Abstract
This paper is based on the idea that TV genres are built and interpreted according to three worlds which are interpretants in a peircian sense: the real world, the fictitious world and the ludic world. In accordance with a pragmatic approach, we claim that the statute of the commercials varies according to strategies of the emitter and the believing of the viewer in advertisement: it may be linked to the three worlds. It is what it is shown from the analysis of the first and the second season of Loft Story, of Nice People and of the commercials that are inserted in these programmes. The relationship between the programmes and the commercials helps to define what reality and game mean for television. If the programme authenticates commercials in certain occurrences, inversely, commercials give meaning to the programmes, suggesting to viewers reading grids or some interpretations of programmes. An analysis of the commercials convinces that commercials aim less to build the under fifties women as housewives than to tease their femininity and to play with their desire or with their fantasy.
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