What I find most pressing about Andy Kesson’s post, “Generic excitement,” are his methodological queries: how does genre organize our scholarship? To what extent do we implicitly rely on this typology as an “interpretive precondition”? What is at risk when “we backproject onto the earlier period developments distinctive to the 1590s and beyond”? Due to the diffuse nature of the archive, it makes sense that performance studies of the sixteenth century privilege the representational elements contained in genre—especially narratology and identity politics—over dramaturgical ones. Using the Lord Admiral’s repertory as an illustrative case, I want to rethink what genre offers critics and scholars of early modern English theatre.