When I was a girl, the world flickered in warm tones of black-and-white and technicolor optimism. The television glowed like a campfire in the living room, and around it, we gathered not just for entertainment—but for formation. For memory. For what it meant to be good. What it meant to be us.
My parents were strict. Guardians at the gate. The kind that wouldn’t let a whisper of Three’s Company enter the sanctity of our evenings. No sir, not in our house. A man living with two single women? That was a scandal, they said. A dangerous idea. And of course, I snuck around corners to watch it anyway—heart pounding, barely breathing. I waited for the thing that made it wicked. But it never came. A little innuendo, maybe. A wink. Compared to the chaos of today, it was downright quaint—like a sock hop at a church picnic.
Back then, we had Happy Days and Leave It to Beaver. Lucy made us laugh, and the Love Boat brought us cotton-candy tales of flirtation and redemption. Even Miami Vice, flashy as it was, had lines it didn’t dare cross.
But now… now we’ve slipped into something else entirely. A carnival of shadows. A funhouse mirror of storytelling that no longer wants to elevate, but to erode. Teenagers tangled in bedsheets. Adults preying on the young. And it’s called entertainment.
But it’s not. It’s erosion.
Because when you stir the lowest urges in people and call it art, you aren’t freeing them—you’re binding them. You’re muddying their soul. You’re clouding the signal that tells them they were meant for something more.
Flourishing isn’t born from lust or thrill or scandal. Flourishing is born from purpose. From spirit. From the quiet discipline of choosing the good when the bad looks more fun. But what happens when we’ve been so dulled by the grotesque masquerading as glamour that we forget how to seek the good?
We reach for synthetic joy. Sugar. Screens. Pills. Vegas weekends and borrowed highs. We try to fill a soul-shaped hole with something that will never fit.
My daughter tried to talk me into watching a show called The Hunting Wives. I made it through one and a half episodes. Just enough to see the rot under the gloss. A mockery of Southern women, twisted into caricatures—hypersexual, reckless, vapid. Teenagers used as props. Sex scenes masquerading as plot. The message wasn’t even subtext: This is who you are. This is what you’re for.
And I thought: No. No, it isn’t.
But see, this is how we end up with men like Epstein and crowds who don’t flinch. This is how you groom a culture to protect predators and shame the protectors. You feed them filth until they think it's food.
We don’t need more shows like this. We need stories that remind us who we are. Stories with spines and souls. With reverence. With boundaries. With morals—not because they’re old-fashioned, but because they work. Because they keep the machine of civilization humming. Because they guard the spark that makes us human.
What goes on between loving adults? Let that be private, sacred, unbroadcasted. But don’t drag that darkness into the open air and act surprised when the crops won’t grow. We’ve got to bring back the light. The good kind. The kind that doesn’t flicker in shame, but glows with dignity.
When we trade virtue for cheap thrills, everybody pays. And when we stop expecting better, we stop getting better.
We are meant to flourish. And we can. But only if we remember how.
So let’s turn off the trash, light a candle, and go outside and breathe for a bit. Let’s remember what goodness looks like. Let’s stir it back into our lives like sugar into tea—sweet, strong, and worth sipping slow.