| dc.description.abstract | This thesis explores how fans of the television series Game of Thrones (GoT) navigate their emotional and narrative relationships with the franchise in the wake of its controversial ending and in response to its prequel series House of the Dragon (HotD). Drawing from theories rooted in fan studies and television studies, the thesis examines how fan identities are shaped by affective investment, participatory engagement, and perceptions of quality television. The theoretical framework combines Matt Hills’ concept of affective fandom, Henry Jenkins’ models of participatory culture and collective intelligence, and Rebecca Williams’ theory of post-object fandom, alongside insights from scholars who have written on media franchising and quality television.
Using qualitative thematic analysis, this study examines ten semi-structured interviews with self-identified fans of the GoT franchise who have watched both shows. The findings are grouped under three themes: ‘Old Wounds, New Loyalties’, ‘Critical Fan Engagement’, and ‘Franchise Futures’. These themes reveal how fans process narrative disappointment, reassess their attachments to the franchise, engage with the fandom and negotiate their expectations in light of HotD’s perceived attempt to repair the franchise image after the controversial ending of GoT. The results of the analysis show that while many fans express lingering dissatisfaction with GoT, their re-engagement with HotD is shaped by cautious optimism, ongoing emotional ties, critical awareness and occasional critiques of the franchise’s branding and storytelling strategies.
Ultimately, the thesis argues that fan engagement with HotD is not simply an interaction with new content, but rather an expression of evolving fan identity, shaped by emotional attachments, active engagement, and industrial dynamics. This case study contributes to broader understandings of how fandoms persist and transform in the age of transmedia franchising. | |
