• The science of virality with Chinthana Dharmadasa

In an age dominated by algorithms, trending hashtags, and endlessly scrolling feeds, the idea of ‘going viral’ has become one of the most coveted outcomes for content creators. Yet behind the millions of views and shares lies a complex and often unpredictable phenomenon. 

Few understand this dynamic better than Chinthana Dharmadasa, a Sri Lankan film director, critic, and screenwriter who has spent years navigating both the creative and commercial sides of storytelling.

Dharmadasa, who also works as a Creative Director in Sri Lanka’s advertising industry, recently launched his latest film ‘Abhisari,’ a project that explores the lives of sex workers in Sri Lanka and the complex legal and social realities surrounding their work. 

He is also widely known for his writing on the viral television show ‘Meeya,’ which gained significant online traction when it aired in 2022. Having witnessed virality both as a marketing objective and as a byproduct of storytelling, he offers a nuanced perspective on what it really means.

Manufacturing virality 

According to Dharmadasa, virality may sound like a modern digital concept, but its roots lie in something far older. “In advertising we talk about virality today,” he explained. “But traditionally it is what we referred to as ‘word of mouth’. It is when a message spreads organically from person to person.” 

In the advertising world, he said, this organic spread is considered one of the most powerful forms of reach. “If something spreads naturally among people, it is the most efficient and productive way to reach an audience.”

Yet the process is far from predictable. “There is always a risk factor with virality,” he said. “We may assume something will become viral, but sometimes the audience chooses something completely different.” In other words, even the most carefully planned campaigns cannot fully control what resonates with the public.

In fact, the desire to achieve viral reach has sometimes led to attempts to manufacture it. Dharmadasa noted that the phenomenon of artificially inflating virality was not uncommon in the digital age. 

“Because virality is so sought after, sometimes people try to artificially push content,” he explained. “It may appear viral on social media, but it is not truly organic. When people operate across dozens of platforms and accounts, they can create the impression that something is more popular than it really is.”

Virality and the creative process 

Interestingly, despite his experience with viral content, Dharmadasa said he did not consciously pursue virality when working on artistic projects. 

“When I am creating something, whether it is a film or any other artistic work, I do not think about virality,” he said. “The creative process should not be driven by that.” The only exception, he explained, was in commercial advertising where virality may be part of the strategic objective.

Instead, he sees virality as something that can be considered after a creative project is complete. “Once the art is created, the marketing and communication around it can explore what elements might generate a viral moment,” he said. Sometimes, those moments may even be deliberately constructed.

Dharmadasa pointed to examples in the Sri Lankan film industry where marketing strategies had attempted to engineer viral attention. “Sometimes an image or moment is created specifically for marketing purposes,” he said. “It might not even appear in the film itself, but it becomes the viral element that draws attention to the project.”

For Dharmadasa, however, the real driving force behind powerful storytelling lies in relevance and edge. “As a creator, I always want to do something edgy,” he explained. “If there is no edge, socially, politically, culturally, then the work has no impact. It becomes hollow.” 

According to him, creators who truly understand their cultural moment will naturally incorporate that relevance into their work. “When you have your finger on the pulse of society, that edge will be there. And that is when opportunities for viral moments emerge.”

‘Abhisari’

Dharmadasa’s latest film ‘Abhisari’ reflects precisely this philosophy. Addressing the sensitive subject of sex work in Sri Lanka, the film explores themes of sexuality, social hypocrisy, and institutional norms. 

For him, the project is deeply personal. “My passion project has always been exploring sex and desire,” he said. “I believe many of our social, cultural, and political problems are rooted in conflicts around sexuality.”

The film aims to challenge entrenched assumptions about morality and respectability. “I think ‘Abhisari’ has the potential not just to go viral, but to truly shake society,” he said. “The film itself is explosive.” 

He believes audiences may respond with a range of emotions – admiration, discomfort, even anger – but all of these reactions contribute to the dynamics of virality. “For something to become viral, people don’t necessarily have to like it. Both positive and negative reactions can drive virality.”

Even the film’s title, he suggested, carried its own viral potential. “The name itself is a viral element,” he said. “It immediately triggers curiosity.”

Dharmadasa’s approach to the subject of sex work also challenges conventional narratives. He noted that society often framed sex workers solely as marginalised individuals struggling for survival. Yet historically, he argued, the profession had had very different cultural meanings. 

“In many societies it was once a sacred profession connected to ritual and the arts,” he explained. “Over time it has been reduced and stigmatised.” Through ‘Abhisari,’ he hopes to prompt audiences to question the institutions that shape how society understands intimacy, marriage, and morality.

“I wanted the film to function like a pebble inside your shoe,” he said with a smile. “You cannot ignore it. It keeps disturbing you. That discomfort forces you to think.”

Touching the pulse of society 

But virality, he emphasised, was not just about shocking content. At its core lies a basic human instinct: the desire to belong. “Think about a cricket match everyone watched the night before,” he said. “The next day on the bus people are talking about it. If you haven’t seen it, you feel left out.” 

That instinct, he argued, was one of the key drivers of viral behaviour. “People share things not only because they like them, but because they want to be part of the group. There is a tribal element to virality.”

In the digital era, this instinct plays out across social media platforms where content spreads rapidly through networks of friends and followers. Yet Dharmadasa is cautious about overstating the power of digital media itself. While online platforms have dramatically lowered the barriers to entry for creators, he believes the digital space has also become saturated.

“There are many positives to digital platforms,” he acknowledged. “You can reach audiences easily and find the community that suits your work.” However, he also sees signs of fatigue and superficial engagement. “Today there is a lot of unconscious behaviour online, endless scrolling, sharing without thinking. Sometimes it feels more like addiction than meaningful connection.”

Because of this, Dharmadasa believes traditional forms of engagement may still hold significant value. “Digital platforms create an illusion of connection,” he said. “You might see a post shared a hundred or a thousand times, but if that post asks people to show up somewhere in real life, very few actually will.” 

For him, genuine engagement still requires direct interaction. “That is why I am interested in things like printed magazines and ground-level activations where you actually meet people.”

In the end, Dharmadasa views virality not as an end goal but as a byproduct of relevance, cultural timing, and human behaviour. “Virality happens when something touches the pulse of society,” he said. And while creators may attempt to influence that process, the final decision, as always, rests with the audience.