Norman Lear turned 100 on July 27, and to celebrate this milestone, ABC is airing a star-studded tribute on Thursday titled “Norman Lear: 100 Years of Music and Laughter.” This special airs on broadcast television, where Lear’s legendary career predominantly unfolded.
Though the series for which Lear was best known—such as “All in the Family,” “Maude,” and “The Jeffersons”—weren’t necessarily my favorites due to their often loud nature, they undeniably left a significant mark. I preferred the subdued satire of his soap opera parody “Mary Hartman, Mary Hartman,” but I have fond memories of watching his other shows, including “Sanford and Son” and “One Day at a Time.” Lear’s comedies, emerging during an era of war protests, liberation movements, and political scandal, introduced a fresh perspective to television, weaving serious and emotionally deep moments into the fabric of sitcoms. His shows like “Good Times” and “The Jeffersons” broke new ground by addressing issues such as racism, homophobia, misogyny, sexual identity, mental health, addiction, aging, rape, PTSD, immigration, and gentrification.
Many of Lear’s shows existed within the same fictional universe, long before the concept of a shared universe became popular with Marvel and DC. Characters crossed over between shows: Maude, Edith Bunker’s cousin, first appeared on “All in the Family”; Florida from “Good Times” was originally Maude’s housekeeper; the Jeffersons were initially the Bunkers’ neighbors. There were also less successful spinoffs, such as “Gloria,” “Checking In,” and “704 Hauser.” Despite these failures, Lear’s universe thrived through interconnected stories and characters.
Born in 1922, Lear was already halfway to 100 when “All in the Family” premiered in 1971. By then, he had established himself in television and film but wasn’t yet a household name. He started as a comedy writer at the dawn of TV, contributing to shows like “The Colgate Comedy Hour” and “The Martha Raye Show.” In 1959, he co-created “The Deputy,” a western starring Henry Fonda. In the 1960s, Lear partnered with Bud Yorkin, producing variety specials and films, including “Come Blow Your Horn” and “Divorce American Style.” Inspired by the British comedy “Till Death Us Do Part,” Lear created “All in the Family,” which incorporated elements from his own family, marking the true beginning of his iconic career.
“All in the Family” wasn’t the first comedy to tackle political and social issues. Preceding it were shows like “Room 222” and “The Governor and J.J.” Yet, Lear’s genius was in marrying topical issues with family comedy, a traditionally gentle genre. While shows like “MAS*H,” “Barney Miller,” and “Taxi” turned workplaces into family metaphors, Lear’s comedies used families to reflect society’s complexities.
Lear’s method involved placing characters with opposing views in close quarters, allowing their arguments to lead to moments of understanding. His shows sought to spotlight societal prejudices and absurdities humorously, aiming to foster dialogue and reflection. Even though his series tackled serious issues, their primary goal was to entertain and make audiences laugh.
Lear’s comedies didn’t shy away from controversial topics or euphemisms. For instance, “Maude” addressed abortion in its first season before the Roe v. Wade decision. Despite criticisms from stars like John Amos and Esther Rolle about the portrayal of Black stereotypes in “Good Times,” Lear’s commitment to comedy ensured that his shows didn’t take a preachy tone.
Lear’s shows were philosophically optimistic, distributing satire evenly. Characters like Maude and Mike the Meathead could be as pompous in their liberalism as others were in their conservatism. Yet, these characters were multidimensional, with heart and depth, even if shaped by their circumstances. Lear’s comedies reflected a belief that disagreement and debate were patriotic acts, contributing to the country’s strength through turmoil.
Though most of Lear’s famous TV work aired between 1971 and 1985, his influence continued. After stepping back from television, he focused on advocacy through People for the American Way and the Norman Lear Center for the Study of Entertainment, Media & Society. Recently, Lear returned to television with successful reboots like “One Day at a Time” and live re-enactments of his classic scripts. Upcoming projects include an animated revival of “Good Times” and a reboot of “Mary Hartman, Mary Hartman.”
Lear’s old shows remain relevant, available through reruns, home video, and streaming. They continue to resonate because the issues they addressed are still pertinent, and the humor still hits home. His work stands as a testament to the enduring power of comedy to reflect and challenge society.
