The article deals with the view of the television industry from a philosophical perspective. In particular, the analysis of critical theories concerning the economic foundations of the television industry, its functioning as a media, and peculiarities of definition in the socio-cultural space are carried out. There are considered the concepts of mass culture of Max Horkheimer and Theodore Adorno, the study of the instrumental character of the mass media by Herbert Marcuse, the concepts of the society of the play of Guy Deborah, the telematic screen of Jean Baudrillard, the neo-tribalism of Michel Muffesoli. The television industry appears as one of the most characteristic manifestations of mass culture and, on the other hand, as a central element of the modern cultural industry. The socio-cultural environment is not just a very important factor for the existence, development or transformation of any instrumental innovative system, but a basic condition for its emergence and existence. The entire information industry imposes certain patterns of intellectual, emotional responses that are transformed into public and private lifestyles. The media is the most vivid embodiment of the situation of "spectacle", which ensure its functioning and reproduction. There are considered television series as one of the most influential elements of the television industry, which has a significant impact on the formation of values and worldview of modern human. At one time, television quickly became socially dominant and partially supplanted other types of influence of mass culture on humans. Television is increasingly adapting to the latest mass media, in particular invading the realm of the Internet. The television industry forms not just tastes, but a dominant in society discourse through which imperceptibly and powerfully forms the life principles and strategy of behavior for the consumers of the television "product". All participants in the functioning of the television industry are participants in a complex communication process in which the television industry as a discourse becomes the real subject. Television series illustrated and largely modeled this discourse: they show convincingly how the "laws of genre" dictate the behavior of actors, and not only on screen, but of all social actors involved in the production and consumption of television series. Television creates a new shared atmosphere that is saturated with emotions – the basic meanings and values are transmitted through emotions, thanks to emotions the discourse of television becomes dominant and displaces other discourses.
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