Photo by Engin Akyurt on Unsplash
Outrage is the newest celebrity. It stars in music videos, headlines movie trailers, and somehow appears in every comment section. You’re mad, aren’t you? Mad at the destruction of your childhood favorite movie, mad at the senseless lyrics of the songs on the radio, mad at that annoying influencer you just can’t seem to escape. Media today doesn’t just capture attention; it captures your rage.
Take, for example, KATSEYE’s newest single “Pinky Up”, which ignited the internet almost immediately. People have ripped it apart, from the lyrics no one can make sense of, to the visuals. And while the internet is busy critiquing every second, one thing is certain: no one really cares about the music. Not the fans, not the critics, and certainly not HYBE x Geffen (The group’s record label). The goal isn’t artistry or a long-lasting legacy–it’s instant attention. A calculated way to rock the boat, to get people talking, to gain as much traction as possible. And if the music feels hollow or rushed, well, that’s a small price to pay for the brand partnerships, views, and money they’re chasing.
The same goes for movies and television. In the past few years, Disney has mastered the art of the live-action remake. Having learned how to harness outrage to promote the countless adaptations they release, the company has raked in billions of dollars. Before a movie even hits the theaters, backlash is imminent. From casting decisions to perceived diversions from the originals, the outrage spreads quickly, and with it, the movie’s visibility. More complaints mean more engagement. And whether you enjoy it or not becomes irrelevant. Any engagement is good engagement. And engagement fuels the fire––and that’s why we see these big companies churning out remakes and sequels.
We ask ourselves, “Why does this movie exist?” and “Who even wrote this song?” But here we are, asking about it. This “rage-batification” works. The “Pinky Up” music video has been watched by millions, and the group’s tactics have secured them a coveted slot at Coachella and multiple Grammy nominations. The much-hated remake of The Lion King (2019) raked in around 1.66 billion dollars, and the trailer for Moana (2026) already has 6.3 million views. Companies understand that anger is one of the most powerful catalysts for engagement, because it can’t be passive—it demands a response. People don’t just consume media that makes them angry; they react to it.
But how long will this “Rage-Baiting” work?
As outrage becomes further commodified, we have to wonder if it’s sustainable. Sure, companies like Disney and KATSEYE’s label are hitting the jackpot right now. But when will audiences get sick of reacting to every controversy crafted to provoke their responses?
Outrage is additive, but like all drugs, the high is only temporary. The initial thrill of anger loses its edge when experienced again and again. Pretty soon, you will become numb to the thing that once had you hooked.
And when the anger fades, what remains? A rigged game on repeat, with companies struggling to win against a world that already knows its tricks. Our rage won’t fuel the media forever, and one day, we will stop hurling tomatoes at our screens. The real danger isn’t that “rage-baiting” will fail; it’s that it will render us indifferent.
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