MissBooMissQuick

Fandoms are fierce, dedicated, and organized. Their loyalty works two different ways. Modern fandoms are unparalleled in the arts of signal boosting on social media, racking up record sales and video views, and staging gestures of appreciation for their favorites. Megan Thee Stallion and Beyoncé’s “Savage” remix reached No. 1 this week in part because of strategic streaming parties scheduled throughout the days following the song’s release by Beyhive accounts like BeyLegion on Twitter. Showers of adulation from thousands of loving admirers can go to an artist’s head if they’re not careful. They can get a little too cozy, and they can get themselves in a lot of trouble. Last April, Lizzo hit at Pitchfork writer Rawiya Kameir’s evenhanded review of her album Cuz I Love You, and Lana went after NPR pop critic Ann Powers for what was a fairly reverent review of the singer’s exquisite Norman Fucking Rockwell album. Both albums charted well, with aggregated review scores in the 80s indicating nearly unanimous praise; both artists caught flak for fixating on the lone less-than-fawning review of their work. What they wanted, it seemed, was worship. Conditioning them to want it was, perhaps, a mistake. For all its great banter and interviews, Nicki’s Apple Music show “Queen Radio” has occasionally used its reach to sic fans on people who anger the rapper. That kind of heat isn’t easily quelled. Rev the kids up, and they only stop when they’re tired.