With a format that looks like The Voice crossed with Love Is Blind, 50 contestants audition for a spot in six bands, who rehearse together but only meet face-to-face for the first time on stage.
Obviously, the flashy trailer displays no awareness of the grim irony that were it not for programmes just like this that promise desperate, hopeful singers a future of success and stardom, Payne might still be alive. In fact, it displays no awareness of the conversations about how we protect young talents and their mental health in the wake of his death at all.
An industry that will inevitably give their self-esteem and self-worth a battering, that will expose them to fame, rejection, criticism, intrusion, fans without boundaries, trolls, excess, temptation and exploitation, that has no obligation to support or monitor their wellbeing after the cameras stop rolling.
One Direction during rehearsals for The X Factor in 2010 (Photo: Dominic Lipinski)Those who still audition for a show like Building the Band, then, are chasing celebrity itself (there is a $250,000 prize up for grabs – but that’s nothing compared to the money they can make with sponsorship and brand deals if they’re popular enough).
Once, those moments of compelling drama felt very special. The day One Direction first sang together at Simon Cowell’s Marbella villa; when “Rhythmix” – who would become Little Mix – performed in front of Tulisa in Mykonos a year later. These bands and scenes were precision-engineered, sure – but we really were witnessing the birth of new friendships and of pop sensations. Knowing the troubles to come makes them bittersweet to watch back – and makes the idea of trying to repeat the formula all over again plain irresponsible.
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As she closed, with her first solo single “Angel of My Dreams” that distilled that conflicting experience into a bold pop banger, I couldn’t help but think about Liam Payne and all the other victims of the TV fame factory whose trauma will never find an outlet in song.
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