Here’s a story about the history of the Like button that you might like

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The effort to create a simple mechanism to digitally express approval or dismay sprouted from a wellspring of online services such as Yelp and YouTube whose success would hinge on their ability to post commentary or video that would help make their sites even more popular without forcing them to spend a lot of money for content. That effort required a feedback loop that wouldn’t require a lot of hoops to navigate.

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Hollywood’s role in the Like button’s saga

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And when Goodson was noodling around with his thumbs-up and thumbs-down gesture, it didn’t come out of a vacuum. Those techniques of signaling approval and disapproval had been ushered into the 21st century zeitgeist by the Academy Award-winning movie, “Gladiator,” where Emperor Commodus — portrayed by actor Joaquin Phoenix — used the gestures to either spare or slay combatants in the arena.

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But the positive feelings conjured by a thumbs up date even further back in popular culture, thanks to the 1950s-era character Fonzie played by Henry Winkler in the top-rated 1970s TV series, “Happy Days.” The gesture later became a way of expressing delight with a program via a remote control button for the digital video recorders made by TiVO during the early 2000s. Around the same time, Hot or Not — a site that solicited feedback on the looks of people who shared photos of themselves — began playing around with ideas that helped inspire the Like button, based on the book’s research.

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Others that contributed to the pool of helpful ideas included the pioneering news service Digg, the blogging platform Xanga, YouTube and another early video site, Vimeo.

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The button’s big breakthrough

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But Facebook unquestionably turned the Like button into a universally understood symbol, while also profiting the most from its entrance into the mainstream. And it almost didn’t happen.

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By 2007, Facebook engineers had been tinkering with a Like button, but Zuckerberg opposed it because he feared the social network was already getting too cluttered and, Reeves said, “is he didn’t actually want to do something that would be seen as trivial, that would cheapen the service.”

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But FriendFeed, a rival social network created by Buchheit and now OpenAI Chairman Bret Taylor, had no such qualms, and unveiled its own Like button in October 2007.

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But the button wasn’t successful enough to keep the lights on at FriendFeed, and the service ended up being acquired by Facebook. By the time that deal was completed, Facebook had already introduced a Like button — only after Zuckerberg rebuffed the original idea of calling it an Awesome button “because nothing is more awesome than awesome,” according to the book’s research.

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Once Zuckerberg relented, Facebook quickly saw that the Like button not only helped keep its audience engaged on its social network but also made it easier to divine people’s individual interests and gather the insights required to sell the targeted advertising that accounted for most of Meta Platform’s $165 billion in revenue last year. The button’s success encouraged Facebook to take things even further by allowing other digital services to ingrain it into their feedback loops and then, in 2016, added six more types of emotions — “love,” “care,” “haha,” “wow,” “sad,” and “angry.”

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Facebook hasn’t publicly disclosed how many responses it has accumulated from the Like button and its other related options, but Levchin told the book’s authors that he believes the company has probably logged trillions of them. “What content is liked by humans…is probably one of the singularly most valuable things on the internet,” Levchin said in the book.

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The Like button also has created an epidemic of emotional problems, especially among adolescents, who feel forlorn if their posts are ignored and narcissists whose egos feast on the positive feedback. Reeves views those issues as part of the unintentional consequences that inevitably happen because “if you can’t even predict the beneficial effects of a technological innovation how could you possibly forecast the side effects and the interventions?”

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Even so, Reeves believes the Like button and the forces that coalesced to create it tapped into something uniquely human.

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“We thought serendipity of the innovation was part of the point,” Reeves said. “And I don’t think we can get bored with liking or having our capacity to compliment taken away so easily because it’s the product of 100,000 years of evolution.”

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