"No not at all... it is rare for shows to make it as long as Once and Again... It was a pretty good run"
About this Quote
There is a particular kind of Hollywood realism tucked into Sela Ward's shrug here: the practiced calm of someone who knows that TV doesn’t reward deserving so much as durable. “No not at all...” reads like a preemptive swat at the question she’s actually being asked - are you angry, hurt, insulted? Ward refuses the melodrama. She answers in the language of a working actor, where cancellation isn’t a tragedy, it’s weather.
The key move is the pivot from emotion to statistics: “it is rare for shows to make it as long as Once and Again...” That ellipsis is doing a lot of labor, pausing just long enough for the audience to supply the unspoken villain (ratings, networks, executives, the churn). By framing longevity as the exception, she drains the event of personal meaning. It’s not about them; it’s about the system.
“Pretty good run” is the quiet flex. It signals gratitude without begging, pride without bitterness. Ward isn’t selling a myth of artistic purity; she’s acknowledging the economics of prime-time drama in the early 2000s, when even acclaimed, emotionally literate series could be squeezed out by cheaper reality formats or louder procedurals. The intent is reputational self-defense: don’t cast her as the wounded star of a failed show. Cast her as a professional who got three seasons of quality television in an industry built to forget you by next week.
The key move is the pivot from emotion to statistics: “it is rare for shows to make it as long as Once and Again...” That ellipsis is doing a lot of labor, pausing just long enough for the audience to supply the unspoken villain (ratings, networks, executives, the churn). By framing longevity as the exception, she drains the event of personal meaning. It’s not about them; it’s about the system.
“Pretty good run” is the quiet flex. It signals gratitude without begging, pride without bitterness. Ward isn’t selling a myth of artistic purity; she’s acknowledging the economics of prime-time drama in the early 2000s, when even acclaimed, emotionally literate series could be squeezed out by cheaper reality formats or louder procedurals. The intent is reputational self-defense: don’t cast her as the wounded star of a failed show. Cast her as a professional who got three seasons of quality television in an industry built to forget you by next week.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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