"I think Desperate Housewives is a pretty good show, I watch it, I like it and I don't love reality tv that much. I do watch some, I've got three daughters so we'll watch the good stuff, the fun stuff"
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Saget’s charm here is how casually he turns taste into testimony. He’s not arguing that Desperate Housewives is “important”; he’s insisting it’s watchable, which is a different kind of cultural authority: the permission slip. “Pretty good” is doing strategic work - modest enough to dodge snob alarms, confident enough to plant a flag. Coming from a comic who built a career ricocheting between squeaky-clean dad energy and notoriously dirty stand-up, that downshift reads as deliberate credibility management. He’s telling you he’s not above network melodrama, but he’s also not surrendering to the lowest-common-denominator swamp.
The reality TV aside is the real tell. “I don’t love reality tv that much” positions him as selectively plugged in - not a crank, not a zealot. It’s a preemptive defense against the era’s taste wars, when reality programming was both omnipresent and culturally suspect. Then he deploys the ultimate softener: parenthood. “I’ve got three daughters” reframes consumption as family logistics and emotional proximity, not personal weakness. Watching becomes caretaking. Taste becomes bonding.
“Good stuff, the fun stuff” is an intentionally vague standard, but that vagueness is the point. He’s not curating high art; he’s curating vibe. The subtext is that TV isn’t a moral exam, it’s a shared space - and if the culture insists on ranking what counts as respectable viewing, Saget shrugs and picks what keeps the room warm.
The reality TV aside is the real tell. “I don’t love reality tv that much” positions him as selectively plugged in - not a crank, not a zealot. It’s a preemptive defense against the era’s taste wars, when reality programming was both omnipresent and culturally suspect. Then he deploys the ultimate softener: parenthood. “I’ve got three daughters” reframes consumption as family logistics and emotional proximity, not personal weakness. Watching becomes caretaking. Taste becomes bonding.
“Good stuff, the fun stuff” is an intentionally vague standard, but that vagueness is the point. He’s not curating high art; he’s curating vibe. The subtext is that TV isn’t a moral exam, it’s a shared space - and if the culture insists on ranking what counts as respectable viewing, Saget shrugs and picks what keeps the room warm.
Quote Details
| Topic | Daughter |
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