Abstract
This research attempts to identify and analyze the relatively less explored aspects of schadenfreude as a primary currency in an American attention economy as depicted in the 2019 movie, Joker. It discusses how the protagonist’s comedic ambition to become a live performer falls short of its aim, as he feels inclined to embrace the negativity bias in his city and its questionable amusement impulses. Maintaining the appealing and appalling forces of liking and disliking; the deservingness of others’ good and bad fortunes; desirability for self-evaluation; rivalry and intergroup factors- the paper pursues schadenfreude as the masses’ new opiate. It analyzes the American renaissance of self-effacement and public humiliation in light of its mass media environment that had been abandoning meaningful stories for ticklish delights since the mid-nineties. Both primary and secondary data are used to reinforce an end result which takes the current glocal reality to be the distinct creation of a bizarre comedic moment that both defies and weaponizes a mediafication of its consumers’ emotional health.
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