This thesis presents the detailed study of Guy Debord’s The Society of the Spectacle as one of the most celebrated cultural theories within the wider scope of postmodern societal critique of capitalism. Its main modalities and practice have been thoroughly discussed by means of a contemporary theoretical approach. One particular aspect analyzed in the case of the spectacle was resistance and its various existing forms, which are the focus of many theorists, activists, and even filmmakers. Given the fact that Debord himself advocated and practiced such cultural rebellion against the spectacle through détournement and similar artistic techniques, this thesis successfully unified these elements in an exhaustive breakdown of the Charlie Brooker’s TV series Black Mirror. The series is a prime example of how the era of technological advancements and cyberspace development becomes a fertile ground for the Spectacle’s further perpetuation, but also for the elements of spectacle resistance to navigate from one medium to another. The analysis subsequently continues through the lens of Mikhail Bakhtin’s carnivalesque, leading to the conclusion of the series being also a form of carnivalesque resistance. Ultimately, this work represents a critique of its own, not just of the aforementioned theories and the series, but mainly of the regenerative and deceitful nature of the spectacle itself.