"There are only about three really, really good sitcoms on the air"
About this Quote
Gless’s line lands like a compliment wrapped in a complaint: the “really, really” is doing double duty as emphasis and as an eye-roll. Coming from an actress who built a career in television’s big-tent era, it’s less a snob’s dismissal than a veteran’s audit. She’s implicitly measuring an industry that produces a lot of product, a lot of noise, and surprisingly little that feels built to last.
The specificity of “about three” is the trick. It sounds offhand, even generous, but it’s also a challenge to a medium that sells itself on abundance. Sitcoms are supposed to look easy: a half hour, a few sets, a familiar rhythm. Gless punctures that illusion. The subtext is craft. A truly good sitcom needs writing that can sustain characters without flattening them into catchphrases, performances that can carry jokes without begging for them, and a tone that can weather cultural shifts. “On the air” matters, too: she’s not talking about the canon, she’s talking about what’s currently surviving the churn of schedules, algorithms, and trend-chasing.
As an actor, she’s also protecting the genre from being treated like low stakes. Comedy is where careers get pigeonholed and networks get complacent: if it’s “funny enough,” ship it. Her comment pushes back against that acceptable-mediocrity threshold. The throwaway cadence makes it feel casual, but the intent is pointed: good sitcoms are rare because the system rewards volume, not refinement, and because the hardest thing in TV is making something look effortless week after week.
The specificity of “about three” is the trick. It sounds offhand, even generous, but it’s also a challenge to a medium that sells itself on abundance. Sitcoms are supposed to look easy: a half hour, a few sets, a familiar rhythm. Gless punctures that illusion. The subtext is craft. A truly good sitcom needs writing that can sustain characters without flattening them into catchphrases, performances that can carry jokes without begging for them, and a tone that can weather cultural shifts. “On the air” matters, too: she’s not talking about the canon, she’s talking about what’s currently surviving the churn of schedules, algorithms, and trend-chasing.
As an actor, she’s also protecting the genre from being treated like low stakes. Comedy is where careers get pigeonholed and networks get complacent: if it’s “funny enough,” ship it. Her comment pushes back against that acceptable-mediocrity threshold. The throwaway cadence makes it feel casual, but the intent is pointed: good sitcoms are rare because the system rewards volume, not refinement, and because the hardest thing in TV is making something look effortless week after week.
Quote Details
| Topic | Witty One-Liners |
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