CAMRI | Want to go viral this #Halloween? It’s all about tapping into fun, fears and algorithms

Want to go viral this #Halloween? It’s all about tapping into fun, fears and algorithms

research-paper by Anastasia Denisova, published by The Conversation

Here they come: an apron and tattoos that make you look like chef Carmy from The Bear, or weird insect-like accessories resembling the infamous Paris Fashion Week bedbugs – new year, new over-the-top inventive Halloween trends. Thanks to the proliferation of social media platforms like TikTok and Instagram, we’re in for a treat for this year’s online Halloween extravaganza.

What used to be a traditional holiday celebrated with reverence by the people remembering the religious meaning of All Hallow’s Eve, or simply an excuse for phantasmagorical parties by those who didn’t, Halloween is now exhibiting a whole new digital layer.

Last year, the hashtag #Halloween was viewed three billion times in a week. We live in a time of “information fatigue”, “information anxiety” or even “infobesity”, as some academics call our oversaturated media environment, with plentiful, often unpleasant stimuli coming from the news and social media.

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All this badly affects our biological systems, which have not developed as fast as the media environment. As a result, we are overwhelmed, anxious, overstimulated and struggling with processing so much information. It is hard to cut through this noise, whether you’re a journalist, politician, influencer or just someone having fun in a pumpkin latte costume.

In my research on viral journalism, I discovered that even professional communicators struggle to keep up with the changes in social media algorithms and various new functions of these platforms. Many feel discouraged by the non-transparency of social media giants and prefer to rely on classic principles of strong reporting and creative presentation formats. But what are the triggers for media virality for those who still want their posts to explode online?

Not a virus, but a choice

Halloween, like St Valentine’s Day and other annual celebrations, presents a chance to be the new viral sensation, simply because using the hashtag #Halloween instantly grants additional visibility.

Virality stands on two pillars – the opaque algorithms of social networks, and people’s emotional reactions. Unlike viruses, from which the word “viral” originates, virality online is not a malady, but a choice. People instinctively choose content that will satisfy their needs. These can be having something to think about, or a distraction, so we don’t have to think about other things going on in the world.

Engagement with stories online is seldom rational – research has shown that emotions dominate our relationship with news and social media. The feelings of awe, anger and anxiety are the strongest predictors for a post to go viral.

So how, when creating content, do we achieve the coveted reaction of “awe”? This feeling can be described in a variety of ways, from a religious epiphany, to deep appreciation because we’re impressed, to the sense of calm experienced through nature. This is where the theory of memes can help.

Halloween costumes on social media are, essentially, wearable and broadcastable memes. These, as my book Internet Memes and Society explains, are half-baked jokes and weird cryptic artefacts that tempt users to figure out why they are supposed to be funny.

Memes are used as everyday language, political tools, and “fast-food” media. Will a costume based on Only Murders in the Buildings’ Christmas fitness influencer make it to viral stardom? Will it be another take on the brat summer? Or perhaps some twisted commentaries on the cost-of-living crisis?

Theories of humour and Halloween costumes

I predict that virality this season will demand either to go full-on maximalist, or be understated and minimalist. The theories of humour stand on three pillars: humour as release, humour as aggression, and humour as incongruity.

Perhaps we will also see the manifestations of what Plato called comedy as scorn: “Taken generally,” the ancient Greek philosopher mused, “the ridiculous is a certain kind of evil, specifically a vice.” Expect the highest-earning or most influential celebrities to be shoved off their pedestal and roundly mocked in a Halloween costume.

What about incongruity? Some of the more absurd costumes from last year featured a drink coaster and a paper bag, or a man dressed as a ULEZ street camera. These examples generate a reaction of awe, surprise and glee, making the posts worthy of sharing.

And finally, release. Humour is invaluable when it comes to dissipating worries or letting off steam. The recent viral sensation from the music band The Kiffness’ “Eating the cats” ft Donald Trump hilariously reimagined a phrase from the US presidential debate as a soft reggae hit – and a hit it has become, amassing eight million views in a matter of weeks.

This Halloween will surely see a couple of TikTokers dressed as cats, or dogs, or even “a catalogue of other things to eat”. Humour allows us to reveal the ridiculousness of certain political claims, and therefore serves as a soothing tool that unites people and challenges those in power through mockery.

Virality as modern mythology

Virality – memes included – forms the modern mythology. The media informs our collective identities and often the things we think about, which means the themes of this Halloween will most likely reveal what people are scared of as a way to release those fears.

Who will people mock because they feel intimidated by a particular public figure’s power, wealth, talent, influence, looks or profile (aggression). Or who or what do people find awe-inspiring or puzzling this year (incongruity)?

After all, Halloween is the one time of the year that reminds people of the medieval carnivals of the 14th century – the only time jesters and critics could come to the main square and have a go at the king. The digital carnival (as academics like myself sometimes call the digital mockery of the elites) is not limited to a specific time in the year.

The never-ending flow of ridicule, sarcasm and dressing up online never ceases to amaze viral studies academics. But the end of October sees a particular concentration of this subversion, attracting the attention of the digital crowds seeking to laugh at the rich, famous and powerful.

People form and negotiate cultural codes through viral cultures, by choosing what posts to share, like, and comment on. Through these interactions, valuable meanings and identities emerge, and it will be fascinating to see which meanings the collective beehive wants to focus on this Halloween 2024. Whether that’s Carmy Berzatto in his blue apron or the cats and dogs of Springfield.

Anastasia Denisova, Senior Lecturer in Journalism, University of Westminster

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Photo by Anderson Schmig on Unsplash

About Anastasia Denisova

Anastasia Denisova is a Lecturer in Social Media at CAMRI, University of Westminster. Before starting her academic career, she worked as a journalist in Russia for over a decade in the capacity of television news editor and reporter for NTV Broadcasting company, editor at Aeroflot Inflight magazine, and a freelance reporter and columnist for the major magazines, including GEO, Conde Nast Traveler, Vogue, Marie Claire and many others. Her work has received the industry and community recognition, including the French government’s award for the best publication on France in Russian in 2014 (the feature for GEO Russia).