the tools of oppression, but the way they are exposed [often literally] fosters more problems than it solves.

Image source: Fox.com/fringe. Created and produced by J. J. Abrams, Alex Kurtzman and Roberto Orci, Fringe began airing in 2008 on FOX and has recently been picked up for a fourth season (FOX, 2011).

This discussion of narrative extensions will use US TV serial Fringe (Abrams et al, 2008) as a case study. Following the trend for shows that have “tightly interwoven plots, extended story arcs, recurring emphasis on backstory and program history” (Jenkins,2006a) and now nearing the end of its successful third season, the primary text (Fiske, 1987 in Askwith, 2007), Fringe,has numerous narrative extensions, both official and grassroots, and both secondary and tertiary texts (Fiske, 1987 in Askwith, 2007), ofsloping floor from his feet to the far wall.

“Are we allowed to be here?”

“Of course,” she tells him, removing her robe and stepping into the water.

He baulks for a second, but his adolescent body senses an opportunity. Quickly he strips too and joins her in the water. Laughing and splashing, it’s several minutes before he realises the door has sealed. He looks to her in query.

“—?”

Before he could speak, the pool cover slid out from the tiles at the sloped edge of the pool, decapitating the crests of the water on its way toward him. He’s not panicking yet, but he feels an edge. He swims to the far wall looking for her, but she is gone. The cover slides onward, he’s got just metres left. He tries