The global capitalist crisis has resulted in almost everything becoming commodified. Nixon cites Smythe’s theory of ‘audience commodity’, explaining that all audiences of media are sold to advertisers, this reproduction of power labour can even be seen on Instagram (Nixon, 2015). Many Instagram accounts I follow for sewing see their audiences as commodities.

In the above image is a sewing ‘influencer’ advertising a paid partnership with Anthropologieeu, a fashion, beauty and home brand (Lockwood, 2021). Although platforms like Instagram are free for users and the media audiences do not pay, there is still money to be made. It is the advertisers who allow influences to make a living off the app, purchasing the attention of the audience in a bid for sales on their sites (Media Studies 101, date unknown).

Smythe writes that it is a myth to believe “radio and television programs are ‘free’”, referencing to advertisement (Smythe, 1951, 110). The busiest channels bring in the highest advertising revenue, much like on Instagram. In 2019, Kylie Jenner had over 139 million followers, per paid add post she would earn $1,266,000, (Hutchinson, 2019).

On social media we produce information about who we are and what we like, although I am learning new sewing tips, and finding inspiration on social media sites, I am simultaneously producing information about myself, this concept is called ‘prosumer commodity’ (Fuchs, 2012). Social media sites collect information about what I may want to see, and create a personalised algorithm, resulting in adds created to maximise revenue and keep me on their platforms longer.

Below is an image of my Instagram explore page on my sewing account. 7/12 posts are on sewing and 12/12 are posts on crafts, a clear reflection of every day life being commodified.