This article reflects on the parallel evolution of digital technologies over the past 10 years alongside the emergence of an expanding screendance field. In 2019 screendance artists’ practices might include original choreographies developed for the screen, adaptations of existing choreographies, choreographies created in the edit using software programs, and/or all of these artistic choices combined. Are there new considerations and indeed less positive effects in this field of potential? The writing explores the effect of democratization (Cousins: 2017) on production and distribution.The capacity to show online is considered, taking into account that while screening online does enable the field to be relevant to a broader spectrum of communities (Hagan: 2017) this is not without it’s complexities in that online space, like any space, is defined by a set of relations including to capital, to wider questions of politics, censorship, and the information economy and those that trade in it. The writing explores how the field is responding creatively and critically to the cultural significance of ways bodies are presented on screens when the phrase ‘bodies on screen’ now points to any number of signifiers and sites (Vincenzi:2018)