kramer: take one! jerrrry: no! krkramer stop p it! jajason alexanander: and boom, ththere you gogo, a situtuation comemedy. sheldodon: bazingaga! tim allelen: this twtwenty -t-three minututes of magic. lucycy: it's soo tasty, too! tracy morgan: you fell in love with these characters. arnold: whwhat chu' talkin' ' about willllis? geri jewell: we need to laugh at ourselves. joey: yoyou hide my y clothe, i'm wearining everything you ow. constance e wu: lalaughter o opens you u u. haley:y: okay ready? sururpri! [screamingng and chaosos] mara b brock akil:l: the thinings that wewe might bee afraid to o talk aboutut. bobow: some pepeople thatt were supposed to protectct us d didn't do the right t thing. tim reid: like racism. son: so ththe cops are the babad guys? dre: yeses. bow: n no. kim m fields: clclass wars ralplph: money!! i'm a a millionairire. dadan levy: anand gender diverersity... sarah:h: dad? mamaura: hi girls.s. ted dansnson: you cacan reach id rereally touchch people's s he. diannene: i hate y you sasam: are youou as tuturned on asas i am? dianne: : more! raininn wilson: : whether it's a a family liliving undeder the sameme roof... jj: dyno-mite! james: now that's the kind of talk i like to hear. rainn wilson: ...or gathered together in a workplace. jack: jennnna, that'ss a glueue stick. jennnna: mmm? rainn wilslson: all ththe gret sitcoms s are about family. debra: so o wonderfuful! kelsey grammar: it's one of the great, great accomplishments of the modern age. [o[opening] michaeael: what hahave we a always saidid was the momost importrtant thing?g? george:: breakfkfast...? michaeael: familyly. george: family, right.t... dadan levy: fafamily is key to t the sitcom. dre: mamama!! rarandall parkrk: it's somomeg that we alall can rerelate t. dre anand mom: shake shakake shake! tracy momorgan: you'u're in the peopople's homes for y years. you'u're a partt of thehe family. eddie:e: one good d thing about moviving here is i hahave no frieiends, anand no distrtractions. that's why i i got a... . gran, what doeoes fonzi sasay? grgrandma: ayyy! jesse e tyler fergrguson: ththe family s sitcom brbris people togogether in a a reallyly unexpecteted way jane leeveves: there's's so manyny differentnt dynamics at worork in famililies. frfrasier: i w want you here, it w will giveve us a chance to o get re -acquainteted! martrtin: that i implies wee were a acquainted d at one poi. jajane leeves:s: there's a lot ofof pain, therere's a lott of lauaughter; you sort o of recognizize yourur dynamic i in there. and you u go, well, , their fafamily is jujust as crazazy a. claire: : i don't rereally cae who kikissed who a and who's t a a pimple on n their heada, and d who's weararing an ououtrageouslyly inapprpropriate drdress... we are goioing to get t togetr and act t like a norormal famy for one e tenth of a a freakingng second, and we'r're going toto do it riright now! come on n lets go! dan n levy: it's's amazing toto sort of t track the h histf the familyly sitcom bebecause you can sesee so much h about culture throughout the years,, now lolooking backck. ♪ jason alexander: and you know, it was really i love lucy that k kind of kicked it t all off. lucy: firsrst operating this evening... stop that now and go back and sit down!! linda lavin: it was a show about a ditzy woman who wawanted to bebe in showow business.s... man: have e you ever consididered acting? everyone: has she ever considered acting? linda lavin: ...and her husband, who is latin and a musician... desisi: honey, y you know how i feel about this. i don't want my wife in show business. lucy: why not? marisa guthrie: lucille ball was always trying to emancipate hersrself from t the wife and the hohomemaker rorole. bob saget: and every time she gets the opportunity, somethining goes awrwry. jaleel white: lucille ball was fearless in her physical comedy. you know, women were supposed to be demure anand dainty a and in theheir place.. tim allen: lucille ball was one of my favorites for titiming her b bits. desi: what do you think you're doing? well? jennifer armstrong: i love lucy became a phenomenon instantly. lorrainene ali: whwhen you thk about the era that lucille ball came up in, and what she was able to achieve it's astounding. dedesi: hey! i i'm a fafather, i'm m a father! tom gilbert: when lucy and ricky had a baby, it was like huge. it was the highest-rated show of the series. it changed the dynamic because all of a sudden it became centered around the family unit. i think i love lucy was the big bang of the family sitcom. marisa guthrie: then the family moved to the suburbs... lucy: gee isn't this exciting. we are in our very own home. marisa guthrie: and that mirrored what was happening in america a at the timime. patrick gomez: advertisers wanted to cater towards that new suburban family that needed to buy that kitchchen applianance or needed to o buy that v vacuu. jacqueliline coley:: and afafter i loveve lucy, there was s a formulaa for whwhat the amemerican famy should l look like.. cybill shepherd: ozzie and harriet... announcer: the adventures of ozzie and harriet. cybill shepherd: i just loved everybody in it, actually. david:d: hurry up,p, bring it t. i'm starved! candice bergen: it was a happy, gentle american family of the 1950s. ozzizie: how mucuch do you need? david: never mind pop, that's okay. ozzie: no don't worry about it, you can pay me back. david: honest pop, i don't want it. ricky: what's the matter with you david, you got rocks in your head? linda lavin: the kids were very polite. everybody was very nice to each other. those e were not real peoeople, but ththey entertatained anand delighteted us. jijim: alrightht kids, dininns onon, we're e sitting down. jennifer armstrong: when you get to father knows best, it's very patriarchal, dealing with tiny little problems. jim: ah.h... a quietet eveningt homeme. i could d use it. [slam] billy gray: and i played bud. bud d usually had a problem with the truth telling, on s some level.l. jim: w what was alall thatat racket upstairs? bud: i didn't hear anything. billy gray: father knows best represented the good life; the amamerican dreream. jim:m: i'll readad you one story, t then off toto bed you. bob: and then leave it to beaver enters the sitcom realm in 1957. wally: what's that? beaver: a haircut i think. tony dow: the real key to leave it to beaver is ththat it's wrwritten fromoa chilild's point t of view. walllly: why dididn't you let stanley cut your hair? beaver: i losted my money. jerry mathers: you have the character of beaver and you have wally his older brother who usually does things right, beaver's always the one that gets inin trouble. june: [gasps] marisa guthrie: and there were the parents to teach them, to show them the right path. ward: we w want you toto feel t you cacan come to o me or to yr mother with any problem and we'll understand. patrick gomez: in the 1950s, sitcoms were really giving us an idealilistic versision of a america. jacqueueline coleyey: but asas we get ininto the 60s0, we'll l see differerent typepes of familily sitcoms. steven: i'm sure i'll be able to handle a little washing and to cook an occasional meal. ♪ sam: i'm'm a bad d mommy. mamax: no, you'r're a didisaster momom. sam: you'r're a big f------ - c--- yourur sister's s an a------, and d your otherer sister's s . (off camera):: aww, thahanks mom! pamela adldlon: betterer thins is aboutut a single e mom whos raraising her r three daughters s on her ownwn. mamax: you're e my mom, i i t yoyou to knonow if i have sexr i wawant to get t high. pamelala adlon: itit's didirty, it's s funny. sam:m: no! hide e things frfrom me pleaease! ememily vandererwerff: betetters is a f fascinatingng examplelf the ways t that the fafamily sim has adadapted to t the 21st cec. frankie:e: mom, where's ththe broom? sam:m: what are e you beining, a witchch? frankie:e: no, i'm g going to a uselesess housewifife from theh. sam: i i love thatat! dan levyvy: throughohout the years, the boundararies have been pushehed back andnd the wawalls have c come down. if y you look baback to the e, ththere was a a lot of cononfin what family looked like and what was acceptable and d what wasn'n't. steven: hi chipper. robbie: hi squirt. chip: hi cats. barry livingston: my three sons was the first show that deviated from the perfect pleasantville nuclear family.. ernie:e: you gonnana blow up e stove e again mr. . douglas? steve: no ernie, i don't think i'll make that same mistake again. [laughs] [small expolsion] barry livingston: it was a show about a single dad. he was a widower with three boys, trying to raise them in an all-male household. chip: you dry. barry livingston: everyone had to do something. everyone had to pitch in. we did dishes, you know, we were darning socks. these are things that t you nevr saw inin the ozzieie and harrt show or donna reid or leave it to beaver.. [phohone rings]] mike: hey that's mine, i've got it! bob saget: when you watch a show that's based on losing someone... ststeven: comeme on, look k o. yoyou're goingng to tear i . bob saget: that adds a deep-rooted truth to the hardness of life. and then it gives s comedy even morore of a reason to go o as crazy a as you wawant to go.. uncle e charlie: i i think that shirt's done. robbie: oh my gosh my shirt! steven: well, robbie you'll just have to wear your pants higher. papatrick gomemez: in the e , yoyou see the e sitcom movovey from telelling storiries that e solelyly focussed d on the nucu, suburban f family. jim colucci: d divorce hadad bee more prevavalent in ththe 60, it hadad become momore part of normal l american l life, but it t took a whilile for t to be reflected in sitcocoms. ♪ the bradady brunch.. the brady brunch. ♪ ♪ that's the way we all became ... ♪ christopher knight: the brady bunch is the story of two s separate fafamilies being glueued togetherer. lloyoyd schwartztz: a maman with thrhree boys, a woman with three girls. the man was going to be a widower. the woman, divorced, but divorce was a taboo topic on television. so t they said, , let's just leave e it so you u don't kno. [yellingng] mike: what's all the yelling about, huh? bobby: she stole our ball. marcia: i'm just trying to find out what they did with my school awards. lloyd schwartz: the brady bunch was an evolution from like leave e it to beavaver, it wasan from the k kid's pointnt of vi. cicindy: will l you lend me your r skate key?y? bobby: i'm not lending you anything to a snitcher. eve plumb: it was all about what children are having problems with.h. their apappearance, , or ther schoolwowork or theieir frien. peteter brady: p pete brbrady intercepts and goes for the shot... eve plumb: oh you broke the vase, it was those kininds of everyday p problems. cindy: m marcia. i'm'm proud o be youour sister n no matter how terrible you look. marcia: thanks a lot! andy greene: this is airing in the nixon era, when vietnam is raging and people are losing faith in government. lloyd schwartz: all these things were happening and the brady buncnch was s kind of a a refuge. mamalcom jamalal warner: w watg the brady bunch and having all ththese brothehers and sisistet was a great getawaway for me.. michchael schneieider: the b y buncnch was a huhuge succecess c that l led to the e partridge ey whwhich reallyly attracteded a , hungry audience. shirley: hey kids, hollywood boulevard! danny bonaduce: we were a musical family that would travel aroround dodoing shows.s... keith: (singing) oh girl, you make my day. helen hunt: i was for sure going to marry david cassidy. thatat was defininitely going to hapappen. patrick gomez: the partridge family is trying to embrace this like hippie cool culture. danny: what did you hit mom? shirley: i think it was a studebaker. man: you crazy hippies, it's not enough you don't trust anyone over 30. now you're trying to wipe us out! laura morowitz: but it takes this phenomenon of the counterculture and makes itit very safefe. danny:y: now relax mum.... but just remember our whole future depends on these next few minutes. shirley: ahhh. barry livingston: it was an escape from the real world for a lot of people. news anchor: in new york, a student protest is met by construction workers and at kent state in ohio, 4 students are killed. ethan alter: but some people didn't want to hide from w what was happenining. drew cararey: peoplele were like, no, , we want toto hear about all l this stuffff and w it's affffecting ourur famili. ththat's when n shows likee all inin the familily came o. ethahan alter: n norman learar t the beginnnning of hisis careerd was lookining to find d a show t he c could realllly make hisin anand he was t turned on t ta brbritish series calalled 'til d death do usus part'. norman lear: it wass about t a bigoted father and d i was saidid holy m moly. thatat was the w way i greww up, anand i knew i had a show. crew: aiair pilot. take one. ethan alter: they shot the pilot at abc. it featured d carroll o'o'conr and jean s stapleton as archie and edith bunker. actor 1: we just don't see any evidence, of god... alright? actress 1: that's right daddy. archie: i know we had a couple of pinkos in the house but i didn't know we had a pair of atheists. ethan alter: it was not well received by abc. they watched it and felt the chemistry wasn't there between n the parentnts and d the kids.. norman leaear: and thehen askeked me to make it agagain with twowo different young people. actor 2: we just don't see any evidence, of god, that's all. actress 2: that's right daddy. archie: i know we had a couple of pinkos in this house but i didn't know we had a pair of atheists. emily vanderwerff: the network freaks out about whether people will be able to watch this show that has like real issues. norman lear: everybody is nervous and therere are people sayaying theyey're gonna a kill you.. they'r're going to s shoot you dead in n the streetets. i'm free to grow. i'm free to learn. i'm free to make the next big thing. contra costa college is free for full-time students, which makes you free to explore all the incredible opportunities unleashed by higher learning. start your future and apply today at contracosta.edu/free the power goes out, and we still have wifi to do our homework. and that's a good thing? great in my book. who are you? no power? no problem. introducing storm-ready wifi. now you can stay reliably connected through power outages with unlimited cellular data and up to 4 hours of battery back-up. plus, now through december 31st, eligible xfinity rewards members can get 25% off a storm ready wifi device. ♪ herbie j pilato: in 1970, cbs is trying to change their landndscape. they hadad all thesese rural l family sititcoms; they were looking for more sophisticated sitcoms. patrick gogomez: afterer abc dedeclined to o move forwawardh the all in the family pilot, norman leaear made thehe decision to o move the show ovever to cbs.. sally struthers: they said yes but you need a new set of kids. so r rob reiner r and i were the ththird set ofof children for ararchie and edith bubunker. norman lear: so, i made the pilot for the third time. same s script. i w wouldn't change a a word. archieie: so let's's hear it again, , huh? what did you mean by what god? michael: we just don't see any evidence of god, that's all. gloria: that's right daddy. archie: that's right daddy? well i knew we had a couple of pinkos in this house... but i didn't know we had atheists! john lithgow: i do remember seeing the opening episode and rerealizing, m my god, te groundnd is shakining under m. michaeael: now, i'i'm going to tell you something. gloria: michael... michael: no no, wait a second... sally struthers: and we reach ovever each othther atat the tablele and we have argrguments...... mimichael: bececause guys s e yoyou are unwiwilling to g give black man, the mexican american and all the other minorities their just and rightful hard earned share of the american dream. sally struthers: that didn't happen before. we got real. bambmbi haggins:s: political strifefe. interperersonal issu. generationon gaps. and d they're dedealing with it alall in the f famil. michchael: now i i suppose y ye going toto tell me that the black man has had the same opportunity in this country as you? archie: more. he's had more. i didn't have no million people out there marching and protesting to get me my job. edith: no, his uncle got it for him. john lithgow: archie bunker was saying things that you just don't say on television. michael: just because a guy is sensitive and he's an intellectutual and he wears g glasses, yoyou make himim out a a queer. archieie: i never r said a gy who wearars glasses s is a quee. a guy who o wears glglasses is a a four eyese, a a guy who's s a fag isis a queer.. tim allen:n: you'll wawatch tt show andnd even end up looking around like you're gonna be arrested. john lithgow: it was jaw dropping. itit was funnyny, but it was veryry challengiging, anand you realized norman learar is takingng us into a a whole neww realm ofof comedy. norman l lear: the b blowback from thehe public wawas burid byby the excititement and the applause. bob leszczak: the show was number one for a long time. ethan alter: it changed cbcbs and d their branand as a netet. as a resesult of all in thehe family, they t turned to norman leararo creaeate more shshows in thahat. archie: ththere's a personon at the door. maude! adrienne barbeau: bea arthur played maude as edith's cousin onn all inin the familily. maude: maudie is here. jim colucci: and she could take on archie head to head. maude: now you can e either come to the table and eat, or you can lie there and feed off your own fat. jim colucci: the story goes that by the time that episode had aired, fred d silverman,, who was s in charge e of cbs at thehe time, hadad called norman l lear and sasaid, get ththat woman her own n show. ♪ anand then thehere's maude..... ♪ ♪ and then there's maude! ♪ ♪ that uncompromisin', enterprisin', ♪ ♪ anything but tranquilizin', ♪ ♪ right on maude! ♪ adriennene barbeau: : it was t your all-american family. carol:l: you're gegetting sesenile in yoyour old ageg. maude: thank you darling. i only hope i live long enough to become a burden to you. adrienne barbeau: maude is an indepependent strorong woman w who speaksks her mind.d. she was mamarried to her fourth husband, walterer, played by bill l macy. maude: i i don't havave time to fix y you your breakfast! here, have some cold knackwurst. eric mccormick: i loved their combative relationship. i still toto this day y if somey pisseses me off i'i'll say, "g"god'll get t you fofor that walalter." maude: god'll get you for that walter. patrick gomez: maude was really the first time that we saw such a fiercelyly independedent won who wasnsn't afraid d to spek her mindnd at the cecenter ofof a family y sitcom. normanan lear: mauaude had a maid flolorida who was a a great chararacter. henry: i'm henry evans ... norman lear: her husband made an appearance. henry: i am proud of you florida ...its just i don't want you to be a maid no more. florida: your mother was a maid. that's how your brothers got through school and you got to be a fireman. norman lear: when john amos and esther rolle finished their scene, we thought, let's fill out that family. ♪ good times! ♪ ♪ good times! jay moriarty: that's the first time you ever saw a black family on television. jj: look who finally got back from her honeymoon in the bathroom mirror. thelma: knock it off jj. your mouth is always ahead of your think piece. lorida: let's face it james, this family ain't ozzie and harriet. jimmie walker: we were very different than other sitcom families from the point that we were urban. trying to survive on the south side of chicago wiwith a dad that has spotty job situations. james:s: it's a cocold world out there, and we can't