ABSTRACT
If where a television series takes place matters to the story being told, then it is up to laborers throughout the production process to negotiate and activate that spatial capital within the text, whether that means obscuring that the series was produced in a different location, amplifying that it was filmed in the actual location, or generating an entirely fictional location from scratch. This chapter considers the terms under which television workers confront the challenges created when production location and diegetic setting do not necessarily align. It reveals that this process has evolved to efficiently articulate spatial capital through a range of textual and production strategies and has simultaneously entrenched limits placed on television’s spatial capital prior to these innovations.
