ABSTRACT
Why does a television series shoot in one location as opposed to another? This chapter outlines a comprehensive understanding of the stakeholders within the process of deciding where a television series is produced, a decision that becomes the primary contingency on which a text’s ability to generate spatial capital is determined. The ongoing, collaborative nature of television production creates a distinct production culture that maps onto shifting political and economic circumstances differently from film, necessitating a focus on the cultural negotiations—and negotiators—that are at times obscured in scholarly, trade, and industry discourse. Although hierarchies of economic capital may be the most visible and at times dominant reason why a television series films in one location rather than another, they cannot be separated from other dimensions of spatial capital being negotiated by the stakeholders involved.
