Following an extended period during which the research priorities of the discipline of television studies were oriented around audiences and reception practices, since the 1990s television scholars have “returned” to the television text. 3 In conjunction with this aesthetic (re)turn, scholars have undertaken to map the shifting horizons of the television text, revisiting and revising foundational models of television’s textuality in ways which account for dispersals, extensions, and expansions of the medium’s narratives and storyworlds across media. For instance, Will Brooker has documented how the diegesis of the series Dawson’s Creek “overflows” television’s boundaries, spilling out into immersive websites that merge.
