Building on the notion of the Greek crisis as a discursive event and revisiting theories about the sociocultural role of television fiction, this chapter introduces the latter as a framing mechanism through which events of the social world are defined and assessed. By uncovering the dominant interpretative frames underlying the story, setting, characters and plot of the popular Greek television comedy Piso Sto Spiti (MEGA channel, 2011–2013), this analysis illustrates television fiction’s contribution to the construction of the root causes of the crisis as tied to the cultural traits of Greeks, the impossibility of change and the futility of an alternative, left-wing consideration of the crisis, as well as an attempt to morally assess the situation at hand.

This article investigates how the Eurozone crisis is thematically negotiated in a popular Greek television comedy. Inspired by the increasing interest in the ideological role of news media during the Eurozone crisis of the late 2000s, it turns the spotlight on the sphere of entertainment in an attempt to address the importance of fictional mediations and meaning-making processes. To that end, it proposes an understanding of television fiction as an accommodator and shaper of ‘hot moments’, instigating processes of self-assessment and evaluation of change. More specifically, the study examines the ways in which the family comedy Piso sto Spiti (MEGA Channel, 2011–2013) provides culturally based understandings of the Eurozone crisis by depicting it as associated with inherent flaws of the modern Greek and by assessing the possibility of change through a juxtaposition with national ‘others’. At the same time, it identifies ways that ideology leaks from television fiction in its interaction with other media discourses simultaneously circulating within a society.

This study engages with the cultural consequences of the self-disparaging politics of television satire. It focuses on an emblematic program of Greek television fiction, Oi Afthairetoi (MEGA channel, 1989–1991) and the ways it both constructs and ridicules a particular version of the Greek self, the “Neoellinas”. By proposing a wider understanding of the political side-effects of television satire, which have so far been mainly addressed within the study of political satire, it turns the attention toward the role of satirical discourse in a public’s view on its national self in times of change or transition. More specifically, while it recognizes the contradictory impact that satire can have on society, it applies the concept of “satiric misfire” as a means to understand satirical endeavors which reinforce rather than counter the problematics they set out to fight against in the first place.