The appeal of the best journalistic experiments, indeed, runs much deeper than their entertainment value. Medina came to see her role in the subway experiment as that of a “street anthropologist or something, which is essentially what [reporters] are supposed to be doing every day.” And Weingarten received over one hundred messages from people who said that his piece on the Bell experiment made them cry. (One testimonial from an online chat Weingarten had with readers: “I cried because I find it scary and depressing to think of how obliviously most people go through daily life, even smart and otherwise attentive people. Who knows what beautiful things I’ve missed by just hurrying along lost in my thoughts?”) In essence, many readers imagined themselves as actors in the story. Weingarten set out to chronicle an experiment; he ended up writing a deeply effective profile of his own readers. “What Would You Do?” asks Primetime—and that, on some level, is the question that all such journalistic experiments ask. Would you walk by the famous violinist? Would you give up your seat on the subway? Would you protect a woman from an abusive boyfriend?

In that quirky, postwar “golden age” of the discipline that informs today’s journalistic experimenters, researchers captured the public imagination with bold, elaborately choreographed experiments that frequently drove subjects to extreme behavior or confronted them with seemingly life-or-death situations.

Stanley Milgram, the designer of the subway-seat experiment, was one of the most creative social psychologists of that era. His infamous obedience experiment, first performed in 1961, in which subjects were instructed to shock a man in a separate room every time he gave an incorrect answer on a memory test, showed that normal people were capable of great cruelty. Sixty-five percent of the subjects went to the maximum—450 volts—despite the test-taker’s cries of pain and pleas to be released due to a heart condition. By the end, the test-taker no longer responded at all, having presumably passed out or died. (In reality, the test-taker was an actor and his protests tape-recorded.) Even more unsettling was Stanford professor Philip Zimbardo’s 1971 prison experiment, in which college students randomly assigned to play the role of guards in a mock prison terrorized those playing inmates. Slated to run for two weeks, it was terminated after six days, during which several “prisoners” came close to nervous breakdown.

Given the dramatic nature of these experiments, it’s little wonder they’ve provided such inspiration to journalists. Bill Wasik, an editor at Harper’s, started the flash mobs trend in 2003 as an homage to Milgram, whom he considers as much performance artist as scientist. Flash mobs were spontaneous gatherings in which participants showed up at a given location for a brief period and did something absurd, such as drop to their knees en masse before a giant Tyrannosaurus Rex at Toys “R” Us. In a piece published in Harper’s, Wasik explained that he saw the mobs as a Milgram-esque test of hipster conformity. Like a hot new indie band, he hypothesized, the mobs would rapidly gain popularity before being discarded as too mainstream and, ultimately, co-opted by marketers, which is more or less what happened.

Wasik argues that the popular resonance of experiments by Milgram and others of the golden age derives from the compelling narratives they created. “It’s like a demonstration whose value is more in the extremes that you can push people to and the extremes of the story that you can get out of what people do or don’t do,” he says. “Milgram could have done an authority experiment in which he got people to do all sorts of strange things that didn’t seem to be simulating the death of the participant.” Many contemporary social psychologists credit researchers from this fertile era with cleverly demonstrating how frequently human behavior defies expectations. But others, such as Joachim Krueger of Brown University, argue that the experiments were designed in ways that guaranteed unflattering results. “You could call it a ‘gotcha psychology,’” he says.

Daniel Weiss is a freelance writer based in New York City.