The fourth wall keeps breaking as the fourth estate crumbles

Won’t somebody think of the bricks and mortar?

There’s moment in the film Deadpool when actor Ryan Reynolds is narrating to camera about ‘breaking the fourth wall’, then cuts to a flashback scene within where he again acknowledges the trope while also speaking to camera: “that’s like … 16 walls.”

Once a rarity, exposing this concept has been popular in recent times. From Shakespeare to She-Hulk to House of Cards, and anything Ryan Reynolds (who has seriously meme-able form across multiple films), the ‘fourth wall’ is an idea that relies on setting up the viewer’s impression of the character and not the performer behind it.

This illusory mechanic works by asking viewers to invest in the character in front of them (on screen or stage) and not the otherwise real person acting or performing. Breaking this compact between on and off stage alters the relationship dynamic between audience and performer. Performing this trick was previously quirky but feels a little formulaic after the recent rash.

Over at the fourth estate

The fourth estate is meanwhile floundering. Having watched their business model lose presence, power and profit under the weight of always on internet, ‘traditional’ journalism has kept scrambling to remain relevant. In the last few decades, big media conglomerates have leaked gazillions, advertisers have gone digital and only smaller, more agile outliers like CX continue to thrive. (Jason knows our niche and services it well.)

As the conventional media environment carnage continues, a fifth estate grows in breadth, depth and social penetration. Bloggers, vloggers, podcasters and other non-aligned individuals are socially networked, organically spreading their reach through myriad platforms. (To be clear, there are several definitions of ‘fifth estate’ floating about. This is but one of them.)

More and more people are using these new outlets for information, ideas and community. And the main reasons are thus: the opinions are generally those of the presenter; there is ample opportunity for feedback from viewers and consumers, giving validation through being able to feel like making some direct influence on the wider world; viewers get content that doesn’t feel like corporate marketing swill.

Unfortunately, in-video sponsors break this magic for me. As soon as the presenter starts shilling TheirUndies, BolloxTrimmers or DubiousHealth, I feel they have sold out. It is then hard to gain any further trust in their regular words. The best ones make a clever joke about it while taking the cash, but they are still whoring themselves in public. It’s arguably a better model than impersonal generic adverts inserted by the corporate ad machine, but annoying nonetheless.

It is still otherwise enjoyable to be part of this (r)evolution. Particularly because I get to straddle several of these genera, writing both as a journalist, blogger, and general participant in online discussions across multiple platforms and outlets. As a consumer, the choices are varied, often quirky and drill into specialised topics that the mainstream would never touch. Quality and consistency can vary but it is generally far more entertaining and engaging than another lame writer’s-room recycled franchise.

Not so long ago, it was considered a journalistic sin to write in the first person. Only madmen like Hunter S Thomson could even try and that sent him (more) insane. But that restriction is a legacy of the times and no longer applies with citizen reporters and Substackers being themselves while trying to grift a living from this new version of the creative economy. Their authenticity adds weight to their credibility.

Personally, I like to migrate between multiple perspectives: first, second and third degree burnt while talking through first to fifth persons. Blurring those lines but making some kind of sense is the best fun.

On or Off stage is not so binary

Most performers I have known have a degree of stage persona. Actors obviously need to inherit their character as much as possible, allowing audiences to suspend disbelief about the faces they have seen inhabit a dozen characters before.

But musicians have a degree of this too. So many are quite different in temperament on and offstage. You can see the transition from quiet, soft-spoken introverts to loud, confident extroverts whenever there is a microphone nearby.

The fifth estate also has tendencies to this.

Many people change their tune and tone whenever there is a camera pointed at them. But these seem the more honest of talking heads and are much easier to form a bond with or loyalty to than any overly airbrushed, botox-ed TV ‘personality’.

This bond is even more powerful if you’ve transacted with them in the comments or hang out on their Discord.

Our contribution

In CX world, a land of entertainment and promotional spectacle, we are both a part of the fourth estate and regularly crossing the fourth wall.

By definition, we have to separate the offstage personas of performers from any public image because we deal with their real-world personalities every day. We have to translate their entertainment desires into technological reality. Budget permitting, of course. If they want more bling than they’re getting they need to attract more punters or funding.

The professional performers understand this well. They also know how to switch on ‘stage mode’ reliably and consistently. In hundreds of shows, the odd mistake is expected and even prompted by other cast and crew. We are but human.

The freak exception is Alex Dimitriades, who I had the great pleasure of doing an extended musical theatre run with. He always hit his marks, nailed his cues and refused to be thrown off script, no matter how hard the others tried to trip him up. A true pro in action … respect.

When it comes to establishing the wall between a performer’s personal existence and stage persona, we on the production and promotion side are entirely complicit. It is part of our job to maintain that illusion.

Being on the other side of the public wall can get uncomfortable for those used to the shade. Yesterday, I talked with a local friend with extensive professional experience behind the scenes in entertainment. She is fundraising for the 000 Foundation (think Support Act for emergency services personnel) and having to do promotional appearances to drum up interest. She hates that aspect. Standing in front of the wall can be challenging for those normally hidden behind it.

Life Beyond the Wall is not all White Walkers

One of the most interesting aspects of modern digital life are the parasocial relationships that now exist between viewer and performer. Real-time two-way interactions are not just possible but encouraged. This allows punters to connect more personally with performers but also vice versa. Fifth estate minstrels get direct feedback from the audience and can then tweak their output to suit. Plus, it humanises performers more and levels the imbalance between entertainer and entertained.

Active viewers get to experience the crossover that those of us in the performing industries take for granted. Passive viewers get more choices to watch.

The trick to navigating the boundaries of the fourth wall, from within the confines of the fourth estate, is to not take yourself too seriously. Your ego remains supplementary to the ultimate goal of public entertainment. I wonder if more performers and workers took this approach what the industry would look like.