This thesis is an interobjective comparison between the music of three contemporary North-American television thrillers that rely heavily on electronic sounds: Daredevil, Orphan Black and Mr. Robot. The goal of the thesis is to analyse to what extent these series possess shared traits in their compositions and in their use of this music in the audiovisual context. The research is motivated by two technologically driven changes that have taken place relatively recently: the emergence of new tools (such as the DAW) that have redefined the role of the composer, allowing for the development of a new sonic aesthetic; and an upsurge of consumption and interest in television series, mainly due to the introduction of streaming services. The thesis includes thorough analyses of the music in the series, applying theoretical models from scholars such as Anahid Kassabian, Claudia Gorbman, Allan Moore, Michel Chion, and others, along with the introduction of a new model for audiovisual analysis of music in film and television called stylistic archetypes. The thesis also includes a practical part consisting of four musical cues amounting to 10% of the total thesis.