RIP: Norman Lear, TV Legend, Dies at 101.
Lear’s publicist confirmed to Variety that he died at his home in Los Angeles of natural causes. A private service for immediate family will be held in the coming days.
“Thank you for the moving outpouring of love and support in honor of our wonderful husband, father, and grandfather,” Lear’s family said in a statement. “Norman lived a life of creativity, tenacity, and empathy. He deeply loved our country and spent a lifetime helping to preserve its founding ideals of justice and equality for all. Knowing and loving him has been the greatest of gifts. We ask for your understanding as we mourn privately in celebration of this remarkable human being.”
Lear had already established himself as a top comedy writer and captured a 1968 Oscar nomination for his screenplay for “Divorce American Style” when he concocted the idea for a new sitcom, based on a popular British show, about a conservative, outspokenly bigoted working-class man and his fractious Queens family. “All in the Family” became an immediate hit, seemingly with viewers of all political persuasions.
Lear’s shows were the first to address the serious political, cultural and social flashpoints of the day – racism, abortion, homosexuality, the Vietnam war — by working pointed new wrinkles into the standard domestic comedy formula. No subject was taboo: Two 1977 episodes of “All in the Family” revolved around the attempted rape of lead character Archie Bunker’s wife Edith.
Lear made one major miscalculation with All in the Family. By the early 1970s, most conservative-leaning characters on TV had been tossed into the dustbin of history by Lear’s fellow McGovern-supporting Democrats in Hollywood, due to efforts such as CBS’s then-recent “Great Rural Purge.” Because of these efforts, with Archie emerging as the last major character standing on the right, Nixon-era “Silent Majority” audiences loved him, despite his myriad foibles. Since then, as Rob Long wrote in Commentary in June of 2020, every generation of TV producers and audiences accidentally stumble upon the same phenomenon: How Right-Wing Characters Become Sitcom Sensations:
In the early 1970’s, All in the Family captured the tumultuous controversies of its time. The show’s main character, Archie Bunker, was a reactionary bigot always mixing it up with his progressive, liberal son-in-law, Meathead. The show was designed by the producer Norman Lear to be a form of left-wing agitprop that would expound on the virtues of the younger, modern, and open-minded generation while exposing and mocking the petty small-minded prejudices of Archie. He would rail weekly against the changing American culture using scandalously edgy language that today is utterly unthinkable. Archie Bunker was supposed to be the butt of the joke, the dinosaur heading to extinction, a symbol of everything that was wrong with America in 1970.
The fans, though, refused to see it that way.
Archie Bunker caught fire with audiences. He became a national sensation, his catchphrases on T-shirts and lunch boxes and used in Johnny Carson monologues. The progressive writers and creators of the show may have thought Archie was the bad guy, but the audience saw a hard-working veteran who paid the bills and put food on the table—Archie held down two jobs!—all the while being forced to listen to his ultra-lefty layabout jobless graduate-student son-in-law tell him what a terrible person he was, often with his mouth full of a pork chop Archie had paid for. If Archie occasionally refers to Jews, African Americans, and homosexuals with hateful slurs, well, hey, the guy pays the mortgage. He’s earned the right to rant a little.
It helped that Archie was, by far, the most hilarious character on television at the time. Comedy writers, even really really liberal ones, naturally want to write for the character who brings the most heat to the screen. The more talented the writer, in fact, the more likely it is that he will sell out his principles for a really solid laugh. Still, it must have rankled Lear and his team to see Archie embraced by the audience, to realize that the character wasn’t theirs anymore—that the fans preferred their own version.
Had Google existed back then, and had you Googled “insane theory about All in the Family,” you’d probably be directed to something like this: “All in the Family is a show about a guy who dreams of being an empty-nester with his devoted wife but who instead is forced to support his married daughter and her lazy, super-woke husband. To get them to move into a place of their own, he does everything he can to drive them away, including loudly emitting a fusillade of reactionary notions. But the kids, especially his worthless son-in-law, are too lazy to move.”
Hollywood liberals keep making the same mistake. They try to create a right-wing villain and end up writing an audience favorite. When Gary David Goldberg created Family Ties, the story goes that he pitched it to NBC as a show about parents from the ’60s generation raising a family in the Reagan ’80s and trying to instill the progressive values of their youth in the kids of today.
And again in 2009, with Parks and Recreation’s Ron Swanson. Lear managed to revitalize Hollywood, in spite of himself.
At least until the SJWs and #metoo crowd decided it was time for plenty of leftist autophagy, starting almost a decade ago, perhaps because these days, there’s no need to imagine Archie Bunker’s fever-swamp anti-Semitism, when it’s being piped out of the establishment left’s academic citadel – and into Hollywood – on a daily basis.
