The ways in which literary creations are capitalized in artistic television programs (programsshows) compared to adaptations in the art of cinema provide us with a favorable framework for more accurate identification of the necessary distinctions between these two audiovisual fields. But the theory of cinema screening cannot be used as such in the making of films / television shows. Using the figure of the narrator, the small screen widened the possibilities of audiovisual capitalization of literary species. The narrator’s mission does not lie in scholarly commentary; his colloquial discourse, interwoven, not infrequently, with different testimonies-declarations of faith of the author, must become the binder of the entire television construction, to evade descriptive patterns. The purpose of the comment is to enhance the image through the informative virtues of the word, but, at the same time, not to have a tautological character. Unfortunately, in the conditions of the unprecedented proliferation of television entertainment products, the quality literary page is making its way to the small and big screen harder and harder.