The series Euphoria (2019–) presents a case of contemporary ideology placement – only that ideology is no longer ideology (but an affective micro-atmosphere, produced with a combination of colours, photography, shooting techniques, sound and actors’ gestures and facial expressions), placement is no longer placement (as opposed to traditional product placement or ideology placement as an intrusion of economic or political propaganda into cinema, today’s films/series can no longer be distinguished from “low” advertising culture since the advertising aesthetics wholly engulfs film as such) and series are no longer series (either as TV trash or as mini-films, but are hybrids between commercials/video clips and films) – in which a leftist mood ditches moralism and begins to appear cool.

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