Are superfans all bad? New films explore the ‘dark side’ of stan culture

In 2000, Eminem redefined how we talk about fan culture with “Stan,” which charts the downward spiral of an increasingly unhinged devotee, whose impassioned letters to the rapper go mostly unanswered.

The song is almost chillingly prophetic 25 years later, at a time when superfans flood the comments of their favorite artists on social media, airing their grievances and demanding to be noticed.

“Whether you’re doing it over physical mailed letters or through DMs, that basic premise is the same,” says Steven Leckart, director of the new Eminem documentary “Stans” (streaming Aug. 26 on Paramount+), which the rap star co-produces and appears in. “You’re probably going to feel a little sense of, ‘Why am I shouting into the ether and not hearing back?’ There’s a disappointment and bitterness that could set in.”

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In the new documentary “Stans,” Eminem opens up about trying to protect his privacy while connecting with fans.

“Stans” takes an unconventional approach to the standard music doc, examining the life and career of Eminem through interviews with his most diehard supporters. It’s one of a handful of recent projects that are reassessing the oft-uncomfortable lengths that people will go for their favorite celebrities.

‘Lurker’ shows the ‘scary’ realities of parasocial relationships

“Scream” (2022) and “Swarm” (2023) both used horror to satirize toxic fandom and disgruntled keyboard warriors, while earlier this year, The Weeknd played a fictionalized version of himself in “Hurry Up Tomorrow,” a psychedelic melodrama in which he is held hostage by a crazed fan (Jenna Ortega). And the recent comedy “Borderline,” starring Jack Nicholson’s son Ray, also centered on a man stalking a pop star (Samara Weaving).

Meanwhile, “Lurker” (in theaters now) follows a clothing store clerk named Matthew (Théodore Pellerin) who wheedles his way into the inner circle of an up-and-coming artist, Oliver (Archie Madekwe). The film explores the petty jealousies and power dynamics that fuel the group of interchangeable young men in Oliver’s orbit, as Matthew gradually becomes famous by association and fights to stay relevant.

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Throughout the movie, people stop Matthew on the street saying they recognize him from Oliver’s Instagram and asking how they, too, can become friends with the singer. There’s a similar phenomenon online of rabid fans who make their entire personalities about getting “likes” from major pop stars such as Taylor Swift and Lady Gaga.

“It’s funny, this idea of how many degrees of separation there are between you and a famous person,” says “Lurker” filmmaker Alex Russell, who was loosely inspired by the social climbers and hangers-on that he encountered in Hollywood. “It’s like, ‘Oh, well my friend’s tweet was seen by this celebrity!’ What’s scary about it is that it’s becoming more normalized. There’s no shame about it.”

Even as Matthew’s behavior gradually becomes more obsessive and disturbing, Oliver still keeps him around. The movie posits that parasocial relationships are, in some ways, mutually beneficial, as Oliver surrounds himself with yes men who rubber stamp his vision.

“A lot of people would call it one-sided when it isn’t,” Russell says. “On both sides, it’s about validation and attention. Some people thrive on having that energy come toward them.”

The Weeknd talks ‘Hurry Up Tomorrow’: How his life is a ‘never-ending’ movie

In new movie “Lurker,” Oliver (Archie Madekwe, left) finds his chosen family in superfan Matthew (Théodore Pellerin).

Fandom is a ‘double-edged sword’ for Eminem

Artists have long had to contend with overzealous followers, from Elvis Presley and The Beatles to Michael Jackson and Madonna. But social media has only emboldened fans, many of whom feel entitled to get selfies even when stars are off the clock, or to dissect a celebrity’s appearance in the comments of a post. A-listers’ whereabouts are way more accessible, too, with Instagram accounts such as DeuxMoi that regularly share star sightings and restaurant roundups of places that big names frequent.

“What’s different is the speed at which somebody can be seen in public, and how that information can spread and people can get there faster,” Leckart says. “That’s not something you had to think about back then. Your physical location can be shared quite quickly.”

Through new interviews with Slim Shady himself, “Stans” looks at the toll that fame has taken on the hip-hop icon. He recounts the ways in which fans have crossed boundaries, chasing him and his daughter through the mall or flying to his hometown to search for him. But Eminem expresses appreciation for his supporters as well, many of whom explain how his music helped them confront their personal struggles with addiction, loss and mental health.

“The song ‘Stan’ is very much a cautionary tale about the dark side of that connection, and in a film inspired by that song, we had to show that side of the coin,” Leckart says. “But we also wanted to show the positive aspects of fandom. The art we make can actually influence lives in profound ways. It’s a double-edged sword.”

This article originally appeared on USA TODAY: ‘Lurker,’ Eminem documentary ‘Stans’ explore ‘dark side’ of fans