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One challenge that Television Studies faces today is how to respond to the rise of an industry increasingly organized by what Antoinette Rouvroy calls “data behavioralism.” The rise of streaming prestige television, exemplified by Netflix, has significant implications within the U.S. screen industry, but the “Netflix effect,” as McDonald and Smith-Rowsey call it, is more than just a change in the industrial mode of production, means of distribution, and method of consumption. The datalogic turn on which Netflixism is based also undermines the theoretical models on which Television Studies was largely built, including theories of representation, visual interpellation and pleasure, and power as “productive.” Hence, the rise of algorithmic television is not simply a new “object” or “wave” for us to study and comment upon; it challenges the mode of knowledge-production (or dispositif) on which the field has grounded itself.