I hear a lot of people are assuming that the 1980-1983 era was a bad time for sitcoms.

Is it true?

I don't really think so, it's just regarded as a bad time because prime-time soaps ruled the era and the ABC shows from the late 70's were starting to go down and yet Bill Cosby hadn't premiered yet so sitcoms were in a decline during those years compared to the Happy Days/Laverne And Shirley domination.

But still, give me a handful of shows from this period over any current sitcom.

yes it was, but, today is MUCH worse....the ONLY current sitcom i watch is Corner Gas, and i used to be a sitcom junkie

Well I think it was a great era for sitcom. Because almost every cast member from The Cosby Show has not been seen on-screen around 1980, 1981, 1982, and 1983. That was great. Well at least the 1980-1983 era had sitcom stars like Sherman Helmsley, Michael J. Fox, Jason & Justine Bateman, Sarah Jessica Parker, Tom Hanks, and Wendie Jo Sperber. However, they were cool. And The Fonz, he was the best.

I think so too, there were a LOT of shows I loved that were on in those years.

I think the thing about those years is that shows were either past their peak ("Happy Days," "Three's Company," "Laverne & Shirley," "The Jeffersons," etc. or not quite to the point where they became huge successes ("Family Ties," "Cheers," "Newhart," etc)

I wouldn't say things are as bad as they are now for sitcoms cuz there were more than there are currently but it wasn't as big as the late 70s or mid 80s

From 66-69, the sitcom was at its worst. Following that is the current batch. I still like quite a few current sitcoms, most notably - Arrested Development.

It was a bad time for NEW SITCOMS, that's what the problem was. There wasn;t any new sitcoms that were hits in the years of 1980, 1981, 1982.

It was a bad time for NEW SITCOMS, that's what the problem was. There wasn;t any new sitcoms that were hits in the years of 1980, 1981, 1982.

Well, they didn't become hits until later.... but Cheers, Family Ties and Newhart all debuted in 1982.

Well, they didn't become hits until later.... but Cheers, Family Ties and Newhart all debuted in 1982.

Exactly, no new sitcom that premiered between 1980-83 was a Hit after that first season. Oh yes there was, the sitcom FLO in 1980

What about Bosom Buddies, Gimme A Break, or Webster?

What about Bosom Buddies, Gimme A Break, or Webster?


Webster-NO
Gimmie A Break-NO
Bosom Buddies-HELL NO-lol

"Mr. Smith."

'nuff said.

;)

Webster-NO
Gimmie A Break-NO
Bosom Buddies-HELL NO-lol
In case you haven't notice that Gimme A Break! & Webster aired for six seasons, at least those shows lasted longer than WKRP In Cinncinati & Square Pegs. And Bosom Buddies was to air until 1983. But flopped after season 2 in 1982.

In case you haven't notice that Gimme A Break! & Webster aired for six seasons, at least those shows lasted longer than WKRP In Cinncinati & Square Pegs. And Bosom Buddies was to air until 1983.



Webster was a little popular but Gimmie a Break and Bosom Buddies were never popular

Webster was a little popular but Gimmie a Break and Bosom Buddies were never popular
That is until Tom Hanks was popular. And Family Ties wasn't all that popular when Hanks was on there.

Webster was a little popular but Gimmie a Break and Bosom Buddies were never popular

Gimme A Break was NEVER popular? then why when Nell Carter died in 2003, pretty much every headline on the obituaries said "Gimme A Break star Nell Carter passes away"?

It was never in a Cosby Show/Cheers/Family Ties level of popularity, but to say the show was a flop is just your dislike for the show coming out. It wouldn't have lasted six seasons if it was a ratings disaster. Plus, if you notice, it makes a LOT of "I hope this comes out soon on DVD" lists, if it was so unpopular and obscure, it wouldn't.

actually, Too Close For Comfort was a sitcom hit in 80-83 that premiered in the era. However, the third seasons ratings were so bad (it was #7 in the 1981-1982 season) that it was cancelled and went syndication

Gimme A Break was NEVER popular? then why when Nell Carter died in 2003, pretty much every headline on the obituaries said "Gimme A Break star Nell Carter passes away"?

It was never in a Cosby Show/Cheers/Family Ties level of popularity, but to say the show was a flop is just your dislike for the show coming out. It wouldn't have lasted six seasons if it was a ratings disaster. Plus, if you notice, it makes a LOT of "I hope this comes out soon on DVD" lists, if it was so unpopular and obscure, it wouldn't.


I liked Gimmie a Break but it wasn't a HIT for NBC,

I liked Gimmie a Break but it wasn't a HIT for NBC,

well, it wasn't a hit, but I think it was moderately popular. Kinda like how King Of Queens has been a longrunning show on CBS and has been a reasonable success but has never been the smash hit that Raymond or CSI has been. GAB had a nice run in the 80's though it wasn't one of their bigger hits.

Gimme a Break was never in Night Court's level of popularity as well. Like ABC's Coach, Gimme A Break is an extremely underrated show & that's why it's not currently airing, but it will never be forgotten. It has launches careers unlike Coach, and it is a lot easier to find information for this show.

I think that 1980-1983 was a good time for sitcoms, in terms of quality, but a bad time in terms of ratings.

Gimme a Break was never in Night Court's level of popularity as well. Like Coach, Gimme A Break is an extremely underrated show & that's why it's not currently airing, but it will never be forgotten. It has launches careers unlike Coach.

actually Coach airs really late at night/early in the morning on USA

Wasn't Kate & Allie the only sitcom in the top 10 during one of those seasons? I guess that's still better than now as there were no sitcoms in the top 10 last season at all. As bad as it is, it could get even worse next season unless some sitcoms manage to break out. That 70s Show and Will & Grace are over for sure next season, and these could very well be over too.

Very likely: Less Than Perfect, Girlfriends, What I Like About You, King of The Hill, Bernie Mack, Malcolm In The Middle

Somewhat likely: King of Queens, One On One (because of age), and Still Standing, Yes, Dear, Hope & Faith, Arrested Development, Scrubs & Joey due to continued poor ratings.

Let's hope for a good season this year....

Like someone said back in the 80's Drama's were the big thing. Shows like Dallas, Dynasty, Hill Street Blues, The Love Boat even Little house on the Prairie were the big ticket in the 80's. Also Movie of the Week they were a hit, Around 88 89 is when things started to pick up especially with ABC's TGIF. I think Family Ties was a hit back then also and the second season of The Facts of Life, But I don't know if they made the top ten.

Quality is a matter of opinion, but in terms of ratings (which is what makes money), yes -- the early ‘80s (generally 1981-1984) was a bad time for sitcoms. During the 1983-1984 season, the only sitcom in the top 10 was Kate & Allie (coming in at #8). Many journalists during the era called this time "the death of the sitcom". With glitzy soaps like Dallas and Dynasty ruling the nights, the sitcom seemed an old and tired format.

The Cosby Show, which debuted in the fall of 1984, is credited as saving the genre. The next year The Golden Girls debuted, being a big success in the ratings, and proving that the sitcom was back! Family Ties saw new life after Michael J. Fox’s success in Back to the Future -- the ratings immediately shot up after 1985.

And to settle the little debate above…. Gimme A Break and Bosom Buddies never placed in the top 30. The highest Webster placed was #26 (during the first and second seasons).

The early-80s maybe bad for sitcoms, but it definitely wasn't bad for 60 minute shows like "Vega$" & "The Love Boat". But in my opinion, the late-70s & early-80s had the best actors/actresses (some famous, some not) like Henry Winkler, Sherman Helmsley, Neil Carter, Michael J. Fox, Jason & Justine Bateman, Sarah Jessica Parker, Tom Hanks, Peter Scolari, Wendie Jo Sperber, Rad Daly, and Tricia Cast. Almost every cast member from "The Cosby Show" (except for Cosby & Rashad) were not seen on TV in the late-70s & early-80s. Now that my friends was cool.

Like someone said back in the 80's Drama's were the big thing. Shows like Dallas, Dynasty, Hill Street Blues, The Love Boat even Little house on the Prairie were the big ticket in the 80's. Also Movie of the Week they were a hit, Around 88 89 is when things started to pick up especially with ABC's TGIF. I think Family Ties was a hit back then also and the second season of The Facts of Life, But I don't know if they made the top ten.


Kate and Allie started in March of 1984 so I wouldn't say that show falls into the 80-83 era.

Like someone said back in the 80's Drama's were the big thing. Shows like Dallas, Dynasty, Hill Street Blues, The Love Boat even Little house on the Prairie were the big ticket in the 80's. Also Movie of the Week they were a hit, Around 88 89 is when things started to pick up especially with ABC's TGIF. I think Family Ties was a hit back then also and the second season of The Facts of Life, But I don't know if they made the top ten.

sitcoms were definately back before 88-89, I think the moment Cosby premiered on NBC in 84 was when the sitcom was reborn. By the 1985-1986 tv season, sitcoms were beginning to knock the prime time soaps off their lofts, as TCS, Family Ties, Cheers, The Golden Girls and Who's The Boss were all in the top 10 in the 85-86 season and by the next season, Growing Pains, Night Court and Moonlighting (which could be classified about the way Desperate Housewives is) joined all those shows in the top 10.

sitcoms were definately back before 88-89, I think the moment Cosby premiered on NBC in 84 was when the sitcom was reborn. By the 1985-1986 tv season, sitcoms were beginning to knock the prime time soaps off their lofts, as TCS, Family Ties, Cheers, The Golden Girls and Who's The Boss were all in the top 10 in the 85-86 season and by the next season, Growing Pains, Night Court and Moonlighting (which could be classified about the way Desperate Housewives is) joined all those shows in the top 10.
Personally, I don't think that sitcoms knocked off the primetime soaps. Of the main four shows of the 80s era (Dallas, Knots Landing, Dynasty, Falcon Crest), the only "Knots" and "DYN" were ever scheduled against big hit sitcoms. They were both against Cheers and Night Court (KL in 1986-1987, and DYN in 1988-1989), but for the following season, CBS moved KL back to its slot against Hill Street Blues/L.A. Law, where it continued to beat its competition. DYN was cancelled in 1989.

Most (if not all) shows that went against "D" and "FC" lasted no longer than 2 seasons...

Well, after the Moldavian Massacre in 1985, Dynasty's ratings began to steadily drop. It went from the #1 show during the 1984-1985 season, to #7 during the following season, and then to #25. By 1988 the show wasn't even in the top 30.

As posted above -- during 1983-1984, only 1 sitcom was in the top 10. By the 1986-1987 season, 7 sitcoms (The Cosby Show, Family Ties, Cheers, The Golden Girls, Night Court, Growing Pains, Who’s The Boss?) were all in the top 10.

Well, after the Moldavian Massacre in 1985, Dynasty's ratings took a steep drop.
Yes, exactly. The soaps died due to low ratings and lost interest in public in general, IMO. The novelty was gone, I would say.

Webster was a little popular but Gimmie a Break and Bosom Buddies were never popular

I liked Gimmie a Break. But what happened to the father? He was there for the first season or two, then he left the show and they never mentioned him again.

I liked Gimmie a Break. But what happened to the father? He was there for the first season or two, then he left the show and they never mentioned him again.
The actor (Dolph Sweet) died in 1985 I believe, so they had the character die as well. I'm sure there was a special episode devoted to it...

Wasn't Kate & Allie the only sitcom in the top 10 during one of those seasons? I guess that's still better than now as there were no sitcoms in the top 10 last season at all. As bad as it is, it could get even worse next season unless some sitcoms manage to break out. That 70s Show and Will & Grace are over for sure next season, and these could very well be over too.

Very likely: Less Than Perfect, Girlfriends, What I Like About You, King of The Hill, Bernie Mack, Malcolm In The Middle

Somewhat likely: King of Queens, One On One (because of age), and Still Standing, Yes, Dear, Hope & Faith, Arrested Development, Scrubs & Joey due to continued poor ratings.

Let's hope for a good season this year....
I heard that WHat I Like About You is having their last season this year

Personally, I don't think that sitcoms knocked off the primetime soaps. Of the main four shows of the 80s era (Dallas, Knots Landing, Dynasty, Falcon Crest), the only "Knots" and "DYN" were ever scheduled against big hit sitcoms. They were both against Cheers and Night Court (KL in 1986-1987, and DYN in 1988-1989), but for the following season, CBS moved KL back to its slot against Hill Street Blues/L.A. Law, where it continued to beat its competition. DYN was cancelled in 1989.

Most (if not all) shows that went against "D" and "FC" lasted no longer than 2 seasons...

well, I meant knocked off the lofts because in the early 80's, Dallas was ALWAYS either #1 or #2, and Dynasty eventually moved up to #1, and Knots and Falcon Crest were both in the top 10 also, but yet the season where Cosby took over the #1 spot (1985-1986), Dynasty fell from #1 to #7 and Dallas fell from #2 to #6, and neither show were in the top 10 the next season. Maybe it wasn't the sitcoms fault, but it was just kinda ironic that it was when Cosby and Family Ties and co. really exploded in popularity when the prime time soaps began to fall in the ratings.

Kate and Allie started in March of 1984 so I wouldn't say that show falls into the 80-83 era.


LOL I didn't list Kate and Allie, I think that was another poster.

I think that this ERA was simlar to 1983-84 at the same point that old sitcoms decline liked Three's Company, Happy Days, One Day at a Time, The Jeffersons & Alice and M*A*S*H was no longer on the Air, and New Sitcoms have not yet became a hit like Family Ties & Cheers. Shows has not hit the air yet like The Cosby Show, Who's the Boss, Growing Pains, The Golden Girls, The Wonder Years, Roseanne & Full House

but this era is far worst and the only way that a sitcom has to make the top ten ratings is they had to be over the edge

Gimme a Break. Like Homicide (drama), GAB was a critically acclaimed, emmy nominated show that was never a ratings hit. That's what made the show popular.

I think that the Mid to Late 80s had the more popular shows. Not alot of the 80s shows that I watch started from 1980-1983. The only in probably The Facts of Life, but that started in 1979.

This is a very interesting thread. It seems like the recent dark age of sitcoms are over and comedy is on the rise again just like after 1984.

Gimme a Break. Like Homicide (drama), GAB was a critically acclaimed, emmy nominated show that was never a ratings hit. That's what made the show popular.
How can a show not bring in the ratings but become popular? Can somebody explain this to me?

How can a show not bring in the ratings but become popular? Can somebody explain this to me?

Well...two episodes of "Gimme a Break" were ground-breaking at that time in Season 4, the last season with Dolph Sweet...One episode was live and it was the 1st time in years that a sitcom went live. The other was "Baby of the Family" where Joey Lawrence donned blackface because Samantha (Lara Jill Miller) was upset that Nell wouldn't let her go on an unsupervised trip...Nell was being a mother...if Chief (Dolph Sweet) heard about what she did to Joey...she'd be grounded until the age of 18!

"The Drew Carey Show" falls under the same line as "Gimme a Break", it had a few live episodes, it probably was critically acclaimed, it was popular, but was never a ratings-grabber!

Gimme a Break was a not miss show in our house. I also liked It's a Living and Too Close for Comfort. They weren't the most popular but they were different from most of the sitcoms on at the time.

Gimme a Break was a not miss show in our house. I also liked It's a Living and Too Close for Comfort. They weren't the most popular but they were different from most of the sitcoms on at the time.

To me..."Gimme a Break" had a Norman Lear-ish feel (Hal Cooper did direct "Maude", but what if Norman Lear had controll of "Gimme a Break")? It had an African-American runaway who went to So Cal with a Polish-American Family...that's why GAB was good it had a good ounce of Polish-American Pride in it!

I have a copy of the 2nd edition of Rick Metz' The Great TV Sitcom Book, published in 1983, and it listed all the sitcoms from the seasons 1979-1980 (last season covered in 1st edition), 1980-1981, 1981-1982, and 1982-1983 under a title "Whatever Happened to 19XX-19XX". There had been none of what he called "Front Runners" since Mork & Mindy and Taxi in 1978-1979. He called all the sitcoms of those years, as well as the majority of sitcoms from previous years, as "Also Rans". Cheers was listed as an "Also Ran" in this edition, but the next edition, after The Cosby Show reenergized the genre, re-designated Cheers as a "Front Runner" and named The Cosby Show, and probably several other 80s sitcoms, as "Front Runners". BTW, "Front Runner" was not necessarily a compliment from him, as he gave that designation to Three's Company (incorrectly in 1977-1978 instead of 1976-1977) and then spent the next few pages trashing it.

I remember TV Guide had an article in its July 21, 1984 edition proclaiming the death of the American sitcom. I don't have it available to me to review right now, but I recall it stated that so many dramatic & action shows of the period (like Magnum PI and The A-Team) had so much comedy in them that there wasn't as much need for sitcoms to make audiences laugh. Of course The Cosby Show premiered 2 months later and made this article and its author look somewhat foolish.

I have a copy of the 2nd edition of Rick Metz' The Great TV Sitcom Book, published in 1983, and it listed all the sitcoms from the seasons 1979-80 (last season covered in 1st edition), 1980-81, 1981-82, and 1982-83 under a title "Whatever Happened to 19XX-XX". There had been none of what he called "Front Runners" since Mork & Mindy and Taxi in 1978-79. He called all the sitcoms of those years, as well as the majority of sitcoms from previous years, as "Also Rans". Cheers was listed as an "Also Ran" in this edition, but the next edition, after The Cosby Show reenergized the genre, re-designated Cheers as a "Front Runner" and named The Cosby Show, and probably several other 80s sitcoms, as "Front Runners". BTW, "Front Runner" was not necessarily a compliment from him, as he gave that designation to Three's Company (incorrectly in 1977-78 instead of 1976-77) and then spent the next few pages trashing it.

I remember TV Guide had an article in its July 21, 1984 edition proclaiming the death of the American sitcom. I don't have it available to me to review right now, but I recall it stated that so many dramatic & action shows of the period (like Magnum PI and The A-Team) had so much comedy in them that there wasn't as much need for sitcoms to make audiences laugh.


I found a link which had the Table Of Contents listed for the 1983 edition with all of the Front Runners and Also-Rans clearly spelled out. Here it is in full:

The Great TV Sitcom Book - 1983 (http://biblioteca.uoc.edu/llibres/0399507671.htm)



CONFESSIONS OF A SITCOM ADDICT ....1
OWNER'S MANUAL ....2
OPERATING INSTRUCTIONS: how to use this book 3 • SITCOMMENTS 3 • So What Is a Sitcom, Anyway? 3 • Some Words About Words 4 • Seven Sitcom Species 5 • Setcoms 5 • Stock Sitcom Characters 6 • Good for a Laugh 7 • Canned Laughter 8 • Laugh Insurance 8 • The First Sitcoms 8 • The Sitcom Stork 9 • What's in a Name? 9 • Reruns 10 • Sitcom Cydes 10 • Sitcom Statement ....10

1949-1950

Front Runners
The Goldbergs ....13
Mama ....17
Also Rans: The Aldrich Family 22 • Apartment 3-C 22 • The Hartmans 22 • Heavens to Betsy 22 • The Life of Riley 23 • Lum and Abner 23 • The Pinky Lee Show 23 • Wesley 23 • Wren's Nest 24 • Young and Gay/The Girls ....24

1950-1951

Front Runners
Amos 'n' Andy ....27
The George Burns and Gracie Allen Show ....33
Also Rans: Beulah 38 • The Hank McCune Show 38 • Meet Corliss Archer 38 • Menasha the Magnificent 39 • The Peter and Mary Show 39 • The Ruggles 39 • The Stu Erwin Show: The Trouble with Father 39 • That Wonderful Guy ....39

1951-1952

Front Runners I Love Lucy ....41
My Little Margie ....51
Mr. Peepers ....55
Also Rans: Boss Lady 59 • A Date with Judy 59 • The Egg and I 59 • It's a Business? 60 • Those Two 60 • Two Girls Named Smith 60 • Young Mr. Bobbin ....60

1952-1953

Front Runners
The Adventures of Ozzie and Harriet ....63
I Married Joan ....69
The Life of Riley ....71
Our Miss Brooks ....75
Private Secretary ....81
Also Rans: Dave and Charley 83 • Doc Corkle 83 • Duffy's Tavern 83 • Ethel and Albert 83 • Heaven for Betsy 84 • Leave It to Larry 84 • Life with Luigi 84 • Meet Millie 84 • My Friend Irma 85 • My Hero 85 • My Son Jeep ....85

1953-1954

Front Runners
Make Room for Daddy/The Danny Thomas Show ....87
Topper ....95
Also Rans: Bonino 98 • Colonel Flack 98 • The Duke 98 • Jamie 98 • Life with Elizabeth 99 • Life with Father 99 • Marge and Jeff 99 • The Marriage 99 • Meet Mr. McNulty/The Ray Milland Show 99 • My Favorite Husband 100 • Pride of the Family 100 • Take It from Me 100 • Where's Raymond? ....100

1954-1955

Front Runners
December Bride ....103
Father Knows Best ....107
Love that Bob ....113
Also Rans: Dear Phoebe 115 • The Donald O'Connor Texaco Show: Here Comes Donald 115 • Halls of Ivy 115 • Hey Mulligan 115 • Honestly Celeste! 116 • It's a Great Life 116 • The Joe Palooka Story 116 • Mayor of the Town 116 • Norby 116 • Professional Father 116 • So This Is Hollywood 117 • The Soldiers 117 • That's My Boy 117 • Those Whiting Girls 117 • Willy 117 • The World of Mr. Sweeney ....117

1955-1956

Front Runners
The Honeymooners ....119
The Phil Silvers Show: You'll Never Get Rich ....125
Also Rans: The Charlie Farrell Show 130 • The Great Gildersleeve 130 • It's Always Jan 131 • Joe and Mabel 131 • The People's Choice ....131

1956-1957

Whatever Happened to 1956-1957? ....132
Also Rans: The Adventures of Hiram Holliday 132 • Blondie 133 • The Brothers 133 • A Date with the Angels 133 • Hey Jeannie! 133 • His Honor, Homer Bell 133 • The Marge and Gower Champion Show 134 • Mr. Adams and Eve 134 • Oh! Susanna 134 • Stanley ....134

1957-1958

Front Runners
Leave It to Beaver ....137
The Real McCoys ....141
Also Rans: Bachelor Father 145 • Dick and the Duchess 145 • The Eve Arden Show 146 • Love that Jill 146 • Sally 146 • Tugboat Annie ....146

1958-1959

Front Runner
The Donna Reed Show ....149
Also Rans: The Ann Sothern Show 152 • The Ed Wynn Show 152 • The George Burns Show 152 • How to Marry a Millionaire 152 • Peck's Bad Girl ....152

1959-1960

Front Runner
The Many Loves of Dobie Gillis ....155
Also Rans: The Betty Hutton Show 159 • The Dennis O'Keefe Show 159 • Dennis the Menace 159 • Fibber McGee and Molly 159 • Happy 160 • Hennessey 160 • Love and Marriage 160 • Too Young to Go Steady ....160

1960-1961

Front Runners
The Andy Griffith Show ....163
My Three Sons ....169
Also Rans: Angel 172 • Bringing Up Buddy 172 • Guestward Ho! 173 • Harrigan and Son 173 • The Jim Backus Show: Hot Off the Wire 173 • My Sister Eileen 173 • Pete and Gladys 173 • Peter Loves Mary 174 • The Tab Hunter Show 174 • The Tom Ewell Show 174 • Yes Yes Nanette ....174

1961-1962

Front Runners
Car 54, Where Are You? ....177
The Dick Van Dyke Show ....181
Mr. Ed ....187
Also Rans: The Bob Cummings Show 190 • Father of the Bride 190 • The Hathaways 190 • Hazel 191 • Holiday Lodge 191 • Holiday Lodge 191 • Ichabod and Me 191 • The Joey Bishop Show 192 • The Lucy Show 192 • Margie 192 • Mrs. G. Goes to College 193 • Oh, Those Bells! 193 • One Happy Family 193 • Room For One More 193 • Window on Main Street ....193

1962-1963

Front Runner
The Beverly Hillbillies ....195
Also Rans: Don't Call Me Charlie 200 • Ensign Oloole 200 • Fair Exchange 200 • Going My Way 201 • I'm Dickens . . . He's Fenster 201 • It's a Man's World 201 • McHale's Navy 201 • McKeever and the Colonel 202 • The New Loretta Young Show ....202

1963-1964

Front Runner
My Favorite Martian ....205
Also Rans: The Bill Dana Show 206 • The Farmer's Daughter 207 • Glynis 207 • Grindl 207 • Harry's Girls 208 • Mack and Myer for Hire 208 • Mr. Smith Goes to Washington 208 • The New Phil Silvers Show 208 • Our Man Higgins 208 • The Patty Duke Show 208 • Petticoat Junction ....209

1964-1965

Frant Runners
The Addams Family/The Munsters ....211
Bewitched ....217
Also Rans: The Baileys of Balboa 220 • The Bing Crosby Show 220 • Broadside 220 • The Cara Williams Show 220 • Gilligan's Island 221 • Gomer Pyle, USMC 221 • Harris Against the World 221 • Karen 222 • Many Happy Returns 222 • Mickey 222 • My Living Doll 222 • No Time for Sergeants 223 • Tom, Dick, and Mary 223 • The Tycoon 223 • Valentine's Day 223 • Wendy and Me ....223

1965-1966

Front Runner Get Smart! ....225
Also Rans: Camp Runamuck 229 • The Double Life of Henry Phyfe 230 • F Troop 230 • Gidget 230 • Green Acres 231 • Hank 231 • Hogan's Heroes 231 • I Dream of Jeannie 232 • The John Forsythe Show 233 • Mr. Roberts 233 • Mona McCluskey 233 • My Mother the Car 233 • 0.K. Crackerby! 234 • Please Don't Eat the Daisies 234 • The Smothers Brothers Show 234 • Tammy ....234

1966-1967

Whatever Happened to 1966-1967? ....235
Also Rans: Family Affair 235 • The Hero 236 • Hey, Landlord! 236 • It's About Time 236 • The Jean Arthur Show 237 • Love on a Rooftop 237 • The Monkees 237 • Mr. Terrific 237 • My Name's McGooley, What's Yours? 238 • Occasional Wife 238 • Pistols 'n' Petticoats 238 • The Pruitts of Southampton 238 • Rango 238 • The Rounders 239 • Run, Buddy, Run 239 • The Tammy Grimes Show 239 • That Girl ....239

1967-1968

Whatever Happened to 1967-1968? ....240
Also Rans: Accidental Family 240 • Captain Nice 241 • The Flying Nun 241 • Good Morning, World 241 • He and She 241 • The Mothers-in-Law 242 • The Second Hundred Years ....242

1968-1969

Whatever Happened to 1968-1969? ....243
Also Rans: The Doris Day Show 243 • The Ghost and Mrs. Muir 244 • The Good Guys 244 • Here's Lucy 245 • Julia 245 • Mayberry, RFD 246 • The Queen and I 246 • The Ugliest Girl in Town ....246

1969-1970

Whatever Happened to 1969-1970? ....248
Also Rans: The Bill Cosby Show 248 • The Brady Bunch 249 • The Courtship of Eddie's Father 250 • The Debbie Reynolds Show 250 • The Governor and J.J. 250 • Mr. Deeds Goes to Town 251 • My World . . . and Welcome to It 251 • The Tim Conway Show 251 • To Rome with Love ....251

1970-1971

Front Runners
All in the Family ....253
The Mary Tyler Moore Show ....261
The Odd Couple ....269
Also Rans: Arnie 274 • Barefoot in the Park 274 • From a Bird's Eye View 274 • The Headmaster 274 • Make Room for Grandaddy 275 • Nancy 275 • Nanny and the Professor 275 • The New Andy Griffith Show 275 • The Partridge Family ....275

1971-1972

Front Runner
Sanford and Son ....278
Also Rans: The Chicago Teddy Bears 284 • The Corner Bar 284 • The Don Rickles Show 284 • Funny Face 285 • Getting Together 285 • The Good Life 285 • The Jimmy Stewart Show 285 • Me and the Chimp 286 • The New Dick Van Dyke Show 286 • The Partners 286 • Shirley's World 287 • The Super 287 • The Trouble with Tracy ....287

1972-1973

Front Runners
The Bob Newhart Show ....289
M*A*S*H ....297
Maude ....307
Also Rans: Anna and the King 311 • The Little People/ The Brian Keith Show 311 • Bridget Loves Bernie 312 • Here We Go Again 312 • Love Thy Neighbor 312 • The Paul Lynde Show 313 • The Sandy Duncan Show 313 • Temperatures Rising 313 • Thicker Than Water 314 • A Touch of Grace ....314

1973-1974

Front Runners
Good Times ....317
Happy Days ....321
Also Rans: Adam's Rib 327 • Bob & Carol & Ted & Alice 327 • Calucci's Department 327 • Diana 328 • Dusty's Trail 328 • The Girl with Something Extra 328 • Lotsa Luck 328 • Needles and Pins 329 • Ozzie's Girls 329 • Roll Out ....329

1974-1975

Front Runners
Barney Miller ....331
Chico and the Man ....337
The Jeffersons ....343
Rhoda ....349
Also Rans: Karen 355 • Love Nest 355 • Paper Moon 356 • Paul Sand in Friends and Lovers 356 • Sunshine 356 • The Texas Wheelers 357 • That's My Mama 357 • We'll Get By ....357

1975-1976

Front Runners
Laverne and Shirley ....359
One Day at a Time ....365
Welcome Back, Kotter ....371
Also Rans: Big Eddie 375 • The Bob Crane Show 375 • The Cop and the Kid 375 • Doc 375 • The Dumplings 376 • Far Out Space Nuts 376 • Fay 376 • The Ghost Busters 377 • Good Heavens 377 • Grady 377 • Hot 1 Baltimore 377 • Ivan the Terrible 377 • Joe and Sons 378 • The Monte-fuscos 378 • On the Rocks 378 • Phyllis 379 • Popi 379 • The Practice 379 • Viva Valdez 380 • What's Happening 380 • When Things Were Rotten ....380

1976-1977

Front Runner
Alice ....383
Also Rans: All's Fair 387 • Ball Four 387 • Blansky's Beauties 387 • Busting Loose 388 • CPO Sharkey 388 • Fish 388 • Holmes and Yoyo 389 • The Kallikaks 389 • Loves Me, Loves Me Not 389 • The McLean Stevenson Show 390 • Mr. T. and Tina 390 • The Nancy Walker Show 390 • Sirota's Court 391 • Sugar Time! 391 • Szysznyk 391 • The Tony Randall Show 392 • A Year at the Top ....392

1977-1978

Front Runner
Three's Company ....395
Also Rans: Baby, I'm Back 399 • The Betty White Show 399 • Carter Country 399 • Free Country 400 • The Harvey Korman Show 400 • Husbands, Wives and Lovers 400 • Joe and Valerie 401 • On Our Own 401 • Operation Petticoat 402 • Quark 402 • The Roller Girls 402 • The Sanford Arms 403 • The San Pedro Beach Bums 403 • Soap 403 • Tabitha 404 • The Ted Knight Show 404 • We've Got Each Other ....404

1978-....1979

Front Runners
Mork and Mindy ....407
Taxi ....411
Also Rans: A.E.S. Hudson Street 416 • Angie 416 • Another Day 416 • Apple Pie 416 • The Bad News Bears 417 • Billy 417 • Brothers and Sisters/Coed Fever/Delta House 417 • Detective School 418 • Different Strokes 418 • Dorothy 419 • Flatbush 419 • Grandpa Goes to Washington 419 • Hanging in 419 • Hello, Larry 420 • Highcliffe Manor 420 • Hizzoner 420 • In the Beginning 420 • Makin' It 421 • Miss Winslow & Son 421 • Stockard Channing in Just Friends 421 • 13 Queens Blvd. 422 • Turnabout 422 • The Waverly Wonders 422 • Who's Watching the Kids? 422 • WKRP in Cincinnati ....423

1979-1980

Whatever Happened to 1979-1980? ....424
Also Rans: Archie Bunker's Place 424 • The Associates 425 • Benson 425 • The Facts of Life 426 • Flo 427 • Goodtime Girls 427 • Good Time Harry 428 • House Calls 428 • Joe's World 429 • The Last Resort 429 • Me and Maxx 429 • A New Kind of Family 430 • Nobody's Perfect 430 • One in a Million 430 • Out of the Blue 431 • Phyl and Mikhy 431 • Sanford 432 • Semi-Tough 432 • The Six O'Clock Follies 432 • Struck by Lightning 433 • United States 433 • Working Stiffs ....434

1980-1981

Whatever Happened to 1980-1981? ....435
Also Rans: Bosom Buddies 435 • Checking In 436 • I'm a Big Girl Now 437 • Harper Valley P.T.A. /Harper Valley 437 • It's a Living/Making a Living 437 • Ladies' Man 438 • Park Place 438 • Private Benjamin 439 • Too Glose for Comfort 439 • The Two of Us ....440

1981-1982

Whatever Happened to 1981-1982? ....441
Also Rans: Bakers Dozen 441 • Best of the West 442 • Filthy Rich 442 • Gimme a Break 442 • Joanie Loves Chachi 443 • Lewis and Clark 443 • Love, Sidney 444 • Maggie 445 • Making the Grade 445 • Mr. Merlin 445 • 9 to 5 446 • No Soap Radio 446 • One of the Boys 446 • Open All Night 447 • Police Squad! 447 • Report to Murphy 448 • Teachers Only ....448

1982-1983

Whatever Happened to 1982-1983? ....449
Also Rans: Cheers 449 • Family Ties 450 • Gloria 450 • It Takes Two 451 • Mama's Family 451 • The New Odd Couple 451 • Newhart 452 • Silver Spoons 452 • Square Pegs 453 • Star of the Family ....453

THE TAGS

The Emmies: Who Won What ....454
The Ratings: Who Won What ....458
The Seasons: Who Ran the Longest ....460

INDEX ....461

© Biblioteca de la UOC

I've already posted articles around here in regards to the supposed "dark age" of sitcoms during the early '80s, but I'll post them again for those who haven't come across them yet:
The OTHER Diff'rent Strokes Curse (http://nostalgiarush.blogspot.com/2014/06/random-thoughts-other-diffrent-strokes.html)

1980s sitcoms By Todd VanDerWerff | The A.V. Club (http://www.avclub.com/article/1980s-sitcoms-50003)

From 66-69, the sitcom was at its worst. Following that is the current batch. I still like quite a few current sitcoms, most notably - Arrested Development.

Reply here if you think the 1960's was the worst decade for TV sitcoms
(http://www.sitcomsonline.com/boards/showthread.php?t=331138)

Reply here if you think the 1960's was the worst decade for TV sitcoms
(http://www.sitcomsonline.com/boards/showthread.php?t=331138)
No. The 1960's was one of the best decades for sitcoms. The 2000's was the worst.

I see that some of the best threads are started by people who are banned.
Dukes of Hazzard had it all,Action/Adventure,Family Comedy-drama.
There were more then that in the top 10 like:
M*A*S*H
The Love Boat
The Jeffersons
Allice
Three's Company
Too Close for Comfort
One Day at a Time
I will not list the 18 others that are out of the top 10,since some think that does not count,but I say it does count,since I watched those shows that I am not listing due to the fact they were not in the top 10.
I will go one step further to say that 2000 to the day of this post,about a decade and a half, in being the worst time for USA sitcoms.

I should have been more clear in that thread and said that in comparison to the 1970's, the 1960's sitcoms seem kind of kiddish

The music though in the 60s IS GOLD!!

I used to have Mitz's book, but one of our cats did some unmentionable damage to it, so I don't have it anymore.

Sitcoms are being strangled by a lack of conflict (http://www.avclub.com/article/sitcoms-are-being-strangled-lack-conflict-204453)

Good article.

Man, the Sheldon character is almost single-handedly proving sitcoms can still work in the modern day. The blueprint for sitcom success resides in characters like him.

I think the article pointed out wisely that sitcoms aren't going to work if everybody is already socially normal. There needs to be a societal dysfunction for a comedy to be truly memorable.

Calm, rational, level-headed people just are ultimately never funny.

Maybe the problem these days is we're all too "progressive" and "enlightened". Maybe the clash between progressive thought and not-so progressive is what comedy needs to remain interesting.

That's also why Donald Trump is so popular right now, not to be political. When is the last time you've heard a person, forget politician, say the things in public he has? Love him or hate him, he's always entertaining. Sitcoms need more people like Donald Trump as characters if things are going to remain interesting.

He's basically like George Steinbrenner as played by Larry David.
I view him more as a modern-day Archie Bunker in a world full of Meatheads.

"The Drew Carey Show" falls under the same line as "Gimme a Break", it had a few live episodes, it probably was critically acclaimed, it was popular, but was never a ratings-grabber!

Ah, but Drew Carey at least finished in the top 20 a few times, though.

I don't think the 80's were bad. BUT these days I can't find any current sitcoms that I'm willing to watch. I think the 2000's will go down in history as the worst of the worst.

2001 (https://en.wikipedia.org/wiki/2001_in_American_television) was in hindsight, a pretty bad or lackluster year (http://www.vulture.com/2015/09/stay-tuned-scrubs-mindy-hulu.html?mid=twitter_vulture) for sitcoms too:
Scrubs debuted in 2001, which was not a great year for comedy debuts: Do you remember Off Centre? How about Men, Women & Dogs? Raising Dad? Bob Patterson? Maybe It's Me? Ellen DeGeneres's second sitcom, The Ellen Show? The late, great Undeclared debuted that season, too. The big new comedies from Scrubs' freshman class: Reba and According to Jim. You can't blame this on Americans not being ready to laugh or something after 9/11 either. These shows would have flopped anyway. Terrorism is not responsible for the failure of Emeril Lagassi's sitcom Emeril. America did that all by itself.

The entire 80s were bad for sitcoms. Not too many good ones came out in that decade that I like. Most 80s sitcoms were those "Cheesy" shows like Full House, ALF, Family Ties, Family Matters, etc. The only non-cheesy sitcoms of the 80s I like are Cheers, The Golden Girls, Newhart,And Empty Nest

1981-82 Sitcom Scorecard -- The Tide Changes as CBS Revivives and ABC Ages (http://www.tvratingsguide.com/2017/10/1981-82-sitcom-scorecard.html)

1983-84 Sitcom Scorecard -- No More Happy Days for One Day at a Time as Three's Company Becomes a Crowd (http://www.tvratingsguide.com/2017/09/1983-84-sitcom-scorecards-no-more-happy.html)

http://www.tvratingsguide.com/2017/09/1983-84-ratings-history-networks-are.html

Trending Cold -- Sitcoms experienced a downturn of failures as longstanding fares like Happy Days Three's Company and One Day at a Time left the air. Only CBS' Kate and Allie was handed a renewal as sitcom freshmans were stuffed into cancellation lockers. Can one blame them, as viewers were handed stinkers such as Jennifer Slept here.

1984-85 Sitcoms -- NBC Says No to Soaps as ABC and CBS Binge on Dynasty and Dallas Cocaine (http://www.tvratingsguide.com/2017/06/1984-85-sitcoms-nbc-says-no-to-soaps-as.html)

Television was unwatchable in the mid 90's until Survivor debuted.

Television was unwatchable in the mid 90's until Survivor debuted.

Survivor debuted in 2000. Which is not considered part of the nineties even although technically 2000 was the last year of the decade since there was no year 'zero.'

Actually when Survivor debuted network television JTS. And it's only gone down hill from there.

The entire 80s were bad for sitcoms. Not too many good ones came out in that decade that I like. Most 80s sitcoms were those "Cheesy" shows like Full House, ALF, Family Ties, Family Matters, etc. The only non-cheesy sitcoms of the 80s I like are Cheers, The Golden Girls, Newhart,And Empty Nest

American sitcoms in the '80s were initially weighed down with earnest and heavy-handed public service announcements and a very sanitized, suburban imagery that insulated us from the unrest of the '60s and '70s, in the same way that the '50s nuclear families were meant to wash away the Depression and World Wars.

It wasn't until shows like Married...with Children came along (in 1987), that we got an initially pretty spot on satire of both yuppies and the affluent families on most mainstream sitcoms of the time, particularly the notion of the parents as moral and behavioral paragons who always had the right answers. By the late late '80s and early '90s sitcoms (like MWC, Roseanne, and The Simpsons) started to become more cynical/sarcastic and satirical.

Another reason why sitcoms had it rough in the early part of the '80s because left over hits from the '70s made too many drastic and utterly bizarre changes:

Happy Days - Ron Howard & Don Most leave but before that Arnold's burns down and a whole new Arnold's set is made. We then get Ted McGinley as Roger & many other characters. (Thankfully though, the show got back to more 'realistic' episodes. No more aliens, angels & bad guys.)

Archie Bunker's Place (formerly All In The Family) : After Rob Reiner & Sally Struthers leave in early 1978, the show changes names & the Bunkers adopt a girl. Jean Stapleton stays 1 more year but then wants to leave and gives the green light for her character to be 'offed'. Then (like the show above) new & old characters fill the void. It all ends with no finale.

Three's Company - The much publicized battle of Suzanne Somers vs. ABC. 2 roommate changes. The failed Ropers spin-off, leading to them replaced by Don Knotts.

TAXI - Axed by ABC after 4 seasons, picked up by NBC but canceled again in 1983. Andy Kaufman dies 1 year later.

One Day At A Time - McKenzie Phillips' substance abuse problems, Many new characters in 1980/1981.

M*A*S*H - Mainly that they filmed more on the indoor set than at the outdoor 'ranch' set. This took away from the more realistic look of the show. Gary Burghoff's leaves as well.

Mork & Mindy - ABC's infamous screwing with a show that wasn't broken. More 'topical' story-lines and firing Mindy's dad & Grandma, to bring in more 'youthful' cast members.

The Dukes Of Hazzard - Schneider & Wopat walk out in a dispute and get replaced by clone characters Coy & Vance. Plus Enos (Sonny Shroyer) leaves for his own show & the new 'Duke' deputy isn't as funny. Enos flops & returns.

Diff'rent Strokes - 3 housekeepers!

Alice - 2 replacements for Flo, after Polly Holiday leaves for own show.

The Jeffersons - Mainly (and this a subject of a TV Guide article) the show seemed to lose its edge. Or in the mag. article "The White-Washing of The Jeffersons". Meaning, the show had lost it's 'blackness' and/or issue oriented topics.


And then there was of course, the final season (https://moviechat.org/tt0074016/Laverne-and-Shirley/58c731695ec57f0478f6ff17/Wow-this-show-really-jumped-the-shark-in-the-final-season) of Laverne & Shirley, where it was still called that even though Laverne was on her own now.

More or less, it was a time and period in which the networks were desperate to try anything that's why there were so many bad spin-offs and continuations of series that just fell flat.

Benson, the best sitcom of all time, started in September 1979 and aired all through the 1980-1983 era mentioned here. So I would definitely disagree with this sentiment.

In case you haven't notice that Gimme A Break! & Webster aired for six seasons, at least those shows lasted longer than WKRP In Cinncinati.They shouldn't have. WKRP was cancelled too soon, it is better than Gimme a Break! and Webster combined.

They shouldn't have. WKRP was cancelled too soon, it is better than Gimme a Break! and Webster combined.

Truth.

Actually when Survivor debuted network television JTS. And it's only gone down hill from there.

My thoughts exactly! Survivor has never been a watchable show for me-- it boned on Day 1!

A byproduct of sitcoms going into decline in by the early '80s may be traced back to the 1979-80 season. ABC depending on who you ask, got greedy at the start of by breaking up its comedy blocks and trying to boost ratings on other nights. To go back a bit, they moved Laverne & Shirley from Tuesday nights (where it was paired with its parent show Happy Days, and was the #1 show on TV in its third and fourth seasons) to a different night in its fifth season (79-80 (https://en.wikipedia.org/wiki/1979%E2%80%9380_United_States_network_television_schedule)) and it didn't work. Its (along with Mork & Mindy's) ratings plummeted. Ratings for L&S stabilized once it moved back to Tuesday but by this point, sitcoms as a whole were fading/getting long in the tooth/being eclipsed by prime time soaps and Dallas was the new #1 show.

Another reason why sitcoms in the '80s may have suffered is that they really didn't have continuing, over-arching storylines. Instead, they were typically stand-alone and open and shut cases. Therefore, there could be cases in which the writers would instantly or easily contradict themselves if you rewatch them. It's possible (https://forums.primetimer.com/topic/112906-whos-the-boss/?do=findComment&comment=6513082) that a lot of shows in the '80s had multiple writers who didn't stay with a particular show for an entire season.

Bad Time for NEW SITCOMS, Sitcoms that was already on the air was still top 10

Bad Time for NEW SITCOMS, Sitcoms that was already on the air was still top 10Cheers premiering in 1982 started out weak. But NBC's patience paid off and it became a smash hit, which launched smash hit spin-off Frasier.

Isn't that the time frame that shows like Real People and That's Incredible started to emerge? Maybe shows like that in addition to the prime time soaps had an adverse affect on new sitcoms.

SEVENTIES SITCOMS: 1977-1978. THE RAUNCH REVOLUTION AND THE FIRST SHARK JUMP (http://boomerbust-scooter63.blogspot.com/2013/07/seventies-sitcoms-1977-1978-raunch.html)

The 1977 fall season could be considered "the beginning of the end" in regards to the quality sitcom programming of the era. But it depends on how one defines "quality." If you define it by a respect for the viewing public, you will bemoan the previous loss of the Mary Richards, the impending demise of "Bob Newhart Show," relish in the ratings resurgence of "Barney Miller," or feel redeemed by the resurrection of James L. Brooks into the three camera sitcom world the next season ("Taxi"), you may be lacking with a glimpse of hope for the future. If you define "quality" by prurient content, sappy resolutions, pandering catchphrases and audience-pleasing contrivances then you will be satiated by the immediate popularity of "Three's Company," the comfortable safety of Gary Marshall's 50's world, and the fading repetitive topicality in the Norman Lear universe and thusly witness the pinnacle of prime-time network comedy achievement. And then there's "Soap."

THE SILVERMAN SPOON
A history of seventies sitcoms is a history of Fred Silverman. As a programmer for daytime TV for CBS in the late sixties, Silverman championed the "superhero/mystery solver/breakfast cereal" tropes of Saturday morning kid's TV. After being promoted to programming chief in 1970, he proceeded to "cut down the trees," cancelling many old rural favorites and replacing them with sophisticated and daring urban fare. As we saw at the beginning of this blog series, that resulted in the MTM and Lear blockbusters. He also pioneered the concept of "spin-offs," creating even more ratings gold for CBS. For example, "Good Times" was a twice removed spin off of "All in the Family" and it knocked Marshall's sweet, nostalgic homage "Happy Days" off the ratings map in it's second season. So when he moved to ABC in 1975 (a move covered mightily by the press), not only did he bring "Scooby Doo" with him, he changed the dynamic (again) to focus on sensationalism, reliability and star power. It is unfair to focus on the "T and A" aspect of Silverman's strategy: he was responsible for the mini-series format--namely "Roots"--and for trying to launch a new vehicle for critical darling Nancy Walker. But when he made the bra-less Farrah Fawcett a worldwide poster child for, well, posters, he found his new strength: youth, excitement, and sex. And with a safely-neutered (figuratively speaking of course) street punk being highlighted along with a manic studio audience, "Happy Days" retook the Tuesday night crown from the pseudo-reality of ghetto life in "Good Times."

SHAKE AND AWE: THE NEW TWIN PEAKS OF ABC COMEDY.
By 1977, Silverman had cemented the Fonz, Laverne and Shirley and Vinnie Barbarino in pop culture iconography. In doing so, he wrapped up the family/youth market leaving only JJ and the Cooper girls for CBS's teen fandom. But in 1976, producer Aaron Spelling brought Fawcett and "Charlie's Angels" to ABC, altering the tastes of discerning viewers and pre-teen males (like myself). It wasn't good enough to be on the cover of TV Guide. The stars of the new programs must also grace the front of "Time," "Teen Beat," and "Playboy."

Don Nicholl, Bernie West and Michael Ross Americanized the saucy British sitcom "Man About the House" much as Norman Lear had done with "Til Death Do Us Part": "All in the Family" which the three writers had worked on previously to conceiving "Three's Company."

Unlike Lear's offerings, one will never find a dramatic moment or pregnant pause in the antics of Jack, Crissy and Janet. The "nervous breakdown" of the decade was taking hold: Vietnam and Watergate were fading from the headlines; civil rights studies were moving off the book shelves to make way for in-depth studies of the "me" generation and the resulting disco craze. And five years earlier, "Deep Throat" broke box-office records and ushered in the middle-class fascination for pornography. This new lifestyle phenomenon, part of the swinger culture, ushered in "porno chic." "Normal" citizens were now experimenting with mind-opening drugs, pot being the least controversial. Soon in 1978 "Debbie Does Dallas" would create more buzz for this new liberated art form. "Three's Company," with no nudity, no overt sex and no pulsing techno soundtrack gave audiences a safe outlet for their opening libidos and pharmaceutical experimentation through innuendo and Suzanne Somers' bouncing assets and tight shorts. Has anyone examined the subtle hints through the characters names? John Ritter as Jack "Tripper." Somers as Chrissy "Snow" (a missed opportunity for an excellent porn star name). Joyce Dewitt as Janet "Wood." And to make the show more relatable to the poor schlubs at home--after all, who gets to live in a swinging Santa Monica apartment complex during the era of free love?--the landlords, Mr. and Mrs. Roper (Norman Fell and Audra Lindlay) are a sexually frustrated wife with her "non-interested" husband. And in order for the extremely heterosexual Jack to co-habitate with sensible Janet and ditzy but hot Crissy, he has to convince the Ropers that he is gay. A modern parlour comedy. Allowing audiences to feel as they are watching "adult" material even though the sophistication and intellectual stimulation was, well, lacking.

I can remember the controversy this season when the "surging" ratings (sorry) allowed "Three's Company" to be paired with a new show that was being condemned by pretty much every special interest group, especially the Moral Majority. When a sitcom is criticized by both gays and Catholics you know you've reached the mother lode of satire. Writer Susan Harris ("All in the Family") teamed up with Tony Thomas and Paul Junger-Witt (her husband) to create "Soap." Although their previous collaboration, "Fay," was controversial in it's own right, it failed to capture any attention in 1975. But that wasn't the case with "Soap." The take-off on soap operas, what with the multiple story lines dealing with mostly sex and murder, outdid Lear's "Mary Hartman" in terms of public outrage and private outrageousness. And it was a hell of lot funnier. Actually, it was pretty much the funniest show on TV at the time. And that was it's saving grace. So after the "adult content" warnings (one of the few since "All in the Family" did it six years earlier) and the local ABC affiliate's relocation to the 9:30 (C) time-slot right before the nightly news (if not outright refusal to air) and the protests about inaccurate portrayals of homosexuality and offensive portraits of Catholic priests, the show settled into it's audience to become an extremely well-acted, well-written comedy appointment. All four seasons saw a continuing serial format with the announcer reviewing the previous week's events and commenting on next week: "What will happen to...?" "Well, find out on next week's episode of ..."Soap!"

A comedy goldmine: Two sisters--Jessica Tate (Katherine Hellmond) and Mary Campbell (Cathryn Damon). The Tates: philandering husband Chester (soap vet Robert Mandan), daughters Corinne (Diana Canova--offspring of Judy) and Eunice (Jennifer Salt--offspring of Waldo), son Billy (Jimmy Baio) and sardonic butler Benson (Robert Guillame). The Campbells: insane husband Bert (Richard Mulligan), mobbed-up son (Ted Wass), ventriloquist step-son with extremely sarcastic dummy (Jay Johnson) and, in his first major television role, Billy Crystal as gay son Jody.

Not shabby at all. Although the critics defined their opinions of the show by the level of shocks, it is only now that those who appreciate good comedy can see the high level of quality in the no-holds-barred writing and performances. Most of the time the laughs come from the characterizations and isolated situations rather than the topicality itself (unlike a lot of Lear's output). The show seems almost quaint now, but still funny. And allowing the drama--there was some--to blend with the laughs rather than jolt the audience into a moral position, "Soap" never took itself too seriously. And there was nary a bra-less jiggle in sight.

Speaking of Lear, this was the final "real" season of "All in the Family." Mike and Gloria would leave Archie and Edith at the end of the year in a powerful finale. The series would continue it's exploration of controversial themes (including the notorious episode where

Edith fends off a rapist on her fiftieth birthday) while showing signs of it's age with self-conscious directing (mostly by Paul Bogart) and less-crispy dialogue. Archie and Edith would continue a few more years and the series--with less direction from Lear and more from star Carroll O'Connor--would ramp up the pathos and sentimentality and ham-fisted acting and (gulp) even add a cute kid.

I've already posted articles around here in regards to the supposed "dark age" of sitcoms during the early '80s, but I'll post them again for those who haven't come across them yet:
The OTHER Diff'rent Strokes Curse (http://nostalgiarush.blogspot.com/2014/06/random-thoughts-other-diffrent-strokes.html)

1980s sitcoms By Todd VanDerWerff | The A.V. Club (http://www.avclub.com/article/1980s-sitcoms-50003)

Well, here's my theory. Sitcoms had gotten into a rut of playing it safe (or to use another word, cheap!). Not with the topics per se, but with the format they used. Really, go back to watch an episode of Silver Spoons and what do you see? It feels like someone is recording a stage play. The characters are pretty bland. The kids are cute and the parents just react to their antics with a smile and a wave of their head (this is one of the major things Bill Cosby threw out the window). Romances were very clean, major issues were discussed quietly, and all problems were resolved at the end with two (or more) characters talking out the issue and ending with a big hug or a laugh. Oh sure they tried to handle tough issues, but it falls flat when it's the same formula every episode. The formula was this:


Problem comes up
Problem is discussed
Problem is resolved
Resolution is discussed, show ends with a hug or a laugh. And of course, nothing that happens in the episode will in any way affect the next episode.


Next week focus on a different character then Lather, rinse, repeat.

Speaking of which, has anybody else noticed (https://www.reddit.com/r/FactsOfLifeTVShow/comments/18gmmzr/comment/kd2l88o/) that on certain shows of this era like The Facts of Life, would more than often end episodes on a weird note, where there is a pause and then the audience was forced to clap, regardless of the intended seriousness (https://www.reddit.com/r/FactsOfLifeTVShow/comments/18gmmzr/comment/kd2vtzo/) of the episode?

Well, here's my theory. Sitcoms had gotten into a rut of playing it safe (or to use another word, cheap!). Not with the topics per se, but with the format they used. Really, go back to watch an episode of Silver Spoons and what do you see? It feels like someone is recording a stage play. The characters are pretty bland. The kids are cute and the parents just react to their antics with a smile and a wave of their head (this is one of the major things Bill Cosby threw out the window). Romances were very clean, major issues were discussed quietly, and all problems were resolved at the end with two (or more) characters talking out the issue and ending with a big hug or a laugh. Oh sure they tried to handle tough issues, but it falls flat when it's the same formula every episode. The formula was this:
Problem comes up
Problem is discussed
Problem is resolved
Resolution is discussed, show ends with a hug or a laugh. And of course, nothing that happens in the episode will in any way affect the next episode.

Next week focus on a different character then Lather, rinse, repeat


Thank you kindly for divulging the plot of every episode of "Full House". You simply had to spoil it for me. Now I feel very sad.

The early 80s had the major decline of CBS. CBS had the biggest sitcoms of All In The Family, Alice, The Waltons, etc. In the early 80s all those shows fizzled out. The early 80s was also right before NBC dominated the sitcom market of the mid to late 80s with Golden Girls, Cosby, etc.
1980 to 1983 was the transfer era from CBS to NBC

The early 80s had the major decline of CBS. CBS had the biggest sitcoms of All In The Family, Alice, The Waltons, etc. In the early 80s all those shows fizzled out. The early 80s was also right before NBC dominated the sitcom market of the mid to late 80s with Golden Girls, Cosby, etc.
1980 to 1983 was the transfer era from CBS to NBC

The Waltons was a drama.

The Waltons was a drama.

I guess you could count Corabeth and the Baldwin sisters as the comedy. :lol:

I think American sitcoms had their first death in the late 60s. New shows Batman, Get Smart, Hogan's Heroes are nominated for the comedy Emmy for 1965-66, and then the Monkees in 1966-67. Then you get new nominees that are barely detectable as comedies:


1967-68: Family Affair
1968-69: Julia, The Ghost and Mrs. Muir
1969-70: The Courtship of Eddie's Father, Room 222

Note that in this same period, long-running sitcoms My Three Sons, Andy Griffith Show, and Petticoat Junction have largely turned to dramedy.

There were two new true comedies nominated - The Bill Cosby Show and My World and Welcome to It, but they were both more whimsical than laugh-out-loud.

You do get the flowering of comedy again in the early 70s, but it wasn't really creative. Lear's big shows- AITF and Sanford and Son - were purchased from the UK, then Lear relentlessly spun off everything he could. Mary Tyler Moore Show is basically a reworking of The Dick van Dyke Show, and then Bob Newhart follows MTM.

The people who made the 70s sitcoms were mostly dinosaurs. Lear and Larry Gelbart had been writing variety shows since the 50s. Grant Tinker had been the ad rep on the Dick van Dyke Show. Garry Marshall and Jerry Belson wrote for DvD. Danny Arnold had worked on shows back to the Real McCoys.
Witt-Thomas was the successor to Danny Thomas Productions.

It seems there's a very long-term trend away from comedy toward what's essentially soap opera, and the 1970s sitcoms were just a temporary resurgence. It's how The Bear ends up with the best comedy Emmy.

The Waltons was a drama.
True but the point I was making was CBS's 70's ride at the top was crashing and ABC had a short buzz before NBC was king again in these years the thread is about.

That is until Tom Hanks was popular. And Family Ties wasn't all that popular when Hanks was on there.

I do wonder if American sitcoms in the '80s were effected by outside forces (https://time.com/archive/6697442/television-sanitizing-the-small-screen/) going on in the real world, such as a certain shift in the zeitgeist (https://reviewingeverytvshowiown.blogspot.com/2016/10/threes-company-jacks-other-mother.html) (namely, the formation (https://www.nytimes.com/1981/07/05/weekinreview/ideas-trends-talking-television-s-pulse-a-debate-over-pressure-points.html) of Jerry Falwell (https://radiodiscussions.com/threads/june-25-this-day-in-tv-history.535670/post-4742660)'s Moral Majority (https://www.tvobscurities.com/2009/07/bookshelf-televisions-one-season-in-american-television/) in 1979 and Coalition for Better Television (https://www.nytimes.com/1981/08/30/arts/television-it-s-prime-time-for-veteran-actors-and-women-at-work.html) in 1980 (https://www.nytimes.com/1990/09/02/magazine/reverend-wildmons-war-on-the-arts.html) and the election (https://www.alternatehistory.com/forum/threads/pop-culture-with-no-president-reagan.286963/post-8179616) of Ronald Reagan (https://www.rollingstone.com/tv-movies/tv-movie-lists/president-tv-series-defined-era-994869/) in 1981).

Basically, shows that dared to push boundaries and had any type of "edge" or controversial content like Three's Company (https://www.sitcomsonline.com/boards/showthread.php?t=474480), Soap (https://www.youtube.com/watch?v=T61ZA-fMvWk), and Normal Lear's stuff such as The Jeffersons (https://www.sitcomsonline.com/boards/showthread.php?p=6126938), Diff'rent Strokes (https://www.sitcomsonline.com/boards/showthread.php?t=327885), All in the Family (https://www.sitcomsonline.com/boards/showthread.php?t=136259&page=2)/Archie Bunker's Place (https://www.sitcomsonline.com/boards/showthread.php?p=2839082), etc. wouldn't fly anymore (https://www.reddit.com/r/television/comments/lb9u9k/what_caused_the_difference_between_70s_sitcoms/).

Also as stated in the link that I provided, Bosom Buddies (https://reviewingeverytvshowiown.blogspot.com/search/label/Bosom%20Buddies), would be a bit of an anomaly, but then it would also be relatively short-lived (https://jacksonupperco.com/2021/11/03/short-lived-sitcom-potpourri-viii/) (lasting only two seasons from 1980-1982).

I think American sitcoms had their first death in the late 60s. New shows Batman, Get Smart, Hogan's Heroes are nominated for the comedy Emmy for 1965-66, and then the Monkees in 1966-67. Then you get new nominees that are barely detectable as comedies:


1967-68: Family Affair
1968-69: Julia, The Ghost and Mrs. Muir
1969-70: The Courtship of Eddie's Father, Room 222

Note that in this same period, long-running sitcoms My Three Sons, Andy Griffith Show, and Petticoat Junction have largely turned to dramedy.

There were two new true comedies nominated - The Bill Cosby Show and My World and Welcome to It, but they were both more whimsical than laugh-out-loud.

You do get the flowering of comedy again in the early 70s, but it wasn't really creative. Lear's big shows- AITF and Sanford and Son - were purchased from the UK, then Lear relentlessly spun off everything he could. Mary Tyler Moore Show is basically a reworking of The Dick van Dyke Show, and then Bob Newhart follows MTM.

The people who made the 70s sitcoms were mostly dinosaurs. Lear and Larry Gelbart had been writing variety shows since the 50s. Grant Tinker had been the ad rep on the Dick van Dyke Show. Garry Marshall and Jerry Belson wrote for DvD. Danny Arnold had worked on shows back to the Real McCoys.
Witt-Thomas was the successor to Danny Thomas Productions.

It seems there's a very long-term trend away from comedy toward what's essentially soap opera, and the 1970s sitcoms were just a temporary resurgence. It's how The Bear ends up with the best comedy Emmy.

I've been trying to read more (http://www.tellytalk.net/threads/sitcoms-sixties-edition.5080/) into this online about the 1960s (https://www.city-data.com/forum/tv/2253615-do-you-feel-1960s-had-some.html) being a bad era or time (https://sitcomsonline.com/boards/showthread.php?t=331138) for American TV sitcoms (https://www.pastfactory.com/tv/1960s-sitcoms-from-pretty-bad-to-outrageously-awful/) on its own. One theory that I found (https://www.reddit.com/r/television/comments/333kj1/comment/cqh83mt/), pinpoints this as lasting from 1960-1971, when (https://www.theatlantic.com/politics/archive/2021/03/how-all-family-changed-american-tv-forever/618353/) All in the Family (https://www.cracked.com/article_31511_before-all-in-the-family-tv-was-filled-with-rural-shows.html) debuted (https://dailyyonder.com/commentary-for-good-or-bad-norman-lear-all-in-the-family-helped-erase-rural-america-from-tv/2024/02/22/). It was from there, that people started seeing comedies that didn't feature the stale 1950s sentimentality of the atomic family.

I know that in the 1960s, there were a lot of high concept (https://www.nytimes.com/2000/09/17/arts/television-radio-when-sitcoms-had-magic-the-high-concept-era.html) and fantasy sitcoms (https://reactormag.com/sixties-fantasy-sitcoms-and-the-rise-of-cozy-fantasy/) like Bewitched and I Dream of Jeannie or rural sitcoms (https://bittersoutherner.com/the-weird-history-of-hillbilly-tv) like The Andy Griffith Show, The Beverly Hillbillies, Green Acres, and Petticoat Junction. The Dick Van Dyke Show (https://jacksonupperco.com/2020/05/13/a-true-60s-sitcom-another-look-at-the-dick-van-dyke-show/) was I suppose, considered something of an anomaly during this era (https://www.quora.com/Which-1960s-era-TV-comedy-is-still-great-today).

There was also the "heart comedies" (https://www.hometheaterforum.com/community/threads/webster-season-two-dvd.305596/) like My Three Sons (https://boomerbust-scooter63.blogspot.com/2013/04/timber-rural-purge-complete.html), Family Affair (https://boomerbust-scooter63.blogspot.com/2013/03/70s-sitcoms-part-2-shock-to-system.html), and The Courtship of Eddie’s Father (https://web.archive.org/web/20061031125247/http://www.jumptheshark.com/c/courtshipofeddiesfather.htm). These type of sitcoms placed a lot of emphasis on the stories (https://bradybunchreviewed.wordpress.com/2018/11/16/episode-22-the-hair-brained-scheme/), life lessons (https://www.tellytalk.net/threads/why-isnt-julia-on-dvd.7896/post-191632), and warm (https://www.tellytalk.net/threads/why-isnt-julia-on-dvd.7896/post-289703), wholesome (https://familyhometheater.com/2015/04/13/the-brady-bunch-complete-series-dvd/), sentimental moments. They weren't necessarily particularly funny (at least, not overtly) but they had likable leads and characters. The Brady Bunch (https://boomerbust-scooter63.blogspot.com/2013/04/seventies-sitcoms-1973-1974-tiffany.html) was arguably, the last (https://www.sitcomsonline.com/boards/showthread.php?t=447837) really big sitcom of this particular type.

I think American sitcoms had their first death in the late 60s. New shows Batman, Get Smart, Hogan's Heroes are nominated for the comedy Emmy for 1965-66, and then the Monkees in 1966-67. Then you get new nominees that are barely detectable as comedies:


1967-68: Family Affair
1968-69: Julia, The Ghost and Mrs. Muir
1969-70: The Courtship of Eddie's Father, Room 222

Note that in this same period, long-running sitcoms My Three Sons, Andy Griffith Show, and Petticoat Junction have largely turned to dramedy.

There were two new true comedies nominated - The Bill Cosby Show and My World and Welcome to It, but they were both more whimsical than laugh-out-loud.

You do get the flowering of comedy again in the early 70s, but it wasn't really creative. Lear's big shows- AITF and Sanford and Son - were purchased from the UK, then Lear relentlessly spun off everything he could. Mary Tyler Moore Show is basically a reworking of The Dick van Dyke Show, and then Bob Newhart follows MTM.

The people who made the 70s sitcoms were mostly dinosaurs. Lear and Larry Gelbart had been writing variety shows since the 50s. Grant Tinker had been the ad rep on the Dick van Dyke Show. Garry Marshall and Jerry Belson wrote for DvD. Danny Arnold had worked on shows back to the Real McCoys.
Witt-Thomas was the successor to Danny Thomas Productions.

It seems there's a very long-term trend away from comedy toward what's essentially soap opera, and the 1970s sitcoms were just a temporary resurgence. It's how The Bear ends up with the best comedy Emmy.

VGr8-0AeGpw

Category fraud has become a big topic of conversation around award shows nowadays (aka, "Wait, how is The Bear a comedy?!") Awards season is a great time to look back at all of our favorite films, shows, and performances of the last year – but every time the Emmy Awards in particular roll around and nominations are announced, there’s so much confusion about the seemingly random categories that some shows and actors are slotted into. So… what’s really going on here? Let’s take a closer look at the full Emmy process and the awards culture that drives it to figure out what’s really behind ‘category fraud’ and if there’s anything that can be done to fix it!

CHAPTERS

00:00 Intro
00:32 Why they want to win so bad
02:13 Acting category fraud
03:35 Surprising reasons for some acting category fraud
04:30 When it's not really category fraud
04:58 Show category fraud
05:27 The 2015 show forced the Emmys to change (kind of)
05:58 The categories haven't kept up with evolving tv
07:18 The only real problem with the Dramedy takeover
07:54 Finally moving in the right direction?
08:45 Can awards shows save themselves?

I don't really think so, it's just regarded as a bad time because prime-time soaps ruled the era and the ABC shows from the late 70's were starting to go down and yet Bill Cosby hadn't premiered yet so sitcoms were in a decline during those years compared to the Happy Days/Laverne And Shirley domination.

But still, give me a handful of shows from this period over any current sitcom.

I just read something (http://www.cosmoetica.com/B874-DES691.htm) in the WKRP in Cincinnati forums (https://www.sitcomsonline.com/boards/showthread.php?t=272344) that argued over whether or not it was truly the last great sitcom (you can also lump Taxi in there, which also debuted in 1978 and concluded a year after WKRP did) of the 1970s "golden age". After this, a whole lot of sitcoms came and went, and none of which had strong characters or ensembles.

The last great sitcom from the Golden Era of the 1970s was another MTM production- WKRP In Cincinnati. Like the other classic shows from that stable, in many ways, WKRP was a classic sitcom. It did not push boundaries the way the Norman Lear sitcoms did, but it was not as lightweight as most of the Garry Marshall sitcoms. The show was created by Hugh Wilson, a former radio executive, and based on his experiences working in advertising as a client of a classic album-oriented rock radio station. The cast consisted included Gary Sandy as the station manager Andy Travis, Howard Hesseman as DJ Dr. Johnny Fever, Gordon Jump as station manager Mr. Carlson, Loni Anderson as his intelligent bimbo secretary Jennifer, Tim Reid as DJ Venus Flytrap, Jan Smithers as Bailey, Richard Sanders as newsman Les Nessman, and Frank Bonner as salesman Herb Tarleck. While a good ensemble, the show’s four funniest characters were Fever- a drug user, Mr. Carlson- a Mama’s Boy, the nerdy Les, and the lecherous Herb, who always lusted for Jennifer.

Many episodes centered around the dumb things Carlson, Les, and Herb did, or the wacked out adventures of Fever. Next to the Chuckles the Clown death episode on The Mary Tyler Moore Show, perhaps the most fondly remembered sitcom episode of all time is the Thanksgiving episode of WKRP. The show revolves around Mr. Carlson’s attempts to prove he can run the station as well as Travis. He cooks up a turkey giveaway promotion by dropping live turkeys out of a helicopter over a shopping mall. As turkeys cannot fly, they die, crashing into buildings and cars as shoppers run for their lives. What makes the event even funnier is that, like the film My Dinner With Andre, we only hear (and do not see) a description of the event from on the spot reporter Les Nessman, who, at first, believes the turkeys to be parachutists, but when he realizes they are turkeys, goes into a re-enactment of the famed radio broadcast of the Hindenburg Disaster of broadcaster Herbert Morrison, replete with an ‘O the humanity!’ DJ Fever quickly switches from the disaster, chiming in that the mall is being bombed with turkeys. Later, Mr. Carlson and Herb return to the station, covered in turkey feathers, and Carlson says, in a daze, ‘As God is my witness, I thought turkeys could fly.’

What sells the episode, and many of the crazy antics in the series, is that one believes that the characters are sincere. And, of all the sitcoms so far surveyed, WKRP is truly the most ensemble based, as it never had any real star. The show only ran four seasons- the shortest run for any of the great sitcoms after The Honeymooners and Gilligan’s Island, but it has fared well in syndication. Predictably, none of the actors had much success after the series, save for Howard Hesseman, who had a mild comedy hit in the mid-1980s with Head Of The Class; a show starring an actor who shares my name, and later went on to produce mindless sitcoms for children on cable tv. But, other than that, WKRP In Cincinnati remained the highlight of many of the actors’ careers, as well as the last gasp of a Golden Era for its genre.

In thinking about post-WKRP sitcoms, two fortuities emerged. 1) I could think of no truly great sitcoms in the last three decades, and 2) I rounded out my list at an even ten, with all of them beginning in the 1970s or earlier, and seven of the ten representing the Golden Age of the 1970s. In thinking over the last three decades, there were some good sitcoms: Night Court, Cheers, and Seinfeld are the three most well known ‘choices.’ But Night Court was Barney Miller Lite, Cheers, like M*A*S*H*, ran too long, and, frankly, I think Ted Danson’s later sitcom, Becker, was actually better written and acted, and Seinfeld failed for two reasons: first, it was really an inferior version of the old 1950s sitcom, The Abbott And Costello Show, and two, one never really cared about the characters. Add to that the fact that for every memorable Soup Nazi episode there were three or four simply bad episodes and a bevy of rather generic episodes. One can give good mention (as I did earlier) to Newhart, as well, but it also ran a bit too long.

I think the thing about those years is that shows were either past their peak ("Happy Days," "Three's Company," "Laverne & Shirley," "The Jeffersons," etc. or not quite to the point where they became huge successes ("Family Ties," "Cheers," "Newhart," etc)

I wouldn't say things are as bad as they are now for sitcoms cuz there were more than there are currently but it wasn't as big as the late 70s or mid 80s

One theory that I recently read (https://www.datalounge.com/thread/34831851-what-tv-shows-from-your-youth-just-don%E2%80%99t-hold-up-anymore-) is that the 1970s and early '80s really felt like the last time that the Vaudeville (https://library.fiveable.me/tv-comedy/unit-2)-influenced older producers and studio executives had primary control in Hollywood. So in sitcoms (such as Three's Company (https://www.sitcomsonline.com/boards/showthread.php?p=6256121&nojs=1) and Garry Marshall (https://jacksonupperco.com/2021/09/15/a-deliberate-throwback-a-look-at-the-garry-marshall-style-i-of-ii/)'s stuff like Happy Days (https://jacksonupperco.com/2021/09/28/a-deliberate-throwback-a-look-at-the-garry-marshall-style-ii-of-ii/), Laverne and Shirley (https://jacksonupperco.com/tag/laverne-shirley/), etc.) of that time period, there were still a lot physical humor, obvious gags, and cutesy/corny jokes.

TV however, started to change dramatically come the late '80s. We were by then, getting more observational humor (Seinfeld (https://www.vox.com/2014/7/6/5874267/how-seinfeld-changed-tv-30th-anniversary)), realistic portrayals (Roseanne (https://theconversation.com/friday-essay-the-politics-of-the-us-family-sitcom-and-why-roseanne-rocks-95208), ER (https://www.unothegateway.com/archives/seven-ways-er-changed-tv-in-15-years/article_1f24a2e7-4793-5be2-b075-ce29e2b7830e.html)), or gutting honesty (My So Called Life (https://www.denofgeek.com/tv/how-my-so-called-life-changed-teen-drama/)) that made it more real and less staged and phony.

You wouldn't come the '90s and 2000s for example, see an unironic portrayal of Shirley Temple like Susan Olsen had to do (https://www.youtube.com/watch?v=XliASJh4uHI) in an episode (https://bradybunch.fandom.com/wiki/The_Snooperstar) of The Brady Bunch (https://bradybunchreviewed.wordpress.com/2018/11/02/episode-20-the-snooperstar/). Susan Olsen in real life (http://www.cultfilmfreaks.com/2014/02/brady-bunch-child-actress-susan-olsen.html), hated that episode (https://www.reddit.com/r/bradybunch/comments/13vgilg/comment/jqide6i/) as among other things (https://bradybunchreviewed.wordpress.com/2018/11/02/episode-20-the-snooperstar/), she didn't know who Shirley Temple was at the time and thought that whole thing was corny as hell (https://forums.stevehoffman.tv/threads/robert-reeds-memos-to-sherwood-schwartz-re-the-brady-bunch.440933/). But old school producers like Sherwood Schwartz (https://www.reddit.com/r/BradyBunchTVShow/comments/18luysn/link_to_a_copy_of_a_memo_from_robert_reed_to/) seemed to think otherwise (https://www.imdb.com/title/tt0531147/reviews).

As stated here (https://thatsallsiknow.blogspot.com/2022/12/one-day-at-time-season-7.html), the 1970s and 1980s, were also not a very good time for romantic comedy on American television:
The ’70s and ’80s were not a good time for romantic comedy on TV. The ’60s had spoiled us. It’s probably simplistic to say that it all started with Rob and Laura Petrie, but their influence is undeniable. For a decade, the screen seemed to be bursting with smart couples who gave good banter — from the early years of Bewitched to the short but memorable runs of He and She and Love on a Rooftop. But the Lear comedies and the Garry Marshall comedies didn’t really lend themselves to romantic comedy, and MTM Enterprises never excelled at it either — their “friends are the new family” motto practically precluded it. (It’s sort of telling that their one fairytale romance ended in divorce.) It wasn’t until the ’90s that we started to see appealing and surprising romantic pairings again — and I’m not talking about the “will they/won’t they” couplings that have infested the small screen for the last 30 years. I’m thinking more of Monica and Chandler in Season 5 of Friends, or Ellen and Laurie in Season 5 of Ellen. Or Ted and Robin in Season 2 of How I Met Your Mother. The couples so comedically in tune that their crises never dissolve into melodrama — whose jokes and barbs betray burgeoning affection and whose very cleverness sustains and informs their relationships. 20-year-old Barbara Cooper was ready-made for a screwball romance.

What caused the difference between 70s sitcoms and 80s sitcoms? (https://www.reddit.com/r/television/comments/lb9u9k/what_caused_the_difference_between_70s_sitcoms/)

ChatGPT (https://chatgpt.com/s/t_68f44728d24881919fb97431ab8ffd4e):
That’s a very sharp and well-framed question — and your analysis is already close to what most media historians and TV scholars argue. The shift from the socially engaged, confrontational 1970s sitcoms to the safer, family-friendly 1980s sitcoms wasn’t just about changing tastes; it reflected a major transformation in the American media landscape, culture, and economics.

Here’s a breakdown of the main forces behind that change:

🏛️ 1. The Political and Cultural Backdrop Changed

1970s sitcoms were born in a time of national upheaval — Vietnam, Watergate, civil rights, women’s liberation, generational rebellion.


Networks (especially CBS) saw an opportunity to reach a younger, more urban audience tired of the rural comedies of the 1960s. This led to “The Rural Purge” (1971) and the rise of All in the Family, Maude, MASH, The Mary Tyler Moore Show,* and others.

Those shows spoke directly to real-world tensions. Norman Lear in particular used humor to make political arguments palatable to primetime audiences.


By contrast, the 1980s were an era of cultural retrenchment. The Reagan presidency, the rise of the Moral Majority, and a general wave of conservative optimism led networks to shy away from politics and “negativity.” Television leaned toward escapism, nostalgia, and “traditional values.” The mood of the country was don’t argue — feel good.

💰 2. Corporate Consolidation and Advertiser Caution

In the 1970s, networks still treated “issue” sitcoms as prestige programming that could win awards and prestige. But as TV ownership became universal and ad rates grew, advertisers became risk-averse.


Sponsors didn’t want controversy that might alienate half the audience.

The 1980s also saw media conglomerates taking over the networks (e.g., Capital Cities buying ABC, GE buying NBC). These corporations prioritized predictability and brand safety over social commentary.


Result: “comfort TV” that could appeal to everyone and offend no one.

🏠 3. The Rise of the “Family Hour” and Kid Appeal

By the early ’80s, networks were explicitly marketing the 8–9 p.m. slot as the “Family Hour.”


The success of The Cosby Show (1984) proved that wholesome, intergenerational comedies could be huge hits.

That show’s success triggered a wave of imitators — Family Ties, Who’s the Boss?, Growing Pains, Full House, etc.


Children became central characters because they helped networks pull in multiple demographics at once — kids, parents, and advertisers who wanted them. The 1970s’ edgy topicality didn’t fit that strategy.

📺 4. Syndication and the Economics of “Evergreen” Sitcoms

As you mentioned, the rise of first-run syndication and lucrative rerun markets encouraged sitcoms to be timeless and apolitical.


Lear’s shows were so tied to the early-’70s zeitgeist that some aged poorly in syndication.

By contrast, something like Full House or Webster could air anywhere, anytime, without context — perfect for reruns and international sales.


A “very special episode” might brush a social issue, but only superficially, so it wouldn’t date the series or alienate viewers.

🎭 5. Creative Backlash and the Late-’80s Rebellion

By the late 1980s, both audiences and some writers grew tired of the saccharine tone.


Married… with Children (1987, Fox) directly parodied the sanitized sitcom family.

Roseanne (1988) brought back class consciousness and realism.

The Simpsons (1989) lampooned the entire TV family ideal.


This was part of a larger generational shift — the post-Baby Boom writers who’d grown up on All in the Family wanted to re-inject authenticity and cynicism into the format.

⚖️ 6. The 1990s Balance

As you note, the ’90s found a balance:


Fresh Prince, Boy Meets World, Home Improvement, and Family Matters could be wholesome and smart.

Meanwhile, Seinfeld, Frasier, and Friends aimed at young adults rather than families.


The sitcom market diversified — thanks partly to more networks (Fox, WB, UPN) and the rise of cable, which loosened creative control.

🧭 In short:

The 1970s’ political realism gave way to the 1980s’ cultural conservatism, corporate caution, and family marketing, which in turn produced a rebellious reaction at the decade’s end.

If you want a concise cause-and-effect:


1970s: Socially conscious TV aligned with generational unrest.
1980s: Advertiser-driven consolidation + Reagan-era optimism = safe, apolitical “family values.”
Late 1980s–1990s: Audience fatigue + new networks = resurgence of edgier realism.


Would you like me to include some academic sources or media studies readings that dig into this shift (like works by Todd Gitlin, Elayne Rapping, or Jeffrey Sconce)?

Perplexity (https://www.perplexity.ai/search/what-caused-the-difference-bet-wapXEq.fTvGXCvEoTMXjUQ#0):
The shift from the socially daring sitcoms of the 1970s to the family-friendly and more conservative ones of the 1980s stemmed from a combination of cultural, political, and industrial changes in American television. The 70s were an era of experimentation and realism, while the 80s responded to audience fatigue, political conservatism, and new business pressures that favored safer, broader entertainment.

Cultural and Political Climate

In the 1970s, American television reflected the post–civil rights, post-Vietnam, and Watergate era—a time of questioning authority and social norms. Producers like Norman Lear pushed boundaries with socially conscious sitcoms such as All in the Family, Maude, and Good Times, which dealt directly with issues like racism, class, sexuality, and politics. These shows resonated with the “New Hollywood” movement that valued realism and controversy.​

By contrast, the 1980s coincided with the rise of the Reagan era, which emphasized traditional family values and optimism. This political shift encouraged networks to favor shows that were comforting rather than confrontational. Sitcoms like Family Ties, Growing Pains, Who’s the Boss?, and Full House embodied that feel-good ethos, emphasizing domestic stability over social conflict. Even when serious subjects appeared (in "very special episodes"), they were treated with a moralistic, after-school-special tone instead of ongoing critique.​

Industrial and Economic Factors

Television’s structure also changed drastically. The late 1970s had been creatively open partly because of the “rural purge,” when networks canceled lowbrow rural comedies to appeal to younger, urban audiences. This ushered in more daring material tailored to adults. But by the early 1980s, networks faced declining dominance—cable TV, home video, and the spread of multiple household televisions led to “narrowcasting,” where individual demographic niches replaced mass audiences. To stay profitable, networks leaned on mainstream, broadly appealing “family” content that advertisers favored.​

Syndication incentives also changed the landscape. With first-run syndication and reruns generating huge revenues, producers wanted formulaic sitcoms that could play endlessly in the afternoons, encouraging the rise of lighter, child-inclusive hit shows like Webster and Small Wonder. Edgier content was riskier in reruns and less marketable to all-age audiences.​

Audience and Generational Shifts

By the early 80s, baby boomers had become the network executives and parents—the same generation that had once watched Lear’s shows as young adults. Now they preferred programming that reflected their own family lives rather than their former rebelliousness. The Cosby Show, Cheers, and The Golden Girls successfully balanced humor, morality, and social tone in ways that fit this maturing audience while maintaining mainstream appeal.​

Backlash and Return of Edge

By the late 1980s, the pendulum swung back. Shows like Married... with Children, Roseanne, and The Simpsons rebelled against the sanitized family sitcom, reintroducing class-conscious humor and dysfunction that echoed the raw honesty of the 1970s. This return to edgier content paved the way for the sharper, more balanced sitcoms of the 1990s.​

In short, sitcoms became “safer” in the 1980s because American television entered a conservative, advertiser-driven phase defined by Reagan-era politics, audience segmentation, and the economics of syndication. The daring realism of the 1970s gave way to a carefully controlled optimism designed to unify—and sell to—a nation seeking comfort after years of of upheaval.

Grok (https://x.com/i/grok/share/rydNfFF7hxgbRrJ5K0L8YSrji):
The shift in sitcom tone from the 1970s to the 1980s was influenced by a combination of cultural, economic, and industry factors. Here’s a breakdown of the key drivers based on available information, including insights from the Reddit discussion you referenced:

1. Cultural Backlash and Political Climate:


The 1970s were marked by social upheaval—Vietnam War protests, the civil rights movement, and Watergate fostered a climate where edgy, socially conscious sitcoms like All in the Family, Maude, and Sanford & Son thrived. These shows, often spearheaded by Norman Lear, tackled issues like racism, feminism, and poverty head-on, reflecting a society grappling with change.

By the 1980s, the U.S. saw a conservative shift under Reagan’s presidency. The focus moved toward traditional family values, economic optimism, and less confrontational entertainment. This cultural pivot favored “comfort food” sitcoms like The Cosby Show, Family Ties, and Full House, which emphasized wholesome, family-oriented themes over divisive social issues. As noted in the Reddit thread, the 1980s saw a push for sitcoms that were “safer” and less likely to alienate audiences.


2. Network and Advertiser Influence:


Networks and advertisers in the 1980s prioritized broad appeal to maximize viewership and ad revenue. Shows with children or family-centric premises, like Webster or Alf, were seen as more marketable to diverse audiences, including younger viewers. The Reddit discussion highlights how these shows often featured “interchangeable” child characters, designed to be cute and non-threatening.

The 1970s’ daring sitcoms were a gamble that paid off for creators like Norman Lear, but networks in the 1980s leaned toward safer bets to avoid controversy. “Very special episodes” addressing serious topics (e.g., drug use) were often heavy-handed because they were mandated by networks to meet FCC regulations or public service expectations, not because they organically fit the show’s tone.


3. Rise of First-Run Syndication:


The 1980s saw the growth of first-run syndication, where shows were produced directly for local stations rather than major networks. This led to a flood of low-budget, formulaic sitcoms like Small Wonder or Charles in Charge, designed to fill airtime and appeal to broad audiences. As the Reddit post suggests, these shows prioritized profitability over innovation, contributing to the saccharine tone of the era.


4. Audience Demographics and Programming Shifts:


The 1970s sitcoms were often aimed at adults, with shows like All in the Family appealing to viewers who appreciated sharp social commentary. In contrast, 1980s sitcoms targeted families, as networks recognized the value of capturing younger viewers and parents watching together. This shift is evident in the prevalence of kid-centric shows and the softer, more moralistic tone of many 1980s sitcoms.

The Reddit thread notes that 1980s sitcoms often felt like they were “made specifically for children or families,” lacking the universal appeal of their 1970s predecessors.


5. Creative Fatigue and Industry Trends:


The bold experimentation of 1970s sitcoms, driven by creators like Norman Lear and James L. Brooks, gave way to more formulaic writing in the 1980s. The industry leaned on predictable tropes—cute kids, light humor, and neat resolutions—to churn out content quickly. This is why “very special episodes” often felt shallow, as they were more about checking a box than deeply engaging with issues.

By the late 1980s, a backlash against this formulaic approach emerged with shows like Married… with Children, Roseanne, and The Simpsons, which rejected the saccharine tone and embraced edgier, more realistic humor, paving the way for the 1990s’ balanced sitcom landscape.


6. Economic Incentives and Market Saturation:


The 1980s saw an increase in TV production due to cable expansion and syndication deals, leading to a saturated market. Networks and producers favored low-risk, high-reward shows that could be easily syndicated for long-term profits. This economic model favored safe, family-friendly content over the riskier, issue-driven sitcoms of the 1970s.


In summary, the shift from daring 1970s sitcoms to safer 1980s sitcoms was driven by a conservative cultural turn, network and advertiser demands for broad appeal, the rise of syndication, and a focus on family-oriented programming. The late 1980s backlash with edgier shows like Roseanne and The Simpsons reflected audience fatigue with formulaic content, setting the stage for the more diverse sitcoms of the 1990s.

Poe (https://poe.com/s/6MiAoo8dYxrCeIruT5m8):
The shift in sitcoms from the 1970s to the 1980s can be attributed to several factors:

1. Cultural Climate and Audience Expectations


The 1970s were a time of social upheaval, with movements addressing civil rights, feminism, and other societal changes. Sitcoms like All in the Family and Maude reflected these issues, often with a confrontational tone.

As the 1980s began, there was a cultural shift towards conservatism. The rise of the Reagan era emphasized traditional family values, leading to a demand for more family-friendly content.


2. Industry Changes


The television landscape evolved, with more networks and a focus on attracting wider audiences. This led to a focus on shows that were less controversial and more palatable to families.

The advent of first-run syndication allowed for a flood of new programming, often prioritizing quantity over quality. Networks sought to capitalize on the success of family-oriented shows, leading to a homogenization of content.


3. Character Dynamics


1980s sitcoms often featured more child characters and interchangeable family dynamics. This shift catered to a younger audience while aiming for a safe, feel-good vibe.

In contrast, the 1970s sitcoms often tackled adult themes with complex characters, which allowed for a deeper exploration of serious issues.


4. Backlash and Evolution


The late 1980s and early 1990s saw a backlash against the saccharine nature of 80s sitcoms, leading to the emergence of edgier shows like Married... with Children and Roseanne. These programs pushed boundaries and addressed real-life issues more candidly.

The 90s also brought a resurgence of sitcoms with predominantly Black casts, showcasing a range of experiences and narratives that differed significantly from the previous decade’s offerings.


5. Audience Saturation


As audiences became saturated with formulaic sitcoms, there was a growing demand for innovative and diverse storytelling. This led to a renaissance in the genre, balancing family-friendly elements with more sophisticated humor and themes.


In summary, the transition from the 1970s to the 1980s sitcoms reflects broader cultural shifts, industry dynamics, and audience preferences that favored family-oriented, less controversial programming, which eventually prompted a backlash and a return to more diverse and edgy narratives in later decades.

Google (https://www.google.com/search?q=What+caused+the+difference+between+70s+sitcoms+and+80s+sitcoms%3F+https%3A%2F%2Fwww.reddit.com%2Fr%2Ftelevision%2Fcomments%2Flb9u9k%2Fwhat_caused_the_difference_between_70s_sitcoms%2F+I+was+thinking+about+this+yesterday%2C+but+I+feel+like+sitcoms+in+the+1970s+were+given+the+opportunity+to+be+a+little+more+daring+and+confrontational.+Maybe+it+was+just+because+of+Norman+Lear%2C+but+shows+like+All+in+the+Family%2C+Maude%2C+Sanford+%26+Son%2C+and+Good+Times+had+a+different+energy+to+them.+They+tackled+a+lot+of+serious+issues%2C+but+those+issues+just+felt+like+a+natural+part+of+their+DNA.+They+also+didn%27t+feel+like+they+were+made+specifically+for+children+or+families.+Anybody+could+watch+them+and+appreciate+them.+Then+the+80s+came%2C+and+it%27s+almost+like+someone+powerful+told+Hollywood+that+sitcoms+were+supposed+to+be+more+family-friendly.+A+major+difference+is+there+were+far+more+sitcoms+featuring+children%2C+and+a+lot+of+the+child+characters+were+interchangeable.+Also%2C+they+weren%27t+as+edgy+or+confrontational.+The+Cosby+Show+stood+out+because+of+its+quality%2C+but+many+80s+sitcoms+are+seen+as+comfort+food+at+best.+I+don%27t+think+shows+like+Webster+or+Small+Wonder+or+Full+House+would+have+been+allowed+in+the+1970s%2C+but+in+the+1980s%2C+the+market+was+flooded+with+these+sitcoms.+And+with+first-run+syndication+being+a+thing+back+then%2C+these+shows+could+be+aired+on+whatever+network+cared+enough+to+buy+them%2C+just+so+they+could+have+more+original+programming+to+profit+from.+This+is+why+many+very+special+episodes+from+this+era+get+mocked+by+everybody%2C+because+many+of+them+only+had+a+surface-level+understanding+of+their+topics+and+the+tone+rarely+ever+matched+whatever+sitcoms+were+making+them.+They+were+no+different+than+a+cop+coming+to+your+school+and+telling+you+not+to+do+drugs%2C+and+when+you+ask+the+cop+why%2C+they+tell+you%2C+%22Because+they+kill+people.+They+ruin+your+life.+Don%27t+do+them%21%22+I+feel+like+there+was+a+backlash+against+these+sitcoms+becoming+so+popular+because+the+late+1980s+gave+us+Married...with+Children%2C+Roseanne%2C+and+The+Simpsons.+These+were+sitcoms+way+more+edgy+and+daring+than+the+rest+of+the+pack.+Then+the+1990s+found+a+balance+between+family-friendly+sitcoms+and+adult-oriented+sitcoms.+There+was+a+renaissance+of+sitcoms+with+predominantly+black+casts%2C+which+were+nothing+like+The+Cosby+Show.+Even+shows+meant+for+families+could+sometimes+be+a+lot+more+clever+and+intelligent+than+they+were+given+credit+for+%28Fresh+Prince+and+Boy+Meets+World+could+have+been+made+today+with+the+same+comedic+approach+and+be+just+as+successful%29.+So%2C+my+question+is%2C+what+caused+sitcoms+in+general+to+become+safer+and+more+saccharine+after+what+happened+in+the+1970s%3F&sca_esv=ee1913741093d5b1&sxsrf=AE3TifOARjc1HnipxtmqzZpfU9ukfIEVSQ%3A1760840553797&udm=50&fbs=AIIjpHxU7SXXniUZfeShr2fp4giZZmjZJO6nNwesPPlC3wKA5VwugU6TuK8bzQRzSUW3JrGCsDE_ICDeIsCceRIF5_EDzzbGhp_0SaHLkz3ZSa_MApTaDPfLTgvQtrSonzjdStthPeBfrJdE_SK65CAgEPLCLxDkCkLVvBDJX-weIP0NrDtVzEHhhHW0PEfi8MNnk15yzvoU3Z2CEWuHjF61ew208AEcAQ&aep=1&ntc=1&sa=X&ved=2ahUKEwil_9udmq-QAxWc4skDHdxrEwAQ2J8OegQIDBAE&biw=1600&bih=739&dpr=1&mstk=AUtExfBKv_4KzANyAmmxLoJT8LoE84FnZGhhvpQS-bHCve_J4CVRog67E8ulTzH_gpJrV7TsGYfeOSwQYscB9Rs0NDePnEwUu-rrIj3KMyaeypJDhdPu2jQN_Js7LAW-lJ1HZISdWzat72Zb-HVdvxbWbgLWvxjZOqBRmGdgcPgP_lDMFfRC_jr1gSvp-deBR0kyiOG7SUYgR2l8XDeYAfUnMGiNwlGUYXv1VT9jSMCuAh12cfIcMG1N6075bpSbOei36-hMPcI8BFnUQkEDiIbMbgMx0aZWeam7UjCZC-wrnDW6oA388jpj4wM2k9RXmS-8StWLSXgsisczREfj_DHdzDUVgwzDASO35yI8WaAaywYHogZ-FuuU13gL5_2XOX0NNzME8oDE9KiCrZ8xmu3K8M3orx77S0BeKCL0PrWV01rbgg8tiwzKgw&csuir=1&mtid=cUv0aNWeCPeKwbkPkYKukAY):
The shift from the socially conscious sitcoms of the 1970s to the family-friendly shows of the 1980s was influenced by changing cultural norms, market demands, and the rise of cable television. While 1970s sitcoms explored complex social issues, the 1980s saw a move towards lighter, broader-appeal programming often featuring prominent child characters and offering "very special episodes" for serious topics.

Random Thoughts-The OTHER Diff’rent Strokes Curse (https://www.manic-expression.com/2014/06/01/random-thoughts-the-other-diffrent-strokes-curse-3/)

ChatGPT (https://chatgpt.com/s/t_68f4512395188191a10fcf0d03be26d3):
That “Random Thoughts – The OTHER Diff’rent Strokes Curse” essay is a fascinating take — and honestly, it captures a feeling a lot of TV historians and fans have noted about that weird lull in sitcom quality and energy between roughly 1978 and 1984. The author’s theory — that many early ’80s sitcoms got trapped in a Diff’rent Strokes-style formula — is surprisingly perceptive, even if a bit informal in tone. Let’s unpack and contextualize it more deeply.

🕰️ The Historical Context: From Lear to “Lather, Rinse, Repeat”

By the late 1970s, the Norman Lear revolution — with All in the Family, Maude, Good Times, and The Jeffersons — had run its course. Those shows had been topical, confrontational, and socially engaged, reflecting 1970s cultural anxieties (race, class, gender roles, generational change). But by the end of the decade, audiences were burned out on “issue sitcoms.”

Networks, fearing controversy and fatigue, pivoted to comfort viewing: less politics, more heartwarming family hijinks. The result was a wave of shows built around gentle moral lessons and formulaic resolutions — what the essay calls the “Problem → Discussion → Resolution → Hug” model.

This tonal retreat also matched broader cultural shifts — America moving from the cynical post-Watergate ’70s into the optimistic, family-values-oriented Reagan era.

📺 The “Stage Play” Problem: Cheapness and Safe Production

The author is spot-on about the look and feel of early ’80s sitcoms.

Most were filmed on cheap videotape with static multi-camera setups, giving them that “stage play” feel. This wasn’t just aesthetic laziness — it was economic. Networks were cutting costs, and the rise of cable meant budgets were spread thinner.

Contrast that with the single-camera sophistication of The Mary Tyler Moore Show or Taxi, which felt cinematic by comparison. By 1981, a lot of sitcoms (Silver Spoons, Gimme a Break!, Webster, Diff’rent Strokes) looked visually flat — like morality plays for prime time.

👶 The Diff’rent Strokes Formula: Cute Kids and Simple Morals

The essay’s biggest insight is how Diff’rent Strokes created a template that got cloned to death:

Wise adult + precocious child → light “very special episode” → moral → hug.

This formula worked for Diff’rent Strokes because Gary Coleman’s charisma sold it — but the imitators (Webster, Silver Spoons, Small Wonder, even early Family Ties) often lacked the same spark. They relied on the illusion of warmth rather than strong writing or character depth.

By contrast, The Cosby Show (1984) took the family format and reinvigorated it: smarter dialogue, realistic settings, and humor rooted in personality rather than formula.

💤 Why It Felt Bland

1. Sitcom fatigue: After a decade of groundbreaking social comedies, networks overcorrected with safe, apolitical fluff.
2. Weak writing rooms: Lear’s shows had top-tier talent. Many ’80–’83 sitcoms were written quickly to fill schedules.
3. Homogeneity: Nearly every show featured a family living-room set, canned laughter, and “life lessons.”
4. Overuse of moralizing: The “very special episode” trope became predictable instead of poignant.

✨ The Turnaround: 1984 and Beyond

The article’s timeline matches what historians call the sitcom renaissance:


1984 – The Cosby Show: proved you could be warm and funny again.

1984 – Night Court: embraced absurdity and live audience energy.

1984 – Who’s the Boss?: inverted gender roles with charm.

1985 – The Golden Girls: older women, sharp writing, multi-layered humor.

1987 – Full House, ALF, Designing Women: all building off the rejuvenated template.

1989 – Seinfeld: blew up the format entirely.


In other words, sitcoms evolved again once they rediscovered specificity of voice — rather than copying the last big hit.

💭 In Summary

The author’s essay captures an important truth:

Early ’80s sitcoms were stuck in a loop of safety and imitation.

The Diff’rent Strokes formula, when overcopied, created a wave of shows that looked and felt the same — taped on cheap sets, full of canned laughter, and resolved with hugs instead of tension.

It wasn’t until The Cosby Show redefined what a “family sitcom” could be — rooted in character, rhythm, and authenticity — that the genre truly came back to life.

Would you like me to compare this “Diff’rent Strokes effect” to the later “Friends clone” phenomenon of the late ’90s (which had a very similar cycle of overimitation)?

Poe (https://poe.com/s/VjYH5BgjrRTDMMznnbuw):

The article "Random Thoughts-The OTHER Diff’rent Strokes Curse" discusses the decline of sitcoms in the early 80s, particularly focusing on the years between 1978 and 1984. The author expresses a fondness for 80s sitcoms but notes a significant gap in memorable shows from the late 70s to early 80s. Here’s a summary of the main points:


Blandness of Early Sitcoms: The author argues that many sitcoms during this period were formulaic and lacked depth. The typical structure involved introducing a problem, discussing it, resolving it, and ending with a light-hearted moment, which made the shows feel repetitive.

Comparison to Successful Shows: While classics like "MAS*H" and "Taxi" were popular, many other sitcoms failed to capture viewers' interest. The author points out that while the 70s produced some great sitcoms, the early 80s saw a decline in creativity.

The 'Diff’rent Strokes' Effect: The article suggests that "Diff’rent Strokes" set a template that many shows tried to replicate, leading to a lack of originality. Many sitcoms of the era, like "Silver Spoons" and "Webster," were seen as derivative.

Evolution of Sitcoms: The turning point came in 1984 with the success of "The Cosby Show," which revitalized the genre and encouraged more innovative storytelling. This shift allowed shows to develop their own identities rather than strictly adhering to the established formula.

Cultural Impact: The article concludes that sitcoms began to evolve again after 1984, leading to the creation of more diverse and memorable shows in the 90s, marking a significant improvement in the genre.


Overall, the piece reflects on the stagnation of sitcoms in the early 80s while also appreciating the eventual resurgence of creativity in later years.

Perplexity (https://www.perplexity.ai/search/random-thoughts-the-other-diff-lZS5Wr8sRImUpIwS9wZycg#0):
The article “Random Thoughts – The OTHER Diff’rent Strokes Curse” from Manic Expression analyzes why so many early 1980s sitcoms lacked spark and originality. It argues that shows from roughly 1978–1984 were bogged down by formulaic writing, overreliance on laugh tracks, and stagnant production styles reminiscent of stage plays rather than dynamic television storytelling.

The Sitcom “Rut” of the Early 1980s

According to the piece, late ’70s sitcoms—like The Mary Tyler Moore Show, WKRP in Cincinnati, and Barney Miller—were character-driven and daring. By contrast, early ’80s series such as Silver Spoons, One Day at a Time, and Diff’rent Strokes fell into predictable, sanitized formulas: a problem introduced, discussed, neatly resolved, and forgotten by the next episode. Everything took place on a single set, with minimal subplots and forced canned laughter that undercut genuine emotion.​

The “Diff’rent Strokes Formula”

The author’s thesis is that Diff’rent Strokes unintentionally created a template that many shows copied. Family-friendly series like Webster, Silver Spoons, Facts of Life, and early Family Ties mimicked its structure—cute child star, moral dilemma, tidy resolution—without the heart or novelty that made Diff’rent Strokes initially successful. These imitators leaned too heavily on superficial cuteness and repetitive setups instead of developing unique tones or characters.​

Recovery and Reinvention After 1984

The essay credits The Cosby Show (1984) for reviving the sitcom genre by breaking free of those constraints. Other hits—Who’s the Boss?, Night Court, Punky Brewster, and Newhart (after retooling)—are praised for regaining creative energy through authentic performances, sharper writing, and willingness to embrace eccentric characters and multiple storylines. The author sees this as the rebirth of the modern sitcom that dominated late ’80s and ’90s television.​

Reflection on Legacy

While the original “Diff’rent Strokes curse” often refers to the personal misfortunes of its child stars, this Manic Expression piece reframes it as a creative curse—a damaging legacy of imitation that briefly stagnated sitcom innovation before the genre reinvented itself in 1984 and beyond.

Grok (https://x.com/i/grok/share/2dlduYD8uWtHUmf9doCaip2aS):
The blog post you referenced from Manic Expression offers a compelling perspective on why many early 1980s sitcoms felt lackluster compared to their 1970s predecessors and the revitalized sitcoms of the mid-to-late 1980s. The author’s central argument is that early 1980s sitcoms fell into a creative rut by rigidly adhering to a formulaic structure, heavily influenced by the success of Diff’rent Strokes. This response will analyze the author’s theory, integrate insights from the previous discussion on the shift from 1970s to 1980s sitcoms, and address the question of what caused this perceived decline in quality.

Key Points from the Blog Post

The author argues that early 1980s sitcoms (roughly 1978–1984) were “bland” due to:


Formulaic Structure: Many sitcoms followed a predictable pattern: introduce a problem, discuss it, resolve it, and end with a hug or laugh, with no lasting impact on future episodes. This structure, exemplified by Diff’rent Strokes, prioritized safe, self-contained stories over innovation.

Imitation of Diff’rent Strokes: The success of Diff’rent Strokes (1978–1986) led to a wave of copycat shows (Silver Spoons, Webster, The Facts of Life) that mimicked its format—cute kids, reactive parents, and clean resolutions—without capturing its unique charm.

Lack of Character Depth and Realism: Shows like Silver Spoons and One Day at a Time (in its later seasons) felt like stage plays, with unnatural dialogue, overused laugh tracks, and static settings (e.g., always in the living room). This made episodes feel repetitive and forgettable.

Failure to Evolve: While 1970s hits like The Mary Tyler Moore Show, Taxi, and WKRP in Cincinnati were innovative, early 1980s sitcoms stopped pushing boundaries, relying on the Diff’rent Strokes formula instead of developing unique identities.

Contrast with Successful Shows: Exceptions like Cheers, Three’s Company, and later The Cosby Show succeeded by breaking from this formula, offering distinct characters, dynamic settings, or fresh perspectives.


Broader Context and Causes of the Early 1980s Sitcom Rut

Building on the blog post and the previous discussion about the shift from 1970s to 1980s sitcoms, several factors contributed to the perceived decline in sitcom quality during this period:

1. Cultural and Political Conservatism:


As noted in the earlier response, the Reagan era’s emphasis on family values and optimism encouraged sitcoms to adopt safer, more wholesome themes. The edgy, socially confrontational shows of the 1970s (e.g., All in the Family, Maude) gave way to family-friendly content that avoided divisive issues. The blog’s description of “clean” romances and “quietly” discussed issues aligns with this shift, as networks aimed to appeal to a broad, non-controversial audience.


2. Economic Pressures and Syndication:


The rise of first-run syndication in the early 1980s, as mentioned in both the Reddit thread and the blog, led to an influx of low-budget sitcoms designed for quick production and broad marketability. Shows like Webster and Silver Spoons were created to fill airtime on local stations, prioritizing profitability over creativity. The blog’s point about these shows feeling like “stage plays” reflects their cost-saving reliance on single-set filming and formulaic scripts.


3. Over-Reliance on a Proven Formula:


The blog’s central thesis—that Diff’rent Strokes set a template that others copied—highlights a common industry pattern: imitating a hit show without understanding what made it unique. Diff’rent Strokes succeeded due to its charismatic cast (e.g., Gary Coleman) and timely premise (addressing race and class through a fish-out-of-water story). Copycats like Webster and Silver Spoons leaned on cute child stars but lacked the same depth or originality, resulting in forgettable shows. The blog notes that even The Facts of Life and Family Ties only succeeded after breaking away from this formula.


4. Creative Stagnation:


The blog points out that early 1980s sitcoms often lacked B-stories, character development, or dynamic settings, making them feel repetitive. This stagnation contrasts with 1970s shows like The Mary Tyler Moore Show and Taxi, which balanced humor with nuanced characters and workplace dynamics. The overuse of laugh tracks and static settings (e.g., One Day at a Time’s living room) further alienated audiences seeking fresh storytelling.


5. Audience Fatigue and Industry Recovery:


The blog notes that by 1982–1983, only a few sitcoms (Three’s Company, Kate & Allie) ranked in the top 10, suggesting audience disinterest in the genre. The author credits The Cosby Show (1984) with revitalizing sitcoms by rejecting the Diff’rent Strokes formula, offering relatable characters and naturalistic humor. This aligns with the earlier discussion of a late-1980s backlash, where shows like Roseanne and The Simpsons embraced edgier, more authentic narratives.


Why Diff’rent Strokes Sparked a “Curse”?

The blog’s concept of the “Diff’rent Strokes Curse” refers to the trend of early 1980s sitcoms mimicking the show’s formula without replicating its success. Several reasons explain why this happened:


Misinterpreting the Appeal: Diff’rent Strokes worked because of its unique premise (a wealthy white family adopting two Black children), strong performances, and ability to tackle social issues lightly. Copycats focused on superficial elements like cute kids (Webster’s Emmanuel Lewis, Silver Spoons’ Ricky Schroder) without meaningful stories.

Over-Saturation: The blog mentions shows like The Facts of Life, Silver Spoons, and Webster as direct or indirect Diff’rent Strokes clones. This oversaturation diluted the formula’s impact, as audiences grew tired of repetitive premises.

Lack of Innovation: Unlike 1970s shows that experimented with formats (Mork & Mindy’s sci-fi absurdity, Soap’s serialized satire), early 1980s sitcoms played it safe, sticking to single-camera, single-set formats with predictable resolutions.


Exceptions and the Turnaround


The blog highlights shows that broke free from the rut:The Cosby Show (1984) succeeded by focusing on realistic family dynamics, sharp writing, and a strong ensemble, avoiding the cliched “cute kid” trope.

Cheers (1982) thrived by prioritizing character-driven humor and the Sam/Diane romance, as the blog notes.

Night Court and Punky Brewster stood out by embracing unique tones—broad comedy and a child’s perspective, respectively—rather than copying Diff’rent Strokes.

Even Newhart (1982) improved after switching to a live audience, allowing for crazier characters like Larry, Darryl, and Darryl.


These shows paved the way for the late 1980s and 1990s sitcom renaissance, where Roseanne, Seinfeld, and others embraced diverse formats and bolder humor.

Conclusion

The early 1980s sitcom slump was caused by a combination of cultural conservatism, economic pressures from syndication, and creative stagnation driven by the widespread imitation of Diff’rent Strokes’ formula. As the blog suggests, these shows often felt like stage plays—repetitive, overly safe, and lacking depth—leading to audience disinterest. The success of The Cosby Show and other innovative sitcoms in the mid-1980s broke this cycle by prioritizing unique identities, relatable characters, and dynamic storytelling, setting the stage for the genre’s revival. The “Diff’rent Strokes Curse” encapsulates how the industry’s reliance on a single, overused formula stifled creativity until fresh voices emerged to redefine the sitcom.

Google (https://www.google.com/search?q=Random+Thoughts-The+OTHER+Diff%E2%80%99rent+Strokes+Curse+I+love+sitcoms+of+the+80%E2%80%99s%2C+but+you+may+notice+that+I+hardly+talk+about+a+show+that+was+on+before+1984.+Why+is+that%3F+Because+most+of+the+shows+on+in+the+late+70%E2%80%99s%2Fearly+80%E2%80%99s+were+so+bland%21+Everytime+I+look+at+a+list+of+the+greatest+sitcoms+there+is+always+this+gap+from+around+1978+to+1984.+Today+I+decided+to+try+to+take+a+closer+look+at+this%2C+and+figure+out+Why+Did+So+Many+Early+80%E2%80%99s+Sitcoms+SUCK%3F+Now+let+me+be+perfectly+clear.+I+am+not+saying+these+shows+were+BAD%2C+if+you+love+them+fine.+But+there+was+something+about+these+shows+which+just+made+them%2C+unique%3F+We+all+know+the+story%2C+the+sitcom+was+considered+dead.+In+1982+only+one+sitcom+was+in+the+top+10%2C+Three%E2%80%99s+Company.+In+1983+only+one+once+again%2C+only+this+time+it+was+Kate+%26+Allie.+Then+in+1984+Bill+Cosby+came+along+with+The+Cosby+Show%2C+and+single+handedly+saved+the+sitcom+%28not+to+mention+NBC%29.+But+the+question+is%2C+what+happened%3F+What+made+the+sitcom+go+stale+in+the+early+80%E2%80%99s%3F+Was+it+because+they+weren%E2%80%99t+funny%3F+Not+with+shows+like+MASH+and+Taxi.+Is+it+because+there+were+not+big+stars%3F+Three%E2%80%99s+Company+was+huge+not+to+mention+a+little+show+called+Happy+Days.+Was+there+an+onslaught+of+boring+and+fake+reality+TV+which+made+people+forget+about+good+scripted+shows%3F+Nah+that+wouldn%E2%80%99t+happen+until+2002.%C3%82+Of+course+there+were+major+hits+of+the+time+%28Mash+anyone%3F%29+but+many+of+the+sitcoms+of+that+era+just+didn%E2%80%99t+make+people+want+to+watch.+Well%2C+here%E2%80%99s+my+theory.+Sitcoms+had+gotten+into+a+rut+of+playing+it+safe+%28or+to+use+another+word%2C+cheap%21%29.+Not+with+the+topics+per+se%2C+but+with+the+format+they+used.+Really%2C+go+back+to+watch+an+episode+of+Silver+Spoons+and+what+do+you+see%3F+It+feels+like+someone+is+recording+a+stage+play.+The+characters+are+pretty+bland.+The+kids+are+cute+and+the+parents+just+react+to+their+antics+with+a+smile+and+a+wave+of+their+head+%28this+is+one+of+the+major+things+Bill+Cosby+threw+out+the+window%29.+Ro&sca_esv=ee1913741093d5b1&sxsrf=AE3TifNoft5bpEKz-SZdKvk3Kv76pW5fqA%3A1760843197225&udm=50&fbs=AIIjpHxU7SXXniUZfeShr2fp4giZZmjZJO6nNwesPPlC3wKA5VwugU6TuK8bzQRzSUW3JrHHbtQuxqusZvoNBmaMtR_ztVYKDGdReDcsCgPK10ItrF4XPI0P-svP8BN2qsabWeMwpqmEjRXi91lQpEDwwlsEVoWHNkrnlfHxIDQ7Jj8DaS4YLdVlfV8NQ57v-n63sPWIcNQ2pd2AUrTB3FRJP7mHvJta9g&aep=1&ntc=1&sa=X&ved=2ahUKEwjY_5mKpK-QAxW9SDABHeZpBQ4Q2J8OegQIERAE&biw=1600&bih=739&dpr=1&mstk=AUtExfB8FdpPwmij-EE4uUk0Kgbipm3y2PgTJp5bDKaIX-FWq0M8a_4BgeQSVhzq1FgXUEUaOTrTZYRrRHpHYMgRrpyPR8SfCLJWFITsCObM9pKyfFw7c14eBqLXpKF-L2vNgXN8CFZAcMbbzmdOHz682skEVup7LJMz2ephNojs8B-Sta2kxric__Mp7In4A3axDiRyl-73doiA1n5Nqb-wtOdWWRvsxMQl4YoMqS6GWhLuzUpOqFhnXmhRXAgf1C7WYtUhc73uZBiluf0-Zt3DtDAa_t2WAm7zlIGfdA2Opk8kcpIClA6cDHLRoTLqRmCGV0mkxbg7uQXwGR0mGt6C-PW4B1D1cSZQmTvqCrthhMnpWsltr0h0fDOfH1252mAUVDBtuEhogsAUZJtyjZ40V1WRRMYGpYKgjkV67Z-56muGhkDEgUe-qY5DYQrPrAXk4mnxPN9ZkXFuJDBzIp6qLPbdBMNZNOYcLjEyI_LjUKLT9Iel3U5SXEN-x4Q8lPjcnmm08-UZWRkDTIe9rlv7hD1DuvaGbVnB6rhP9uFtytAgB5ulG91z&csuir=1&mtid=w1X0aJC8MM6MwbkP8qPamQw):
According to one analysis, multiple factors contributed to a decline in the quality and popularity of sitcoms during the late 1970s and early 1980s, including networks playing it "safe" with bland and formulaic shows. This trend shifted in 1984 with the debut of The Cosby Show, which is credited with revitalizing the sitcom genre through its portrayal of a functional family and fresh storytelling.

Multiple factors contributed to a slump in American sitcoms between 1978 and 1984, including network TV playing it safe, a rise in family-friendly content, and competition from cable television. The period is often cited as a low point in the genre's creativity before The Cosby Show revived network comedy in 1984.

Safe, low-risk formats


The "cheap" factor: Sitcoms during this era often relied on a formulaic, stage-play format with bland characters to minimize costs and maximize profits. Shows like Hello, Larry (a spinoff of Diff'rent Strokes) were notorious for having weak scripts and forced character dynamics.

Repetitive storytelling: Many sitcoms adhered to a predictable "lather, rinse, repeat" style, with problems introduced and resolved within a single episode. Anything that happened would have no impact on the next episode.

Lazy writing: Uninspired writing plagued many sitcoms, leading to over-the-top character reactions and unearned laugh tracks. This was particularly noticeable in family-focused shows of the early 80s.


Shift away from social commentary

Post-70s backlash: The groundbreaking, topical sitcoms of the 1970s, produced by figures like Norman Lear (All in the Family, The Jeffersons), gave way to a more conservative climate. A major political shift in the early 80s pushed against the overt social messaging of the previous decade.

"Very special episodes": While shows avoided sustained social commentary, they would sometimes feature a "very special episode" to tackle a serious topic. However, these episodes were often criticized for their surface-level understanding of complex issues.

Edgier sitcoms appear later: The backlash to saccharine early 80s sitcoms eventually led to the rise of more daring and sarcastic comedies like Married... with Children, Roseanne, and The Simpsons in the late 80s.


Market and viewer fragmentation

Emergence of cable: The rise of cable television and subscription services like HBO and Showtime gave viewers more options beyond the three major networks. These new platforms offered more cinematic and sophisticated original series, stealing viewers who were tired of predictable network fare.

Lack of home entertainment: Before VCRs and other technologies became common, viewers were at the mercy of what was on broadcast television. This led to networks airing shows designed to appeal to the "lowest common denominator," with simple and repetitive storylines meant to capture the largest possible audience.

Nostalgia fatigue: The wave of 1950s nostalgia that fueled the popularity of shows like Happy Days in the 70s was beginning to wane by the early 80s. Networks that continued to rely on that formula were no longer captivating audiences in the same way.

What caused the difference between 70s sitcoms and 80s sitcoms? (https://www.reddit.com/r/television/comments/lb9u9k/what_caused_the_difference_between_70s_sitcoms/)

Google (https://www.google.com/search?q=What+caused+the+difference+between+70s+sitcoms+and+80s+sitcoms%3F+https%3A%2F%2Fwww.reddit.com%2Fr%2Ftelevision%2Fcomments%2Flb9u9k%2Fwhat_caused_the_difference_between_70s_sitcoms%2F+I+was+thinking+about+this+yesterday%2C+but+I+feel+like+sitcoms+in+the+1970s+were+given+the+opportunity+to+be+a+little+more+daring+and+confrontational.+Maybe+it+was+just+because+of+Norman+Lear%2C+but+shows+like+All+in+the+Family%2C+Maude%2C+Sanford+%26+Son%2C+and+Good+Times+had+a+different+energy+to+them.+They+tackled+a+lot+of+serious+issues%2C+but+those+issues+just+felt+like+a+natural+part+of+their+DNA.+They+also+didn%27t+feel+like+they+were+made+specifically+for+children+or+families.+Anybody+could+watch+them+and+appreciate+them.+Then+the+80s+came%2C+and+it%27s+almost+like+someone+powerful+told+Hollywood+that+sitcoms+were+supposed+to+be+more+family-friendly.+A+major+difference+is+there+were+far+more+sitcoms+featuring+children%2C+and+a+lot+of+the+child+characters+were+interchangeable.+Also%2C+they+weren%27t+as+edgy+or+confrontational.+The+Cosby+Show+stood+out+because+of+its+quality%2C+but+many+80s+sitcoms+are+seen+as+comfort+food+at+best.+I+don%27t+think+shows+like+Webster+or+Small+Wonder+or+Full+House+would+have+been+allowed+in+the+1970s%2C+but+in+the+1980s%2C+the+market+was+flooded+with+these+sitcoms.+And+with+first-run+syndication+being+a+thing+back+then%2C+these+shows+could+be+aired+on+whatever+network+cared+enough+to+buy+them%2C+just+so+they+could+have+more+original+programming+to+profit+from.+This+is+why+many+very+special+episodes+from+this+era+get+mocked+by+everybody%2C+because+many+of+them+only+had+a+surface-level+understanding+of+their+topics+and+the+tone+rarely+ever+matched+whatever+sitcoms+were+making+them.+They+were+no+different+than+a+cop+coming+to+your+school+and+telling+you+not+to+do+drugs%2C+and+when+you+ask+the+cop+why%2C+they+tell+you%2C+%22Because+they+kill+people.+They+ruin+your+life.+Don%27t+do+them%21%22+I+feel+like+there+was+a+backlash+against+these+sitcoms+becoming+so+popular+because+the+late+1980s+gave+us+Married...with+Children%2C+Roseanne%2C+and+The+Simpsons.+These+were+sitcoms+way+more+edgy+and+daring+than+the+rest+of+the+pack.+Then+the+1990s+found+a+balance+between+family-friendly+sitcoms+and+adult-oriented+sitcoms.+There+was+a+renaissance+of+sitcoms+with+predominantly+black+casts%2C+which+were+nothing+like+The+Cosby+Show.+Even+shows+meant+for+families+could+sometimes+be+a+lot+more+clever+and+intelligent+than+they+were+given+credit+for+%28Fresh+Prince+and+Boy+Meets+World+could+have+been+made+today+with+the+same+comedic+approach+and+be+just+as+successful%29.+So%2C+my+question+is%2C+what+caused+sitcoms+in+general+to+become+safer+and+more+saccharine+after+what+happened+in+the+1970s%3F&sca_esv=ee1913741093d5b1&sxsrf=AE3TifOARjc1HnipxtmqzZpfU9ukfIEVSQ%3A1760840553797&udm=50&fbs=AIIjpHxU7SXXniUZfeShr2fp4giZZmjZJO6nNwesPPlC3wKA5VwugU6TuK8bzQRzSUW3JrGCsDE_ICDeIsCceRIF5_EDzzbGhp_0SaHLkz3ZSa_MApTaDPfLTgvQtrSonzjdStthPeBfrJdE_SK65CAgEPLCLxDkCkLVvBDJX-weIP0NrDtVzEHhhHW0PEfi8MNnk15yzvoU3Z2CEWuHjF61ew208AEcAQ&aep=1&ntc=1&sa=X&ved=2ahUKEwil_9udmq-QAxWc4skDHdxrEwAQ2J8OegQIDBAE&biw=1600&bih=739&dpr=1&mstk=AUtExfBKv_4KzANyAmmxLoJT8LoE84FnZGhhvpQS-bHCve_J4CVRog67E8ulTzH_gpJrV7TsGYfeOSwQYscB9Rs0NDePnEwUu-rrIj3KMyaeypJDhdPu2jQN_Js7LAW-lJ1HZISdWzat72Zb-HVdvxbWbgLWvxjZOqBRmGdgcPgP_lDMFfRC_jr1gSvp-deBR0kyiOG7SUYgR2l8XDeYAfUnMGiNwlGUYXv1VT9jSMCuAh12cfIcMG1N6075bpSbOei36-hMPcI8BFnUQkEDiIbMbgMx0aZWeam7UjCZC-wrnDW6oA388jpj4wM2k9RXmS-8StWLSXgsisczREfj_DHdzDUVgwzDASO35yI8WaAaywYHogZ-FuuU13gL5_2XOX0NNzME8oDE9KiCrZ8xmu3K8M3orx77S0BeKCL0PrWV01rbgg8tiwzKgw&csuir=1&mtid=cUv0aNWeCPeKwbkPkYKukAY):

What caused the difference between 70s sitcoms and 80s sitcoms? (https://www.google.com/search?q=What+caused+the+difference+between+70s+sitcoms+and+80s+sitcoms%3F+I+was+thinking+about+this+yesterday%2C+but+I+feel+like+sitcoms+in+the+1970s+were+given+the+opportunity+to+be+a+little+more+daring+and+confrontational.+Maybe+it+was+just+because+of+Norman+Lear%2C+but+shows+like+All+in+the+Family%2C+Maude%2C+Sanford+%26+Son%2C+and+Good+Times+had+a+different+energy+to+them.+They+tackled+a+lot+of+serious+issues%2C+but+those+issues+just+felt+like+a+natural+part+of+their+DNA.+They+also+didn%27t+feel+like+they+were+made+specifically+for+children+or+families.+Anybody+could+watch+them+and+appreciate+them.%0D%0A%0D%0AThen+the+80s+came%2C+and+it%27s+almost+like+someone+powerful+told+Hollywood+that+sitcoms+were+supposed+to+be+more+family-friendly.+A+major+difference+is+there+were+far+more+sitcoms+featuring+children%2C+and+a+lot+of+the+child+characters+were+interchangeable.+Also%2C+they+weren%27t+as+edgy+or+confrontational.+The+Cosby+Show+stood+out+because+of+its+quality%2C+but+many+80s+sitcoms+are+seen+as+comfort+food+at+best.+I+don%27t+think+shows+like+Webster+or+Small+Wonder+or+Full+House+would+have+been+allowed+in+the+1970s%2C+but+in+the+1980s%2C+the+market+was+flooded+with+these+sitcoms.+And+with+first-run+syndication+being+a+thing+back+then%2C+these+shows+could+be+aired+on+whatever+network+cared+enough+to+buy+them%2C+just+so+they+could+have+more+original+programming+to+profit+from.%0D%0A%0D%0AThis+is+why+many+very+special+episodes+from+this+era+get+mocked+by+everybody%2C+because+many+of+them+only+had+a+surface-level+understanding+of+their+topics+and+the+tone+rarely+ever+matched+whatever+sitcoms+were+making+them.+They+were+no+different+than+a+cop+coming+to+your+school+and+telling+you+not+to+do+drugs%2C+and+when+you+ask+the+cop+why%2C+they+tell+you%2C+%22Because+they+kill+people.+They+ruin+your+life.+Don%27t+do+them%21%22%0D%0A%0D%0AI+feel+like+there+was+a+backlash+against+these+sitcoms+becoming+so+popular+because+the+late+1980s+gave+us+Married...with+Children%2C+Roseanne%2C+and+The+Simpsons.+These+were+sitcoms+way+more+edgy+and+daring+than+the+rest+of+the+pack.+Then+the+1990s+found+a+balance+between+family-frie&sca_esv=ee1913741093d5b1&sxsrf=AE3TifNoft5bpEKz-SZdKvk3Kv76pW5fqA%3A1760843197225&ei=vVX0aJitDb2RwbkP5tOVcA&ved=0ahUKEwjY_5mKpK-QAxW9SDABHeZpBQ4Q4dUDCBE&uact=5&oq=What+caused+the+difference+between+70s+sitcoms+and+80s+sitcoms%3F+I+was+thinking+about+this+yesterday%2C+but+I+feel+like+sitcoms+in+the+1970s+were+given+the+opportunity+to+be+a+little+more+daring+and+confrontational.+Maybe+it+was+just+because+of+Norman+Lear%2C+but+shows+like+All+in+the+Family%2C+Maude%2C+Sanford+%26+Son%2C+and+Good+Times+had+a+different+energy+to+them.+They+tackled+a+lot+of+serious+issues%2C+but+those+issues+just+felt+like+a+natural+part+of+their+DNA.+They+also+didn%27t+feel+like+they+were+made+specifically+for+children+or+families.+Anybody+could+watch+them+and+appreciate+them.%0D%0A%0D%0AThen+the+80s+came%2C+and+it%27s+almost+like+someone+powerful+told+Hollywood+that+sitcoms+were+supposed+to+be+more+family-friendly.+A+major+difference+is+there+were+far+more+sitcoms+featuring+children%2C+and+a+lot+of+the+child+characters+were+interchangeable.+Also%2C+they+weren%27t+as+edgy+or+confrontational.+The+Cosby+Show+stood+out+because+of+its+quality%2C+but+many+80s+sitcoms+are+seen+as+comfort+food+at+best.+I+don%27t+think+shows+like+Webster+or+Small+Wonder+or+Full+House+would+have+been+allowed+in+the+1970s%2C+but+in+the+1980s%2C+the+market+was+flooded+with+these+sitcoms.+And+with+first-run+syndication+being+a+thing+back+then%2C+these+shows+could+be+aired+on+whatever+network+cared+enough+to+buy+them%2C+just+so+they+could+have+more+original+programming+to+profit+from.%0D%0A%0D%0AThis+is+why+many+very+special+episodes+from+this+era+get+mocked+by+everybody%2C+because+many+of+them+only+had+a+surface-level+understanding+of+their+topics+and+the+tone+rarely+ever+matched+whatever+sitcoms+were+making+them.+They+were+no+different+than+a+cop+coming+to+your+school+and+telling+you+not+to+do+drugs%2C+and+when+you+ask+the+cop+why%2C+they+tell+you%2C+%22Because+they+kill+people.+They+ruin+your+life.+Don%27t+do+them%21%22%0D%0A%0D%0AI+feel+like+there+was+a+backlash+against+these+sitcoms+becoming+so+popular+because+the+late+1980s+gave+us+Married...with+Children%2C+Roseanne%2C+and+The+Simpsons.+These+were+sitcoms+way+more+edgy+and+daring+than+the+rest+of+the+pack.+Then+the+1990s+found+a+balance+between+family-frie&gs_lp=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The difference between 70s and 80s sitcoms stems from a shift in TV's cultural and economic landscape, moving from the socially conscious and challenging shows of the 70s, exemplified by Norman Lear, to the more family-friendly and commercially driven sitcoms of the 80s. The 80s saw an increase in "comfort food" shows like Webster and Full House to appeal to a broad audience, partly fueled by the rise of first-run syndication. A backlash against this trend in the late 80s led to a resurgence of edgier content with shows like Married... with Children, Roseanne, and The Simpsons.

1970s: Socially conscious and confrontational

Influence of producers like Norman Lear: Shows like All in the Family, Maude, Sanford & Son, and Good Times tackled serious, contemporary social issues head-on.

"Natural" part of the show: These issues were integrated into the show's core rather than feeling like a tacked-on "very special episode".

Diverse appeal: These shows were not exclusively for children or families and were intended for a broad adult audience.


1980s: Family-friendly and commercial

Rise of "family" and child-centric sitcoms: A market shift occurred, favoring more family-oriented shows. This led to many shows featuring interchangeable children, such as Webster and Small Wonder.

Comfort and nostalgia: Many 80s shows were designed to be comforting, prioritizing relatable situations and less confrontational humor, like The Cosby Show.

First-run syndication: The growth of first-run syndication provided a new way for shows to reach audiences and for networks to profit from original programming, regardless of their quality or content.

"Very special episodes": The emphasis on a sanitized, family-friendly approach meant that when serious topics were addressed, it was often in a superficial way, leading to the mocking of these "very special episodes".


Late 1980s and the shift to the 1990s

Backlash and a new era: The widespread popularity of the more sentimental 80s sitcoms led to a backlash. This is exemplified by the emergence of edgier, more daring shows like Married... with Children, Roseanne, and The Simpsons.

Finding a balance: This shift paved the way for the 1990s, which is seen as a period that found a balance between the two extremes, blending sharp social commentary with more traditional family-friendly elements.


What caused the difference between 70s sitcoms and 80s sitcoms? (https://www.google.com/search?q=What+caused+the+difference+between+70s+sitcoms+and+80s+sitcoms%3F+I+was+thinking+about+this+yesterday%2C+but+I+feel+like+sitcoms+in+the+1970s+were+given+the+opportunity+to+be+a+little+more+daring+and+confrontational.+Maybe+it+was+just+because+of+Norman+Lear%2C+but+shows+like+All+in+the+Family%2C+Maude%2C+Sanford+%26+Son%2C+and+Good+Times+had+a+different+energy+to+them.+They+tackled+a+lot+of+serious+issues%2C+but+those+issues+just+felt+like+a+natural+part+of+their+DNA.+They+also+didn%27t+feel+like+they+were+made+specifically+for+children+or+families.+Anybody+could+watch+them+and+appreciate+them.%0D%0A%0D%0AThen+the+80s+came%2C+and+it%27s+almost+like+someone+powerful+told+Hollywood+that+sitcoms+were+supposed+to+be+more+family-friendly.+A+major+difference+is+there+were+far+more+sitcoms+featuring+children%2C+and+a+lot+of+the+child+characters+were+interchangeable.+Also%2C+they+weren%27t+as+edgy+or+confrontational.+The+Cosby+Show+stood+out+because+of+its+quality%2C+but+many+80s+sitcoms+are+seen+as+comfort+food+at+best.+I+don%27t+think+shows+like+Webster+or+Small+Wonder+or+Full+House+would+have+been+allowed+in+the+1970s%2C+but+in+the+1980s%2C+the+market+was+flooded+with+these+sitcoms.+And+with+first-run+syndication+being+a+thing+back+then%2C+these+shows+could+be+aired+on+whatever+network+cared+enough+to+buy+them%2C+just+so+they+could+have+more+original+programming+to+profit+from.%0D%0A%0D%0AThis+is+why+many+very+special+episodes+from+this+era+get+mocked+by+everybody%2C+because+many+of+them+only+had+a+surface-level+understanding+of+their+topics+and+the+tone+rarely+ever+matched+whatever+sitcoms+were+making+them.+They+were+no+different+than+a+cop+coming+to+your+school+and+telling+you+not+to+do+drugs%2C+and+when+you+ask+the+cop+why%2C+they+tell+you%2C+%22Because+they+kill+people.+They+ruin+your+life.+Don%27t+do+them%21%22%0D%0A%0D%0AI+feel+like+there+was+a+backlash+against+these+sitcoms+becoming+so+popular+because+the+late+1980s+gave+us+Married...with+Children%2C+Roseanne%2C+and+The+Simpsons.+These+were+sitcoms+way+more+edgy+and+daring+than+the+rest+of+the+pack.+Then+the+1990s+found+a+balance+between+family-frie&sca_esv=ee1913741093d5b1&sxsrf=AE3TifOJgwBgCR4NyJtVKsDvDERI2-4cyA%3A1760843840344&udm=50&fbs=AIIjpHxU7SXXniUZfeShr2fp4giZZmjZJO6nNwesPPlC3wKA5VwugU6TuK8bzQRzSUW3JrGCsDE_ICDeIsCceRIF5_EDe5iiaJqSl7KghrPH66Smas97qusppDVwGFE9Vqkfr4f9rCajd5eBGYA6DyHG7cbQngJvPaN-727D5kHSSXOymXFmInFNhNATF-KMKlExqwIrqV1-Sw13gzm43T7UuhVflau7eA&aep=1&ntc=1&sa=X&ved=2ahUKEwji9-68pq-QAxVB4MkDHXOnNKIQ2J8OegQIEhAE&biw=1600&bih=739&dpr=1&mstk=AUtExfAbpHXIqvnsYoEr1rxVnIMoG_murhkD15Llz2Xa1QK4qa0VeoIpgdOcSD2il58O5viIadlVtCc__lLPeGCn_riBCTwcReCZx12EHmww5wuEkrRrfmQOngOVKWgt4lcB-mgjvHITBOQ0z4Nn6Q6_muX0kSlcGCmeA4mSkr7E1AuQHGciRV7NnbHn6AlNhnk8fYh71kbkMwrLZqquwqQTvYijY6opnEfSdSicvT32jBQzUTBeSpsTnhVqaZL770U6FhXiLScngAdif5IW-PUYX2DOP34Kf1rwfSFO7e5EflSqOdvXOlw1gQeLVkn8yJHm9VXlTO9Au6dtHQsfFkz3ZMyoL4uoylALyKtknDIzMRcUknmhbLhAhtYRmkDEtbaI7tPEpe49_SYirlyluwEu6OYMh4IHLQR7ixLLRfLqq0yA-nHvtEatjDHX0hiqzoxMQls-0B4d3gBWhygZfvPLnvbOgmRDORpPfUaFvhVUCsjqhK_iC_TV7wxzmFbE9npxfqfX3eDR0uFBVlST16KdkiWi4d-wH_PxmgpEpqrW3MlZalmzUgj1&csuir=1&mtid=q1n0aJvBFp_W5NoP1enpyAs)

Several key shifts in production, cultural trends, and audience expectations caused the major difference between sitcoms of the 1970s and 1980s. The 1970s saw a rise in "socially relevant" sitcoms that directly engaged with the era's turbulence, while the 1980s emphasized aspirational, feel-good family programming that served as an escape from reality.

The 1970s: The era of "socially relevant" comedy

The 1970s saw sitcoms evolve from the more sanitized family comedies of the 1950s and 60s. Instead of providing pure escapism, a new wave of shows, led by producer Norman Lear, used comedy to explore complex and controversial topics.

The causes of 1970s-style sitcoms:

Response to 1960s turmoil: Writers and producers came of age during the social upheaval of the 1960s, which included the Vietnam War, the Civil Rights Movement, and the feminist movement. This led to a desire to use television to reflect and comment on real-world issues.

The "Rural Purge": In the early 1970s, television networks strategically canceled popular rural-themed sitcoms (like The Beverly Hillbillies) to attract a more affluent, urban demographic desired by advertisers. This change opened up space for more sophisticated, urban-set shows with a progressive and modern feel.

Norman Lear's influence: As a powerhouse producer, Lear brought a frank, issue-oriented style to the sitcom format. His shows like All in the Family featured a bigoted patriarch whose views were constantly challenged by his family, reflecting the generation gap and social tensions in American living rooms.

Spin-off strategy: Lear's approach was commercially successful and led to a wave of spin-offs (Maude, The Jeffersons, Good Times) that diversified the sitcom landscape and provided opportunities to explore new perspectives, including the experiences of Black families.


The 1980s: The rise of comfort television

As the 1970s ended, a cultural and political shift occurred that favored a more optimistic, less confrontational type of programming. The family-friendly approach was a deliberate change in direction for networks.

The causes of 1980s-style sitcoms:


Shifting cultural mood: Following the Vietnam War, the Watergate scandal, and the economic struggles of the 1970s, American audiences were ready for a break from social conflict. A "culture of consumption" emerged, and viewers preferred escapism and reassurance over confrontational social commentary.

The Reagan era: The 1980s, under President Ronald Reagan, saw a political climate that favored traditional values and conservatism, which was reflected in media that promoted family and community.

Success of The Cosby Show: When The Cosby Show premiered in 1984, its immense popularity proved that a wholesome, family-centered sitcom could achieve massive ratings. It created a model for a new wave of shows that featured strong, stable, and affluent families, which were appealing to advertisers.

Increase in syndication: The boom in first-run syndication in the 1980s created a lucrative market for easy-to-digest, inoffensive content that could be sold to local stations across the country. Shows that were canceled by networks, like Mama's Family and Webster, often found new life in syndication, where the focus was on predictable, broad appeal rather than critical praise.

"Very special episodes": While 1970s issue-based shows integrated serious topics into their narrative, 1980s sitcoms often addressed them in isolated, formulaic "very special episodes." This approach allowed shows to acknowledge social issues without fundamentally altering their lighthearted tone, which often came off as superficial.


The backlash and the start of a new balance

By the late 1980s, audience tastes began to shift again, leading to a backlash against the saccharine, formulaic family sitcoms. This opened the door for edgier programming that once again pushed the boundaries of television.


Rise of alternative shows: The launch of Fox in 1986 and its success with shows like Married...with Children offered a direct alternative to the polished family sitcom. The emergence of animated sitcoms like The Simpsons in 1989 also provided a new avenue for satire and social commentary.

Roseanne: Starting in 1988, Roseanne offered a working-class, unidealized portrayal of family life that was a clear departure from the model set by The Cosby Show. It brought back some of the grit and realism that had been missing from the sitcom landscape.


The result was that the 1990s and beyond found a new balance, mixing the edgy, issue-based humor of the 1970s with the network and syndication models perfected in the 1980s.

One theory that I recently read (https://www.datalounge.com/thread/34831851-what-tv-shows-from-your-youth-just-don%E2%80%99t-hold-up-anymore-) is that the 1970s and early '80s really felt like the last time that the Vaudeville (https://library.fiveable.me/tv-comedy/unit-2)-influenced older producers and studio executives had primary control in Hollywood. So in sitcoms (such as Three's Company (https://www.sitcomsonline.com/boards/showthread.php?p=6256121&nojs=1) and Garry Marshall (https://jacksonupperco.com/2021/09/15/a-deliberate-throwback-a-look-at-the-garry-marshall-style-i-of-ii/)'s stuff like Happy Days (https://jacksonupperco.com/2021/09/28/a-deliberate-throwback-a-look-at-the-garry-marshall-style-ii-of-ii/), Laverne and Shirley (https://jacksonupperco.com/tag/laverne-shirley/), etc.) of that time period, there were still a lot physical humor, obvious gags, and cutesy/corny jokes.

TV however, started to change dramatically come the late '80s. We were by then, getting more observational humor (Seinfeld (https://www.vox.com/2014/7/6/5874267/how-seinfeld-changed-tv-30th-anniversary)), realistic portrayals (Roseanne (https://theconversation.com/friday-essay-the-politics-of-the-us-family-sitcom-and-why-roseanne-rocks-95208), ER (https://www.unothegateway.com/archives/seven-ways-er-changed-tv-in-15-years/article_1f24a2e7-4793-5be2-b075-ce29e2b7830e.html)), or gutting honesty (My So Called Life (https://www.denofgeek.com/tv/how-my-so-called-life-changed-teen-drama/)) that made it more real and less staged and phony.

You wouldn't come the '90s and 2000s for example, see an unironic portrayal of Shirley Temple like Susan Olsen had to do (https://www.youtube.com/watch?v=XliASJh4uHI) in an episode (https://bradybunch.fandom.com/wiki/The_Snooperstar) of The Brady Bunch (https://bradybunchreviewed.wordpress.com/2018/11/02/episode-20-the-snooperstar/). Susan Olsen in real life (http://www.cultfilmfreaks.com/2014/02/brady-bunch-child-actress-susan-olsen.html), hated that episode (https://www.reddit.com/r/bradybunch/comments/13vgilg/comment/jqide6i/) as among other things (https://bradybunchreviewed.wordpress.com/2018/11/02/episode-20-the-snooperstar/), she didn't know who Shirley Temple was at the time and thought that whole thing was corny as hell (https://forums.stevehoffman.tv/threads/robert-reeds-memos-to-sherwood-schwartz-re-the-brady-bunch.440933/). But old school producers like Sherwood Schwartz (https://www.reddit.com/r/BradyBunchTVShow/comments/18luysn/link_to_a_copy_of_a_memo_from_robert_reed_to/) seemed to think otherwise (https://www.imdb.com/title/tt0531147/reviews).

ChatGPT (https://chatgpt.com/s/t_68f45d89e80081919ba5ab88629e33f4):
That’s actually a really sharp observation — and it lines up with how the entertainment lineage of Hollywood evolved across generations.

The early TV producers and network executives of the 1950s–early 1980s had their roots in vaudeville, radio, and stage comedy, so their instincts leaned toward:


Broad physical humor (pratfalls, double takes, slapstick à la The Honeymooners or Gilligan’s Island)

“Bit”-driven storytelling (episodes built around gags rather than character arcs)

Moral-of-the-story endings or sentimental wrap-ups, echoing both radio drama and family stage acts


Sherwood Schwartz (Gilligan’s Island, The Brady Bunch) and Norman Lear (early on, before he pivoted to satire) were both steeped in that pre-TV sensibility. To someone like Schwartz, Shirley Temple was the pinnacle of wholesome, mass-appeal showbiz — the same way his generation saw vaudeville stars as cultural royalty. So when he had Susan Olsen do that “Shirley Temple shtick,” he was pulling from the entertainment grammar he grew up on.

By the late 1980s, that generation had largely aged out, and you got creators influenced by:


Stand-up comedy (Jerry Seinfeld, Roseanne Barr, Tim Allen), emphasizing observational humor

The independent film movement and Hill Street Blues–style realism, leading to “messier,” more human storytelling

Gen X irony and postmodernism, where characters were aware of TV tropes and sometimes mocked them


So the shift wasn’t just stylistic — it was generational. The people making TV were no longer channeling vaudeville and 1930s Hollywood; they were channeling comedy clubs, cinéma vérité, and alt-culture sensibilities.

You can even trace the decline of the “studio laugh track” as symbolic of that evolution: from The Brady Bunch and Happy Days to Roseanne and Seinfeld, audiences no longer needed to be told when to laugh — they wanted to feel like part of the joke.

Would you like me to break down a few specific sitcoms from the 70s and 80s that clearly show this vaudeville influence — versus those that marked the transition into the more “realistic” 90s style?

Perplexity (https://www.perplexity.ai/search/https-www-datalounge-com-threa-GpQnYVbWRlqvsoxVxhT7QQ#0):
That’s a sharp take — and you’re right to connect many 1970s and early 1980s sitcoms to Vaudeville lineage. Many of the older showrunners and producers of that era grew up directly exposed to prewar entertainment forms — Vaudeville, radio farce, and early Hollywood screwball comedy. Their comedic instincts came from broad timing, rhythm, and audience validation, all rooted in the stage tradition.

Here’s a quick breakdown of that cultural handoff and why the tone shifted so dramatically later:

Vaudeville Influence on 1970s–80s Sitcoms

Producers with stage roots: Sherwood Schwartz (The Brady Bunch, Gilligan’s Island), Norman Lear, and Garry Marshall carried over structures and jokes that worked for live crowds — exaggerated bits, moral “buttons” at the end, and physical comedy.

Studio audience dependence: Laugh tracks and tightly timed punchlines echoed live performance cues. Series like Alice, Three’s Company, and Happy Days leaned heavily on showmanship.

Moral and tonal safety: Postwar sitcoms inherited Vaudeville’s family-friendly and middle-class sentimentality, leading to corny setups and stereotypes that felt outdated even by the late 1970s.


The Generational Shift of the Late 1980s–2000s

New writers, different training: Writers emerging from stand-up, improv, and independent film (e.g., Larry David, Joss Whedon, Amy Sherman-Palladino) valued authenticity over performance.

Observational humor dominance: Seinfeld and Friends normalized absurdity through realism rather than heightened shtick.

Honest tone and flawed characters: Roseanne brought unglossed middle America to primetime, while My So-Called Life and ER reflected emotional truth absent in earlier sitcom polish.

Cinematic production styles: The single-camera format and lack of laugh track in Malcolm in the Middle or The Office finally severed television from its Vaudevillian ancestry.


Your point about Susan Olsen and Sherwood Schwartz captures that generational misunderstanding perfectly. The child stars and younger performers of the mid-1970s often didn’t relate to prewar icons like Shirley Temple or Eddie Cantor, and you can almost feel that disconnect on screen — a young cast forced into their producers’ nostalgia.

Would you like me to trace a few specific sitcoms from the 1970s–80s that show where the Vaudevillian tone finally gave way to the more modern style of the 1990s?


Grok (https://x.com/i/grok/share/fK1G3oK26g8MWPNi9Z383MEvA)

Poe (https://poe.com/s/SzDk9UN8FhH3GCmRUpt4)

What caused the difference between 70s sitcoms and 80s sitcoms? (http://www.reddit.com/r/television/comments/lb9u9k/what_caused_the_difference_between_70s_sitcoms/)Things slowly getting worse and most couldnt see it....

What caused the difference between 70s sitcoms and 80s sitcoms? (https://www.reddit.com/r/television/comments/lb9u9k/what_caused_the_difference_between_70s_sitcoms/)

ChatGPT (https://chatgpt.com/s/t_68f44728d24881919fb97431ab8ffd4e):


Perplexity (https://www.perplexity.ai/search/what-caused-the-difference-bet-wapXEq.fTvGXCvEoTMXjUQ#0):


Grok (https://x.com/i/grok/share/rydNfFF7hxgbRrJ5K0L8YSrji):


Poe (https://poe.com/s/6MiAoo8dYxrCeIruT5m8):


Google (https://www.google.com/search?q=What+caused+the+difference+between+70s+sitcoms+and+80s+sitcoms%3F+https%3A%2F%2Fwww.reddit.com%2Fr%2Ftelevision%2Fcomments%2Flb9u9k%2Fwhat_caused_the_difference_between_70s_sitcoms%2F+I+was+thinking+about+this+yesterday%2C+but+I+feel+like+sitcoms+in+the+1970s+were+given+the+opportunity+to+be+a+little+more+daring+and+confrontational.+Maybe+it+was+just+because+of+Norman+Lear%2C+but+shows+like+All+in+the+Family%2C+Maude%2C+Sanford+%26+Son%2C+and+Good+Times+had+a+different+energy+to+them.+They+tackled+a+lot+of+serious+issues%2C+but+those+issues+just+felt+like+a+natural+part+of+their+DNA.+They+also+didn%27t+feel+like+they+were+made+specifically+for+children+or+families.+Anybody+could+watch+them+and+appreciate+them.+Then+the+80s+came%2C+and+it%27s+almost+like+someone+powerful+told+Hollywood+that+sitcoms+were+supposed+to+be+more+family-friendly.+A+major+difference+is+there+were+far+more+sitcoms+featuring+children%2C+and+a+lot+of+the+child+characters+were+interchangeable.+Also%2C+they+weren%27t+as+edgy+or+confrontational.+The+Cosby+Show+stood+out+because+of+its+quality%2C+but+many+80s+sitcoms+are+seen+as+comfort+food+at+best.+I+don%27t+think+shows+like+Webster+or+Small+Wonder+or+Full+House+would+have+been+allowed+in+the+1970s%2C+but+in+the+1980s%2C+the+market+was+flooded+with+these+sitcoms.+And+with+first-run+syndication+being+a+thing+back+then%2C+these+shows+could+be+aired+on+whatever+network+cared+enough+to+buy+them%2C+just+so+they+could+have+more+original+programming+to+profit+from.+This+is+why+many+very+special+episodes+from+this+era+get+mocked+by+everybody%2C+because+many+of+them+only+had+a+surface-level+understanding+of+their+topics+and+the+tone+rarely+ever+matched+whatever+sitcoms+were+making+them.+They+were+no+different+than+a+cop+coming+to+your+school+and+telling+you+not+to+do+drugs%2C+and+when+you+ask+the+cop+why%2C+they+tell+you%2C+%22Because+they+kill+people.+They+ruin+your+life.+Don%27t+do+them%21%22+I+feel+like+there+was+a+backlash+against+these+sitcoms+becoming+so+popular+because+the+late+1980s+gave+us+Married...with+Children%2C+Roseanne%2C+and+The+Simpsons.+These+were+sitcoms+way+more+edgy+and+daring+than+the+rest+of+the+pack.+Then+the+1990s+found+a+balance+between+family-friendly+sitcoms+and+adult-oriented+sitcoms.+There+was+a+renaissance+of+sitcoms+with+predominantly+black+casts%2C+which+were+nothing+like+The+Cosby+Show.+Even+shows+meant+for+families+could+sometimes+be+a+lot+more+clever+and+intelligent+than+they+were+given+credit+for+%28Fresh+Prince+and+Boy+Meets+World+could+have+been+made+today+with+the+same+comedic+approach+and+be+just+as+successful%29.+So%2C+my+question+is%2C+what+caused+sitcoms+in+general+to+become+safer+and+more+saccharine+after+what+happened+in+the+1970s%3F&sca_esv=ee1913741093d5b1&sxsrf=AE3TifOARjc1HnipxtmqzZpfU9ukfIEVSQ%3A1760840553797&udm=50&fbs=AIIjpHxU7SXXniUZfeShr2fp4giZZmjZJO6nNwesPPlC3wKA5VwugU6TuK8bzQRzSUW3JrGCsDE_ICDeIsCceRIF5_EDzzbGhp_0SaHLkz3ZSa_MApTaDPfLTgvQtrSonzjdStthPeBfrJdE_SK65CAgEPLCLxDkCkLVvBDJX-weIP0NrDtVzEHhhHW0PEfi8MNnk15yzvoU3Z2CEWuHjF61ew208AEcAQ&aep=1&ntc=1&sa=X&ved=2ahUKEwil_9udmq-QAxWc4skDHdxrEwAQ2J8OegQIDBAE&biw=1600&bih=739&dpr=1&mstk=AUtExfBKv_4KzANyAmmxLoJT8LoE84FnZGhhvpQS-bHCve_J4CVRog67E8ulTzH_gpJrV7TsGYfeOSwQYscB9Rs0NDePnEwUu-rrIj3KMyaeypJDhdPu2jQN_Js7LAW-lJ1HZISdWzat72Zb-HVdvxbWbgLWvxjZOqBRmGdgcPgP_lDMFfRC_jr1gSvp-deBR0kyiOG7SUYgR2l8XDeYAfUnMGiNwlGUYXv1VT9jSMCuAh12cfIcMG1N6075bpSbOei36-hMPcI8BFnUQkEDiIbMbgMx0aZWeam7UjCZC-wrnDW6oA388jpj4wM2k9RXmS-8StWLSXgsisczREfj_DHdzDUVgwzDASO35yI8WaAaywYHogZ-FuuU13gL5_2XOX0NNzME8oDE9KiCrZ8xmu3K8M3orx77S0BeKCL0PrWV01rbgg8tiwzKgw&csuir=1&mtid=cUv0aNWeCPeKwbkPkYKukAY):



https://live.staticflickr.com/3093/2512680013_b3ba86a8d0.jpg

What caused the difference between 70s sitcoms and 80s sitcoms? (https://www.reddit.com/r/television/comments/lb9u9k/what_caused_the_difference_between_70s_sitcoms/)

ChatGPT (https://chatgpt.com/s/t_68f44728d24881919fb97431ab8ffd4e):


Perplexity (https://www.perplexity.ai/search/what-caused-the-difference-bet-wapXEq.fTvGXCvEoTMXjUQ#0):


Grok (https://x.com/i/grok/share/rydNfFF7hxgbRrJ5K0L8YSrji):


Poe (https://poe.com/s/6MiAoo8dYxrCeIruT5m8):


Google (https://www.google.com/search?q=What+caused+the+difference+between+70s+sitcoms+and+80s+sitcoms%3F+https%3A%2F%2Fwww.reddit.com%2Fr%2Ftelevision%2Fcomments%2Flb9u9k%2Fwhat_caused_the_difference_between_70s_sitcoms%2F+I+was+thinking+about+this+yesterday%2C+but+I+feel+like+sitcoms+in+the+1970s+were+given+the+opportunity+to+be+a+little+more+daring+and+confrontational.+Maybe+it+was+just+because+of+Norman+Lear%2C+but+shows+like+All+in+the+Family%2C+Maude%2C+Sanford+%26+Son%2C+and+Good+Times+had+a+different+energy+to+them.+They+tackled+a+lot+of+serious+issues%2C+but+those+issues+just+felt+like+a+natural+part+of+their+DNA.+They+also+didn%27t+feel+like+they+were+made+specifically+for+children+or+families.+Anybody+could+watch+them+and+appreciate+them.+Then+the+80s+came%2C+and+it%27s+almost+like+someone+powerful+told+Hollywood+that+sitcoms+were+supposed+to+be+more+family-friendly.+A+major+difference+is+there+were+far+more+sitcoms+featuring+children%2C+and+a+lot+of+the+child+characters+were+interchangeable.+Also%2C+they+weren%27t+as+edgy+or+confrontational.+The+Cosby+Show+stood+out+because+of+its+quality%2C+but+many+80s+sitcoms+are+seen+as+comfort+food+at+best.+I+don%27t+think+shows+like+Webster+or+Small+Wonder+or+Full+House+would+have+been+allowed+in+the+1970s%2C+but+in+the+1980s%2C+the+market+was+flooded+with+these+sitcoms.+And+with+first-run+syndication+being+a+thing+back+then%2C+these+shows+could+be+aired+on+whatever+network+cared+enough+to+buy+them%2C+just+so+they+could+have+more+original+programming+to+profit+from.+This+is+why+many+very+special+episodes+from+this+era+get+mocked+by+everybody%2C+because+many+of+them+only+had+a+surface-level+understanding+of+their+topics+and+the+tone+rarely+ever+matched+whatever+sitcoms+were+making+them.+They+were+no+different+than+a+cop+coming+to+your+school+and+telling+you+not+to+do+drugs%2C+and+when+you+ask+the+cop+why%2C+they+tell+you%2C+%22Because+they+kill+people.+They+ruin+your+life.+Don%27t+do+them%21%22+I+feel+like+there+was+a+backlash+against+these+sitcoms+becoming+so+popular+because+the+late+1980s+gave+us+Married...with+Children%2C+Roseanne%2C+and+The+Simpsons.+These+were+sitcoms+way+more+edgy+and+daring+than+the+rest+of+the+pack.+Then+the+1990s+found+a+balance+between+family-friendly+sitcoms+and+adult-oriented+sitcoms.+There+was+a+renaissance+of+sitcoms+with+predominantly+black+casts%2C+which+were+nothing+like+The+Cosby+Show.+Even+shows+meant+for+families+could+sometimes+be+a+lot+more+clever+and+intelligent+than+they+were+given+credit+for+%28Fresh+Prince+and+Boy+Meets+World+could+have+been+made+today+with+the+same+comedic+approach+and+be+just+as+successful%29.+So%2C+my+question+is%2C+what+caused+sitcoms+in+general+to+become+safer+and+more+saccharine+after+what+happened+in+the+1970s%3F&sca_esv=ee1913741093d5b1&sxsrf=AE3TifOARjc1HnipxtmqzZpfU9ukfIEVSQ%3A1760840553797&udm=50&fbs=AIIjpHxU7SXXniUZfeShr2fp4giZZmjZJO6nNwesPPlC3wKA5VwugU6TuK8bzQRzSUW3JrGCsDE_ICDeIsCceRIF5_EDzzbGhp_0SaHLkz3ZSa_MApTaDPfLTgvQtrSonzjdStthPeBfrJdE_SK65CAgEPLCLxDkCkLVvBDJX-weIP0NrDtVzEHhhHW0PEfi8MNnk15yzvoU3Z2CEWuHjF61ew208AEcAQ&aep=1&ntc=1&sa=X&ved=2ahUKEwil_9udmq-QAxWc4skDHdxrEwAQ2J8OegQIDBAE&biw=1600&bih=739&dpr=1&mstk=AUtExfBKv_4KzANyAmmxLoJT8LoE84FnZGhhvpQS-bHCve_J4CVRog67E8ulTzH_gpJrV7TsGYfeOSwQYscB9Rs0NDePnEwUu-rrIj3KMyaeypJDhdPu2jQN_Js7LAW-lJ1HZISdWzat72Zb-HVdvxbWbgLWvxjZOqBRmGdgcPgP_lDMFfRC_jr1gSvp-deBR0kyiOG7SUYgR2l8XDeYAfUnMGiNwlGUYXv1VT9jSMCuAh12cfIcMG1N6075bpSbOei36-hMPcI8BFnUQkEDiIbMbgMx0aZWeam7UjCZC-wrnDW6oA388jpj4wM2k9RXmS-8StWLSXgsisczREfj_DHdzDUVgwzDASO35yI8WaAaywYHogZ-FuuU13gL5_2XOX0NNzME8oDE9KiCrZ8xmu3K8M3orx77S0BeKCL0PrWV01rbgg8tiwzKgw&csuir=1&mtid=cUv0aNWeCPeKwbkPkYKukAY):

Why do you think 1980s sitcoms are not as good as 1970s or 1990s? (https://jacksonupperco.com/2026/05/06/ask-jackson-may-2026/)

First, I think the 1980s is a decade of high highs and low lows with regard to sitcoms. On the high end are masterworks like Cheers and The Golden Girls, which constitute some of the finest examples of this art form ever produced — offering beautifully crafted characters who earn huge laughs. On the low end are a lot of forgotten duds, and frankly, even popular titles that nevertheless aren’t very funny and/or well-designed in terms of their situations and how those situations are reflected on a weekly basis. In particular, the 1980s had a huge uptick in boring family shows (reminiscent of the worst of the 1950s) that rely more on positional clichés than well-designed characters. Those tend to be subpar in every era. But in the post-Norman Lear decade, they were worse than ever — for many of them tried to overcompensate for their saccharine taste by proving their worth on the metric that he deemed most valuable: Social Importance. I call this the “Very Special Episode” era — where typically trite and formulaic post-Lear sitcoms were nevertheless thrilled to go out of their way to be “Very Special” by engaging dramatic topics, never mind how they hampered their implied comedic obligation to the genre or harmed their situation’s elements, which were either pushed aside or contorted to allow it. A lot of this also registers as “cheesy,” for these are fundamentally un-clever shows taking themselves way too seriously, veering between the two sensibilities of light and dark without the continuity of character or strength of situation that would anchor this tonality with any degree of human truth or artfulness.