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My analysis is structured as a comparative study between two countries – New Zealand and Italy – and focuses on the relationship between national audiences and the trans-media structure of the popular television series Game of Thrones (HBO, 2011– present). Game of Thrones’ narrative is characterized by elements that emphasize its fictitious world, since these elements belong to the fantasy genre, which, by definition, deals with the supernatural. From this standpoint, the fantastic universe of the series functions as an escape route from everyday life. However, instead of following the genre rules, “Game of Thrones articulates a striking refusal of the hopeful mythologies of high epic fantasy” (Tasker & Steenberg, 2016, p. 189) by focusing on the brutal, the extreme, and the overall injustice and chaos that permeate a society in which war and death appear to be inescapable. In this chapter, the textual schematic of Game of Thrones is examined through the emotional reactions, during focus group sessions, of national fan groups to themes and events of the show. In particular, the analysis of Italian and New Zealand followers’ comments on Game of Thrones will be instrumental to illustrating the reasons for their passion for the series as well as the main concerns that arise during the viewing. This ambivalent attitude in fans’ responses and engagement will emerge as significantly dependent on the media text’s capacity to transcend the boundaries of a simple categorization, to stand as a notable example of a program that manages to appeal to diverse audiences beyond the country of origin.

This study aims to investigate consumer perceptions of inauthenticity due to adulteration of a narrative brand ending by using the research context of the final season and ending of the television series, Game of Thrones.

Two data sets totalling 2,032 online comments detailing consumer reactions to the final season of Game of Thrones were analysed using thematic analysis and human interpretive analysis. The coding was an iterative and continuous process, and posts were returned to and re-examined to refine codes and groupings as the analysis progressed.

The results indicate consumers perceived the ending of the eighth and final season of the television series, Game of Thrones, did not meet their expectations and was not authentic due to rushed writing and illogical character and plot developments. Consumers judged this adulteration was so great that it was a moral violation and transgression. Consumers also sought to assign blame for the inauthenticity, which they attributed to the writers and showrunners, who became the subject of revenge behaviours.

This study indicates consumers of narrative brands, due to their strong emotional attachments to their characters and storyworlds, may perceive unexpected and extensive changes to them as moral violations and transgressions and thus inauthentic. Consumers establish the authenticity of a narrative brand by regularly scrutinising narrative and character development against their expectations as shaped by prior narrative content. Due to their emotional attachment, consumers may attempt to attribute blame for the inauthenticity. The findings have not been established in prior research, and inauthenticity in a narrative brand context is also explored for the first time.

The Witcher (Netflix, 2019) premiered seven months after Game of Thrones (HBO, 2011–2018) concluded. Given the similarities of genre (historical/high fantasy) and audience (indicated by nudity, violence and profanity), comparisons were quickly drawn. Game of Thrones earned criticism for the ‘sexist’ outcomes for some of its female characters, and so early analysis of The Witcher often evaluated its female representation and feminist values.

This chapter argues that the female representations in season one of The Witcher offers prominent female characters who are imbued with agency, institutional power and well-developed narrative arcs. These representations are somewhat at odds with some initial reaction to the show as sexist. Notably, it uses a dialectic approach to women who are framed by males as villainous (as Stregobor characterizes Renfri in ‘The End's Beginning’). However, the spectator positioning challenges this through devices such as its unrestricted, non-linear narrative structure.

Nevertheless, The Witcher encodes female characters with power as ‘other’, enhancing this otherness through magical abilities. Its archetypal male protagonist further emphasizes the difference of the female deuteragonists, placing him at various times in opposition to characters such as Ciri, Yennefer and Calanthe. This chapter also considers the issues of intersectionality in relation to Yennefer, whose transformative narrative arc has provoked ableist criticism, and how her representation is also impacted by the racial discourse in the series.

Through textual analysis and with reference to relevant folkloric, feminist and media scholarship, this chapter interrogates the representations the significant women of The Witcher through the lenses of gendered authorship, essentialist ‘female’ concerns, such as motherhood, the dynamics of the gaze and the varieties of responses to the female characters evident in online discourse.

Fans have been characterized as specialized consumers who often express disagreements with the entertainment industry's decisions, especially when it comes to the original content of the works that serve as the basis for the development of media products, evidencing a kind of consumer resistance. Under a Foucauldian perspective aligned with the consumer culture theory (CCT), power relations are established in a dynamic of power exercise and resistance to power. Based on this, the authors pose the following research question: how do fans of media products resist the changes made by the entertainment industry in relation to their canons?

The authors adopted the Foucault's genealogy of power as a method, analyzing the comments posted on the Westeros.Org website, the main discussion forum of fans of A Song of Ice and Fire (ASoIaF) book series and Game of Thrones (GoT) TV series.

The findings reveal ways of resistance in relation to the adaptation of the media text permeated by an entertainment dispositif, which considers the adaptation legitimate, and a fannish dispositif, which criticizes the way this adaptation was made. However, their empirical categories reveal that they are forged not only from singularities but also from overlaps. The authors conclude, therefore, that this process occurs in an agonist way, in which conflicts are fought as a reciprocal incitement revealing a productive and ethical relationship.

The agonism shows how consumers can simultaneously be led to incorporate and resist to discourses and market practices. This demonstrates how resistance is not necessarily a force opposed to another, but a dynamic of reciprocal negotiation.