Core Post 2 Fab T

 The three readings this week once again elucidated how and what the economic specificities of television programming allow. The analysis of 'risk' in television as compared to film, as well as the general overarching themes between the readings of the commercial strategic identification for a necessity of diversity crystalizes that television's relationship to the viewer, the audience, is a more immediately mutable one perhaps than that of film. Historically, the identification in Warner's piece of the disappearance of Black television is clear in interpreting the concept of risk as obviously not a pure one and ultimately not a beneficial one given that the Black sitcoms of the 80s disappeared once the networks gained stability. Insecure getting it's footing, both in the common televisual sense of accumulating textures and working within long-form storytelling with commercial confines and as it gets further from the specific racial bifurcation Warner identifies that was needed to sell the show, serves as a complex, contradictory example of the real potential of television as functioning within the 'risky' realms HBO offers. The show is allowed to subtly mutate and grow into itself with specificity to its characters and its worlds in a way that a 'risky' greenlight for a film wouldn't allow. By nature of the medium, the space allows the show to not only be sold as two different products, but ultimately function and formally show itself as various realities that gives openings for a more explicit, less signified version of the show's representation of Blackness.