"A sitcom. I hate that word"
About this Quote
“A sitcom. I hate that word” lands like a perfectly timed eye-roll from a performer who spent her life being treated as a category rather than a craftsperson. Lansbury isn’t nitpicking vocabulary; she’s bristling at the shrink-wrap. “Sitcom” carries a faintly disposable, industrial smell, a label that tells audiences (and executives) what kind of attention to pay: light, low-stakes, easily rerun. For an actress whose career moved between prestige film, Broadway authority, and a wildly popular TV run, the word can feel like a trapdoor - a way to make serious labor seem cute, small, and interchangeable.
The line works because it’s both defensive and insurgent. Defensive, because it protects her work from condescension: comedy, especially on television, is routinely treated as lesser acting, lesser writing, lesser art. Insurgent, because she’s refusing the false hierarchy that separates “real” performance from mass entertainment. It’s a reminder that laughter is often engineered with more precision than drama, and that “situational comedy” has historically been a container for social anxieties - class, gender roles, domestic power - smuggled in under a studio audience’s applause.
Context matters: Lansbury’s era prized “legitimacy,” and women performers were often boxed into tones (ingenue, matron, comic relief) that followed them like a second shadow. Her disdain signals an older performer’s impatience with the media’s need to domesticate complexity into a single, dismissive tag. In seven words, she’s demanding we take the work seriously even when it’s making us laugh.
The line works because it’s both defensive and insurgent. Defensive, because it protects her work from condescension: comedy, especially on television, is routinely treated as lesser acting, lesser writing, lesser art. Insurgent, because she’s refusing the false hierarchy that separates “real” performance from mass entertainment. It’s a reminder that laughter is often engineered with more precision than drama, and that “situational comedy” has historically been a container for social anxieties - class, gender roles, domestic power - smuggled in under a studio audience’s applause.
Context matters: Lansbury’s era prized “legitimacy,” and women performers were often boxed into tones (ingenue, matron, comic relief) that followed them like a second shadow. Her disdain signals an older performer’s impatience with the media’s need to domesticate complexity into a single, dismissive tag. In seven words, she’s demanding we take the work seriously even when it’s making us laugh.
Quote Details
| Topic | Sarcastic |
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