.00 AUD, ¥104,500 JPY) The Player II Precision Bass® radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 20 medium jumbo frets. A classic alder body is available in both timeless Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Split-Coil P Bass® pickups offer sweet highs, musical mids and seismic lows that elevate any genre. An adjustable 4-saddle bridge, single-groove steel saddles and open-gear tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
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Player II Jazz Bass® ($799.99 USD, £839.00 GBP, €979.00 EUR, $1,299.00 AUD, ¥104,500 JPY) The Player II Jazz Bass® radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 20 medium jumbo frets. A classic alder body is available in both timeless Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Single-Coil J Bass® pickups offer sweet highs, growling mids and seismic lows that elevate any genre. An adjustable 4-saddle bridge, single-groove steel saddles and open-gear tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
Player II Mustang® Bass ($799.99 USD, £679.00 GBP, €799.00 EUR, $1,299.00 AUD, ¥104,500 JPY) The Player II Mustang® Bass PJ radiates timeless Fender charm, but under the hood, it’s primed for today’s players. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5″-radius slab rosewood or maple fingerboard with smooth rolled edges and 20 medium jumbo frets. A classic alder body is available in both timeless Fender finishes and never-before-seen colors unearthed from the archives. Player Series Alnico V Split-Coil P Bass® and Single-Coil J Bass® pickups offer sweet highs, growling mids and seismic lows that elevate any genre. The 3-way toggle switch lets you easily dial in everything this versatile pickup set has to offer, while an adjustable 4-saddle bridge, single-groove steel saddles and open-gear tuners ensure precise tuning stability for the flexibility to explore endless sonic possibilities.
ABOUT FENDER MUSICAL INSTRUMENTS CORPORATION: Since 1946, Fender has revolutionized music and culture as one of the world’s leading musical instrument manufacturers, marketers and distributors. Fender Musical Instruments Corporation (FMIC)–whose portfolio of owned and licensed brands includes Fender®, Squier®, Gretsch® guitars, Jackson®, EVH®, Charvel®, Bigsby® and PreSonus® – follows a player-centric approach to crafting the highest-quality instruments and digital experiences across genres. Since 2015, Fender’s digital arm has introduced a new ecosystem of products and interactive experiences to accompany players at every stage of their musical journey. This includes innovative apps and learning platforms designed to complement Fender guitars, amplifiers, effects pedals, accessories and pro-audio gear, and inspire players through an immersive musical experience. FMIC is dedicated to unlocking the power of musical expression for all players, from beginners to history-making legends. In 2021, Fender celebrated 75 years of giving artists “wings to fly,” carrying on the vision of its founder, Leo Fender, and connecting players through a shared love of music.
Fender (standard and stylized), Stratocaster, Strat, Telecaster, Tele, Jazzmaster, Jaguar, Mustang, Precision Bass, P Bass, Jazz Bass, J Bass are trademarks of Fender Musical Instruments Corporation and/or its affiliates, registered in the U.S. and other countries. ClassicGear is a trademark of Fender Musical Instruments Corporation and/or its affiliates.
All other product and company names may be trademarks of their respective owners and may be used herein under license. Use of them does not imply any affiliation with or endorsement by or of the respective owners.
SOURCE Fender Musical Instruments Corp.
Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at [insert website URL] and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/
The sudden death of the Cameroon-born curator Koyo Kouoh, at the age of 57 and at the height of her career, has shaken the art world. Her passing has left a void in the African arts scene, one which extends far beyond the continent.
Born in 1967 in Douala, she spent her teenage and early adult years in Zurich, Switzerland before returning to the continent and settling in Senegal. She lived in Cape Town, South Africa from 2019. There she was executive director and chief curator of the Zeitz MOCAA museum. It holds the continent’s largest collection of contemporary art.
At the time of her death, she was due to become the first African woman to lead the prestigious Venice Biennale, dubbed the “Olympics of art world”.
She described her practice, as a creative manager of art spaces and exhibitions, as being deeply rooted in:
A pan-African, feminist, ancestral, activist perspective, but also one that is generous, inclusive and welcoming.
Kouoh was unapologetic about her commitment to promoting Africa and Africanness on the global stage. Her decorated career included serving in global roles as curatorial advisor for leadingexhibitions and art events.
As a researcher of modern and contemporary arts of Africa, I first met Kouoh in 2015 when she facilitated a curatorial workshop I attended. I would work with her at Zeitz MOCAA, specifically helping research her landmark show, When We See Us: A Century of Black Figuration in Painting.
Beyond these achievements, Kouoh mentored countless artists and art organisers, especially women. She leaves a legacy of building sustainable art institutions, critical curating with care, uplifting artists and cultural workers, and educating through art.
My motto has always been, You have to set up your own house and build your own home as opposed to trying to get into someone else’s castle.
One of the lasting legacies Kouoh left is teaching how to build African arts institutions, which help give creatives the chance to be seen and heard, and to make independent decisions free of the demands of funders.
The RAW Material Company that she established in Dakar stands as testimony of that. Through the artist residency and exhibition space, she was able to bring many independent and emerging artists, curators and gallerists to Senegal. There she published books on art from the continent, helping nurture and shift the Africa art ecosystem as it began to play an increasingly visible role in global art markets.
Her role in reviving the unstable ship that was the Zeitz MOCAA at the time she took over and steering it to becoming one of Africa’s leading cultural institutions and a global competitor says a lot about her vision. As she said:
I’m a fixer, I like to take complicated institutions and make them sustainable.
Education
The exhibitions she led were thoroughly researched and tended to generate critical discourse and public dialogue. When We See Us, for example, comes with an education programme that includes a webinar series.
Each exhibition of the show as it tours globally comes with a symposium and a publication with contributions from critical thinkers in the art industry. Even more impressive is how she managed to bring together people from different sectors, including respected academics, cultural workers and captains of industry.
We cannot talk about Kouoh’s contributions to art education without mentioning the Zeitz MOCAA & University of the Western Cape Museum Fellowship Programme, geared to grow “curatorial practice as well as advance scholarship on contemporary art discourse from the continent”. In my tenure, I observed that the museum’s Centre for Art Education and its outreach programme were closest to her heart.
Celebrating African artists
At Zeitz MOCAA, Kouoh was more drawn to research-based solo exhibitions or select surveys which offered in-depth insights into “individual practices, with retrospectives and monographs”. In her time at the museum it shone a spotlight on African artists like Senzeni Marasela, Johannes Phokela, Tracey Rose, Mary Evans, Otobong Nkanga and others.
Through the museum’s ongoing Atelier programme, a studio residency which is open and experimental in nature, audiences gain insights into an artist’s practice, process, thinking and intentions. So far, artists like Thania Petersen, Igshaan Adams, Unathi Mkonto and Berni Searle have shared these processes, which normally remain invisible to those who only see the final work.
She did all this in just over five years in Cape Town.
Uplifting generations
Kouoh believed in people’s potential and saw infinite possibilities in each one of us. This can be seen through the many peers and young talents she mentored and provided space to flourish. The young team of mostly Black female curators she has left in place at Zeitz MOCAA is proof of that. She cared about the welfare of the people around her.
Of the need to elevate women, she stated:
The importance, or rather the urgency, of focusing on women’s voices cannot be highlighted enough.
Curator of the Venice Biennale 2026
Recently appointed as the next Venice Biennale’s artistic director, Kouoh was due to present the exhibition’s title and theme in Venice on 20 May.
Those who have known her practice, as well as her obsessions and values, keenly anticipated the day, knowing African voices would take centre stage. I hope her team will be allowed to execute her ideas to the end.
Legacy
Kouoh belonged to a pioneering generation of African curators who worked hard for the recognition of African voices and creativity on the global stage. Although that recognition started to be earned in the 1990s, she realised a lot more still needed to be done, which is why she never stopped working, even at the most difficult of times.
She shared her vision of building strong independent institutions, encouraging others to do the same. She led in documenting and critically engaging artistic processes, and in producing African knowledge.
May her legacy and her spirit live on. As she said:
I do believe in life after death, because I come from an ancestral black education where we believe in parallel lives and realities.
Influencer Alix Earle, a self-described ‘hot mess,’ has legions of online haters.
Greg Doherty/Getty Images for RevolveJessica Maddox, University of Alabama and Jess Rauchberg, Seton Hall University
Since 2020, content creator Remi Bader had accumulated millions of TikTok followers by offering her opinions on the fits of popular clothing brands as a plus-size woman.
In 2023, however, Bader appeared noticeably thinner. When some fans asked her whether she’d undergone a procedure, she blocked them. Later that year, she announced that she would no longer be posting about her body.
Enter snark subreddits. On Reddit, these forums exist for the sole purpose of calling out internet celebrities, whether they’re devoted to dinging the late-night antics of self-described “hot mess” Alix Earle or venting over Savannah and Cole LaBrant, a family vlogging couple who misleadingly implied that their daughter had cancer.
While the internet is synonymous with fan culture, snark subreddits aren’t for enthusiasts. Instead, snarkers are anti-fans who hone the art of hating.
Remi Bader attends New York Fashion Week on Feb. 10, 2025.Dimitrios Kambouris/Getty Images for Tory Burch
After Bader’s refusal to talk about her weight loss, the Remi Bader snark subreddit blew up. Posters weren’t upset that Bader had lost weight or had stopped posting about her body size. Instead, they believed Bader the influencer, who’d built her brand on plus-size inclusion in fashion, wasn’t being straight with her fans and needed to be taken to account.
It worked. During a March 2025 appearance on Khloe Kardashian’s podcast, Bader finally revealed that she had, in fact, had weight-loss surgery.
Some critics see snarkers as a big problem and understandably denounce their tendency to harass, body shame and try to cancel influencers.
But completely dismissing snark glosses over the fact that it can serve a purpose. In our work as social media researchers, we’ve written about how snark can actually be thought of as a way to call out bad actors in the largely unregulated world of influencing and content creation.
Grassroots policing
Before there were influencers, there were bloggers. While bloggers covered topics that ranged from entertainment to politics to travel, parenting and fashion bloggers probably have the closest connection to today’s influencers.
After Google introduced AdSense in 2003, bloggers were easily able to run advertising on their websites. Then brands saw an opportunity. Parenting and fashion bloggers had large, loyal followings. Many readers felt an intimate connection to their favorite bloggers, who seemed more like friends than out-of-touch celebrity spokespersons.
Brands realized they could send bloggers their products in exchange for a write-up or a feature. Furthermore, advertisers understood that parenting and fashion bloggers didn’t have to adhere to the same industry regulations or code of ethics as most news media outlets, such as disclosing payments or conflicts of interest.
This changed the dynamic between bloggers and their fans, who wondered whether bloggers could be trusted if they were sometimes being paid to promote certain products.
In response, websites emerged in 2009 to critique bloggers. “Get Off My Internets,” for example, fashioned itself as a “quality control watchdog” to provide constructive criticism and call out deceptive practices. As Instagram and YouTube became more popular, the subreddit “r/Blogsnark” launched in 2015 to critique early influencers, in addition to bloggers.
Few guardrails in place
Today the influencer industry has a valuation of over US$250 billion in the U.S. alone, and it’s on track to be worth over $500 billion by 2027.
Yet there are few regulations in place for influencers. A few laws have emerged to protect child influencers, and the U.S. Federal Trade Commission has established legal guidelines for sponsored content.
That said, the influencing industry remains rife with exploitation.
It goes both ways: Corporations can exploit influencers. For example, a 2021 study found that Black influencers receive below-market offers compared with white influencers.
Savannah and Cole LaBrant came under fire for implying that their daughter had cancer, in what their critics called a ploy for attention.Danielle Del Valle/Getty Images for Lionsgate
Likewise, influencers can deceive or exploit their followers. They might use unrealistic body filters to appear thinner than they are. They could hide who’s paying them. They may promote health misinformation such as the controversial ParaGuard cleanse, a fake treatment pushed by wellness influencers that claimed to rid its users of parasites.
Or, in the case of Remi Bader, they might gain a huge following by promoting body positivity, only to conceal a weight-loss procedure from their fans.
For disappointed fans or followers who feel burned, snark can seem like the only regulatory guardrail in an industry that has gone largely unchecked. Think of snark as a Better Business Bureau for the untamable world of influencing – a form of accountability that brings attention to the scammers and hustlers.
Keeping it real
Todays’s snark exists at the intersection of gossip and cancel culture.
Though cancel culture certainly has its faults, we approach cancel culture in our writing as a worthy tool that allows audiences to hold the powerful accountable. For example, communities of color have joined forces to call out racists, as they did in 2024 when they exposed lifestyle influencer Brooke Schofield’s anti-Black tweets.
Influencers build trust with their audiences based on being “real” and relatable. But there’s nothing preventing them from breaking that trust, and snarkers can swoop in to point out bad behavior or hypocrisy.
Within the competitive world of family vlogging, snarkers see themselves as doing more than stirring the pot. They’re truth-tellers who bring injustices to light, such as abuse and child labor exploitation. Some of this exposure is paying off, with more and more states introducing and passing family vlogger laws that require children to one day receive a portion of their parents’ earnings or restrict how often children can appear in their parents’ videos.
Yes, snark can veer into cyberbullying. But that shouldn’t discount its value as a tool for transparency. Influencers are ultimately brands. They sell audiences ideas, lifestyles and products.
When people feel as if they’ve been misled, we think they have every right to call it out.
Jessica Maddox, Assistant Professor of Journalism and Creative Media, University of Alabama and Jess Rauchberg, Assistant Professor of Communication Technologies, Seton Hall University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
‘I were but little happy, if I could say how much’: Shakespeare’s insights on happiness have held up for more than 400 years
The World Happiness Report indicates the U.S. ranks 24th in global happiness, emphasizing that joy arises from societal relationships and care. Shakespeare’s works explore happiness’ duality—both fortune and contentment—highlighting cultural influences that affect individuals’ experiences. Understanding happiness requires recognizing social inequalities, community support, and shared cultural beliefs.
Joanna Vanderham as Desdemona and Hugh Quarshie as the title character in a Royal Shakespeare Company production of ‘Othello.’ Robbie Jack/Corbis via Getty Images
Since 2012, the World Happiness Report has measured and compared data from 167 countries. The United States currently ranks 24th, between the U.K. and Belize – its lowest position since the report was first issued. But the 2025 edition – released on March 20, the United Nations’ annual “International Day of Happiness” – starts off not with numbers, but with Shakespeare.
“In this year’s issue, we focus on the impact of caring and sharing on people’s happiness,” the authors explain. “Like ‘mercy’ in Shakespeare’s ‘Merchant of Venice,’ caring is ‘twice-blessed’ – it blesses those who give and those who receive.”
Shakespeare’s plays offer many reflections on happiness itself. They are a record of how people in early modern England experienced and thought about joy and satisfaction, and they offer a complex look at just how happiness, like mercy, lives in relationships and the caring exchanges between people.
Contrary to how we might think about happiness in our everyday lives, it is more than the surge of positive feelings after a great meal, or a workout, or even a great date. The experience of emotions is grounded in both the bodyand the mind, influenced by human physiology and culture in ways that change depending on time and place. What makes a person happy, therefore, depends on who that person is, as well as where and when they belong – or don’t belong.
Happiness has a history. I study emotions and early modern literature, so I spend a lot of my time thinking about what Shakespeare has to say about what makes people happy, in his own time and in our own. And also, of course, what makes people unhappy.
But in modern English usage, “happy” as “fortunate” has been almost entirely replaced by a notion of happiness as “joy,” or the more long-term sense of life satisfaction called “well-being.” The term “well-being,” in fact, was introduced into English from the Italian “benessere” around the time of Shakespeare’s birth.
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The word and the concept of happiness were transforming during Shakespeare’s lifetime, and his use of the word in his plays mingles both senses: “fortunate” and “joyful.” That transitional ambiguity emphasizes happiness’ origins in ideas about luck and fate, and it reminds readers and playgoers that happiness is a contingent, fragile thing – something not just individuals, but societies need to carefully cultivate and support.
For instance, early in “Othello,” the Venetian senator Brabantio describes his daughter Desdemona as “tender, fair, and happy / So opposite to marriage that she shunned / The wealthy, curled darlings of our nation.” Before she elopes with Othello she is “happy” in the sense of “fortunate,” due to her privileged position on the marriage market.
Later in the same play, though, Othello reunites with his new wife in Cyprus and describes his feelings of joy using this same term:
…If it were now to die, ‘Twere now to be most happy, for I fear My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate.
Desdemona responds,
The heavens forbid But that our loves and comforts should increase Even as our days do grow!
They both understand “happy” to mean not just lucky, but “content” and “comfortable,” a more modern understanding. But they also recognize that their comforts depend on “the heavens,” and that happiness is enabled by being fortunate.
“Othello” is a tragedy, so in the end, the couple will not prove “happy” in either sense. The foreign general is tricked into believing his young wife has been unfaithful. He murders her, then takes his own life.
The seeds of jealousy are planted and expertly exploited by Othello’s subordinate, Iago, who catalyzes the racial prejudice and misogyny underlying Venetian values to enact his sinister and cruel revenge.
“Othello” sheds light on happiness’s history – but also on its politics.
While happiness is often upheld as a common good, it is also dependent on cultural forces that make it harder for some individuals to experience. Shared cultural fantasies about happiness tend to create what theorist Sara Ahmed calls “affect aliens”: individuals who, by nature of who they are and how they are treated, experience a disconnect between what their culture conditions them to think should make them happy and their disappointment or exclusion from those positive feelings. Othello, for example, rightly worries that he is somehow foreign to the domestic happiness Desdemona describes, excluded from the joy of Venetian marriage. It turns out he is right.
Because Othello is foreign and Black and Desdemona is Venetian and white, their marriage does not conform to their society’s expectations for happiness, and that makes them vulnerable to Iago’s deceit.
Similarly, “The Merchant of Venice” examines the potential for happiness to include or exclude, to build or break communities. Take the quote about mercy that opens the World Happiness Report.
The phrase appears in a famous courtroom scene, as Portia attempts to persuade a Jewish lender, Shylock, to take pity on Antonio, a Christian man who cannot pay his debts. In their contract, Shylock has stipulated that if Antonio defaults on the loan, the fee will be a “pound of flesh.”
“The quality of mercy is not strained,” Portia lectures him; it is “twice-blessed,” benefiting both giver and receiver.
It’s a powerful attempt to save Antonio’s life. But it is also hypocritical: Those cultural norms of caring and mercy seem to apply only to other Christians in the play, and not the Jewish people living alongside them in Venice. In that same scene, Shylock reminds his audience that Antonio and the other Venetians in the room have spit on him and called him a dog. He famously asks why Jewish Venetians are not treated as equal human beings: “If you prick us, do we not bleed?”
Actor Henry Irving as Shylock in a late 19th-century performance of ‘The Merchant of Venice.’ Lock & Whitfield/Folger Shakespeare Library via Wikimedia Commons, CC BY-SA
Shakespeare’s plays repeatedly make the point that the unjust distribution of rights and care among various social groups – Christians and Jews, men and women, citizens and foreigners – challenges the happy effects of benevolence.
Those social factors are sometimes overlooked in cultures like the U.S., where contemporary notions of happiness are marketed by wellness gurus, influencers and cosmetic companies. Shakespeare’s plays reveal both how happiness is built through communities of care and how it can be weaponized to destroy individuals and the fabric of the community.
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There are obvious victims of prejudice and abuse in Shakespeare’s plays, but he does not just emphasize their individual tragedies. Instead, the plays record how certain values that promote inequality poison relationships that could otherwise support happy networks of family and friends.
Systems of support
Pretty much all objective research points to the fact that long-term happiness depends on community, connections and social support: having systems in place to weather what life throws at us.
And according to both the World Happiness Report and Shakespeare, contentment isn’t just about the actual support you receive but your expectations about people’s willingness to help you. Societies with high levels of trust, like Finland and the Netherlands, tend to be happier – and to have more evenly distributed levels of happiness in their populations.
Shakespeare’s plays offer blueprints for trust in happy communities. They also offer warnings about the costs of cultural fantasies about happiness that make it more possible for some, but not for all.
The Bridge is a section of the STM Daily News Blog meant for diversity, offering real news stories about bona fide community efforts to perpetuate a greater good. The purpose of The Bridge is to connect the divides that separate us, fostering understanding and empathy among different groups. By highlighting positive initiatives and inspirational actions, The Bridge aims to create a sense of unity and shared purpose. This section brings to light stories of individuals and organizations working tirelessly to promote inclusivity, equality, and mutual respect. Through these narratives, readers are encouraged to appreciate the richness of diverse perspectives and to participate actively in building stronger, more cohesive communities.
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