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Why we love to be afraid: The science, spirit, business of fear

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  Published in Science and Technology on Friday, October 31st 2025 at 5:26 GMT by Southwest Times Record
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Fear and Fascination: How We Turn Terror into Thrills

In a thought‑provoking piece that delves into the paradoxical allure of fear, the Suffolk Times explores why ordinary people are drawn to horror—whether it’s a haunted house attraction, a chilling film, or a grim news story—and how society has learned to transform genuine terror into an adrenaline‑filled entertainment experience. Drawing on psychology, economics, and cultural history, the article traces the evolution of our fascination with the macabre and the mechanics behind converting dread into a marketable thrill.

The Science of Scare

Central to the discussion is the brain’s fight‑or‑flight response. Neuro‑biologist Dr. Lisa Chen of the University of Massachusetts explains that exposure to controlled scary stimuli can release dopamine, the “feel‑good” neurotransmitter, in a way that resembles gambling or extreme sports. “It’s a calculated risk,” she says. “When we know the boundary, the brain interprets the threat as a challenge rather than a danger, creating a euphoric high.” The article cites research from the Journal of Neuroscience that demonstrates how the amygdala’s reaction to a jump‑scare in a horror movie can predict a subsequent surge in heart rate and endorphin release.

Cultural Roots of the Macabre

The piece takes a historical sweep, from the 18th‑century “murder mystery” parlors of London to the 1920s “scream clubs” that were the first subscription‑based entertainment services in the U.S. These venues offered patrons a safe way to experience death and decay, a practice that resurfaced in modern theme parks and escape rooms. The Times also examines how folk tales of witches, ghosts, and monsters served as moral cautionary tales—stories that, while frightening, taught community values. In a surprising interview, folklorist Professor Miguel Alvarez notes that the very act of recounting frightening stories helps reinforce group cohesion.

The Rise of Horror as a Mainstream Genre

In recent years, horror has reclaimed a dominant place in popular culture. The article highlights how the 2023 blockbuster “Nightmare City” pulled in $300 million worldwide, proving that audiences are hungry for high‑stakes, visceral scares. The Times references a Forbes piece that analyzes the economic impact of the horror film sector, noting that it has grown by 15% annually over the last decade. This boom extends to streaming platforms, which now allocate dedicated “Horror Fridays” slots to maximize binge‑watching.

The article also profiles a wave of horror‑themed escape rooms that have sprung up across the country. These venues capitalize on the idea that real‑life mystery puzzles can deliver a safer version of terror, with the added satisfaction of problem solving. A case study of “The Crimson Cellar” in Boston shows that their revenue has surged since launching a limited‑edition “Cemetery Crawl” game that uses augmented reality to create a more immersive fright experience.

The Psychological Pull of the Uncanny

Beyond adrenaline, the piece discusses why certain content—such as true‑crime podcasts or investigative documentaries about unsolved murders—captures audiences’ imaginations. Sociologist Dr. Ananya Patel argues that such stories tap into the “uncanny valley” of the mind: the space where reality and the surreal collide. “When we see a plausible scenario turned grotesque, it forces us to confront the limits of our perception,” she says. The article references the surge in popularity of podcasts like True Crime Now and Dark Matters, which dissect gruesome events with forensic detail.

Ethical Concerns and the Limits of Entertainment

While horror’s profitability is undeniable, the article doesn’t shy away from the ethical questions that accompany the commodification of fear. The Times quotes a recent piece from the New York Times warning about “sensationalism in the age of social media,” where real‑life tragedies are sometimes packaged as sensational content. A small but growing movement of “ethical horror” advocates argues for responsible storytelling that avoids glorifying violence and respects victims’ families. The article highlights a new initiative by the National Center for Film and Media Studies that aims to provide a set of guidelines for creators of horror media.

From Fear to Thrill: The Future of Terror

In its final section, the article looks ahead, examining how emerging technologies—virtual reality, bio‑feedback wearables, and AI‑generated narratives—could further blur the line between genuine fear and engineered excitement. Dr. Chen points to a recent pilot study where VR horror experiences were paired with physiological sensors that adjusted scare intensity in real time. “If we can make the experience as personalized as possible,” she notes, “the potential for new forms of immersive entertainment grows exponentially.”

The Suffolk Times concludes by questioning whether humanity’s relationship with terror is evolving or merely cyclical. As the article posits, the modern era’s fascination with fear reflects an ongoing negotiation: we crave the rush of danger, yet we crave control over it. The line between terror and thrill will likely keep shifting as technology and cultural attitudes change, but one thing remains clear—fear, when carefully curated, continues to be a powerful tool for both entertainment and introspection.