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Alter ego
Alter ego
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An alter ego (Latin for "other I") means an alternate self, which is believed to be distinct from a person's normal or true original personality. Finding one's alter ego will require finding one's other self, one with a different personality. Additionally, the altered states of the ego may themselves be referred to as alterations.

A distinct meaning of alter ego is found in the literary analysis used when referring to fictional literature and other narrative forms, describing a key character in a story who is perceived to be intentionally representative of the work's author (or creator), by oblique similarities, in terms of psychology, behaviour, speech, or thoughts, often used to convey the author's thoughts. The term is also sometimes, but less frequently, used to designate a hypothetical "twin" or "best friend" to a character in a story. Similarly, the term alter ego may be applied to the role or persona taken on by an actor[1] or by other types of performers.

Origin

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Cicero coined the term as part of his philosophical construct in 1st-century Rome, but he described it as "a second self, a trusted friend".[2] [citation needed]

The existence of "another self" was first fully recognized in the 18th century, when Anton Mesmer and his followers used hypnosis to separate the alter ego.[3] These experiments showed a behavior pattern that was distinct from the personality of the individual when he was in the waking state compared with when he was under hypnosis. Another character had developed in the altered state of consciousness but in the same body.[4]

Sigmund Freud, throughout his career, would appeal to such instances of dual consciousness to support his thesis of the unconscious.[5] He considered that "We may most aptly describe them as cases of a splitting of the mental activities into two groups, and say that the same consciousness turns to one or the other of these groups alternately".[6] Freud considered the roots of the phenomenon of the alter ego to be in the narcissistic stage of early childhood.[7] Heinz Kohut would identify a specific need in that early phase for mirroring, by another which resulted later in what he called the "twinship or alter ego transference".[8]

[edit]
Dr. Jekyll and Mr. Hyde
Fred Terry as the Scarlet Pimpernel (alter ego of Sir Percy Blakeney) in the 1905 West End production of The Scarlet Pimpernel
  • The title characters in Robert Louis Stevenson's thriller Strange Case of Dr Jekyll and Mr Hyde represent an exploration of the concept that good and evil exist within one person, constantly at war.[9] Edward Hyde represents the doctor's other self, a psychopath who is unrestrained by the conventions of civilized society, and who shares a body with the doctor. The names (Jekyll and Hyde) have since become synonymous with a split personality or an alter ego that can overpower the original self.
  • In the novel The Count of Monte Cristo by Alexandre Dumas, the main character Edmond Dantes, after escaping from the Chateau d'If, assumes three alter egos: the count of Monte Cristo, the Italian abbe called Giacomo Busoni, and the Englishman Lord Wilmore. In the novel, the Count of Monte Cristo rewards those who had been good to him while punishing those who contributed in one way or the other to his imprisonment. He leads M. Danglars to lose all his fortune, M. de Villefort to his madness, Fernand Mandego to commit suicide and others more to their fate.
  • Norman Douglas in the late 1890s wrote a short story, "The Familiar Spirit", about a man who became aware while drowning of a conformist second self – "the presence within him of this Spirit, his alter ego, which is bent on crushing his ambition".[10]
  • Published in 1905, the Scarlet Pimpernel's titular protagonist is the prototype hero with a secret identity.[11] Sir Percy Blakeney leads a double life: He appears to be just a wealthy fop, but in reality he is the Scarlet Pimpernel, a formidable swordsman and a quick-thinking master of disguise and escape artist who establishes a network of supporters, The League of the Scarlet Pimpernel, that aids his endeavors. By drawing attention to his alter ego, Blakeney hides behind his public face of a thinking foppish playboy (similar to Batman, who hides himself as Bruce Wayne).[12]
  • In comic books, superheroes and their secret identities are often considered the alter egos. The archetypal comic book hero, Superman, assumes the identity of the "mild-mannered" newspaper reporter Clark Kent to live among the citizens of Metropolis without arousing suspicion. The Incredible Hulk comic book series further complicates this theme, as Bruce Banner loses control to the Hyde-like Hulk whenever he becomes angry, yet also depends upon the Hulk's superpowers to combat villains.
  • In the film and novel Fight Club, the narrator has an alter ego he loses control of, Tyler Durden.
  • In the 1999 Malayalam film Ustaad, written by Ranjith and directed by Sibi Malayil, actor Mohanlal plays both the characters Ustaad, an underworld don, and his alter ego Parmeshwaran, a soft-spoken businessman who leads a normal life.
  • In Disney's Hannah Montana, Miley Stewart (played by Miley Cyrus), leads the life of a high school student, and the life of teen pop sensation Hannah Montana allowing her to get the best of both worlds. Likewise, Miley's friends, Lilly Truscott (played by Emily Osment) and Oliver Oken (played by Mitchel Musso), also lead the lives of high school students and are what make up Hannah's entourage, Lola Luftnagle, and Mike Stanley III respectively.
  • In Pretty Little Liars, Vivian Darkbloom is the alter ego of Alison Dilaurentis.
  • In Beavis and Butt-Head, Cornholio is Beavis's alter ego.
  • Several famous musicians have adopted alter egos over the years, usually to indicate a new creative direction or a deep dive into their emotions removed from their popular stage persona—notable examples being David Bowie (with Ziggy Stardust and Aladdin Sane) and Prince (with Camille).[13] Rolling Stone wrote Bowie's invention of Ziggy Stardust was "the alter ego that changed music forever and sent his career into orbit".[14] Particularly during the 2000s, several big-name singers dedicated album eras to reveal their alter egos, including Janet Jackson with Damita Jo, Mariah Carey with The Emancipation of Mimi, and Beyoncé with I Am ... Sasha Fierce.[15] Many rappers have also employed alter egos, notably Eminem (Slim Shady), Shock G (Humpty Hump), Nicki Minaj (Roman Zolanski), Tyler, the Creator (Wolf Haley, Igor et al.), and MF DOOM (Viktor Vaughn and King Geedorah et al.)
  • Singer Lisa’s debut solo album titled Alter Ego showcases 5 alter egos, Vixi, Kiki, Speedi, Roxi, and Sunni. They are all associated with a color and a character in the album’s comic book of the same title. They also have songs specifically for them on the album.
  • Darth Vader is considered to be Anakin Skywalker's alter ego following his fall to the dark side of The Force.
  • In the 2023 Tamil Film Leo: Bloody Sweet actor Joseph Vijay plays the character Leo Das and his alter-ego Parthiban.
  • The 2006 animated film Paprika features a psychiatrist named Atsuko Chiba and her dream-self Paprika.
  • In the video game Elden Ring, one of the most important characters, "Miquella the kind", has an alter ego called "St. Trina."

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Alter ego

View on Grokipedia
from Grokipedia
An alter ego (Latin for "other I") is a second self or alternative personality distinct from a person's primary identity, often representing hidden, contrasting, or idealized aspects of the self. The term was coined by the Roman philosopher in the 1st century BCE to describe a trusted friend as "a second self," emphasizing intimate companionship and mutual understanding. Alter egos appear in psychology as secondary personas that help individuals manage emotions, embody aspirations, or navigate social situations; in literature and the arts as narrative devices to explore human duality, moral ambiguity, and inner conflict; and in popular culture and professional spheres through figures such as superheroes, musicians, and performers who adopt alternate identities for self-expression and adaptation.

Etymology and Definition

Etymology

The term "alter ego" derives from Latin alter ("other" or "second") and ego ("I"), literally meaning "other I" or "second self." The phrase first appears in 1st-century BCE Roman literature in the writings of statesman and orator Marcus Tullius , who used it in private correspondence to denote a trusted or intimate companion equivalent to oneself. For example, in letters to his close friend , Cicero described him as his alter ego, underscoring their profound mutual understanding and shared perspective. The term entered English in the through scholarly translations and adaptations of texts, amid the revival of Roman antiquity. The earliest recorded English use appears in 1537, in a diplomatic letter by English churchman Richard Layton, who referred to trustworthy agents as "evyn as well as your owne alter ego," adapting the Latin to express absolute reliance on a . This reflected the humanist emphasis on classical and personal correspondence, where alter ego denoted a reliable second-in-command or mirror-like associate. By the , during the Romantic movement's focus on and inner conflict, the term evolved to emphasize an introspective "dual self" or hidden persona in literature. Authors such as and incorporated alter egos—such as Byron's Childe Harold as a self-exiled projection of the poet—to explore themes of fragmentation and self-division, establishing the phrase's modern psychological resonance. This shift laid the foundation for later associations with psychological dualism.

Core Definition

An alter ego is a second self or alternative identity representing aspects of a person's distinct from their primary , often embodying repressed traits, unfulfilled aspirations, or constructed roles. Derived from the Latin phrase meaning "other I," the term originally denoted a close or but evolved into a metaphorical representation of internal duality. In contemporary usage, it signifies an extension of the self with differing characteristics that serves self-expression or adaptation. Alter egos can be consciously adopted—for instance, in creative endeavors such as writing under a narrative voice—or subconsciously manifested during stress when hidden facets emerge. Unlike a , which involves merely a name change for or branding, an alter ego implies deeper integration of personality elements, functioning as a modified extension of the rather than a superficial alias. This distinction underscores its role in embodying traits or behaviors contrasting with one's everyday identity, typically without full separation or loss of control. Typically non-pathological, an alter ego denotes a dual identity that enhances creativity or coping rather than indicating clinical dissociation, as seen in authors employing it to channel alternative perspectives without memory gaps or involuntary switches. By the 20th century, influenced by psychoanalytic theories, the term shifted to emphasize metaphorical self-expression, viewing such dualities as integral to human identity rather than mere substitutes. This reflects broader psychiatric understandings of the "other" within the self as a universal experience harnessed constructively in non-clinical contexts.

Psychological Aspects

In Everyday Psychology

In everyday psychology, individuals voluntarily adopt alter egos to embody desired traits and enhance performance in non-clinical settings. Athletes, for example, may create alter egos to channel a "winner" persona, boosting and focus during competitions. This technique, known as the "Batman Effect," uses self-distancing by imagining oneself as a or other character to improve perseverance on challenging tasks. Research shows children who adopted such personas persisted longer on tedious activities than those who did not, spending more time on the task (approximately 35% vs. 20-28% of allotted time). Psychological theories affirm the normalcy of multiple personas in daily life. , in his 1890 work , described the self as comprising various "I's"—material, social, and spiritual—enabling adaptive shifts across contexts. Similarly, viewed the "shadow self" as repressed personality aspects; when consciously integrated, it fosters personal growth and wholeness. These frameworks present alter egos as flexible extensions of the psyche that support adaptation. In professional settings, people often adopt work personas for , such as a shy individual becoming assertive in meetings to project confidence. This aligns with Erving Goffman's dramaturgical analysis, in which individuals perform roles to shape perceptions and navigate social situations. Skilled enables strategic shifts to meet situational demands and improve interpersonal outcomes. Such controlled identity shifts offer benefits including heightened , resilience, and reduced anxiety, as supported by research. Role immersion techniques, building on self-distancing principles, create psychological buffers against self-doubt and lower performance anxiety. Alter egos can also unlock creative potential by bypassing inhibitions and allowing exploration of otherwise inaccessible traits. Overall, these practices aid emotional regulation and adaptive functioning in everyday challenges.

In Clinical Contexts

In clinical psychology, the concept of an alter ego appears primarily in dissociative identity disorder (DID), formerly known as multiple personality disorder until reclassified in the DSM-IV. DID features two or more distinct personality states, or "alters," that recurrently control behavior, often with amnesia for personal information or events beyond ordinary forgetting. DSM-5 criteria (2013) require these identity disruptions to cause significant distress or impairment in social, occupational, or other functioning, not attributable to cultural practices, substances, or medical conditions. Alters typically exhibit unique traits, memories, and interactions, resulting in identity confusion and recurrent dissociative episodes. DID gained public attention through the 1973 book Sybil, which described a woman with 16 alters attributed to severe childhood abuse. However, 2011 investigations revealed substantial therapeutic influence and factual distortions, casting doubt on the case's authenticity. Research since the 1980s, including DSM-III inclusion and studies like Putnam et al. (1986) and Ross et al. (1990), has linked DID to high rates of childhood maltreatment, with trauma histories reported in up to 95% of cases and approximately 90% among individuals in North America and Europe. The etiology of DID remains debated. The trauma model, dominant in clinical literature, posits that severe and repeated childhood adversity fragments the developing self through dissociation, forming alters to encapsulate traumatic memories and emotions as protective mechanisms. This view is supported by neuroimaging studies showing distinct brain activation patterns during identity switches, including heightened amygdala and insula activity in trauma-related states and altered prefrontal-limbic connectivity (Reinders et al., 2003, 2006). However, the sociocognitive model argues that symptoms may arise from sociocultural influences, media exposure, and suggestive therapeutic practices, though this perspective has less empirical support. Some integrative models, such as the schema mode approach, incorporate elements of both. Treatment has traditionally emphasized phased psychotherapy to establish safety, process trauma, and foster integration or cooperation among alters, incorporating techniques like eye movement desensitization and reprocessing (EMDR) and clinical hypnosis. Longitudinal studies, such as the TOP DD project (2012–2017), report substantial reductions in dissociation, depression, and PTSD symptoms for 60–70% of participants after 2–6 years of specialized phase-oriented therapy, with meta-analyses supporting these outcomes. Recent developments have explored adapted evidence-based therapies from related disorders, showing promise in preliminary studies. These include the Unified Protocol for transdiagnostic emotion regulation (large effects in case series, with some patients no longer meeting DID criteria), Schema Therapy (reframing alters as schema modes, large effects and resolution of diagnosis in several cases), and intensive cognitive behavioral approaches. These shorter, trauma-focused adaptations often yield larger effect sizes on dissociative symptoms than traditional long-term phase-oriented therapy, which shows small effects and high dropout rates in some studies. Further randomized controlled trials are needed to confirm efficacy and determine best practices.

Literary and Artistic Uses

In Literature

The alter ego emerged prominently in 19th-century Gothic literature as a device to explore moral duality and the fragmentation of the self amid societal constraints. Fyodor Dostoevsky's The Double (1846) depicts bureaucrat Yakov Petrovich Golyadkin encountering his identical doppelgänger, who embodies paranoia, social alienation, and fears of identity loss in a bureaucratic world. This motif influenced Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde (1886), where the protagonist's transformation into the malevolent Edward Hyde highlights Victorian tensions between repressed respectability and primal instincts. In literature, alter egos reveal subconscious conflicts and critique societal norms, often through unreliable narrators or contrasting personas. In The Double, Dostoevsky critiques Russian bureaucracy and urban isolation as Golyadkin's alter ego usurps his position, symbolizing descent into madness and erasure of agency under oppressive structures. Similarly, Stevenson's Jekyll and Hyde illustrates moral duality, with Hyde embodying unchecked desires that challenge Victorian ideals of self-control and propriety. The device also enables satirical unreliable narration, as in Mark Twain's The Adventures of Huckleberry Finn (1884), where Huck's naive voice serves as Twain's alter ego, undercutting Southern racism and romanticized notions of adventure through irony and folk humor. Modernist works deepened psychological fragmentation. Virginia Woolf's Orlando: A Biography (1928) presents the protagonist Orlando as a gender-shifting alter ego who changes from male to female over centuries, parodying biographical conventions and challenging rigid gender roles, drawn from Woolf's relationship with Vita Sackville-West. Postcolonial literature extended the motif to hybrid identities. Salman Rushdie's Midnight's Children (1981) uses alter egos to depict fragmented selves, with Saleem Sinai's rivalry with his swapped-at-birth counterpart Shiva illustrating postcolonial trauma, blending history, mythology, and magical realism to reject singular truths.

In Visual Arts and Theater

In visual arts, the alter ego appears in self-portraiture depicting multiple or imagined selves, especially in Surrealism. Salvador Dalí's 1930s self-portraits incorporate surreal, hallucinatory elements to represent fragmented identities, as in Untitled (Self-Portrait Hidden in a Landscape) (1936), where his face blends into landscape features. Frida Kahlo's The Two Fridas (1939) portrays two versions of herself—one in Tehuana dress symbolizing indigenous heritage, the other in European gown—linked by exposed veins and hearts, expressing her emotional and cultural divisions after divorcing Diego Rivera. In theater, alter egos emerge through masks and role changes that separate performers from characters. In ancient Greek drama from the 5th century BCE, actors wore oversized masks to embody archetypes such as gods or heroes, enabling quick role switches and projection to large audiences. In the 20th century, Bertolt Brecht's Verfremdungseffekt (alienation effect) used visible techniques like placards and exaggerated gestures to discourage audience empathy and prompt reflection on social roles, as in The Good Woman of Setzuan (1943), where Shen Te adopts the alter ego Shui Ta to survive capitalist pressures. Modern works further illustrate alter egos as constructed identities. Cindy Sherman's Untitled Film Stills series (1977–1980) shows her posing as female stereotypes from imagined films, critiquing media portrayals of women. Andrew Lloyd Webber's The Phantom of the Opera (1986) features the disfigured title character using a half-mask to conceal his face, creating a dual persona of hidden trauma and public menace. These examples highlight alter egos as tools for examining identity fluidity in visual arts and theater.

Superheroes and Comics

The alter ego trope in superheroes originated in the 1930s pulp adventure stories and became a staple during the Golden Age of comic books. Protagonists hid their extraordinary abilities behind ordinary civilian identities to protect their lives and surprise enemies. Superman's debut in Action Comics #1 (1938) established the archetype: Clark Kent, a mild-mannered journalist, conceals his Kryptonian powers. This duality enabled creators Jerry Siegel and Joe Shuster to explore themes of assimilation and hidden strength, reflecting immigrant experiences in American culture. Such alter egos provide narrative contrast between vulnerability and power. Batman, introduced in Detective Comics #27 (1939), exemplifies this: Bruce Wayne's wealthy playboy persona by day supports his nocturnal vigilante role as Batman, driven by childhood trauma and a commitment to fighting crime. This split identity creates psychological tension, with the public facade funding operations while the mask channels fear into disciplined heroism. From the 1960s onward, the trope faced deconstruction, portraying alter egos as burdensome or morally complex. Alan Moore's Watchmen (1986–1987) examined flawed characters whose dual lives amplified issues like paranoia and ethical dilemmas. Spider-Man, debuting in Amazing Fantasy #15 (1962), highlights ongoing conflicts between civilian responsibilities and superhero duties, framing the alter ego as a source of tension rather than simple disguise. The motif has influenced fan culture, inspiring cosplay where participants adopt both heroic and civilian personas to explore identity and escapism at conventions. In film, the trope contributed to the Marvel Cinematic Universe's success, beginning with Iron Man (2008), where Tony Stark's billionaire persona hides his armored identity. The franchise has grossed over $32.4 billion worldwide across 37 films.

Celebrities and Public Figures

A prominent historical example is Samuel Langhorne Clemens, who adopted the pen name in the 1860s to create a distinct humorous persona for his writing and lectures. This allowed him to satirize American society with greater freedom, though the persona later blurred with his personal identity and became a source of strain. In the 20th century, David Bowie introduced the alter ego Ziggy Stardust in 1972 through the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. This androgynous, bisexual alien rock star enabled Bowie to experiment with identity and performance; he fully embodied the character during tours with elaborate costumes and stage antics before retiring it in 1973 to avoid being consumed by the role. Contemporary examples include Beyoncé's Sasha Fierce, developed in the 2000s to summon confidence during performances and separate her shy off-stage self from her bold stage presence, and Eminem's Slim Shady, introduced in 1999 on The Slim Shady LP to deliver provocative lyrics on violence and personal struggles while distancing them from his everyday identity. Actors commonly adopt stage names to protect privacy, maintain personal boundaries, and comply with union rules such as those of that prevent name conflicts. Many celebrities describe using alter egos to access untapped confidence or express suppressed traits under performance pressure, as Beyoncé has explained in interviews about "switching" into Sasha Fierce. Media analyses from the 2010s note how social media has amplified alter egos, with influencers crafting curated online personas that exaggerate traits for engagement and monetization, often blurring authenticity and performance while raising concerns about the psychological toll of maintaining fragmented identities.

Other Applications

In Law and Business

In U.S. corporate law, the alter ego doctrine enables courts to pierce the corporate veil by treating a corporation as an extension of its owners or shareholders when the corporate form is abused to perpetrate fraud, evade obligations, or cause injustice to creditors or third parties. This disregards limited liability protections and holds individuals personally liable for corporate debts or liabilities. Courts require proof that owners exercised complete domination over the corporation, using it as a mere instrumentality rather than a distinct entity. A landmark case is Walkovszky v. Carlton (1966), in which the New York Court of Appeals dismissed a claim against a taxi fleet owner for insufficient allegations of domination and fraud in an underinsured cab accident, while affirming the doctrine's applicability under appropriate circumstances. To invoke the doctrine successfully, courts evaluate factors such as undercapitalization relative to risks, commingling of personal and corporate funds or assets, and failure to observe corporate formalities (such as maintaining separate records, holding shareholder meetings, or issuing stock certificates). These indicate the corporate form was not genuinely respected, justifying veil piercing to prevent inequity. Empirical research from the 1990s analyzing U.S. appellate cases shows plaintiffs succeeded in piercing the veil in approximately 40% of alter ego claims overall, with success rates up to 58% in jurisdictional contexts focused on establishing court authority over related entities rather than direct liability. In business practice, entrepreneurs may register "doing business as" (DBA) or fictitious names as non-legal extensions of their primary entity for branding or marketing without forming additional corporations or LLCs. This is common for sole proprietors and small businesses operating under multiple trade names while retaining a single legal identity, such as a consulting firm using a DBA for a specialized service line. Unlike the alter ego doctrine in veil-piercing cases, DBAs create no separate entities and offer no additional liability protection, though they require state registration to avoid misrepresentation claims. Internationally, alter ego principles vary. In the European Union, direct veil piercing similar to the U.S. model is rare and typically addressed under the broader "abuse of rights" doctrine, particularly in competition matters under Articles 101 and 102 TFEU or in cases of tax evasion and competition law violations; courts apply it sparingly, emphasizing objective abuse and deliberate circumvention of specific directives. Common law jurisdictions outside the U.S., such as the UK and Australia, impose stricter evidentiary thresholds for piercing, focusing on exceptional fraud or sham structures. Civil law systems in the EU prioritize statutory interpretation over equitable doctrines, resulting in lower overall application rates.

In Music and Media

In music, artists often adopt alter egos to embody distinct personas tied to specific genres or artistic visions, allowing them to explore creative boundaries beyond their personal identities. , for instance, has developed multiple alter egos since her debut album in 2008, using them to channel thematic elements across her discography; notable examples include Jo Calderone, a male mechanic persona introduced in 2010 and featured prominently at the , and Mary Jane Holland, a free-spirited character from her 2013 album . Similarly, adopted robotic helmets in the late 1990s as a core element of their anonymous alter ego, transforming the French duo into futuristic androids for their 2001 album Discovery and subsequent tours, which concealed their identities and amplified their electronic music's otherworldly aesthetic. Production techniques in genres like hip-hop frequently involve pseudonyms and visual disguises to craft enigmatic alter egos, enhancing artistic reinvention and thematic depth. MF DOOM, emerging in the late 1990s, exemplified this by donning a metal mask inspired by the Marvel villain Doctor Doom starting with his 1999 album Operation: Doomsday, while using aliases such as Viktor Vaughn and King Geedorah for solo projects that incorporated voice modulation and layered narratives, influencing underground hip-hop's focus on mythology and anonymity. In the streaming era, these concepts have evolved with avatar-based releases, where digital personas enable global, platform-agnostic distribution; virtual artists like Gorillaz, with their animated band members active since 2001 but peaking in streams during the 2010s via albums like Humanz (2017), and newer acts such as FN Meka—a CGI rapper signed to a major label in 2021, though it was dropped by the label in 2022 following backlash over racial stereotypes—leverage avatars for music videos and virtual performances, blurring lines between creator and creation. Recent examples include VNCCII, a metaverse-based alter ego of musician Samantha Tauber active since 2023, and MAVE:, a CGI K-pop girl group debuted in 2023. In broader media, alter egos appear in narratives that probe psychological and technological dimensions, often through digital or performative lenses. The 2019 Black Mirror episode "Rachel, Jack and Ashley Too" explores digital alter egos via a pop star's AI doll version, portrayed by Miley Cyrus as the saccharine Ashley O, which critiques commodified identities in entertainment. Films like Bohemian Rhapsody (2018) depict Freddie Mercury's stage persona as an electrifying alter ego distinct from his private self, with Rami Malek's portrayal emphasizing Mercury's commanding Live Aid performance as a transformative outlet for his flamboyant energy. A notable trend in the 2020s involves the integration of VR and AR technologies, enabling virtual alter egos in that allow users to embody or interact with digital selves in immersive environments. This rise, accelerated by the , includes virtual concerts like Travis Scott's 2020 event, where his avatar performed to 12 million attendees, and platforms hosting avatar-driven music releases, fostering new forms of audience participation and artist anonymity.

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  57. https://www.hollywoodreporter.com/music/music-news/lady-gaga-jo-calderone-men-1236156990/
  58. https://www.billboard.com/music/pop/lady-gaga-netflix-documentary-most-emotional-scene-interview-7965579/
  59. https://www.theverge.com/22291958/today-i-learned-daft-punk-robot-helmets
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  63. https://musically.com/2022/12/21/moments-music-metaverse-2022/
  64. https://www.bbc.com/news/newsbeat-62659741
  65. https://musically.com/2024/09/13/vnccii-xr-avatars-ai-human-imagination/
  66. https://www.theguardian.com/music/shortcuts/2019/jul/08/ashley-o-how-miley-cyrus-black-mirror-alter-ego-became-this-years-big-gay-icon
  67. https://www.reuters.com/article/world/uk/freddie-mercurys-spontaneity-challenged-bohemian-rhapsody-star-idUSKCN1MX384/
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