This chapter explores "continuations" of Alfred Hitchcock's Psycho, with a particular focus on Van Sant's 1998 remake, which is analyzed as an experiment in media self-reflection that challenges both the concept of the cinematic artwork and the commercial logic of filmic continuation. The first section examines Hollywood's tradition of sequels and remakes, addressing their commercial-aesthetic functions in a production culture that thrives on seriality. The essay describes the specific seriality of Hollywood feature films as a "second-order" form of seriality that shifts seriality's "operational" aesthetic from narrative immersion to media immersion. The second section traces the impact of Hitchcock's Psycho on the horror genre, particularly its influence on the slasher film cycle from the late 1970s through the 1990s. The third section examines the sequels within the Psycho franchise, emphasizing their privileging of storyworld over storytelling, and how this aesthetic turns narrative suspense into an issue of (re)mediation. The fourth section critically engages with Van Sant's 1998 remake, exploring it as an untimely exercise in counterfactual media history, whose "mad" media fetishism prefigures the temporal derangements of digital (or post-cinematic) culture. In sum, the essay examines the interplay between narrative seriality and media seriality in the commercial aesthetics of Hollywood’s modes of continuation.