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Spoof trailers are trailers for a non-existent film that typically has a parodic tone, changing the genre of the source film or films. They may combine materials from different films in the form of mash-ups or re-order scenes or shots of a single film, altering the original title cards and voiceover narration. They may also incorporate images and sound bites from popular media artefacts. Spoof trailers have also become one of the key manners through which Internet users inscribe their creativity on the Web, defy copyright laws and re-contextualize previously existing cultural material to challenge the distinction between producers and consumers. I seek to analyse what are the aesthetic characteristics of spoof trailers, the viewing environments in which they exist and the dominant logics at work within the Internet to account for this emerging, Web-specific, form of film culture.

This article explains how Netflix has transformed the ways in which we interact with media in the contemporary milieu. I argue that Netflix works through a process of planned differentiation, designing unique customization experiences to create a new type of media user that participates in its global and regional release and production strategies. This leads me into a discussion of how the Netflix interface manages the spectators’ experience through a series of connected features. Thus, I detail Netflix’ personalization mechanisms, proposing that, ultimately, its users ‘pay to buy themselves’, or the version of themselves its interface offers back to users upon systematically gathering data on their habits. Finally, I remark that the key characteristics of the current streaming service/spectator relationship are deceptive limitlessness, customization, the automation of content flow and ubiquity, weaving a form of audiovisual engagement that has partially and, at times completely, conquered our everyday.

This article deals with the use of the American television series Game of Thrones (HBO: 2011–) as part of the political discourse of the emerging political party Podemos in Spain. First, we focus on Podemos leader, Pablo Iglesias, who, in 2014, edited a book devoted to analyzing this series from a political science viewpoint. We then move on to study ideologically charged symbolic gestures and the detailed analysis of the parallelisms between Daenerys Targaryen’s revolutionary enterprise and Podemos’s bottom-to-top quest to seize power. We then scrutinize how emergent political forces that threaten the enduring hegemony of traditional parties use popular cultural artifacts to intervene in the social fabric and how they attempt to tune in with the Internet-dedicated, socially networked younger classes. This article, thus, analyzes how the relationship between politics and serialized TV fiction has morphed within the Spanish mediascape, paying special attention to the impact of participatory culture.

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