Clémence Michallon of The Independent applauded the phrase as "just the right amount of dismissive" while warning against its overuse. In early November 2019, while giving a speech supporting a climate change bill, New Zealand MP Chlöe Swarbrick claimed that the average age of parliamentarians was 49 years old, and Generation X MP Todd Muller interrupted her, to which she responded "OK boomer". Indeed, while the ladette was configured in the British press/tabloids and thus shaped through media spectacle, this article further suggests that transformations online have led to the discursive creation of the hun in the digital realm and through her ‘memeability’ ( Mercer and Sarson, 2020). Huns can be ‘ordinary’ or ‘everyday’ women who make their presence known in online spaces, but there has been a distinct focus on the celebrity hun on social media sites such as Instagram. Huns are not represented in this way and are often admired for being ageing women on British television, women who act ‘natural’ on camera, or women who are excessive in their behaviour.

With the popularity of Little Britain in the 2000s, the name Vicky Pollard became synonymous with chav(ette). Writing for The American Conservative, senior editor Rod Dreher criticized the Walt Disney Company's vocal opposition to the Florida law, and a gradual inclusion over the years of LGBT-focused content in Disney productions, promotional marketing materials, and theme park attractions (such as "Disney Pride"), as being an example of institutional "grooming" by a major corporate brand that is synonymous with children's entertainment and innocence.The importance of viewing habits in establishing new communities of taste for fans of camp is equally important for fans of huns. Through an in-depth analysis of these heterogeneous memes, this section will determine whether specific patterns of humour can be found on ‘loveofhuns’. Bring them back by asking questions, listening to the answers, and engaging with their point of view.

similarly identify ‘a clear reproduction of heteronormative (and heterosexist) constructions of sexuality and gendered relations through the use of humour’ and conclude that ‘women are not welcome in memes – they can be visible, but not vocal, rendering opportunities to challenge or resist [. t]hose who adore hun culture are largely working class themselves, or as the ‘Hunsnet’ owner points out, ‘people who are from a working class background but may have had a glow-up of late.

In 2019, it was transnationally translated for UK audiences (BBC, 2019–) and is currently in its second season after 12 million views gave the streaming service BBC iPlayer a ‘record-breaking’ year ( Kanter, 2019).