10 ’70s TV Shows That Would Spark Outrage If They Aired Today!

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Television doesn’t merely mirror the times during which it was created; instead, it encapsulates them. Each laughter track, twist in the plot, and character stereotype serves as a time capsule, influenced by the societal norms, fears, and aspirations of its era. What may have appeared as light-hearted amusement can, over time, transform into something more intricate, something that doesn’t sit comfortably with contemporary cultural sensibilities. However, this does not necessarily imply that these shows were intentionally malicious. It simply suggests that culture evolves, and television—whether it intends to or not—advances along with it.

As a movie enthusiast, I must say that some classic TV shows from the 70s are no longer the same as they once were. They’ve evolved into subjects of debate or, at the very least, raised eyebrows, moving away from their initial charm and broad humor.

These shows aren’t necessarily the most controversial or inappropriate from that era, nor are they beyond redemption – but they do serve as a stark reminder of how much our societal norms have shifted. What was once perceived as innocent fun might now seem outdated, or even uncomfortable to watch. Be it the gender dynamics in “Three’s Company,” the racial stereotypes in “Welcome Back, Kotter,” or the Confederate symbols in “The Dukes of Hazzard,” these shows underscore just how much our collective perspective on representation, humor, and power dynamics has evolved over time.

As a movie enthusiast, I’ve come to realize that it’s not about passing judgment—it’s all about understanding context. Just like how early Hollywood glamorized gangsters, or the ’90s favored harsh comedy, the ’70s had their own set of cultural oversights. However, despite these blind spots, the shows from that era have left an indelible mark on television history, serving as a mirror to a time when entertainment was influenced by a different set of expectations. Here’s a list of ten series that, whether for good or ill, would certainly spark debate in today’s media landscape.

10
‘B.J. and the Bear’ (1979 – 1981)

A show named “B.J. and the Bear” was an action-comedy series that reflected the carefree, somewhat gritty atmosphere of late 1970s TV. The story revolved around B.J. McKay (played by Greg Evigan), a charming, laid-back trucker who journeyed across the nation accompanied by his chimp companion, Bear. Often finding themselves in tricky situations with corrupt law enforcement and embarking on various adventures, they managed to outsmart their way out. The show was popular during its time, leveraging America’s fascination with CB radios, long-haul truckers, and rebellious road movies like “Smokey and the Bandit,” transforming its protagonist into a working-class rebel with a noble spirit.

Sexist Nostalgia Disguised as Adventure

In essence, the TV series “B.J. and the Bear” was intended to be lighthearted entertainment, but it heavily relied on a sexist, male-dominated fantasy setting. The vast majority of women in this world were either love interests or damsels in distress. The show often objectified women by dressing them in revealing outfits, reflecting the “jiggle TV” era where sexual appeal was frequently emphasized over plot development. In subsequent seasons, a spin-off concept called “The Seven Lady Truckers” was introduced, which continued to perpetuate the male gaze perspective as B.J. trained a group of attractive female drivers.

In today’s perspective, the show “B.J. and the Bear” might face criticism for its superficial portrayal of women and its emphasis on masculinity being synonymous with independence and defiance. Despite being a beloved series among aficionados of ’70s trucker subculture, “B.J. and the Bear” is undeniably a relic from an era when television prioritized escapism over representation, catering more to male fantasy ideals.

9
‘Three’s Company’ (1977 – 1984)

A sitcom centered around misconceptions and suggestive humor, “Three’s Company” focused on the character Jack Tripper (played by John Ritter), who posed as gay to share an apartment with two women in a time when landlords wouldn’t permit mixed-gender living arrangements. The show was fueled by physical comedy and absurd situations, deriving much of its humor from Jack maintaining his ruse, as well as the provocative, sometimes risqué plots that explored the characters’ sexualities. At the time, it was perceived as somewhat progressive, addressing gay identity in a period when LGBTQ+ representation on television was limited, albeit with a comedic twist.

A Punchline That Hasn’t Aged Well

In modern times, the central humor of “Three’s Company” – where pretending to be gay offered a convenient escape and constant comedic tension – might struggle to find an audience. This plot device portrays membership in the LGBTQIA+ community as something that requires deception, even unintentionally, which is problematic. Additionally, the show featured female characters who were primarily objectified, with frequent appearances of scantily dressed women throughout the series.

In today’s context, the classic show “Three’s Company” is recognized for its hilarious slapstick comedy, but its portrayal of gender and sexuality issues, considered outdated now, might cause surprise or disapproval in a culture that demands more progressive themes from its sitcoms.

8
‘Soap’ (1977 – 1981)

Back in the day, I found myself utterly captivated by a daring television series titled Soap. This audacious show fearlessly explored every taboo it could find, from infidelity and murder to political scandals and even alien abductions – all served up with a side of humor. The narrative delved into serious societal issues using the absurd, assembling a motley crew of dysfunctional characters who reveled in melodramatic excess.

What truly set Soap apart was its groundbreaking portrayal of one of the first openly gay characters on television, Jodie Dallas (portrayed by Billy Crystal). Instead of being relegated to a side role or used as a punchline, this character stood at the heart of the show’s drama.

Progressive for Its Time, Problematic in Retrospect

In its innovative aspects, the show “Soap” was pioneering, but its portrayal of the character Jodie Dallas was complex. Although he was one of the earliest gay characters with a prominent role on network TV, his narrative frequently relied on stereotypes. His homosexuality was often used for comedic effect, and his romantic relationships were given less importance compared to those of his straight counterparts. At a certain point, Jodie goes through conversion therapy hypnosis, a storyline that would be widely condemned as inappropriate today.

The show’s portrayal of race and gender contained offensive stereotypes and outdated sexist themes, mirroring an era when attempts at progressive representation were frequently hampered by deep-seated cultural prejudices. Although Soap is still recognized as a groundbreaking and impactful series, its humor can now be seen as mocking those less powerful, which might make contemporary viewers feel uneasy.

7
‘The Dukes of Hazzard’ (1979 – 1985)

Not many shows from the late 70s television era epitomize the defiant and thrilling vibe quite like The Dukes of Hazzard, a show centering on two charismatic cousins, Bo and Luke Duke (played by John Schneider and Tom Wopat). They spend their days zipping around Hazzard County in the famous car, the General Lee, all while dodging the manipulations of Boss Hogg and Sheriff Rosco P. Coltrane. The show was a form of escapism, brimming with car chases, moonshine-infused escapades, and a heartfelt appreciation for Southern traditions. With its memorable theme song and homespun wit, The Dukes of Hazzard struck a chord with audiences across the country, embodying a laid-back, lawless spirit that resonated deeply.

A Confederate Legacy That’s Hard to Ignore

Originally designed as a cheerful action-comedy, “The Dukes of Hazzard” is now entangled in complexity due to its incorporation of Confederate symbols, particularly the General Lee, a car decorated with the Confederate flag on a Dodge Charger. What was previously perceived as an innocent nod towards Southern heritage now appears as a stark symbol highlighting the show’s oversights regarding racial sensitivity.

In today’s enlightened times, with symbols of the Confederacy being more and more recognized as markers of oppression, the show “The Dukes of Hazzard” has come under intense scrutiny. The show’s fond portrayal of the South often overlooked the racial strife and historical context of the region, instead offering a polished, romanticized depiction that now seems jarringly out of sync with contemporary viewpoints. Despite its enduring popularity among fans who see it as an innocuous action-packed adventure, “The Dukes of Hazzard” stands as a clear illustration of how cultural evolutions can alter our perception of even the seemingly apolitical entertainment we once cherished.

6
‘Welcome Back, Kotter’ (1975 – 1979)

Nestled in a challenging Brooklyn school, Welcome Back, Kotter showcased Gabe Kotter (Gabe Kaplan), a teacher who endeavored to manage a band of mischief-makers dubbed the “Sweathogs.” These students were as endearing as they were disorderly, known for their quick wit and academic underperformance.

The show, titled “Welcome Back, Kotter“, showcased a young John Travolta portraying the endearing yet oblivious character Vinnie Barbarino. This series was highly popular, seamlessly blending broad humor with heartfelt scenes depicting the hardships faced by working-class teenagers. As part of the ’70s sitcom trend, “Welcome Back, Kotter” tackled real-life social issues, employing humor to delve into the complex relationships between teachers and students, racial and class disparities, and the power struggle between authority figures and defiant youth.

Racial Stereotypes Played for Laughs

In “Welcome Back, Kotter,” the series made strides for its era by presenting a diverse classroom with characters of different races such as Black, Puerto Rican, and Italian-American. However, the humor in the show frequently relied on ethnic stereotypes rather than challenging them. Characters like Freddie “Boom Boom” Washington (portrayed by Lawrence Hilton-Jacobs) and Juan Epstein (played by Robert Hegyes) were overly simplified depictions of their racial and cultural backgrounds. Initially, this was perceived as inclusive, but from a contemporary perspective, the show’s approach to diversity appears more like caricature than genuine representation.

Although “Welcome Back, Kotter” continues to be cherished as a nostalgic gem, it also serves as a reflection of how sitcoms from that era frequently oversimplified marginalized identities for cheap humor, contrasting sharply with the complex characterizations prevalent in modern TV series today.

5
The Love Boat (1977 – 1986)

A delightful maritime soap opera titled “The Love Boat” offered an enchanting blend of romance, mishaps, and famous cameos, all unfolding against the backdrop of a lavish ocean liner. In this magical world at sea, both travelers and crew members encountered love, heartache, and humorous confusion as they sailed through life’s ups and downs.

The show, airing during the glamorous and escapist era of late ’70s and early ’80s TV, was characterized by its cheerful theme tune, casual atmosphere, and an array of popular guest appearances. Every episode featured various interwoven storylines – some romantic, others comical, and still others dramatic – all linked together by the adored crew members such as Captain Stubing (played by Gavin MacLeod) and the perpetually cheerful bartender Isaac (portrayed by Ted Lange).

Sexual Politics That Haven’t Aged Well

As a devoted fan looking back, I must admit that “The Love Boat” was never intended as a reflection of real-life relationships but rather as a vessel for humor and romance. However, viewing it from a modern perspective, some aspects of the show appear strikingly outdated.

Many plots revolved around unyielding male pursuit, portraying persistence as romantic rather than borderline inappropriate at times. Women in this series were often depicted merely as objects of affection, their characters limited to their romantic entanglements and lacking depth or complexity. Furthermore, the show often succumbed to casual sexism, reducing female characters to stereotypes such as airheaded, gold-diggers, or overly emotional individuals.

Reflecting on the nostalgic charm of “The Love Boat,” I can’t help but notice how its portrayal of romance seems outdated by today’s standards. As modern viewers reconsider the representation of consent, power dynamics, and gender roles in media, “The Love Boat” stands as a testament to a more lenient, pre-#MeToo era in entertainment.

4
‘Little House on the Prairie’ (1974 – 1983)

As a devoted cinephile, I can’t help but reminisce about the captivating family drama, “Little House on the Prairie,” which took me on a nostalgic journey through the American frontier. This series offered a heartwarming, frequently emotional portrayal of pioneer life, centering around the Ingalls family as they faced adversity, built community, and learned valuable moral lessons in Walnut Grove.

Based upon Laura Ingalls Wilder’s memoirs, the show presented an idyllic depiction of rural 19th-century America, emphasizing resilience, faith, and strong family values. For countless viewers like myself, it serves as a comforting piece of television history—a timeless escape to a bygone era teeming with heartfelt lessons and vintage allure.

A Romanticized Version of American History

In essence, despite its timeless appeal, “Little House on the Prairie” carries a questionable portrayal of race and Indigenous history. The series frequently painted Native Americans through the lens of white settler’s fear, presenting them as either romanticized savages or threatening outcasts. It largely overlooked the brutal uprooting of native communities, instead glorifying westward expansion as a noble and righteous endeavor. Moreover, the original books by Laura Ingalls Wilder contain blatantly racist depictions of Native Americans; although the show toned down some aspects, the lingering impact of exclusion continues to be ingrained in its storyline.

As modern television confronts more and more overlooked aspects of history, “Little House on the Prairie” stands out as an example of how media can mold (or even skew) our perceptions about the past.

3
‘Happy Days’ (1974 – 1984)

Not many series evoke the charm of the ‘good old times’ as effectively as Happy Days, a nostalgic sitcom that portrays the lifestyle in 1950s America, characterized by poodle skirts, school dances, and jukebox diners, providing the backdrop for teenage pranks and traditional family morals.

Exploring the escapades of Richie Cunningham (Ron Howard) and his stylish buddy, The Fonz (Henry Winkler), Happy Days portrayed mid-century America as a more straightforward, brighter era, where issues were swiftly resolved and moral messages were tidily concluded within half an hour. This show held significant cultural influence, leading to spin-offs like Laverne & Shirley and Mork & Mindy>, and even coining the phrase “jumping the shark.

A Sanitized, Whitewashed Vision of the 1950s

Happy Days, immersed in a persistent longing for the past, intentionally bypassed the authenticities of the 1950s, instead offering a stereotypical, middle-class, predominantly white portrayal of America. In this fictional realm, elements like racial segregation, gender inequality, and social upheaval were conspicuously absent, despite these issues being prevalent during the era it represented on screen. The show was ensconced in an aura of simplicity, effectively sanitizing the hardships faced by marginalized communities who were vigorously advocating for civil rights in those very years.

In a somewhat different wording: Although “Happy Days” wasn’t initially intended as a historical play, its portrayal of the past became excessively rosy and idealized, creating a distorted view of American history. Nowadays, with media having to grapple more with the intricacies of history instead of merely smoothing them over, “Happy Days” seems like a relic from an era when TV prioritized comforting viewers over provoking them.

2
‘Fantasy Island’ (1977 – 1984)

On a lush, exotic island, guests’ farthest imaginings – be they desires or apprehensions – found reality, Fantasy Island provided an escape, life lessons, and chilling wish fulfillment. The enigmatic Mr. Roarke (Ricardo Montalbán) and his assistant Tattoo (Hervé Villechaize) welcomed visitors each week to the enigmatic Fantasy Island, where they could experience their ideal scenarios – frequently with unforeseen, occasionally sinister results. The series blended aspects of science fiction, magical realism, and soap opera drama, setting it apart as one of the most unique programs from the late ‘70s.

A Show Built on Exoticism and Problematic Power Dynamics

Although created as a utopian anthology series named Fantasy Island, it frequently delved into questionable racial and gender politics. The character Mr. Roarke, who possessed near-divine knowledge, frequently dictated guests’ destinies, leading to unusual power dynamics where people’s wishes were distorted rather than granted, creating an uneven dynamic of control.

Furthermore, the series frequently depicted non-Western cultures as enigmatic, alluring, and threatening, thus perpetuating damaging stereotypes about distant lands as shrouded in mystery and sensuality, rather than as vibrant, intricate societies. The character Tattoo, despite being popular, was also a frequent target of height-related humor, reflecting the more lax attitude towards ableist jokes during that time.

In this age of reboots and remakes, the classic series Fantasy Island has been resurrected numerous times, with contemporary adaptations aiming to address some flaws in the original. However, the way the original show dealt with themes like identity, gender, and race serves as a stark reminder of how 1970s television often perpetuated exoticized fantasies without fully contemplating the consequences of its storylines.

1
‘All in the Family’ (1971 – 1979)

Shows like ‘All in the Family’ significantly shaped the 1970s, as it was a sitcom that delved into themes of race, gender, politics, and class through the perspective of Archie Bunker (Carroll O’Connor), a conservative war veteran with strong views who often clashed with his liberal family members. Unlike previous sanitized sitcoms, ‘All in the Family’ fearlessly addressed controversial topics, employing humor to tackle issues such as racism, sexism, war, and generational conflict.

Groundbreaking or Problematic? Maybe Both.

In the 1970s, “All in the Family” caused quite a stir – some audience members viewed Archie as a reflection of outdated prejudice, while others saw him as a beloved character whom they sympathized with rather than ridiculed for his biases. Today, the show continues to be complex. Although it was groundbreaking for addressing tough topics, some of its humor appears distressing in today’s context.

Archie’s repeated usage of offensive racial slurs and sexist comments, intended to highlight ignorance, may prove challenging in today’s setting. However, what made All in the Family extraordinary was Norman Lear’s skill in employing humor as a reflection, compelling viewers to face uncomfortable realities while maintaining laughter. The series’ influence is significant, yet it raises an intriguing question: can a program be both forward-thinking and problematic simultaneously?

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2025-02-10 01:39