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Why Love Island isn't as 'life-changing' for stars anymore, according to expert

Why Love Island isn't as 'life-changing' for stars anymore, according to expert

Yahoo19-02-2025

After Love Island All Stars came to an end on Monday, one PR expert explained why appearing on the show isn't as "life-changing" as it used to be.
Press Box entertainment and TV PR, Lynn Carratt, told Yahoo UK: "Appearing on Love Island used to be life-changing for many of its contestants, you could go from being relatively unknown to amassing hundreds of thousands and millions in some cases of social media followers and when leaving the villa it opened up a whole new world of brand deals and TV deals."
Molly-Mae Hague is the most successful star to be born from Love Island, recently the centre of her own docuseries Molly-Mae: Behind It All. Other Love Island showbiz success stories include presenter Olivia Attwood as well as real-life married and TV couple Olivia and Alex Bowen.
"Some of the Islanders become millionaires after the show," Carratt added, speaking on behalf of Fruityslots.com. "Look at current All Stars Gabby Allen and Ekin-Su Culculoglu, who are already worth a reported £1.6m each. However, it has become more challenging to build your success after appearing on the show in recent years."
Gabby Allen and Casey O'Gorman took home the £50,000 prize on Monday, although Allen said she didn't even know there was a prize for winning the ITV show which is hosted by Maya Jama. It was the least watched series of the show since 2016 but it ended with one million switching on for the final, according to ratings figures reported SuperTV.
Lots has changed since Love Island first hit our screens on 2015, when the ITV dating show was first presented by late Caroline Flack. "More than 300 people have now appeared on the UK edition of the show — being an ex-Islander is no longes lucrative as it used to be," talent manager Carratt said.
"At the shows peak in 2019, it attracted six million viewers compared to its one to two million these days. Also the dating genre of TV shows is becoming saturated with more competition from streaming services."
Love Island has fierce competition in shows such as franchises Married At First Sight and Love Is Blind. Only recently ITV's 'Love Island for the older generation' spin-off My Mum, Your Dad, fronted by Davina McCall, has been axed after just two seasons.
Another change that impacted the Love Island contestants' outreach post-show is the social media ban, according to the PR expert, which was implemented in 2023 as part of ITV's "continued commitment to duty of care".
PR guru Carratt said: "A big change came in 2023 after bosses put on a social media ban on cast's families representing them while they are in the villa, it has had a massive impact on their outreach and therefore after appearing on Love Island their following wasn't on a par with the cast of previous seasons. But they didn't implement this on the All Stars this year."
With Love Island All Stars, all of the contestants have appeared on the show before. Even that return comes with an element of risk, claimed the PR expert.
She said: "This year, Ekin-Su, who came in as a bombshell, has the most significant public profile, with over four million followers on social media. However, after her appearance on Celebrity Big Brother, she had much to do to win back the public.
"She quickly paired up with Curtis but the pair have done little to win over the public. Although Ekin has brought the much-needed drama, odds show the pair were the least likely couple to win the show.
"It's always a risky move to return to the Love Island villa. You can never be quite sure of the public's reaction to you. Reality stars return to the villa to regain their public profile. They'll be on TV daily, returning them to the public's consciousness."
Despite the challenges now faced when heading out into the real world and the spotlight, Carratt said many of the islanders can make "in excess of one million" in brand deals after leaving the villa — especially highlighting the last All Stars series.
"They already have a large following," she explained. "We saw how well Molly Smith did last year after winning alongside her new beau Tom Clare. She's gained millions of followers and bagged a number of lucrative brand deals in the process, making her one of the most successful Islanders to date."
Looking at the prospect of this year's winners, the PR predicted Allen and O'Gorman could indeed "make in excess of £1 million in the next year".
"Before reentering Love Island, Gabby was already a millionaire and was commanding thousands for a social media post to her one million followers which have grown by 100,000 since her stint in the villa," she said.
"Casey's following was much lower than Gabby's but again has grown by almost 100,000 since her return to the villa and he is now almost at 400k. But could the pair now become a power couple? Like Olivia and Alex Bowen.
"I could definitely see them hosting their own podcast together like Casey's former friend Will and his girlfriend Jesse. I could also see them doing joint brand deals together with the likes of ebay and holiday brands like Vibe by Jet 2.
"Gabby I believe will be courted by fitness brands like lululemon and I can see the pair appearing on other reality TV shows — Gabby would be great on Celebrity SAS and I'd love to see Casey give Dancing on Ice a whirl."

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Money Is Ruining Television
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timea day ago

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The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here. Watching Carrie Bradshaw—erstwhile sex columnist, intrepid singleton, striver—float down the majestic staircase of her new Gramercy townhouse on a recent episode of And Just Like That while wearing a transparent tulle gown, on an errand to mail a letter, is one of the most cognitively dissonant television experiences I've had recently. And Just Like That has never been a particularly imaginative show with regard to women in midlife, but there's still something fundamentally off about seeing one of the canonical female characters of our era transformed into a Gilded Age archetype, worrying about a garden renovation and choosing back-ordered fabric for a chaise. Carrie, suddenly, has many hats. She communicates with a lover via handwritten notes while she waits for his liberation from the home front in Virginia. 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On Sirens and The Better Sister, glossy scenes of sleek couture and property porn upstage the intrigue of the plot. On Mountainhead, tech billionaires tussle in a Utah mountain retreat featuring 21,000 square feet of customized bowling alleys and basketball courts. On Your Friends & Neighbors, a disgraced hedge-fund manager sneers at the vacuous wealth of his gated community (where houses cost seven to eight figures), but also goes to criminal lengths to maintain his own living standards rather than lower them by even a smidge. And on With Love, Meghan, the humble cooking show has gotten a Montecito-money glow-up. 'I miss TV without rich people,' the writer Emily J. Smith noted last month on Substack, observing that even supposedly normie shows such as Tina Fey's marital comedy The Four Seasons and Erin Foster's unconventional rom-com Nobody Wants This seem to be playing out in worlds where money is just not an issue for anyone. 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'It's the end of an era,' Carrie says at Lexi's funeral, where Stanford is elated to have scored VIP seats next to Hugh Jackman. 'The party's officially over,' Samantha agrees. After six seasons of transforming how a generation of women dated, dressed, even drank, Sex and the City seemed to be acknowledging that its own moment had come to an end. The characters were undeniably older, no longer seeking anthropological meaning in a SoHo nightclub at 3 a.m. But the city that the show documented—and popular culture more broadly—had shifted, too: toward less spontaneity, less rebellion, and infinitely higher incomes. [Read: The ghost of a once era-defining show] The year that final season aired, 2004, is possibly when television's prurient obsession with rich people really kicked off, with the launch of shows including Desperate Housewives, Entourage, and, notably, The Apprentice. A year earlier, Fox had premiered a soapy drama called The O.C., which charted the rags–to–Range Rover adventures of a teen from Chino who ended up ensconced in the affluent coastal town of Newport Beach. Until then, it had never occurred to me that teenagers could wear Chanel or drive SUVs that cost six figures, although watching them rattle around in McMansions the size of the Met provided much of The O.C.'s visual thrill. In direct response to the show's success, MTV debuted the reality show Laguna Beach: The Real Orange County a year later, and in 2006, Bravo countered with its own voyeuristic peek into the lives of the rich and fabulous—The Real Housewives of Orange County. Documenting wealth enticingly on television is a difficult balancing act: You want to stoke enough envy that people are inspired to buy things (gratifying advertisers along the way), but not so much that you risk alienating the viewer. Reality TV pulled it off by starting small. The women on the first season of Real Housewives were well off, but not unimaginably so. They lived in high-end family homes, not sprawling temples of megawealth. Similarly, when Keeping Up With the Kardashians debuted in 2007, the family lived in a generous but chintzy bungalow, having not yet generated the billions of dollars that would later pay for their minimalist compounds in Calabasas and Hidden Hills. During the 2008 financial crisis, a critic for The New York Times wondered whether the tanking global economy might doom the prospects of shows such as The Real Housewives of Atlanta, which had just premiered, and turn them into 'a time capsule of the Bling Decade.' But the fragility of viewers' own finances, oddly, seemed to make them more eager to watch. Shows about money gratified both people's escapist impulses and the desire to critique those who didn't seem worthy of their blessings. As Jennifer O'Connell, a producer for The Real Housewives of New York City, put it to the Times a year later: 'Everyone likes to judge.' The toxic, unhappy, rich-people shows that have more recently proliferated on prestige TV—the Succession and White Lotus and Big Little Lies variation—cover their backs with cynicism. Money doesn't make you happy, they assert over and over, even though studies suggest otherwise. The documentation of extreme wealth on television with such clarifying bitterness, they imply, surely inoculates audiences from pernicious aspiration. Except it doesn't: The Four Seasons San Domenico Palace in Sicily was fully booked for a good six months following the second season of The White Lotus, despite the fictional bodies floating in the water. And a study conducted at the London School of Economics in 2018 found that a person's increased exposure to shows that regularly 'glamourize fame, luxury, and the accumulation of wealth' made them more inclined to support welfare cuts; it also noted other studies that found that the more people watched materialistic media, the more anxious and unhappy they were likely to be in their own lives. Watching shows about wealth does, however, seem to stimulate the desire to shop, which is maybe why this latest season of And Just Like That feels intended for an audience watching with a second screen in their hand—all the better to harvest the aspirational consumption the show's lifestyles might generate. Streaming services are already tapping into the reams of data they have on viewers by serving them customized ads related to the series they might be watching, and many are also experimenting with e-commerce. You could argue that And Just Like That is honoring the spirit of Sex and the City by putting fashion front and center. But the vacant dullness of the new season feels wholly of its time: This is television for the skin-deep influencer age, not the messy, pioneering drama it once was. More crucially, Carrie and company take up space that deprives us of more shows like The Pitt, one of a sparse handful of series documenting the workers trying to patch up the holes in an ever more unequal America. No one seems to have anticipated that the Max series would be such a success. As workers today are being squeezed 'for all their worth, no more chit-chatting at the water cooler, we've gotten to a point where reality for most people is quite unpleasant,' Smith writes on Substack. 'And executives are betting that we don't actually want to watch it.' The reality of the TV business also underscores why shows that sell us something—even if it's just the illusion of exceptional prosperity as a default—are easier to commission. But audiences will always be drawn to drama, and the stakes of defiantly deglamorized series such as The Bear and Slow Horses feel necessary in this moment, when the state of the future relies so much on the direction and quality of our attention. Article originally published at The Atlantic

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