The last few decades have been marked by significant changes in the experience of time. Factors such as the acceleration of consumerism, the decline of utopian ideals and the advance of digital technologies have left us facing an expansion of the present and a weakening of the idea of the future. In this scenario, categories such as beginning and end are also being shaken up, putting a strain on the teleological temporality that predominated in the modern period in the West. The end has been thematized in contemporary fiction in narratives that take on a dystopian perspective: in the time of catastrophes, the end is treated as something increasingly close to the present and not as an event expected in the distant future. On the other hand, the possibility of an end seems distant when fictional narratives, governed by market time and published on digital platforms, end up expanding, extending the time of consumption and postponing their closure as a finished work in the structural sphere. Furthermore, if we look at streaming platforms, we notice forms of spectatorship that seem to suppress categories such as waiting, abolishing breaks and making watching serialized fiction, for example, almost uninterrupted, delaying the end of the viewer s experience. Considering the issues raised, the corpus of analysis was selected in order to contemplate the expansions of the fictional universe into different fields of cultural production, which led us to put into dialog not only audiovisual works, such as films and series, but also literary and musical works.