"But there are still good shows like 24, Boomtown and the Wire, the Shield"
About this Quote
In a throwaway-sounding list, Shemar Moore is really drawing a boundary line: television can be junk food, but it can also be protein. The quote lands in that early-2000s moment when “prestige TV” hadn’t fully solidified into a brand yet, and actors were still pushing back against the old hierarchy that treated film as art and TV as commerce. Moore’s “still” is doing the heavy lifting. It implies a medium clogged with disposable programming, with these titles surviving like stubborn proof that craft hasn’t died.
His picks aren’t random comfort favorites; they’re a snapshot of TV’s tonal pivot. 24 turns national anxiety into cliffhanger propulsion. The Wire weaponizes realism and systems thinking. The Shield brings moral rot into the fluorescent glare of the police procedural. Even Boomtown, less canonized now, fits the pattern: fractured perspectives, consequences, a refusal to reset neatly after each episode. Moore is endorsing intensity, complexity, and a kind of adult attention span, while also signaling taste inside the industry: he watches, he discriminates, he’s not just “on TV.”
There’s subtextual self-positioning, too. An actor praising these shows is also lobbying for the legitimacy of his own lane. It’s a cultural argument disguised as small talk: TV is becoming the place where ambition lives, and the people who make it deserve to be taken seriously.
His picks aren’t random comfort favorites; they’re a snapshot of TV’s tonal pivot. 24 turns national anxiety into cliffhanger propulsion. The Wire weaponizes realism and systems thinking. The Shield brings moral rot into the fluorescent glare of the police procedural. Even Boomtown, less canonized now, fits the pattern: fractured perspectives, consequences, a refusal to reset neatly after each episode. Moore is endorsing intensity, complexity, and a kind of adult attention span, while also signaling taste inside the industry: he watches, he discriminates, he’s not just “on TV.”
There’s subtextual self-positioning, too. An actor praising these shows is also lobbying for the legitimacy of his own lane. It’s a cultural argument disguised as small talk: TV is becoming the place where ambition lives, and the people who make it deserve to be taken seriously.
Quote Details
| Topic | Movie |
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