ABSTRACT
Narrative ecosystems "are 'abnormal' objects, which overflow in time and space". Embracing the model of narrative ecosystems allows us to think of TV series or media franchises as micro-worlds situated in the global panorama: they are multiple, often interconnected, expanding territories through which viewers journey. Naturally occurring ecosystem boundaries sometimes form a unique habitat to which species are specifically adapted. Boundaries are necessary to defining a semiosphere's identity, according to a binary opposition between the inside and the outside. The concept of semiosphere helps us conceive the existence of a common language that guarantees the existence of the series and its many appropriations. Boundaries are active zones, a fundamental negotiating area of bardic television. Frictions can be exemplified by parodies, created with the aim of signaling an excess, a rupture, a different reading.
