A Song of Hopeful and Cynical Hatewatching: Analysing Fan Engagement through Game of Thrones TikTok edits

Game of Thrones is a globally renkowned television phenomenon that left many viewers frustrated, and yet its fandom remains fiercely active on TikTok, where fans rework or critique the series through creative videos. This study dives into this paradox, exploring how fans engage with Game of Thrones through TikTok edits by applying Jonathan Gray's (2020) concepts of hopeful and cynical hatewatching. Considering the idea of convergence culture (Jenkins, 2006), the rise of TikTok has transformed how audiences interact with media content, creating new spaces for fan expression and critique. This research addresses the problem of understanding how these interactions reflect broader patterns of audience behaviour in a participatory digital culture, particularly in the context of fan labour produced for a series that has generated great disappointment among its fanbase. The central research question guiding this study is: How does fan engagement with Game of Thrones TikTok edits reflect patterns of hopeful hatewatching and cynical hatewatching? To answer this question, a qualitative content analysis was employed as its methodological approach, allowing for a nuanced examination of fan engagement and responses. Data was collected from TikTok using specific hashtags related to Game of Thrones, resulting in a sample of 50 videos and the top 10 comments, which were analysed under four main themes: hopeful hatewatching, cynical hatewatching, community engagement, and sustained fandom. Hopeful hatewatching was characterised by fans' creative reclamation of the narrative, where they propose alternative plotlines and defend character arcs, demonstrating a persistent emotional investment despite the show's flaws. Conversely, cynical hatewatching reflects a critical engagement where fans express disappointment and mock the series' perceived failures, often bonding over shared grievances. Additionally, the study highlights the role of community engagement, where fans interact with each other through comments and edits, fostering a sense of belonging and collective identity. The analysis underscores that hatewatching is not merely a negative response but a complex practice that sustains fandom, illustrating how disappointment can fuel creativity and ongoing dialogue about the series. Overall, this research contributes to the understanding of contemporary fandom by demonstrating that even flawed narratives can remain culturally relevant through active fan engagement, thereby reshaping the dynamics between media producers and consumers in the digital age.