Alissa Wilkinson, a New York Times film critic, delves into the intriguing world of hate-watching TV shows. She discusses how streaming algorithms can lead us to shows that provoke frustration rather than enjoyment. The conversation explores the emotional ties and community bonding that arise from sharing disdain for a show. Wilkinson distinguishes hate-watching from guilty pleasures and examines how societal anxieties and modern technology fuel this phenomenon. Listeners share their own hilarious hate-watching experiences, revealing its cultural significance.
Hate-watching emerges as a cultural phenomenon where viewers engage in critique rather than genuine enjoyment of their shows.
The communal aspect of hate-watching creates social bonds as viewers share frustrations and validate each other's criticisms of poorly-executed narratives.
Streaming algorithms exacerbate the trend of hate-watching by nudging viewers towards mediocre content, detracting from the discovery of quality shows.
Deep dives
The Rise of Hate Watching
Hate watching has emerged as a significant cultural phenomenon defined as watching shows that viewers love to criticize, rather than enjoy. Alyssa Wilkinson explains that these shows often start as something viewers have an earnest interest in but devolve into frustrating territory, leading to a cycle of viewing out of morbid curiosity or a desire to critique. The accessibility of streaming services has exacerbated this trend, as algorithms recommend shows based on viewing habits, sometimes inadvertently nudging people towards content they dislike. This reflects a broader societal shift where many individuals find comfort in experiencing shared frustrations and snarky commentary with others, blurring the lines between love and hate in media consumption.
Community and Social Connection
The communal aspect of hate watching plays a crucial role in its appeal, as viewers often bond over their shared disdain for a show. It provides a space to gather, discuss plot absurdities, and validate each other’s frustrations through group conversations or social media interactions. This dynamic enhances the viewing experience, transforming it into a social activity where viewers may express their superiority over characters or situations in the show. As Wilkinson highlights, the phenomenon underscores how emotional engagement, even in negativity, can create connections, making hate watching an oddly social affair.
The Psychology Behind Hate Watching
The decision to engage in hate watching often stems from a combination of curiosity and emotional processing, mirroring habits related to comfort eating. Viewers may continue to watch shows that frustrate them because they provide a sense of control or an opportunity to critique familiar norms within the narrative. Wilkinson compares this behavior to doom scrolling, noting how both activities engage similar psychological impulses even when they leave viewers feeling dissatisfied. Embracing this paradox allows individuals to confront their own values and biases, either finding solace in shared experiences of critique or simply enjoying the absurdity of poorly executed plots.
Streaming Services and Mid-TV
The current television landscape, often labeled as Mid-TV, indicates a noticeable decline in the production of standout shows, with many new releases deemed mediocre. Streaming services, motivated by data-driven decisions, tend to produce content that is more formulaic and less innovative, catering to the ease of consumption rather than quality. Viewers find themselves watching shows that do not meet their standards but remain engaged out of habit or the desire to follow trends. This shift raises concerns among critics like Wilkinson, who worry that reliance on mediocre content may overshadow more well-crafted stories that deserve recognition.
The Impact of Streaming on Audience Engagement
Wilkinson discusses how the model of binge-watching content has fostered an environment ripe for hate watching, as the low barrier for continuing episodes makes it easy for viewers to keep watching even when they feel dissatisfied. This can lead to a cycle where audiences inadvertently crowd out the quality content by consuming more of what they dislike. The phenomenon reflects our complex relationship with media, where viewers often feel a sense of obligation to finish a series out of a desire to critique it fully. Such viewing habits can hinder the exploration of better content, enabling a culture of average storytelling that may be hard to escape.
Do you have a TV show you hate-watch? As streaming platforms and their algorithms collect more data on the types of shows we like to watch, they feed us shows that are so close to something we’ve loved in the past, but something about them is off. What starts as an earnest TV show tune-in becomes a show you can’t stop complaining about at happy hour. As New York Times film critic Alissa Wilkinson writes, “you can only hate-watch a show that you theoretically should have loved.” We’ll talk with Wilkinson about how a hate-watch is different from a guilty pleasure, why we participate in this weird cultural phenomenon, and we hear from you: What are you hate-watching?
Guests:
Alissa Wilkinson, movie critic, New York Times
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