Digital technologies have facilitated increased tailoring and targeting of particular taste cultures and narrowcast viewership. Notably, the British free-to-air Horror Channel and subscription-based streaming platform Shudder both specifically aim to appeal to cult genre fans. However, horror television has been increasingly produced on non-genre specific channels/portals yet does not exnominate nor restrain its horror qualities. As Bowen points out, ‘[b]roadcast, cable, and streaming networks have all embraced horror in their lineups’ (2018). Consequently, texts can be clustered not just by their genre traits, but also within producers’ branded catalogues (see also Platts, 2020, pp. 8–10). Moreover, horror movies – particularly notably underground, extremely violent, strikingly realistic, explicitly sexualized, highly reflexive, and/or culturally transgressive horror movies – are synonymous with cult cinema (Mathijs and Sexton, 2011, pp. 194–202), unsurprisingly ‘geared [less] towards a mass public that is not automatically associated with this kind of movie going and consumption’ (ibid., p. 30). Whilst such outsiderdom has informed how cult TV has been traditionally theorized (e.g. Jancovich and Hunt, 2004), dialogic niche/mainstream binaries frequently fall short when examining twenty-first century cult blockbuster tele-fictions that garner both impassioned devotees and are hugely popular (Pearson, 2010; Hills, 2010b), in turn attesting to quality TV status (Abbott, 2010, p. 91; Newman and Levine, 2012, p. 29).