The book has thus far looked at textual content and its distribution through channels, services, and portals as part of the formal post-TV horror media ecology. However, access through such official means is not readily available to all. Whilst the global COVID-19 pandemic has seen subscriptions to subscription video on demand (SVoD) services such as Netflix drastically increase (Hazelton, 2020), others are unable to consume twenty-first century TV horror through official routes for a host of reasons. Unsurprisingly, then, during the same period the pirating of media has also greatly increased (Cuthbertson, 2020). Questioning and revising the TVIII ‘TV everywhere’ doctrine (Faltesek, 2011), this chapter addresses how and why some audiences cannot or will not use legitimate official distribution channels for media consumption and how this is remedied by delving into the shadows of informal media circulation that also form part of the post-TV landscape.

TVIII and DVD/Blu-ray formats have aided in the transnational flow of content moving beyond national borders (Shimpach, 2010, pp. 51–52; Gillan, 2011, p. 87). However, informal digital distribution routes evidence nuanced cross-border media flows (Lobato and Thomas, 2015, p. 4), fitting within the milieu of convergence culture (Hjort, 2010, pp. 13–14).