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Numerous scholars have debated the transmediality of Gomorrah - The Series, offering varying opinions. The thesis we aim to support is that this is a case of incomplete transmediality, primarily due to gaps in Sky Italia's promotional strategies, especially concerning social media. Even a spin-off like L'Immortale (2019) can be considered a makeshift and limited attempt. Simultaneously, it is possible to identify a «Saviano style» to describe the approach of the Campanian author to all his productions, creating a strong bond that connects them all, including his graphic novel Sono ancora vivo. However, in confirmation of the lack of transmediality of Gomorrah - The Series, are the social media activities of its two main protagonists, Salvatore Esposito (Genny Savastano) and Marco D'Amore (Ciro Di Marzio), which focus more on the actor's persona than on their acting performances in the series. Weak transmediality is also confirmed by the activities of the fans that revolve around this product, but are hindered by the production, which, in two Facebook groups, has gone as far as banning clips from Gomorrah - The Series not belonging to official channels.

This article focuses on a few recent publications, all of them devoted to a new semiotic intepretation of Pasolini's theoretical works on cinema. It provides a short summary of the ancient debate between Pasolini and semioticians, then offering an overview of those recent publications. Later, it discusses the indications we can draw from them about the state of art of semiotics, in order to put the basis for future researches even despite the epistemological different positions. The article is a preliminary work that places itsef within a wider attempt to apply Pasolini's theoretical contributions, re-read from today's semiotic point of view, to digital cinema.