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William Shakespeare’s drama Antony and Cleopatra illustrates various aspects of hedonism, especially in the pursuit of love, power, and desire. These behaviors are reflected in the way the characters prioritize personal pleasure over political duty, showing how immediate gratification often clashes with responsibility. This study aims to explore the different types of hedonism represented in the play. A qualitative descriptive approach is used to analyze the dialogues and actions of the main characters, Mark Antony and Cleopatra, based on Weijers’ (2012) framework. The results reveal six categories of hedonism: folk hedonism (30%), value/prudential hedonism (20%), motivational hedonism (15%), normative hedonism (12.5%), utilitarian hedonism (12.5%), and egoist hedonism (10%). Among these, folk hedonism is the most dominant, particularly in Antony and Cleopatra’s pursuit of love and passion without considering the consequences for their political roles. The research shows that Antony and Cleopatra reflects how the pursuit of personal pleasure can shape character development, create conflict, and even lead to tragedy, illustrating timeless patterns where short-term desires overshadow long-term responsibilities.

The film The Devil Wears Prada portrays various aspects of hedonism, especially in the pursuit of pleasure, luxury, and social status. These behaviors are increasingly visible today, especially among Generation Z and people of all ages, where the desire for immediate gratification strongly influences lifestyle and personal choices. This growing presence of hedonistic values inspires the writers to explore the concept more deeply, aiming to understand how it shapes attitudes and decisions in contemporary society. The aim is to recognize and comprehend the different forms of hedonism depicted in the film. This study employs a qualitative explanation approach to examine the attitudes, conversations, and actions of the key characters: Miranda Priestly, Andrea Sachs, and Emily Charlton. The results indicate that six categories of hedonism arise, according to Weijers’ (2012) framework: folk hedonism (25%), value/prudential hedonism (20%), motivational hedonism (18%), normative hedonism (12%), egoist hedonism (15%), and utilitarian hedonism (10%). Among them, folk hedonism is the most common, particularly in characters that pursue immediate pleasure without considering the long-term consequences. The research finds that The Devil Wears Prada illustrates how hedonism affects character growth and choices, reflecting real-life patterns where immediate gratification frequently overshadows long-term repercussions.

The objective of this study is to investigate Hedonism in the Eugene O’ Neil’s drama A Long Days Journey Into Night. This study uses descriptive qualitative to explore the kind of hedonism on the dialogue utterance of characters  in that drama. The results of the data were found that the most frequent types was folk hedonism 24%, value hedonism 10%, motivational hedonism 22%, normative hedonism 16%, egoist hedonism 14% and Utilitarian hedonism 14%. Folk hedonism occurs in the character named James Tyrone because he seeks his own pleasure without thinking about what will happen in the future.  Value hedonism occurs in a character named Mary Tyrone, who at that time was looking for her pleasure which she thought was valuable in her life.  The motivation states that hedonism was created on the basis of the human desire to relieve the pain experienced by a character named Edmund Tyrone.  Normative hedonism was carried out by a character named Mary Tyrone, who at that time was looking for fun as it should be.  Egoist hedonism is carried out by characters named James Tyrone and Jamie Tyrone, at that time they were doing pleasure at the expense of others.  Utilitarian hedonism was carried out by characters named Mary Tyrone and Edmund Tyrone who at that time were also looking for fun for their families not only for themselves. The final conclusion is folk hedonism is a very dominating problem in the lives of the characters in Eugene O'Neil's drama A Long Days Journey Into Night in accordance with today's life, because humans prefer to seek pleasure but forget the impact that will be obtained in the future.