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The 1970s are frequently hailed as a golden era for cinema, a period when filmmakers crafted bold, thought-provoking masterpieces that defied convention, blending a deep appreciation for film history with contemporary perspectives. While today’s Age of Prestige TV might overshadow it, television in the ‘70s experienced a similar renaissance, largely thanks to the legendary producer Norman Lear, who passed away yesterday at 101. This transformative era began with James L. Brooks and Allan Burns’ The Mary Tyler Moore Show, which broke new ground by portraying a single, career-driven woman with an active personal life, a stark departure from the lighter, safer shows of the previous decade. While it spawned a few spin-offs, nothing compared to the television dynasty Norman Lear built shortly after with the debut of All in the Family, which paved the way for Maude (six seasons), The Jeffersons (11 seasons), and Good Times (six seasons). As the creator, producer, and occasional writer of All in the Family, Lear also influenced other major hits of the era, including Sanford and Son (six seasons) and One Day at a Time (nine seasons). While he wasn’t the sole force in 1970s TV, it’s nearly impossible to envision that era without him. The conservative 1980s shifted TV away from difficult conversations, while the ‘90s introduced more genre diversity and sexual openness. Only recently has streaming revived the appetite for challenging, less sponsor-friendly content. It’s not just about creators—it’s about audiences: Lear’s shows and those of his peers weren’t just intelligent; they were wildly popular, tackling issues like race, sexual assault, and abortion. (Perhaps it’s not just that TV creators changed, but that audiences became less daring.)
Lear’s influence extended far beyond the 1970s, with his production companies contributing to some of the most beloved shows of subsequent decades. He was also a passionate advocate for various causes, founding People for the American Way and Declare Yourself to promote youth voter registration. In recent years, he produced the acclaimed reboot of One Day at a Time, along with several other series and documentaries. This week, he celebrated his 100th birthday with no plans to slow down.
Here are the most groundbreaking and forward-thinking episodes from Norman Lear’s iconic 1970s era.
“Judging Books by Covers,” All in the Family, Season 1 (1971)
Written by: Burt Styler and Norman Lear
Often recognized as American television’s first openly gay character, Archie Bunker’s old friend Steve (Philip Carey) stands out for defying stereotypes. In this episode, Archie is convinced that Mike’s artistic photographer friend is, in his words, a “flamer.” Seeking solace at his local bar, Archie is shocked to discover that his deep-voiced, sports-loving, arm-wrestling drinking buddy is a well-adjusted gay man—something everyone but Archie already knew.
Where to stream: Freevee, Pluto
“Cousin Maude’s Visit,” All in the Family, Season 2 (1971)
Written by: Michael Ross, Bernie West, and Philip Mishkin
While not as revolutionary as some episodes, this second-season installment was daring in its own right. Known for addressing contentious topics, “Cousin Maude” showcased the show’s strength by introducing Bea Arthur as Edith’s fiercely liberal cousin, Archie’s ideal adversary. Earlier episodes pitted Archie’s boisterous, unmistakable politics against fate, logic, or quieter characters. Maude, however, was no easy opponent. From Richard Nixon’s presidency to the Civil Rights movement, the two clashed over the same issues dividing real families at the time. Viewed today, it may seem tame—but envision a modern sitcom where characters passionately debate topics like the January 6 investigation, and you’ll grasp how groundbreaking (and intense) this was. (Black-ish is perhaps the only recent show to approach this level of relevance.) In 1971, it catapulted Bea Arthur to stardom.
Where to stream: Freevee, Pluto
“Edith’s Problem,” All in the Family, Season 2 (1972)
Written by: Burt Styler
Even today, stigma surrounds discussions of women’s health, but the early 1970s were a different era entirely. Just two years later, First Lady Betty Ford would shock the nation by openly addressing her breast cancer diagnosis, a condition previously whispered about. In this episode, Edith’s experience with menopause is brought into the open—earning writer Burt Styler an Emmy for his efforts.
Where to stream: Freevee, Pluto
“Maude’s Dilemma,” Maude, Season 1 (1972)
Written by: Susan Harris
Even after 50 years, it’s hard to envision a mainstream sitcom tackling abortion as boldly as Maude did in its debut season. A spin-off of television’s top-rated show, Maude featured Bea Arthur as the titular character, a quick-witted liberal counterpoint to Archie Bunker’s staunch conservatism. In this two-part episode, penned by Golden Girls creator Susan Harris, Maude faces an unexpected pregnancy at 47. Set in 1972, a year before Roe v. Wade, abortion was legal in New York, and Maude’s emotional struggle with her decision is portrayed with authenticity. Supported by her husband Walter (Bill Macy) and daughter Carol (Adrienne Barbeau), she concludes that raising a child in her 50s isn’t feasible. Originally conceived as a story about vasectomies, producer Norman Lear took bold steps to shift the focus to reproductive rights, sparking significant controversy. Despite this, the show’s first season ranked #4 in TV ratings.
Where to stream: Tubi
“Archie is Branded,” All in the Family, Season 3 (1973)
Written by: Vincent Bogert
If there’s a recurring theme, it’s that these episodes remain strikingly relevant today—a testament to Lear and his writers, though it’s also a bit disheartening. In “Archie is Branded,” the focus is on anti-Semitism, with Archie becoming an unlikely victim. The episode starts with typical humor before taking a serious turn when the Bunkers find a swastika painted on their door, intended to intimidate a Jewish school board member. This incident pushes Archie to align with anti-Nazi activists, leading to a tense and violent climax.
Where to stream: Freevee, Pluto
“Walter’s Problem,” Maude Season 2 (1973)
Written by: Bob Schiller and Bob Weiskopf
Walter and Maude were always depicted as the life of the party, enjoying dinners, late nights, and plenty of drinks. However, the fun takes a dark turn when Maude realizes Walter’s drinking has become a problem. She notices the issue long before he does, and his denial leads to heated arguments, culminating in a shocking moment of abuse. This two-part episode offers a candid (for its time) exploration of alcoholism and its gradual impact, marking the beginning of Walter’s ongoing struggle with sobriety throughout the series.
Where to stream: Tubi
“Fred Sanford, Legal Eagle,” Sanford & Son, Season 3 (1974)
Written by: Gene Farmer and Paul Mooney
While Norman Lear had less involvement in Sanford & Son compared to his other shows, the series still managed to address important issues, albeit with a stronger focus on comedy. Red Foxx’s unparalleled comedic talent drove the show, but it occasionally tackled serious topics. In this episode, the spotlight is on the systemic challenges Black Americans face within the criminal justice system. Lamont (Demond Wilson) decides to contest a traffic ticket in court, only to have Fred (Red Foxx) step in as his unlikely defender. The episode balances humor with sharp commentary, particularly when Fred confronts the ticketing officer, asking, “What’s your problem with Black drivers?”—a moment underscored by the all-Black courtroom. “Why not arrest some white drivers?” he demands, highlighting the racial bias in policing.
Where to stream: Prime Video, Peacock, Pluto
“Michael Gets Suspended,” Good Times, Season 1 (1974)
Written by: Eric Monte
Michael (Ralph Carter) takes a stand against his teacher after being suspended for refusing to apologize. His offense? Telling his history class the truth about George Washington owning slaves—a statement that predates today’s CRT debates by decades. While Good Times often embraced humor, this episode showcased its ability to tackle serious issues. Michael uses his suspension as an opportunity to educate his family on overlooked aspects of Black history, topics absent from their school curriculum. The episode remains strikingly relevant, perhaps even more so today than in 1974.
Where to stream: Peacock, Freevee
“Maude’s New Friend,” Maude, Season 3 (1974)
Written by: Rod Parker
Norman Lear once revealed that Archie Bunker, played by Carroll O’Connor, was largely inspired by his own father, though not in a flattering way. Lear also didn’t shy away from mocking his own political views when appropriate, and Maude served as the perfect platform for such satire. In this episode, Maude befriends a well-known writer (portrayed by Robert Mandan of Soap fame), who happens to be gay. While he’s openly gay, he’s also arrogant and dismissive, treating everyone around Maude as beneath him. This cleverly highlights that gay individuals can be just as flawed as anyone else—an early nod to diverse representation. Unintentionally, Maude continues spending time with him primarily because of his sexuality, believing it reflects well on her progressive image. Her unconscious bias reveals how even well-meaning liberalism can mask subtle prejudice.
Where to stream: Tubi
“A Friend in Need,” The Jeffersons, Season 1 (1974)
Written by: Don Nicholl, Michael Ross, Bernie West, Barry Harman & Harve Brosten
The debut episode of The Jeffersons was groundbreaking, launching one of the most beloved sitcoms of its time, centered on a successful Black family. The pilot, which was later recreated for Jimmy Kimmel’s Live in Front of a Studio Audience specials, introduced key elements that made the show a hit. Among them were Tom and Helen (Franklin Cover and Roxie Roker), one of television’s first interracial couples, who became recurring characters and broke new ground in representation.
Where to stream: Prime Video, Tubi, Pluto
“The Family Gun,” Good Times, Season 3 (1975)
Written by: Hubert Geiger, Roger Shulman, John Baskin, and Hubert Geiger
While several Norman Lear-associated shows addressed gun violence, Good Times offered a unique perspective as it centered on a Black family living in a low-income neighborhood where crime was a daily reality. In “The Family Gun,” James (John Amos) buys a gun for protection, despite Florida’s (Esther Rolle) objections. When their daughter Thelma (Bern Nadette Stanis) is mugged, James feels justified—until the gun goes missing. The episode delves into enduring issues like crime, over-policing, and the risks of firearms in homes with children.
Where to stream: Peacock, Freevee
“Once a Friend,” The Jeffersons, Season 4 (1977)
Written by: Michael S. Baser & Kim Weiskopf
This groundbreaking fourth-season episode of The Jeffersons introduces one of the first transgender characters on American TV, portrayed with a level of sensitivity rare for its time. George’s old friend from the Korean War, Edie, visits after transitioning, played by Veronica Redd, a cisgender actress—a casting choice that, while not ideal by today’s standards, was progressive for the era. Edie’s heartfelt explanation to George, “Everything about me was a woman, except for the way I looked,” resonates deeply. Though George initially struggles, he and Weezie come to accept Edie for who she truly is, marking a significant step forward in TV representation.
Where to stream: Prime Video, Tubi, Pluto
“Cousin Liz,” All in the Family, Season 8 (1977)
Written by: Barry Harman and Harve Brosten; Bob Weiskopf and Bob Schiller
In this Emmy-winning episode, Archie and Edith face a moral dilemma when Edith’s cousin Liz passes away. Archie hopes for an inheritance, only to discover Liz was gay, and her partner Veronica (K Callan) requests the silver tea set they shared daily. Archie’s initial outrage leads him to threaten exposing Veronica, a teacher, which would jeopardize her career. Edith, however, stands firm against Archie’s cruelty, showcasing her growth as a character. Airing during a wave of anti-gay legislation, the episode is credited with influencing public opinion positively on LGBTQ+ issues.
Where to stream: Freevee, Pluto
“Edith’s 50th Birthday,” All in the Family, Season 8 (1977)
Written by: Bob Weiskopf and Bob Schiller
In a groundbreaking and harrowing two-part episode, “Edith’s 50th Birthday” tackles the difficult subject of rape, a first for sitcoms. While her family plans a surprise party next door, Edith fends off an attacker disguised as a police officer. The episode’s power lies in its portrayal of the aftermath, as Edith grapples with trauma and depression. The writers collaborated with rape crisis experts to ensure her emotional journey felt genuine and impactful. This isn’t the show’s first exploration of sexual violence—earlier episodes addressed Gloria’s assault and Edith’s teenage experience—but it remains one of the most poignant and realistic depictions.
Where to stream: Freevee, Pluto
“Two’s a Crowd,” All in the Family, Season 8 (1978)
Written by: Phil Sharp
In this standout episode from All in the Family’s eighth season, Mike and Archie find themselves locked in the bar’s storeroom. While the setup is classic sitcom fare, the episode delves into deeper territory as Archie confesses to Mike that his racist views stem from his own father’s harsh upbringing. With the poignant line, “How can any man who loves you tell you anything that’s wrong?” Archie reflects on the generational cycles of prejudice and abuse. It’s a beautifully written moment that resonates with the struggles many families face.
Where to stream: Freevee, Pluto
