In this paper I explore how to research webisodes as mixed modes of media production, distribution and reception. I argue that appropriate theoretical and meta-theoretical reflections are needed to research mixed modes of media production, distribution and reception in relation to each other. I use the notion of the ‘circuit of culture’ (du Gay 2013) to describe a theoretical foundation to understand relations between how cultural products – mixed modes or not – are produced, distributed and consumed. As a mixed mode technology product, the webisode is referred to as an example. A webisode is defined by its distribution. Production aspects can be very different, for example The Walking Dead webisodes or Fan-produced re-edited soap opera webisodes. The former invites discussions on business opportunities (Peirce 2012), the latter invites discussions on audiences as readers and consumers of resistance (Dhaenens 2012). A simple example used in the paper is that audiences can be studied as and by online focus groups articulating mixed modes in various ways. The Fan-produced re-edited soap opera webisode imply that audiences can be producers at the same time, hence becoming a particular form of “privatized leisure” (du Gay 2013:104) as consumption as well as production. On the other hand, The Walking Dead webisodes are part of a commercialized setting, hence becoming a produced “privatized leisure” offered for consumption. Online traces of both the online focus groups and the traffic data of the usage of the webisodes can further knowledge on location, temporality and sharing/storing.