Разочарование в «Игре престолов»: сериальная логика, трансмедийное повествование и капитализм платформ
TV series have become one of the main types of modern leisure. However, "quality television" modifies the very form of the series. Expensive serial production to justify the costs of the creators and maintain the interest of the audience with the need becomes included in the functioning patterns of new media. The article shows that in the world of cultural overproduction successful TV series must be transformed into transmedia phenomena in order to exist. Their traditional form, which is usually compared with the classic bourgeois novels of the XIX century, is uncompetitive outside the inclusion of content consumers in advertising production. Thus, the modern TV series market becomes a part of digital capitalism. If the classical critical theory raised the question of the possibility of autonomy of a work of art, then in the critical theory of the Internet this problem should be clarified. The author on the material of the series "Game of Thrones" demonstrates what features have determined the possibility of involvement in the advertising campaign of consumers, and how the capitalist logic of digital capitalism has changed the artistic content of the work. The final season of the series demonstrates the loss of autonomy of the creators over their work, on the one hand, due to external capitalist reasons. However, the consumer himself, involved in the production of not only the accompanying content for the series, but, ultimately, increasingly forming the demand for plot twists, changes the final product in such a way that it cannot match the originally set standards of quality and innovation.