Before being a young and sexy thing, a graphicsimplified to the extreme or a musical genre, pop is a strategy, an industrial calculation powered by a single obsession: to know what the masses want. What are the springs, but also the existential implications? An original philosophical approach and "sparkling" of the "mass culture". From Star Wars to Lady Gaga, from the Lord of the Rings to Game of Thrones, tubes, blockbusters and bestsellers today form the facets of an omnipresent mass culture. A philosopher analyzes the phenomenon: what is "pop culture"? What are the springs, but also the existential implications? Before being a young and sexy thing, a quadrichromic graphics simplified to the extreme or a musical genre that has abnormally high amounts of synthesizer sounds, pop is a strategy, an industrial calculation powered by a single obsession: to know what what do the masses want? Pop culture is an ogre who ingests everything he finds. But this logic of reappropriation opens paradoxically to the declassed, the freaks and minorities of all kinds. For the author, what is at stake here is first and foremost the invention of new identities. He leads his reflection from fine analysis of songs, movies, comics, novels and series, multiplying scholarly digressions in response to questions as essential as: how much can we hate an old group indefinite become commercial? How can Harry Potter survive Voldemort's Avada Kedavra in the Forbidden Forest? Does the category of myth work for pop culture? On the other hand, if Obi-Wan Kenobi is so clever, why does he let Luke Skywalker do all the work?