Abstract
The border-based dramedy Run, Coyote, Run (FOX Networks Group Latin America, 2017) ended its first season with the highest rating of any drama on Mexican TV. This column sketches the rapidly changing industrial mediascape that enables such novel productions in Mexico. Asking whether the new platforms made available by changing technology can facilitate content with new creative characteristics, the column explores industrial practice, professional profiles, and textual analysis to argue for Run, Coyote, Run as an example of a marquee series that incorporates the global/local nexus into the fabric of its complex televisual text.
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