• Source: Hate-watching

Hate-watching is the activity of consuming media, usually a television show or a film with the intention of acquiring amusement from the mockery of its content or subject. Closely related to anti-fan behaviours, viewers who partake in hate-watching derive pleasure and entertainment from a show's absurdities or failures. The act of hate-watching is premised on the audience engaging with media through a satirical lens. Driven by the rise of streaming plaforms and social media, hate-watching is rooted in a set of psychological and social motivations and cannot entirely prevent excesses despite its harmless origin.




History






= Theorisation

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Early online hate-watching communities emerged with sites like "Television Without Pity" in 1998, which gleefully criticised every new episode of the teen series Dawson's Creek, before New Yorker critique Emily Nussbaum theorised the phenomenon in 2012. She described in an article the short-lived Studio 60 on the Sunset Strip as a show people loved to hate-watch, as "it was bad in a truly spectacular way—you could learn something from it, about self-righteous TV speechifying and failed satire and the dangers of letting a brilliant showrunner like [Aaron] Sorkin run loose to settle all his grudges in fictional form".
Entertainment Weekly and other publications noted the difference between hate-watching and watching as a guilty pleasure. "You wouldn't tune in every week to hate-watch a really bad reality show. Generally speaking, hate-watching requires a TV series with high ambitions and features a certain amount of aesthetic perfection".
While guilty pleasures are shows enjoyed despite acknowledged flaws, hate-watching involves actively seeking out and criticizing those flaws. Shows like "Emily in Paris," which have high production value but are considered poorly written or unrealistic and ultimately fall short of expectations, are prime examples. That is also why some initially well-received shows, like "The Bold Type," can become objects of hate-watching as their quality declines.
However, some, like Andrew Fleming, producer of "Emily in Paris", doubt the existence of genuine hate-watching, suggesting that viewers are simply driven by a desire to mock popular entertainment.




= Evolution

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The rise of social media significantly popularized hate-watching, and streaming services, with their binge-watching model, further contributed to the phenomenon.The ability to binge-watch entire seasons at once made it easier to consume and interact with large amounts of content, even if it is disliked.
The popularity of hate-watching on social media can make poorly received shows trending topics. This can lead to increased viewership and ultimately benefit the show. As the term gained popularity, many anti-fans have asked others to not hate-watch, as they believe doing so will have the unintended effect of making the media they dislike seem more popular than if they had not hate-watched. Velma is one such example of this phenomenon, where hate-watching is supposedly the lead cause of the show being renewed for a second season.
Hate-watching, because of the streaming algorithms focused on viewership metrics, can indeed contribute to a show's success even if viewers dislike it. This can create a self-perpetuating cycle of hate-watching and ultimately encourage the production of "hate-watchable" content, potentially lowering the overall quality of programming.
In a Los Angeles Times article describing the complexity of effects of U.S. presidential candidate Donald Trump's appearance on Saturday Night Live as host, writer Mary McNamara references the hate-watching phenomenon as a reason that ratings alone are not an indication of support. An article from The New York Times also pointed out the successful ratings for Trump's presidency.




Motivations


Some viewers may hate-watch to assert their good taste and cultural superiority by criticizing supposedly inferior programs. In a February 2020 article, Spanish television reviewer Borja Terán described the reason behind the success of Telecinco and its reality show-based lineup (specifically mentioning Supervivientes, the nineteenth season of which had premiered the night prior to the post): "the viewer feels superior to the guinea pigs taking part in the televised competition. They feel better with themselves and evade from personal problems by spending energy torpedoing a mere entertainment they follow through a screen."




= Social aspects of hate-watching

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Hate-watching can be a shared experience, allowing viewers to achieve a sense of community and validation among those who share the same negative opinions about a show or a film. Viewers often share their critiques online, with their friends and followers on social media and forums.
Eventually, some hate-watching communities can demonstrate an even stronger engagement for a piece of media than traditional fandoms through a genuine, albeit negative, attachment.



Relationship with anti-fan culture

Contrary to typical fan behaviour where audience members consume a piece of media with the intent to acquire pleasure from its contents, the pleasure anti-fans derive from a piece of media is rooted in its perceived shortcomings. Viewers engage in hate-watching for the amusement derived from mocking its content or subject.
In a study conducted in 2005 on Television Without Pity, a since-defunct website that hosted discussions about television shows, Gray points out the patterns of anti-fan behaviours exhibited by its users. Unlike individuals who participate in fandom culture out of love for a particular piece of media, anti-fans engage with a piece of media out of dislike for it. The forums hosted on Television Without Pity expressed anti-fan sentiments where users would watch a television show, often critiquing and pointing out its perceived shortcomings.




= Psychological explanations

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Hate is more intense and morally charged than dislike. We're more likely to simply change the channel if we merely dislike a show. Watching something that elicits negative emotions like hate, disgust, or contempt allows viewers to release aggressive impulses without guilt or harm. Experiencing such strong emotions, even negative ones, can trigger the release of "happy hormones" like oxytocin, dopamine, and serotonin.
Hated shows feel personally offensive and encourange a desire to take action, such as by commenting or tweeting. Hate-watching can also be a way for viewers to explore their limits of tolerance for bad content, pushing boundaries of discomfort and challenging themselves.




Risks


Even though hate-watching is mostly lighthearted and humor-oriented, it can sometimes mask genuine hate speech, particularly targeting women and marginalized groups. It can desensitize viewers to such criticism and attacks, making them more prone to hate speech in other areas of their life. The negative emotional release and social validation associated with hate-watching can become excessive and even addictive.




Examples of hate-watching shows


13 Reasons Why
The Bachelor
The Big Bang Theory
The Bold Type
Chrisley Knows Best
Elite
Emily in Paris
Entourage
Euphoria
Family Guy
Flavor of Love
Game of Thrones
Girls
Glee
The Hills
Hollywood
House Hunters
The Idol
Keeping Up with the Kardashians
Love Island
The Magic Hour
Marseille
The Millionaire Matchmaker
The Newsroom
Pretty Little Liars
Real Housewives
Riverdale
Say Yes to the Dress
Selling Sunset
The Simpsons
Singapore Social
Smash
Studio 60 on the Sunset Strip
Survivor Spain (Supervivientes)
True Blood
Too Hot to Handle
Velma
Vinyl
The Walking Dead




Examples of hate-watching films


Rebecca
The Ridiculous 6
Secret Obsession
Sharknado




See also


Anti-fan
List of television shows notable for negative reception
Quality television
Binge-watching
Cinephilia
Doomscrolling




References






External links


Hate Watching Is Still Watching: How Shock Value Changes TV
Hope-watching vs. hate-watching in TV's new golden age
Data Proves TV Viewers Love to Hate-Watch Shows — Variety

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