How does the tendency toward series reboots, sequels, and remakes in contemporary Hollywood intersect with television’s capacity for serialization? How does the logic of promotion in transmedia entertainment connect to television’s ability to perform simultaneity in relation to other forms of screen media? This article will describe and analyze how the Resident Evil films have been broadcast on Japan’s Asahi TV network throughout the 2010s, focusing on how the week-after-week programming of the films acts as a case for demonstrating how transmedia serialization brings into relief qualities of narration and aesthetics within the context of convergent screen industries and global media production. Focusing on the concept of accumulation, this article will argue how the mode of viewing invited by Asahi TV’s mode of presentation is one that can be addressed both in terms of how viewers make sense of complicated networks of meta-textual continuity and of how convergent media forms rely on practices of simultaneity in media consumption.

当代好莱坞的系列化趋势会如何重新启动，续集和翻拍与电视的序列化能力如何相交？跨媒体娱乐中的促销逻辑如何与电视相对于其他形式的屏幕媒体进行同时表演的能力联系起来？本文将描述和分析《生化危机》如何整个2010年代，这些电影都在日本旭电视网络上播出，着重于电影的每周一周编程如何作为例证，说明跨媒体序列化如何在融合屏幕产业的背景下为叙事和美学带来浮雕画质。和全球媒体制作。着眼于积累的概念，本文将论证朝日电视的呈现模式所邀请的观看模式如何能够从观看者如何理解复杂的元文本连续性网络以及融合媒体的角度来解决这一问题。形式依赖于媒体消费的同时进行。