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How Kim Kardashian hijacked her own trial – A masterclass in modern storytelling

Kim Kardashian is currently at the center of a criminal trial: that of the men who robbed her in Paris in 2016. But more than a legal proceeding, this moment highlights Kardashian’s expertise in a very different kind of trial, the battle for attention. 

From the start, the reality TV icon has turned her life into a carefully crafted narrative. Scandals, motherhood, business ventures, breakups, every chapter becomes story material. Even the most traumatic moments are edited into emotional arcs, structured like episodes of a prestige series. 

And this trial is no exception. 

In court, Kardashian isn’t just presenting facts. She’s embodying a story. A powerful woman shaped by vulnerability, the survivor of a violent robbery, yet composed and strategic. Every twist becomes a calculated moment of narrative leverage. What might seem like weakness becomes brand equity. She’s not simply a celebrity on trial; she’s a modern heroine who transforms trauma into symbolic capital, and media gold. 

She doesn’t just defend herself, she reinforces a myth. Each public appearance, each silence, each carefully timed return is part of the script. She’s not attending a trial. She’s directing it. 

The illusion of intimacy 

Ahead of her court appearance in Paris, Kardashian shared a series of behind-the-scenes photos on social media. Dressed in black couture, chin high, dark sunglasses, the look was understated, deliberate, and striking supported by a simple but resonant: “Thank you Paris! Vive la France.” 

It seems spontaneous. But this is what we might call strategic authenticity, building emotional attachment, while maintaining complete control. 

This is what I call non-intimate intimacy: pulling back the curtain just enough. The audience is granted access to what feels like a private moment, yet everything, the framing, the lighting, the timing, is choreographed. It’s not manipulation. It’s emotional art direction. 

The courtroom as a stage 

This trial becomes the backdrop for a new act in the Kardashian narrative. She isn’t simply testifying, she’s reinforcing a brand mythos. We’re far from your average true-crime moment. Every element is a signal: posture, presence, public silence, return. 

She activates all three classical pillars of compelling storytelling: 

Ethos: The resilient businesswoman who built an empire. 

Pathos: The vulnerable victim, reclaiming her power. 

Logos: A consistent, emotionally resonant, high-stakes narrative. 

A contemporary storytelling lesson 

It’s tempting to call this cynical. But that misses the point. Kim Kardashian is a living brand, and whether she intends to or not, she’s delivering a masterclass in modern communication. Her execution is precise, and it resonates with our time: a time hungry for calibrated emotion, curated truth, and the comfort of continuity. 

She’s not just selling beauty or fashion. She’s selling the ability to transform life into narrative. Even a courtroom drama becomes a global content drop. Just search #proceskardashian, it’s everywhere on the web. 

What this says about us 

This isn’t just about Kim. It’s about us. In a world oversaturated with content, what still cuts through the noise is story. And the stories that land are the ones built on emotion, embodiment, and spectacle. 

Kardashian plays every part: character and narrator, performer and producer. And we, the audience, eat it up, not because it’s entirely believable, but because it works. Because we crave stories. Especially the ones that flirt with the real. 

Conclusion: When Intimacy Becomes Brand Territory 

With her couture dress, her proudly pronounced “Vive la France,” and her perfectly timed reappearances, Kim Kardashian isn’t just attending a trial. She’s orchestrating her narrative, ensuring her story is told on her terms. 

And maybe that’s her greatest power of all: in a world where everything is content, she’s still the one holding the pen.

Lucie Lebaz

Personal Branding Expert, professor at Story School and Author of “J’ai peur, mais j’y vais” (Dunod, 2025)

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