PLATFORMS Signal 332
Indie horror film We’re All Going to the World’s Fair explores online isolation and digital voyeurism
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Jane Schoenbrun’s film uses body horror tropes to depict a teenager’s search for connection in an online ARG-like challenge.
The film reflects real-world engineering concerns about digital platforms enabling voyeurism, grooming risks, and the psychological toll of online isolation. Its portrayal of an ARG-like challenge mirrors how interactive media can blur boundaries between fiction and real-world harm, a consideration for platform designers and moderators.
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The protagonist engages in a fictional online challenge resembling an ARG, blending horror tropes with digital interaction.
The film avoids sexualizing its young protagonist, instead focusing on her search for belonging in an online space.
A secondary character’s ambiguous motives highlight risks of grooming and exploitation in unmoderated digital environments.
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We’re All Going to the World’s Fair depicts a teenager’s participation in a fictional online challenge called the World’s Fair Challenge, which functions like an alternate reality game (ARG) or creepypasta. The protagonist, Casey, performs a ritual involving self-harm and uploads videos documenting her experiences, seeking connection in a digital space. This mirrors real-world concerns about how interactive media can normalize harmful behaviors or enable exploitation, particularly for vulnerable users.
The film’s horror elements stem from its portrayal of digital voyeurism and the ambiguity of online relationships. Casey’s primary interaction is with JLB, a middle-aged man whose intentions are never clarified, adding unease to the narrative. This ambiguity underscores the risks of unmoderated platforms where grooming or manipulation can occur under the guise of mentorship or shared interests. For engineers, the film raises questions about how to design safeguards without stifling creativity or legitimate interaction.
Unlike traditional coming-of-age stories, the film avoids sexualization, instead focusing on Casey’s loneliness and her attempts to find belonging online. The horror arises from the disconnect between her digital persona and her isolated reality, a dynamic that resonates with the psychological toll of online engagement. Platforms facilitating user-generated content or interactive experiences may need to consider how their designs amplify or mitigate such isolation.
The film’s availability on streaming services like Criterion Channel and Kanopy suggests its themes are being discussed in broader cultural contexts. While not a direct critique of any specific platform, its narrative invites reflection on how digital spaces can both connect and harm users. For engineers, the film serves as a case study in the unintended consequences of interactive media, particularly when boundaries between fiction and reality blur.
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