Louise Orwin’s multimedia set-up in Famehungry is an interesting gimmick, but nothing more. It loses its novelty very quickly by her inability to contribute anything new or interesting to the over-dissected issue of social media culture. Unable to give us a reason as to why we should be concerned, the show simply elicits feelings of apathy. 

A fourth wall is created by Orwin’s phone screen as she livestreams the show. But she appears to be far more concerned with the audience on TikTok, quickly creating a sense of boredom in the room. It begs the question, why buy a ticket when you can watch the livestream from the comfort of your home and get as much out of the experience?

Orwin provides a general glimpse into the struggles of creators as they try to cut through the online noise, but it’s difficult to care enough to sympathise, maybe because Orwin actively censors herself, thereby failing to convey any real meaning. Famehungry’s ‘criticism’ of social media is as shallow as the trends Orwin performs. If our attention is a currency that everyone is competing for, Orwin fails to hold it.

Famehungry, Summerhall, until 26 August, 4.15pm; main picture: Clémence Rebourg.