In recent years, digital technologies have impacted on and shaped cultural, social and political paradigms, and have been integrated into the processes of creating and distributing cultural objects. This has established a dialogue between the computer and culture (Manovich, 2001), changed the media (Bolter & Grusin, 1996), and became part of the reconfiguration of digitextuality (Everett & Caldwell, 2003). This context impacts the production, distribution, and promotion of television series, which then engage at a textual level with the technological challenges facing the medium.

Serial fiction seems to be at the forefront of the challenges faced by an entire industry with high technological specificity. This can be seen in seemingly prosaic but nevertheless pressing issues, such as the difficulties of streaming the Game of Thrones episode “The Long Night”, through the non-linear, interactive narrative designs in the Black Mirror episode “Bandersnatch”, to the aesthetic, narrative and productive implications of visual effects, transmedia strategies, previewing systems and future scenarios of visual production (Rubin, 2019). On the other side, the viewer’s screens, pervasive software services lead to profound social and cultural changes that call into question creators, producers and critics’ ideas on the way in which we metabolize audiovisual discourses (Nikdel, 2015). It is then appropriate a trans-disciplinary glance to dialogues with technology established by producers and creators, narrative and industry, since “cinema is considered holistically as technology, space, experience and form” (Llinares, Arnold, 2015: 6).