"When you're on a long running series, you reach a very rarefied, high oxygen area and after a while to keep a show on the air they have to make some very drastic changes"
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There’s a quietly unsentimental honesty in the way Joan Van Ark describes the long-running series as a “rarefied, high oxygen area.” The metaphor flatters and warns at the same time: yes, steady TV work is an altitude most actors never reach, but the air up there is thin. It’s a place where survival depends on constant recalibration, not comfort. Van Ark isn’t romanticizing longevity; she’s naming its physiological cost.
Her phrasing also smuggles in an institutional critique. “To keep a show on the air” is pointedly passive, as if the engine is external to the people inside it. Networks, ratings, advertisers, and shifting audience tastes become an impersonal climate system. In that environment, “drastic changes” aren’t presented as creative epiphanies; they’re oxygen masks dropping from the ceiling. The subtext is that narrative choices on a durable series often have less to do with character truth than with maintenance: new love interests, sudden villains, tonal pivots, cast shake-ups, louder stakes.
Coming from an actress associated with serialized, decade-spanning television, the remark reads like backstage translation for viewers who confuse endurance with stability. Long-running shows don’t simply continue; they mutate. Van Ark’s intent seems less like complaint than demystification: the privilege of a hit carries a kind of altitude sickness, and the longer you stay aloft, the more radical the interventions required to keep everyone breathing.
Her phrasing also smuggles in an institutional critique. “To keep a show on the air” is pointedly passive, as if the engine is external to the people inside it. Networks, ratings, advertisers, and shifting audience tastes become an impersonal climate system. In that environment, “drastic changes” aren’t presented as creative epiphanies; they’re oxygen masks dropping from the ceiling. The subtext is that narrative choices on a durable series often have less to do with character truth than with maintenance: new love interests, sudden villains, tonal pivots, cast shake-ups, louder stakes.
Coming from an actress associated with serialized, decade-spanning television, the remark reads like backstage translation for viewers who confuse endurance with stability. Long-running shows don’t simply continue; they mutate. Van Ark’s intent seems less like complaint than demystification: the privilege of a hit carries a kind of altitude sickness, and the longer you stay aloft, the more radical the interventions required to keep everyone breathing.
Quote Details
| Topic | Movie |
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