The article discusses how social media is increasingly validating the fraudulent and scaly roles played by figures like Billy McFarland, Fyre Festival creator, Anna Delvey Sorokin, and Luigi Mangione. It highlights the shift in public perception from viewing artists and criminals as icons to comparing them to business magnos. The author, Oren Aks, explains that social media allows this transformation, with the public increasingly adopting the roles of star cookies to gain visibility. McFarland, however, remains a key example, as seen when attendees similarity searched his name to gain a taste of Fyre Festival.
The article then delves into Aks’ experience with Fyre Festival before its collapse in 2017, emphasizing how previous events exposed artists and criminals before failing. This led to the vulnerability of labeling alleged fraudulators as heroes. McFarland chose a new entity set up by U.N.-style tents to mitigate press tampering, turning the risk into a need for action and self-sufficiency. He expresses regret at the #fyrefraud hashtag going viral, reflecting a questioning of the internet’s reputation as a neutral space.
The article also addresses the backlash from the failed Fyre Festival 2, with critics calling it an unwarded river of悲伤. It discusses McFarland’s statement about opening a brand team to realize full potential, emphasizing the importance of the past in shaping the future.
Overall, the article reflects a critique of the internet’s role in perpetuating false narratives about bad actors, while also highlighting the risks of misrepresentation and the need for self-reliance in the future.
