Abstract: By massively including surveillance in their plots and aesthetics, TV series adapt voyeurism, a reflexive instrument fitted to the cinematic apparatus, to their specific form. In Person of Interest, for instance, surveillance mirrors serial narrative systems that evoke the extensive and permanent media coverage of a fictional world. Homeland, treats surveillance as the image of pre-emptive scopophilia, and proves that TV series are able to stoke or counter this supposedly protective version of the scopic drive.
