Two decades after the birth of reality stardom, “famous for being famous” is no longer pejorative. The talent required to put yourself in front of strangers is revered as much as any other performance skill; self-marketing is a talent just as impressive to a general audience, and more relevant, than the ability to sing, dance, or act. YouTube, launched two years before Anna Nicole Smith’s death, is in some ways a dedicated medium for what reality stardom became. It’s also a medium capable of forging entertainments out of feelings too granular, or too intimate, for media like broadcast television to reach. On YouTube, reality narratives are reduced to gesture and affect, the smallest units of affinity.