Bobby Finger and Lindsey Weber, the dynamic hosts of the popular podcast *Who Weekly*, have recently stepped into the literary world with the launch of their first book, *I Want to Be Famous: When Everybody and Nobody Is a Celebrity*. Released in September by Crown Publishing, the book offers a thoughtful exploration of celebrity culture, a theme that Finger and Weber have dissected for over a decade on their podcast.
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In an interview with *People*, the authors shared insights into their fascination with fame, which has been a cornerstone of their popular discussions. They define their podcast as a space where both lesser-known celebrities, the “Whos,” and A-list stars, the “Thems,” can be examined, allowing their dedicated community—affectionately known as “Wholigins”—to engage with celebrity culture in a light-hearted yet meaningful manner.
Weber reflected on the intent behind their work, stating, “I think we provide an outlet to care about celebrities but not take it so seriously.” The pair feel that their listeners are eager for a deeper understanding of the celebrity world, and they aim to provide that insight, often examining how information about these figures is disseminated.
The book draws from themes discussed on their podcast, transforming them into essays encompassing various facets of celebrity life, including the phenomenon of social media apologies, the function of press releases, and how public figures navigate the fine line between anonymity and fame. With ten years of podcast episodes to reflect upon, Finger and Weber felt it was the right moment to delve into these subjects in greater depth.
Both Finger and Weber have personal anecdotes about how their fascination with celebrity culture began. Finger recounted that watching television shows and reading online blogs about actors piqued his interest, whereas Weber’s admiration for the boy band *NSYNC sparked an obsession with collecting magazines and exploring fan fiction. Their respective journeys illuminated their extensive engagement with celebrity reportage and the intricacies behind how stories are created.
When asked why now was the appropriate time for a book, Weber explained that the past decade has seen significant changes in celebrity culture, allowing them to mine their experiences and insights more affordably. The transformative nature of the music and entertainment industry has provided a rich context for their discussions.
The authors also revealed their surprise at who enjoys their podcast. Weber noted that filmmaker Lena Dunham is among their biggest celebrity fans, although they prefer to keep the identities of other listeners a mystery, stating, “It’s not for them. It’s for the people who love them.” This speaks to Weber’s desire to maintain the show’s identity as a fan-centric analysis rather than a celebrity-focused platform.
As for the criteria distinguishing a “Who” from a “Them,” Finger described it as fundamentally linked to visibility and media coverage. “To be a ‘Who’, the main thing is all about attention. They need to reach the narrative threshold where they are widely acknowledged, often through publications like *People* and *Us Weekly*,” he explained. Weber echoed his thoughts, highlighting how the relationship between celebrities and journalists is crucial for storytelling.
Throughout their research for the book, Finger and Weber uncovered intriguing details that shed light on broader trends. For instance, Weber mentioned the unexpected connection between a pop-punk band and a coffee-related product placement, while Finger highlighted Ryan Seacrest’s inspirations behind the *Keeping Up with the Kardashians* franchise. These revelations served to support their thesis on what contributes to the making of a celebrity.
Looking to the future, Finger expressed that new platforms will continue to shape how individuals gain fame. The explosion of TikTok celebrities serves as a recent example of how quickly fame can be cultivated in today’s digital age. Though they initially resisted discussing TikTok figures, the duo acknowledged that the landscape of fame evolves alongside technology.
Weber argued that the future of celebrity will inevitably change as new avenues of publicity emerge. She posited that the varying platforms from which celebrities rise can contribute to an increasingly fragmented cultural awareness, where niche audiences support their favourites, sometimes without the wider public ever learning about them.
As they explored how digital media influences the way stars engage with the world, Finger noted a familiar trend: while many celebrities profess the adverse effects of social media, few retreat from its grasp. This contradiction raises questions about the sustainability of celebrity culture in a constantly connected environment.
Overall, *I Want to Be Famous: When Everybody and Nobody Is a Celebrity* stands as a testament to Finger and Weber’s long-standing engagement with celebrity culture. Their book is now available and serves as an enlightening exploration of fame, offering readers a comprehensive look at how celebrity status is crafted, maintained, and sometimes undermined in the digital age.
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