Mediatization, polarization, and intolerance (between environments, media, and circulation)

Mediatization of collective emotions 109 other republican states cultivates showbiz stars as if they were nobles. This appeal also seems to be the main attraction of so- cial columns. This Olympus is a space coveted by figures who show off and strive to win the public’s appreciation. They often arise, reemerge, and disappear from the view and esteem of the masses quickly. The phenomenon is called mobility of fame which, in the case of monarchies, is stable. Collective worship is a reality in the society of the spectacle. Monarchs and stars from showbiz, politics, business, finance, culture, and sport are the preferred theme of worship journalism , halls and sidewalks of fame, wax museums, public monuments, and, also, the pilgrimage to cathartic places like the graves of these personalities. This result comes from a premeditated and calculated effort. The first and main obstacle of a new star is to overcome the distraction of the audience. The fact requires qualified pro - duction of itself as a symbolic asset, available for mass consump- tion. It implies the novelty’s ability to offer a unique emotional gratification to the celebrants. In other words, collective emo- tions can be managed. From 1955 onwards, an estimated public of around 20 to 25 million people went to cinemas around the world to watch the trilogy that told the story of Sissi, the Empress, star- ring Romy Schneider. Animated by this narrative, about 5 mil- lion tourists visit annually the royal complex of Vienna, which brings together the palace of Sissi and its gardens. In 1981, another royal wedding and drama conceived as a TV show touched the world. An estimated audience of 1 billion viewers watched Lady Di’s wedding (the new Sissi) to Charles, the Prince of Wales. The live broadcast of this event in- creased the audience of TV Globo by four percentage points. What happens is that there are dynasties, also, among the commoners. Both courts, that of kings and queens, and the mundane make use of something serious that underlies the col- lective habits - a person’s desire to observe the lives of others, especially of those who inspire and touch them. The media are responsible for promoting these char- acters by offering them to the delight of the masses. In other