When Skam (Engl: “Shame”) (NRK 2015-2017) premiered on Norwegian television, fans both domestically and abroad took to the series in startling and vocal ways. In the wake of its success, series creator Julie Andem remade the series for different countries, with seven international versions to date. Years after its inception, the franchise’s online presence, colloquially known as the ‘Skam Universe’, functions as its own storytelling practice, employing elements from both the original and the remakes. Within the Skam Universe, fansubbing and unofficial distribution spread the original series and its influence, while the co-opting of characters and story arcs from the remakes bring these elements back to the fandom generated by the original Norwegian version. However, fans did not receive every remake with the same enthusiasm. The American remake, SKAM Austin (Facebook Watch, 2018-present), revealed conflicts within the fandom that exemplified the specific practices of valuation and suppression of the Skam Universe. Issues such as boundary policing, intra-fandom politics, and fan ownership result in a hierarchy system that determines the accepted perceptions of canon and valuation systems that shape an understanding of center and periphery within the transnational fandom of the Skam Universe.