WitchTok names the loose community of witchcraft and Pagan content on TikTok, built around short videos teaching spellwork, tarot reading, herbalism and seasonal ritual to an audience the platform's own recommendation algorithm assembles rather than any single teacher or publisher choosing who sees what. Scholar Christy Miller's 2022 study of the phenomenon argues it should be read as a real site of religious transmission entangled with consumer and material culture, not as one or the other: the same videos that teach genuine practice sit beside, and are often produced by the same creators as, witchcraft-branded merchandise, candles, decks and courses sold directly through the platform.
That entanglement is the phenomenon's most distinctive feature next to older transmission forms this atlas documents on Witchcraft's own page, covens, published books, and direct in-person teaching. A book's author and a coven's initiator both make a visible, accountable choice about what to teach; a recommendation algorithm optimizing for watch time makes a choice too, but not one aimed at accuracy or lineage, which means the version of witchcraft that reaches the largest audience on a given day is not necessarily the version most representative of how practitioners have historically practiced.
None of this makes WitchTok content false as religious practice, and this atlas does not treat it that way. It documents a genuinely new and unusually well studied case of how a platform's own incentives actively shape which version of an existing tradition a new generation encounters first, the same dynamic the Digital Religion discipline page elsewhere on this atlas names as the field's defining question.