If you ever find yourself in the
kind of situation where you (semi-) intentionally reveal the ending of a
book/movie/TV show to someone who hasn’t read or seen it yet – AND if you
happen to feel generally quite protective over your various body parts – there
is only one sensible course of action: run. Very fast and, preferably, very far
away. Unless you have revealed the ending of the Game of Thrones series, in which
case you may seriously consider testing out firsthand how cozy life on other
planets could be.
Indeed, the generally accepted
belief is that prematurely revealing the ending or important aspects of a plot spoils the fun derived from getting to
know about it yourself – hence the word “spoiler”. The act is so hateful that
Internet users are expected to follow the basic courtesy of signaling
beforehand the presence of spoilers in their posts. And attempts have been made
to devise computer applications devoted to the automatic detection of spoilers
when one is browsing the web. There are even detailed, step-by-step blog posts that help you proceed with your life after the ending of your favorite book has
been spoiled.
Thus, many people are convinced that
spoilers fully deserve their name. But is it truly the case? Do spoilers impact
the level of pleasure derived from reading a novel or watching a football game?
That’s the question fearlessly tackled by Jonathan Leavitt and Nicholas
Christenfeld of the University of California in a series of recent lab studies.
Over 800 undergraduate students were
asked to read 3 short stories of different genres (i.e., mystery, “ironic-twist”, or
evocative), before rating how much they enjoyed each one on a 10-points scale. During the experiment:
"each subject read…one spoiled [story] (with the spoiler paragraph presented before the story), one unspoiled (with the story presented with alteration), and one in which the spoiler paragraph was incorporated as the opening paragraph”
So while Participant A read the original version of an Agatha Christie’s story, Participant B read the spoiler-as-external-paragraph version instead and Participant C was presented with the spoiler-as-opening-paragraph version of the same story.
"each subject read…one spoiled [story] (with the spoiler paragraph presented before the story), one unspoiled (with the story presented with alteration), and one in which the spoiler paragraph was incorporated as the opening paragraph”
(Leavitt & Christenfeld, 2011, p. 1152; emphasis added)
So while Participant A read the original version of an Agatha Christie’s story, Participant B read the spoiler-as-external-paragraph version instead and Participant C was presented with the spoiler-as-opening-paragraph version of the same story.
Results are rather unexpected:
Participants consistently indicated greater
enjoyment for spoiled rather than unspoiled stories, regardless of the
genre (although some stories were more enjoyed than others overall).
Importantly, this effect was only detected when comparing
participants who read the original story and those who read the spoiler-as-external-paragraph version. Enjoyment did not differ between participants who read the spoiler-as-opening-paragraph version of the story and those who had read the original one.
“A spoiler can...make reading more satisfying”
The experiment was
replicated with similar results (Leavitt & Christenfeld, 2013): Although,
this time, participants had to rate their level of enjoyment halfway through
the story (rather than at the end), they
tended to prefer the spoiled narratives compared to the unspoiled ones.
This is particularly interesting since spoilers used in the study revealed the outcome of the story (not other parts of
the plot) and yet, their effect on enjoyment was already present halfway through. Thus, it
seems the effect of spoilers on enjoyment isn’t (solely) related to some kind
of pleasure derived from the fact that the story ended in the expected manner
described in the spoiler.
More importantly, when asked to rate
how difficult it was to follow the story developments, spoiled stories were perceived as easier to follow than their
unspoiled counterpart. Further statistical analyses demonstrated that spoiled
stories are easier to read and this easiness will in turn increase enjoyment.
According to the authors, the effect is related to a mechanism of processing
fluency, i.e., fluent stories are
easier to process – cognitively speaking. They explain it as follows:
“if one of the reader’s goal is to construct a coherent representation of story events that accounts for why they are mentioned in the text…then the perspective and insight afforded by a spoiler can aid in this goal and thereby make reading more satisfying”
(Leavitt & Christenfeld, 2013, p. 94; emphasis added)
Thus, shockingly enough, the above findings seem to contradict what many people (and the Internet) hold to be true. So, is this the end of the story? Should we stop caring about whether others reveal to us how a movie unfolds as it would not spoil our fun but could even in fact increase it? Not so fast, recently published studies say, as they find reason to question these preliminary conclusions.
Source |
Using a similar method to the one described above,
Benjamin Johnson and Judith Rosenbaum (2014) asked over 400 undergraduate
students to read two stories: one that was preceded by a spoiled preview
(revealing the ending of the story) and the other one preceded by an unspoiled
preview (a spoiler-free summary). Afterwards, participants made various
assessments regarding the level of entertainment derived from each story.
Yet, contrary to previous findings, these
studies found that unspoiled stories were
perceived as overall more enjoyable, moving and suspenseful than spoiled
stories – even though the effects were quite small. This result fits with lay
beliefs regarding spoilers’ rejection, but it bears the question: Why do
present findings contradict previous experiments? The answer to this may
actually boil down to individual and situational differences.
“Different people in different situations experience narrative entertainment in different ways”
Even if the rejection of spoilers could appear as a generalized and widespread attitude, this may not be truly the
case. For instance, a friend of mine used to read first the ending of mystery
novels and after discovering the identity of the perpetrator, she would then
merrily proceed to read the story from the beginning. Similarly, people are
sometimes much more invested in a particular story and are therefore more
adamant about avoiding spoilers in this specific case but not for other stories
they care less about.
Hence, if you are a Star Wars fan, you may have been
particularly careful about avoiding the social media before watching the last
installment of the saga (and in the process, possibly lost some Facebook
friends who insisted on giving away every detail as soon as they got out of the
movie theatre).
Even hardcore, anti-spoilers
individuals may re-read their favorite novel despite already knowing how it will
unfold. And knowing the ending of the movie
300 or of any other historical fiction doesn’t necessarily reduce our
willingness to watch it, nor the pleasure derived from it.
Therefore, according to Johnson and
Rosenbaum (2014), “there may not be a general, universal effect of spoilers on narrative
enjoyment, so it is important to
consider other factors that may play a critical role (…) as different people in different situations experience narrative
entertainment in different ways” (p. 15).
Spoiled v. Unspoiled Stories: 1-1
Thus, instead of wondering about the
general effect of spoilers on enjoyment, it is perhaps more useful to ask what makes someone enjoy more (or less)
spoiled narratives? This is what Rosenbaum and Johnson (2015) did in their
most recent experiment, trying to uncover individual differences that may
account for differing levels of receptivity to spoilers. And for instance they
found that unspoiled stories were enjoyed more than their spoiled counterparts
by individuals with a higher need for affect; i.e., a
heightened “capacity and desire for emotional stimulation” (Rosenbaum &
Johnson, 2015, p. 12).
A possible explanation for this lies
within the excitation transfer theory: Suspense and uncertainty regarding a story outcome presumably increase arousal, and hence enjoyment, for
individuals who are particularly sensitive to emotional inputs (i.e., those
with higher need for affect). Thus, spoiled stories, by resolving part of the
suspense, would be comparatively less pleasurable for those individuals. This will not apply to those with a lower need for affect, who would presumably crave less emotional stimulation and hence find
both spoiled and unspoiled stories equally pleasurable.
Source |
It is possible that this kind
of systematic individual differences was also present in the samples of
previous studies conducted by Leavitt and Christenfeld, and simply went unnoticed.
As each sample may have a different distribution of these individual
characteristics, this may account for the apparent inconsistency between the
various findings across studies. Moreover, while the latest studies provide some
insights on systematic individual differences, it does not consider other variables,
such as the amount of interest or commitment one has for a story. The latter may prove even more predictive of spoilers enjoyment than the need for affect.
On top of its entertaining nature (and
its undeniable scientific importance), studying this topic further highlights
the inherent uncertainty (and suspense) of
scientific research: no one knows beforehand what they may find, whether
findings will go in the expected direction, or even whether the first set of results
told the whole story. After all, a plot twist may always be lurking down the
corner. Since reality usually doesn’t bother
with providing spoilers beforehand, we really have no idea where this is going
until more studies are conducted.
In the meantime, and after finding all about
your inner cat or dog “personality” in a previous post, I suggest to proceed
further on the road of self-discovery by taking a look at this witty (and
beautifully-crafted) Netflix chart that allows you to pinpoint exactly what kind of spoiler person you really are.
Djouaria Ghilani is a Ph.D. student at the Université Libre de Bruxelles. She works on the role of historical analogies in political judgment.
References
Johnson, B. K., & Rosenbaum, J. E. (2014). Spoiler Alert Consequences of Narrative Spoilers for Dimensions of Enjoyment, Appreciation, and Transportation. Communication Research, 0093650214564051.
Leavitt, J. D., & Christenfeld, N. J. (2011). Story spoilers don’t spoil stories. Psychological science, 22(9), 1152-1154.
Leavitt, J., & Christenfeld, N. J. (2013). The fluency of spoilers: Why giving away endings improves stories. Scientific Study of Literature, 3(1), 93-104.
Rosenbaum, J. E., & Johnson, B. K. (2015). Who’s Afraid of Spoilers? Need for Cognition, Need for Affect, and Narrative Selection and Enjoyment.
Good Job Djou, Love the article !!
ReplyDeleteThank you, I am glad you liked it!
DeleteSee you soon on this blog,
Djouaria