One should leave behind a perspective of seriality as purely “industrial” (Adorno/Horkheimer) or in fabula (Eco) to account for the semiotic and hermeneutic potential of the serial interval. A “double repetition” (Soulez), structural (through genre, for example) and connected to the matrix (through the unresolved question at stake throughout the series), determines a double interval and different (but complementary) involvements of the spectator. This approach makes it possible to better identify the meaning of certain bifurcations and peculiarities of the episodes, and one can see the very important role of the intervals that come to occupy intermediate, floating spaces. Intervals may be constituted as such even though they did not seem “secondary” (e.g. regarding to the main storyline) or, on the contrary, crucial, depending on whether one changes one’s point of view or interpretation plan. We will consider that the serial interval is a space of possible porosity between diégesis and spectator from the point of view of temporality, indicating that complex temporal circuits (projections, rereading, cutting and re-cutting, etc.) are at work to guide or stimulate spectator activity. Secondly, we will show that the interval is different depending on whether it is caught in structural dynamics or in dynamics connected to the matrix, including when intertextuality matters. Thirdly, we can note that there is inside spectator activity a more or less virtual capacity for intervallisation, or the creation of intervals.