"Television really does offer still great parts for women, cable in particular"
About this Quote
There is a sly recalibration in Christine Lahti's phrasing: "still great parts" suggests both progress and erosion at once. The word "still" carries a faint defensiveness, like someone answering an unspoken complaint that the industry has moved on without women. She isn't celebrating TV as a golden age so much as marking it as a remaining stronghold.
The second pivot is where the quote gets sharper: "cable in particular". Lahti is naming the structural reason, not the vibe. Cable (and, by extension, the prestige-TV ecosystem it helped invent) has historically been less dependent on four-quadrant advertising comfort, which means it can tolerate messier women: older women, complicated women, women who aren't written as romantic rewards or moral lessons. It's an actress talking craft, but also quietly talking economics. Where money comes from shapes who gets to be a full person on screen.
There's also a career-cognizant realism here. Film has long treated substantial roles for women as rare events that must justify themselves as "important" or "inspiring". Television, especially serialized cable storytelling, doesn't need a woman to be exceptional to be central; it needs her to be narratively useful week after week. Lahti's intent reads as both endorsement and indictment: the parts exist, but you have to look in the spaces that were once considered second-tier. The subtext is a critique of the mainstream gatekeepers who forced that migration in the first place.
The second pivot is where the quote gets sharper: "cable in particular". Lahti is naming the structural reason, not the vibe. Cable (and, by extension, the prestige-TV ecosystem it helped invent) has historically been less dependent on four-quadrant advertising comfort, which means it can tolerate messier women: older women, complicated women, women who aren't written as romantic rewards or moral lessons. It's an actress talking craft, but also quietly talking economics. Where money comes from shapes who gets to be a full person on screen.
There's also a career-cognizant realism here. Film has long treated substantial roles for women as rare events that must justify themselves as "important" or "inspiring". Television, especially serialized cable storytelling, doesn't need a woman to be exceptional to be central; it needs her to be narratively useful week after week. Lahti's intent reads as both endorsement and indictment: the parts exist, but you have to look in the spaces that were once considered second-tier. The subtext is a critique of the mainstream gatekeepers who forced that migration in the first place.
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| Topic | Movie |
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