The "Nikocado" brand relies on the visible deterioration of his physical form. As his weight fluctuated and his mobility decreased, viewership spiked. This suggests a grim transaction: the audience provides views and ad revenue in exchange for watching the creator slowly destroy himself. This dynamic echoes Guy Debord’s Society of the Spectacle , where authentic life is replaced by representation, and human interaction is mediated by images. Perry becomes a commodity; his pain is the product.
Suddenly, his entertainment content shifted from "eating food" to "reacting to people criticizing me for eating food." He learned a vital media lesson: The more he argued with his husband (Orlin), cried on camera, or accused fans of betrayal, the higher his viewership climbed.