Norman Lear, who recently passed away at the age of 101, revolutionized network television in the 1970s by boldly addressing America’s cultural conflicts and challenging viewers to find humor in bigotry. With groundbreaking shows like All in the Family and The Jeffersons, Lear confronted sensitive issues head-on, making audiences laugh while reflecting on racism, sexism, and homophobia. All in the Family dominated TV ratings, topping the charts for six of its nine seasons, while The Jeffersons held a top 10 spot for four of its impressive 11 seasons. Alongside hits like Good Times, Sanford and Son, Maude, One Day at a Time, and Diff’rent Strokes, Lear’s creative streak in the 1970s remains unmatched.
The Unmatched Success of Norman Lear
After Diff’rent Strokes premiered in 1978, Lear’s subsequent ventures struggled. Shows like The Baxters, Palmerstown, USA, Hanging In, and aka Pablo (which wasted the comedic talents of Paul Rodriguez) failed to replicate his earlier success. When Diff’rent Strokes concluded in 1986, Lear took a five-year hiatus before returning with Sunday Dinner in 1991. Despite pairing Robert Loggia and Teri Hatcher, CBS quickly canceled the show after six episodes. Lear tried again with The Powers That Be in 1992, which, despite being created by Friends duo David Crane and Marta Kauffman, only lasted two seasons.
A Final Attempt: Revisiting Bunker Territory
Lear’s final sitcom, 704 Hauser, aimed to revisit the iconic Bunker household, now inhabited by a Black family. Featuring John Amos as the strong-willed patriarch, the show explored generational and cultural clashes, with Amos’s character raising his son to idolize Thurgood Marshall while the son leaned towards Clarence Thomas. Despite its potential, CBS only ordered six episodes and aired just five. Lear, reflecting on the experience, believed the show had immense potential but lamented the network’s lack of faith.
Critical Reception and Unfulfilled Potential
Critics were not kind to 704 Hauser. Variety’s Tony Scott described the pilot as “tepid and lukewarm,” while The New York Times’ John J. O’Connor found it barely amusing. However, The Los Angeles Times’ Howard Rosenberg saw promise in the show’s later episodes, noting its potential to stir controversy. The dynamic between Amos and his son could have provided a deep dive into African-American conservatism and tensions with other communities, topics Spike Lee explored in his films. Lear’s best work forced viewers to confront their prejudices, often through characters like Rob Reiner’s Mike “Meathead” Stivic in All in the Family.
Lear’s Legacy and Cultural Impact
At his peak, Lear made audiences laugh while examining societal issues, a feat that’s challenging in today’s polarized environment. His ability to tackle tough topics with humor set a standard for television that few have matched. Reflecting on his career, Lear once said, “[We] had […] John Amos, raising his son in the image he hoped and prayed of Thurgood Marshall. But the son, unfortunately going his own way, was growing far more in the image of Clarence Thomas. And he was in love with a Jewish girl. I saw the next six, seven years of that show so clearly. We could get into everything that’s all around us today. But they bought six, and when I started in television they were buying 22 and 24. They bought six and I don’t think they aired the fifth. So it was very difficult. And we had that one right.”
Norman Lear’s legacy lives on through his pioneering work that challenged norms and pushed the boundaries of television, making us laugh, think, and feel.