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Squid Game exemplifies a new genre: gamified survival drama. The show’s premise—desperate adults play deadly children’s games for money—resonated globally during post-pandemic economic precarity.

Cultivation effect: Viewers of Squid Game were more likely to believe that “life is a zero-sum competition” and that “rich people are fundamentally cruel” (Kim & Park, 2023). The show’s aesthetic (bright colors + brutality) normalizes a cynical worldview: cooperation is foolish, betrayal is rational. This aligns with the rise of “dark triad” entertainment (shows celebrating Machiavellianism, narcissism, psychopathy) like Succession or House of Cards.

On the other hand, The Last of Us (HBO) and Bluey (children’s show) are studied for prosocial gamification: problem-solving through empathy. Bluey episodes, for example, are used by parents to teach emotional regulation, demonstrating that entertainment content functions as a pedagogical tool.

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Parasocial relationships (one-sided emotional bonds with media figures) have intensified with social media. Unlike traditional celebrities, influencers like Charli D’Amelio or Andrew Tate interact directly with followers, blurring fiction and reality.

Case: Andrew Tate. The self-described “misogynist influencer” amassed billions of views on TikTok before platform bans. Tate’s content (luxury cars, discipline, male dominance) models “hyperagency” for young men. A 2025 survey of British boys aged 14–17 found that 52% who followed Tate agreed that “women should be submissive,” versus 18% among non-viewers (Ofcom, 2025). This exemplifies Bandura’s modeling effect: when a powerful, rewarded figure voices extreme beliefs, followers adopt them without narrative framing as “villain.”

Conversely, parasocial bonds can be prosocial. MrBeast’s philanthropy stunts and streamers raising millions for disaster relief show that entertainment content can cultivate altruism when the model is both relatable and generous.