"As a real person, he wouldn't last a minute, would he? But drama is about imperfection. And we've moved away from the aspirational hero. We got tired of it, it was dull. If I was House's friend, I would hate it. How he so resolutely refuses to be happy or take the kind-hearted road. But we don't always like morally good people, do we?"
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“As a real person, he wouldn’t last a minute” is Laurie doing two jobs at once: puncturing the macho mythology of the TV genius and protecting the audience’s complicity. We love House because he’s unlivable. The line slyly admits that the character only functions inside a controlled environment where his cruelty is contained, his brilliance is legible, and consequences reset next episode. Put him in an actual workplace, an actual friendship, an actual relationship, and the charm collapses into HR paperwork and exhaustion.
Laurie’s real point is less about House than about what modern viewers crave. “We moved away from the aspirational hero” reads like a cultural weather report from the post-Sopranos era, when “good” started to feel like brand messaging. Aspiration can be dull because it asks for obedience: admire this person, emulate that behavior, buy the moral. House offers something more anarchic. He refuses happiness not because misery is noble, but because misery is narratively productive. Conflict is his fuel; contentment would be a series finale.
The subtext in “If I was House’s friend, I would hate it” is crucial. Laurie insists on a boundary between attraction and endorsement. You can be riveted by someone you’d never text back. That last question - “we don’t always like morally good people, do we?” - lands like a confession and a dare. It flatters the audience’s sophistication while exposing a darker truth: virtue often makes for bad television, and our appetite for imperfection is also an appetite for permission.
Laurie’s real point is less about House than about what modern viewers crave. “We moved away from the aspirational hero” reads like a cultural weather report from the post-Sopranos era, when “good” started to feel like brand messaging. Aspiration can be dull because it asks for obedience: admire this person, emulate that behavior, buy the moral. House offers something more anarchic. He refuses happiness not because misery is noble, but because misery is narratively productive. Conflict is his fuel; contentment would be a series finale.
The subtext in “If I was House’s friend, I would hate it” is crucial. Laurie insists on a boundary between attraction and endorsement. You can be riveted by someone you’d never text back. That last question - “we don’t always like morally good people, do we?” - lands like a confession and a dare. It flatters the audience’s sophistication while exposing a darker truth: virtue often makes for bad television, and our appetite for imperfection is also an appetite for permission.
Quote Details
| Topic | Ethics & Morality |
|---|---|
| Source | Help us find the source |
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