Back in December, everyone’s favourite marketeer returned to Netflix at the perfect time, ready for holiday binge-watching over mulled wine and festive treats. We got to see Luc’s swanky houseboat, and we’re excitedly awaiting a knock-out performance of Mon Soleil at this year’s Eurovision song contest.
But what about the show’s representation of the influencer marketing world?
If the first season presented a dreamscape of influencer marketing, this new crop of episodes is in a state of hypnagogia, blurring the distinction between fiction and reality in a more radical way.
The show seems less focused on commenting on the influencer marketing ecosystem, than it is on leveraging its marketing aesthetic to generate new revenue streams for Netflix. In doing so, the show might even be transforming the future of the creator economy.
We spoke with Madeline Orme, Senior Influencer Marketing Strategist, Associate Director at MediaCom, and Natalia Cortazar, Founder and CEO at The Good Egg, to understand the potential that Netflix has opened up for a whole new channel in the creator sphere.
