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This study aims to expand understanding of the diversity of virtual influencer forms by investigating their nonhuman-like, animal and graphic or cartoon variations.

A three-year multisite longitudinal netnography studied 174 virtual influencers and spanned ten social media platforms. Typological categories were constructed from the data set, focusing on 14 influencers located across quadrants. In-depth findings were then developed for eight illustrative cases.

Findings deepen the knowledge of the virtual influencer sphere by highlighting diversity in human-like, nonhuman-like, imaginative and realistic forms. The authors postulate four types of virtual influencers: hyper-human, antihuman, pan-human and alter-human. These forms are linked to specific personalities and communication styles, addressing various consumer needs. Imaginatively represented virtual influencers may prompt audiences to reevaluate beliefs, values and behaviors. These findings challenge prior work’s focus on attractive, hyperreal and human-like virtual influencers, encouraging consideration of divergent types engaged in novel meaning-shaping activities and targeting different segments.

This research paves the way for consumer and marketing researchers and practitioners to broaden their representations of virtual influencers beyond the human-like, beyond the commercial and into new worlds of fantasy, imagination and posthuman possibility.

Different types of virtual influencers speak to diverse audiences and convey marketing messages in subtly different ways. Some forms of virtual influencers fit into roles like defiant voices, oppositional characters, activists, educators, entertainers and change leaders. As the universe of virtual influencers diversifies, this research opens new avenues of marketing for brands.

This study pioneers comprehensive qualitative research across the universe of virtual influencers and their communities, exploring links to popular culture. It offers connections between virtual influencer forms and communication strategies for marketers.

The twofold aim of this theory-building article is to raise questions about the ability of queer cinema to transform market culture and ideologies around gender and sexuality. First, the authors examine how the very capitalization of queer signifiers may compromise the dominant order from within. Second, the authors address how brands possibly can draw on these signifiers to project authenticity.

Through visual methods of film criticism and the semiotic analysis of three films (Moonlight, Call Me By Your Name and Portrait of a Lady on Fire), the authors outline some profound narrative tensions addressed by movie makers seeking to give an authentic voice to queer lives.

Brands can tap into these narrative attempts at “seeing the invisible” to signify authenticity. False sublation, i.e. the “catch-22” of commodifying the queer imaginaries one seeks to represent, follows from a Marcusean analysis.

In more practical terms, “seeing the invisible” is proposed as a cultural branding technique. To be felicitous, one has to circumvent three narrative traditions: pathologization, rationalization and trivialization.

In contrast to Marcuse's pessimist view emphasizing its affirmative aspects, the authors conclude that such commodification in the long term may have transformative effects on the dominant ideology. This is because even if something is banished to the realm of imagination, e.g. through aesthetic semblance, it can still be enacted in real life.