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Archie Bunker, George Jefferson, Maude--the television sitcom world of the 1970s was peopled by the creations of Norman Lear. Beginning in 1971 with the premier of All in the Family, Lear's work gave sitcoms a new face and a new style. No longer were families perfect and lives in order. Mostly blue-collar workers and their families, Lear's characters argued, struggled, uttered sometimes shocking opinions and had no problem contributing to--or at least, acknowledging--the turmoil so shunned by 1960s television. Significantly, not only did Lear address difficult issues, but he did so through successful programming. Week after week, Americans tuned in to see the family adventures of the Bunkers, the Jeffersons, and Sanford and Son. With a thorough analysis of his sitcoms, this volume explores Norman Lear's memorable production career during the 1970s. It emphasizes how Lear's shows reflected the political and cultural milieu, and how they addressed societal issues including racism, child abuse and gun control. The casting, production and behind-the-screen difficulties of All in the Family, Sanford & Son, Maude, Good Times, The Jeffersons and One Day at a Time are discussed. Each show is examined from inception through series finale. Interviews with some of the actors and actresses such as Rue McClanahan of Maude and Marla Gibbs from The Jeffersons are included.
The legendary creator of iconic television programs All in the Family, Sanford and Son, Maude, Good Times, The Jeffersons, and Mary Hartman, Mary Hartman, Norman Lear remade our television culture, while leading a life of unparalleled political, civic, and social involvement. Sharing the wealth of Lear's ninety years, this is a memoir as touching and remarkable as the life he has led.
Archie Bunker, George Jefferson, Maude--the television sitcom world of the 1970s was peopled by the creations of Norman Lear. Beginning in 1971 with the premier of All in the Family, Lear's work gave sitcoms a new face and a new style. No longer were families perfect and lives in order. Mostly blue-collar workers and their families, Lear's characters argued, struggled, uttered sometimes shocking opinions and had no problem contributing to--or at least, acknowledging--the turmoil so shunned by 1960s television. Significantly, not only did Lear address difficult issues, but he did so through successful programming. Week after week, Americans tuned in to see the family adventures of the Bunkers, the Jeffersons, and Sanford and Son. With a thorough analysis of his sitcoms, this volume explores Norman Lear's memorable production career during the 1970s. It emphasizes how Lear's shows reflected the political and cultural milieu, and how they addressed societal issues including racism, child abuse and gun control. The casting, production and behind-the-screen difficulties of All in the Family, Sanford & Son, Maude, Good Times, The Jeffersons and One Day at a Time are discussed. Each show is examined from inception through series finale. Interviews with some of the actors and actresses such as Rue McClanahan of Maude and Marla Gibbs from The Jeffersons are included.
Behind every great television show is a group of professionals working at the top of their games—but no one is more important than the writers. And while writing comedy, especially good comedy, is serious business—fraught with actor egos, demanding producers, and sleepless nights—it also can result in classic lines of dialogue. Sitcom Writers Talk Shop: Behind the Scenes with Carl Reiner, Norman Lear, and Other Geniuses of TV Comedy is a collection of conversations with the writers responsible for some of the most memorable shows in television comedy. The men and women interviewed here include series creators, show runners, and staff writers whose talent and hard work have generated literally millions of laughs. In addition to Reiner (The Dick Van Dyke Show) and Lear (All in the Family), this book features in-depth interviews with: James L. Brooks (The Mary Tyler Moore Show, The Simpsons) Al Jean (The Simpsons, The Critic) Leonard Stern (The Honeymooners, Get Smart) Treva Silverman (The Mary Tyler Moore Show) Ken Estin (Cheers) Matt Williams (Roseanne, Home Improvement) Dava Savel (Ellen) Larry Charles (Seinfeld) David Lee (Frasier) Phil Rosenthal (Everybody Loves Raymond) Mike Reiss (The Simpsons) From these conversations, readers will learn that the business of writing funny has never been all laughs. Writers discuss the creative process, how they get unstuck, the backstories of iconic episodes, and how they cope with ridiculous censors, outrageous actors, and their own demons and fears. Sitcom Writers Talk Shop will appeal to fans of all of these shows and may serve as inspiration to anyone considering a life in comedy.
THE STORY: The scene is the lobby of a rundown hotel so seedy that it has lost the e from its marquee. As the action unfolds, the residents, ranging from young to old, from the defiant to the resigned, meet and talk and interact with each other during t
For decades now, Americans have believed that their country is deeply divided by “culture wars” waged between religious conservatives and secular liberals. In most instances, Protestant conservatives have been cast as the instigators of such warfare, while religious liberals have been largely ignored. In this book, L. Benjamin Rolsky examines the ways in which American liberalism has helped shape cultural conflict since the 1970s through the story of how television writer and producer Norman Lear galvanized the religious left into action. The creator of comedies such as All in the Family and Maude, Lear was spurred to found the liberal advocacy group People for the American Way in response to the rise of the religious right. Rolsky offers engaged readings of Lear’s iconic sitcoms and published writings, considering them as an expression of what he calls the spiritual politics of the religious left. He shows how prime-time television became a focus of political dispute and demonstrates how Lear’s emergence as an interfaith activist catalyzed ecumenical Protestants, Catholics, and Jews who were determined to push back against conservatism’s ascent. Rolsky concludes that Lear’s political involvement exemplified religious liberals’ commitment to engaging politics on explicitly moral grounds in defense of what they saw as the public interest. An interdisciplinary analysis of the definitive cultural clashes of our fractious times, The Rise and Fall of the Religious Left foregrounds the foundational roles played by popular culture, television, and media in America’s religious history.
All in the Family creator Norman Lear takes fans behind the scenes of the groundbreaking sitcom on the occasion of its 50th anniversary. The face of television was changed forever in 1971 with the premiere of All in the Family. The working-class Bunker family of Queens, New York—lovable bigot Archie (Carroll O'Connor), his long-suffering “dingbat” wife Edith (Jean Stapleton), their liberal daughter Gloria (Sally Struthers), and son-in-law Mike "Meathead" Stivic (Rob Reiner)—instantly became, and half a century later still are, four of the most iconic characters in television. In All in the Family: The Show that Changed Television, Norman Lear shares his take on fifty essential episodes that exemplify why the show remains as funny and relevant as ever. Its boundary-pushing approach to hot-button topics is examined with commentary from co-stars O’ Connor, Stapleton, Reiner, and Struthers, as well as writers, directors, and guest stars from the show. With previously unseen notes from Lear, script pages, production designs, and a foreword by super-fan Jimmy Kimmel, this book is the ultimate companion to the seminal series and a must for fans of Lear’s shows and television comedy. “Norman Lear,” said New Yorker critic Michael Arlen, “has a feel for what people want to see before they know they want to see it.” All in the Family, like all of the Lear shows that followed, was a turning point in television’s handling of taboo subjects such as race relations, feminism, homosexuality, war, religion, gun control, social inequity, and other controversial subjects, all of which remain in the news today.
In this “dazzling” (John Irving) memoir, acclaimed New Yorker staff writer Tad Friend reflects on the pressures of middle age, exploring his relationship with his dying father as he raises two children of his own. “How often does a memoir build to a stomach-churning, I-can’t-breathe climax in its final pages? . . . Brilliant, intensely moving.”—William Finnegan, Pulitzer Prize–winning author of Barbarian Days ONE OF THE BEST BOOKS OF THE YEAR: The New Yorker Almost everyone yearns to know their parents more thoroughly before they die, to solve some of those lifelong mysteries. Maybe, just maybe, those answers will help you live your own life. But life doesn’t stop to wait. In his fifties, New Yorker writer Tad Friend is grappling with being a husband and a father as he tries to grasp who he is as a son. Torn between two families, he careens between two stages in life. On some days he feels vigorous, on the brink of greatness when he plays tournament squash. On others, he feels distinctly weary, troubled by his distance from millennial sensibilities or by his own face in the mirror, by a grimace that’s so like his father’s. His father, an erudite historian and the former president of Swarthmore College, has long been gregarious and charming with strangers yet cerebral with his children. Tad writes that “trying to reach him always felt like ice fishing.” Yet now Tad’s father, known to his family as Day, seems concerned chiefly with the flavor of ice cream in his bowl and, when pushed, interested only in reconsidering his view of Franklin Roosevelt. Then Tad finds his father’s journal, a trove of passionate confessions that reveals a man entirely different from the exasperatingly logical father Day was so determined to be. It turns out that Tad has been self-destructing in the same way Day has—a secret each has kept from everyone, even themselves. These discoveries make Tad reconsider his own role, as a father, as a husband, and as a son. But is it too late for both of them? Witty, searching, and profound, In the Early Times is an enduring meditation on the shifting tides of memory and the unsteady pillars on which every family rests.
Television today is better than ever. From The Sopranos to Breaking Bad, Sex and the City to Girls, and Modern Family to Louie, never has so much quality programming dominated our screens. Exploring how we got here, acclaimed TV critic David Bianculli traces the evolution of the classic TV genres, among them the sitcom, the crime show, the miniseries, the soap opera, the Western, the animated series, the medical drama, and the variety show. In each genre he selects five key examples of the form to illustrate its continuities and its dramatic departures. Drawing on exclusive and in-depth interviews with many of the most famed auteurs in television history, Bianculli shows how the medium has evolved into the premier form of visual narrative art. Includes interviews with: MEL BROOKS, MATT GROENING, DAVID CHASE, KEVIN SPACEY, AMY SCHUMER, VINCE GILLIGAN, AARON SORKIN, MATTHEW WEINER, JUDD APATOW, LOUIS C.K., DAVID MILCH, DAVID E. KELLEY, JAMES L. BROOKS, LARRY DAVID, KEN BURNS, LARRY WILMORE, AND MANY, MANY MORE
In this exceptional cultural history, Atlantic Senior Editor Ronald Brownstein—“one of America's best political journalists (The Economist)—tells the kaleidoscopic story of one monumental year that marked the city of Los Angeles’ creative peak, a glittering moment when popular culture was ahead of politics in predicting what America would become. Los Angeles in 1974 exerted more influence over popular culture than any other city in America. Los Angeles that year, in fact, dominated popular culture more than it ever had before, or would again. Working in film, recording, and television studios around Sunset Boulevard, living in Brentwood and Beverly Hills or amid the flickering lights of the Hollywood Hills, a cluster of transformative talents produced an explosion in popular culture which reflected the demographic, social, and cultural realities of a changing America. At a time when Richard Nixon won two presidential elections with a message of backlash against the social changes unleashed by the sixties, popular culture was ahead of politics in predicting what America would become. The early 1970s in Los Angeles was the time and the place where conservatives definitively lost the battle to control popular culture. Rock Me on the Water traces the confluence of movies, music, television, and politics in Los Angeles month by month through that transformative, magical year. Ronald Brownstein reveals how 1974 represented a confrontation between a massive younger generation intent on change, and a political order rooted in the status quo. Today, we are again witnessing a generational cultural divide. Brownstein shows how the voices resistant to change may win the political battle for a time, but they cannot hold back the future.