17th September 2023 – (Hong Kong) Hong Kong is renowned globally as a vibrant centre of culture and entertainment. In recent years, one act has undoubtedly captivated the city like no other – boy band MIRROR. Yet the support of MIRROR’s fanbase, particularly those dedicated to members such as Anson Lo, Keung To and Jeremy Lee, extends well beyond screaming at concerts or buying albums. Their devotion has manifested into extraordinary commercial expression, raising worrying questions about the relationship between fandom and consumerism in today’s entertainment industry.
This was highlighted recently when a Personalised Vehicle Registration Mark auctioned by Hong Kong’s Transport Department included the plate “KEUNG T0”, referencing Keung To. Though bidding commenced at a modest HK$5,000, one ardent follower prevailed with a staggering HK$38,000 bid, intending it as a gift. Yet even this exceeds the spending of global K-pop fans, who research finds spend an average US$1,400 on merchandise annually.
In Hong Kong, the devotion of MIRROR supporters knows few bounds. For member birthdays, fans routinely gift colossal city-wide advertisements, papering transportation and buildings with gigantic posters. Extravagant publicity stunts like chartering the iconic Star Ferry for Anson Lo’s birthday cruises also commemorate these occasions, funded solely by dedicated followers. Such campaigns doubtless boost MIRROR’s profile, but cost millions – sums unfathomable in other fan circles.
While passionately expressing admiration remains understandable, questions linger regarding possible exploitation. MIRROR’s meteoric rise in Hong Kong coincided with the COVID-19 pandemic’s isolating effects, making the band a welcome distraction for many. However, some followers spend disproportionate sums, potentially symptomatic of deeper issues left unaddressed as fandom commercialises further.
There is merit in celebrating cultural icons, but discernment is crucial when interests blur between art and enterprise. MIRROR’s popularity arose organically in Hong Kong yet continues fuelling a feedback loop of consumption. How might well-meaning supporters whose spending borders compulsion be guided towards healthier relationship with their idols? As fandom culture grows, its psychological impacts warrant close consideration industry-wide to ensure responsible, balanced development.
The question remains as to how this trend impacts the idol industry and the fans themselves. Are these fans merely expressing their admiration, or are they becoming easy prey for exploitation in the name of fandom? There is a thin line between admiration and obsession, and the MIRROR phenomenon seems to be treading a delicate balance.
While fandom brings community and joy, the extreme displays of devotion from some Hong Kong MIRROR supporters also signals potential underlying issues warranting attention. Research increasingly links obsessive consumerism and spending to mental health conditions when deployed to cope with internal distress.
Several factors risk exacerbating vulnerabilities. As a global hub, Hong Kong sees high stress and loneliness. Younger locals also face immense academic pressure and sky-high living costs. Meanwhile, social media bombards all with curated highlights of others’ lives, triggering “fear of missing out” even during downtimes meant for relaxation.
Idol worship satisfies evolutionary instincts for community and fulfils esteem needs, yet in excess it becomes more about display than passion. When one’s fandom identity becomes all-consuming or spending adopted to counter feelings of inadequacy, well-being is in jeopardy. Alarmingly, some Hong Kong fans even promote competitive spending as a metric of status or dedication within fan circles.
Extreme public displays of affection for MIRROR members also risk crossing boundaries. Outside enthusiastic celebrations, further concerns arise if fans fund dangerous stunts or demand excessive access to idols’ privacy by canvassing buildings with their images unsolicited.
While most fans find joy and purpose through moderate involvement, the minority whose zeal spins into unhealthy fixation requires compassion. Their well-being should matter more than any idol’s popularity or corporate profits. Moving forward, all involved in the entertainment industry must prioritise psychology, enacting policies addressing fandoms’ mental health needs proactively instead of reactively.
Overall, regulating obsessive tendencies early before escalation remains key. Be it improving platforms monitoring at-risk spending or nurturing balanced communities where fans support each other’s journeys, united efforts can curb potential manipulation of vulnerabilities for commercial gain while honouring art’s social importance.
