On the evening of JanÂuÂary 12, 1971, CBS viewÂers across the UnitÂed States sat down to a brand new sitÂcom preÂcedÂed by a highÂly unusuÂal disÂclaimer. The proÂgram they were about to see, it declared, “seeks to throw a humorÂous spotÂlight on our frailÂties, prejÂuÂdices, and conÂcerns. By makÂing them a source of laughÂter, we hope to show — in a mature fashÂion — just how absurd they are.” ThereÂafter comÂmenced the very first episode of All in the FamÂiÂly, which would go on, over nine full seaÂsons, to define AmerÂiÂcan teleÂviÂsion in the nineÂteen-sevÂenÂties. It did so not just by darÂing to find comÂeÂdy in the issues of the day — the VietÂnam War, the genÂerÂaÂtion gap, womÂen’s lib, race relaÂtions, homoÂsexÂuÂalÂiÂty — but also by spawnÂing a variÂety of othÂer major sitÂcoms like Maude, The JefÂferÂsons, and Good Times.
Even if you didÂn’t live through the sevÂenÂties, you’ve probÂaÂbly heard of these shows. Now you can watch full episodes on the offiÂcial Youtube chanÂnel of NorÂman Lear, the teleÂviÂsion writer and proÂducÂer involved in the creÂation of all of them and many othÂers besides.
If you’ve ever seen SanÂford and Son, FerÂnÂwood 2 Night, DifÂf’rent Strokes, or One Day at a Time (or if you hapÂpened to catch such short-lived obscuÂriÂties as HangÂing In, a.k.a. Pablo, and SunÂday DinÂner), you’ve seen one of his proÂducÂtions. His death this week at the age of 101 has proÂvidÂed the occaÂsion to acquaint or reacÂquaint ourÂselves with Archie and Edith Bunker, George and Louise JefÂferÂson, FloriÂda and James Evans, and all the othÂer charÂacÂters from what we might now call the “NorÂman Lear mulÂtiÂverse.”
The best place to start is with the preÂmiere of All in the FamÂiÂly, which introÂduces the Bunker clan and the cenÂtral conÂflict of their houseÂhold: that between boisÂterÂousÂly prejÂuÂdiced workÂing-class patriÂarch Archie Bunker and his bleedÂing-heart baby-boomer son-in-law Michael “MeatÂhead” Stivic. LatÂer episodes introÂduce such secÂondary charÂacÂters as Edith Bunker’s strong-willed cousin Maude FindÂlay, who went on to star in her own eponyÂmous series the folÂlowÂing year, and the Bunkers’ enterÂprisÂing black next-door neighÂbors the JefÂferÂsons, who themÂselves “moved on up” in 1975. (So far did the teleÂviÂsuÂal LearÂverse evenÂtuÂalÂly expand that Good Times and CheckÂing In were built around the charÂacÂters of Maude and the JefÂferÂsons’ maids.)
An outÂspoÂken proÂpoÂnent of libÂerÂal causÂes, Lear probÂaÂbly wouldÂn’t have denied using his teleÂviÂsion work to influÂence pubÂlic opinÂion on the issues that conÂcerned him. Yet at their best, his shows didÂn’t reduce themÂselves to politÂiÂcal moralÂiÂty plays, showÂing an awareÂness that the Archie Bunkers of the world weren’t always in the wrong and the MeatÂheads weren’t always in the right. By twenÂty-first-cenÂtuÂry stanÂdards, the jokes volleyed back and forth in All in the FamÂiÂly or The JefÂferÂsons may seem blunt, not least when they employ terms now regardÂed as unspeakÂable on mainÂstream teleÂviÂsion. But they also have the forthÂrightÂness to go wherÂevÂer the humor of the sitÂuÂaÂtion — that is to say, the truth of the sitÂuÂaÂtion — dicÂtates, an uncomÂmon qualÂiÂty among even the most acclaimed comeÂdies this half-cenÂtuÂry latÂer. Watch comÂplete episodes of NorÂman Lear shows here.
RelatÂed conÂtent:
Watch Mad Magazine’s Edgy, NevÂer-Aired TV SpeÂcial (1974)
Watch Between Time and TimÂbukÂtu, an Obscure TV Gem Based on the Work of Kurt VonÂnegut
Watch the OpenÂing CredÂits of an ImagÂiÂnary 70s Cop Show StarÂring Samuel BeckÂett
Based in Seoul, ColÂin Marshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂter Books on Cities, the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.
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