| Sumario: | The article critically explores the circulation and public life of television series Yizo Yizo 1 and 2 (1999, 2001) in order to reflect on the significance of the orchestration of its publicness and what I propose to call the public critical potency of television, in particular and film, in general. Through a delineation of the circulation of discourse around Yizo Yizo, the article shows that the series generated relatively little debate in the news media about the issues it intended to raise. This outcome points towards the limits of orchestration in public engagements around television and shows that such engagements may exceed the orchestration effort. Ultimately, the fullest extent of the public critical potency of television becomes clear only through the appreciation of its pathways of circulation, and those of its secondary texts.
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