One explanation for why people engage in frightening fictional experiences is that these experiences can act as simulations of actual experiences from which individuals can gather information and model possible worlds. Conducted during the COVID-19 pandemic, this study (n = 310) tested whether past and current engagement with thematically relevant media fictions, including horror and pandemic films, was associated with greater preparedness for and psychological resilience toward the pandemic. Since morbid curiosity has previously been associated with horror media use during the COVID-19 pandemic, we also tested whether trait morbid curiosity was associated with pandemic preparedness and psychological resilience during the COVID-19 pandemic. We found that fans of horror films exhibited greater resilience during the pandemic and that fans of “prepper” genres (alien-invasion, apocalyptic, and zombie films) exhibited both greater resilience and preparedness. We also found that trait morbid curiosity was associated with positive resilience and interest in pandemic films during the pandemic. Taken together, these results are consistent with the hypothesis that exposure to frightening fictions allow audiences to practice effective coping strategies that can be beneficial in real-world situations.

Horror entertainment is a thriving and paradoxical industry. Who are the consumers of horror, and why do they seek out frightening media? We provide support for the threat simulation theory of horror, according to which horror media provides a form of benign masochism that offers negative emotional stimulation through simulation of threat scenarios. Through an online survey of genre use and preference as well as personality traits and paranormal beliefs (n=1070), we find that sensation seeking and the fifth of the Big-Five factors, intellect/imagination, predict liking of horror and frequency of use. Gender, educational level, and age are also correlated with horror liking and frequency of use (males show higher liking and more frequent use, whereas liking and use frequency are negatively correlated with educational level and age). People with stronger beliefs in the paranormal tend to seek out horror media with supernatural content, whereas those with weaker beliefs in the paranormal gravitate toward horror media with natural content, suggesting that people seek out horror media with threatening stimuli that they perceive to be plausible. While frightening media may be initially aversive, people high in sensation seeking and intellect/imagination, in particular, like intellectual stimulation and challenge and expect not just negative but also positive emotions from horror consumption. They brave the initially aversive response to simulate threats and so enter a positive feedback loop by which they attain adaptive mastery through coping with virtual simulated danger.

This article argues that the sciences of mind can inform analyses of narrative characters, including their motives, appearances, and other traits. In particular, it explores the popcultural villain through the lenses of evolutionary and social psychology. Evolutionary psychology supplies a basic blueprint for impactful villains: they are selfish, exploitative, and sadistic. They contravene the prosocial ethos of society. Social psychology embeds this blueprint in the interactions of characters by offering mechanisms through which cruel behavior may be realized. The main mechanisms behind moral disengagement are empathic deficits, pseudospeciation, and Baumeister's notion of a 'myth of pure evil': an attributive stance whereby humans consider injurious actions the products of evil essences in others. Finally, disgust may contribute to a character's perceived evil nature through dehumanization, likely compounded by a cognitive conflation of disgust toward potential contaminants and moral disgust toward social transgressions. Following the theoretical discussion, the article offers 5 predictions as to the universal makeup of popcultural villains. All predictions are complemented with illustrative vignettes on popcultural villains that embody the principles proposed.

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Conducted during the COVID-19 pandemic, this study (n = 310) tested whether past and current engagement with thematically relevant media fictions, including horror and pandemic films, was associated with greater preparedness for and psychological resilience toward the pandemic. Since morbid curiosity has previously been associated with horror media use during the COVID-19 pandemic, we also tested whether trait morbid curiosity was associated with pandemic preparedness and psychological resilience during the COVID-19 pandemic. We found that fans of horror films exhibited greater resilience during the pandemic and that fans of “prepper” genres (alien-invasion, apocalyptic, and zombie films) exhibited both greater resilience and preparedness. We also found that trait morbid curiosity was associated with positive resilience and interest in pandemic films during the pandemic. Taken together, these results are consistent with the hypothesis that exposure to frightening fictions allow audiences to practice effective coping strategies that can be beneficial in real-world situations.

In most religious traditions, there exists the conception that human beings can lose their freedom of will to an invading consciousness. We argue that possession myths emerge from evolved mental architecture and reflect a constellation of deep-seated beliefs about cognition, consciousness, and mindϪbody dualism. We also consider why possession is almost always considered frightening and aversive, thus explaining why the horror genre, and audiovisual horror in particular, has embraced the trope of possession. We analyze how possession works in 2 examples: The Exorcist (Blatty & Friedkin, 1973) and Supernatural (Kripke et al., 2005(Kripke et al., -2020. Finally, we conclude by briefly discussing the possibility that possession mythology represents an interesting test case for examining the origins of culture in general. Culture, as others have also suggested, exists first as an outgrowth of human psychological faculties but can then come to exert top-down causal influence on those same faculties. Public Significance StatementThis study uses possession myth in popular culture as a lens for understanding the evolution of human psychology. Such myths may offer insight into not only how our mental architecture arose, but also how that architecture then feeds into the evolution of cultural traditions.

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This article investigates the nature and appeal of morally ambiguous protagonists, or anti-heroes, through an evolutionary lens. It argues that morally ambiguous protagonists navigate conflicts between prosocial and antisocial motivational pulls. In so doing they present audiences with a window onto the conflicts inherent in human sociality. Working from this premise, the article analyzes the morally ambiguous protagonist Walter White from the TV series Breaking Bad, complementing the analysis with survey results. The article finally discusses critically the role of moral disengagement in enjoyment of stories with morally ambiguous protagonists.