Post by KotO on Dec 6, 2023 14:38:36 GMT
www.yahoo.com/entertainment/norman-lear-tv-legend-dies-133220344.html
Writer-producer-developer Norman Lear, who revolutionized American comedy with such daring, immensely popular early-‘70s sitcoms as “All in the Family” and “Sanford and Son,” died on Tuesday. He was 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.
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.
Their fresh outrageousness turned them into huge ratings successes: For a time, “Family” and “Sanford,” based around a Los Angeles Black family, ranked No. 1 and No. 2 in the country. “All in the Family” itself accounted for no less than six spin-offs. “Family” was also honored with four Emmys in 1971-73 and a 1977 Peabody Award for Lear, “for giving us comedy with a social conscience.” (He received a second Peabody in 2016 for his career achievements.)
Some of Lear’s other creations played with TV conventions. “One Day at a Time” (1975-84) featured a single mother of two young girls as its protagonist, a new concept for a sitcom. Similarly, “Diff’rent Strokes” (1978-86) followed the growing pains of two Black kids adopted by a wealthy white businessman.
Other series developed by Lear were meta before the term ever existed. “Mary Hartman, Mary Hartman” (1976-77) spoofed the contorted drama of daytime soaps; while the show couldn’t land a network slot, it became a beloved off-the-wall entry in syndication. “Hartman” had its own oddball spinoff, “Fernwood 2 Night,” a parody talk show set in a small Ohio town; the show was later retooled as “America 2-Night,” with its setting relocated to Los Angeles.
Lear always maintained that the basic formula for his comedies always boiled down to the essential: Keep ‘em laughing.
He said in a 2005 Onion A.V. Club interview, “Originally, with all the shows, we went looking for belly laughs. It crossed our minds early on that the more an audience cared – we were working before, on average, 240 live people – if you could get them caring, the more they cared, the harder they laughed.”
Lear’s big-screen credits included the scripts for “Come Blow Your Horn” (1963); “The Night They Raided Minsky’s” (1968); “The Thief Who Came to Dinner” (1971); “Stand by Me” (1986) and “The Princess Bride” (1987), both of which were directed by former “All in the Family” co-star Rob Reiner; and “Fried Green Tomatoes” (1991). He wrote and directed the tart 1971 comedy about the tobacco industry “Cold Turkey.”
Writer-producer-developer Norman Lear, who revolutionized American comedy with such daring, immensely popular early-‘70s sitcoms as “All in the Family” and “Sanford and Son,” died on Tuesday. He was 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.
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.
Their fresh outrageousness turned them into huge ratings successes: For a time, “Family” and “Sanford,” based around a Los Angeles Black family, ranked No. 1 and No. 2 in the country. “All in the Family” itself accounted for no less than six spin-offs. “Family” was also honored with four Emmys in 1971-73 and a 1977 Peabody Award for Lear, “for giving us comedy with a social conscience.” (He received a second Peabody in 2016 for his career achievements.)
Some of Lear’s other creations played with TV conventions. “One Day at a Time” (1975-84) featured a single mother of two young girls as its protagonist, a new concept for a sitcom. Similarly, “Diff’rent Strokes” (1978-86) followed the growing pains of two Black kids adopted by a wealthy white businessman.
Other series developed by Lear were meta before the term ever existed. “Mary Hartman, Mary Hartman” (1976-77) spoofed the contorted drama of daytime soaps; while the show couldn’t land a network slot, it became a beloved off-the-wall entry in syndication. “Hartman” had its own oddball spinoff, “Fernwood 2 Night,” a parody talk show set in a small Ohio town; the show was later retooled as “America 2-Night,” with its setting relocated to Los Angeles.
Lear always maintained that the basic formula for his comedies always boiled down to the essential: Keep ‘em laughing.
He said in a 2005 Onion A.V. Club interview, “Originally, with all the shows, we went looking for belly laughs. It crossed our minds early on that the more an audience cared – we were working before, on average, 240 live people – if you could get them caring, the more they cared, the harder they laughed.”
Lear’s big-screen credits included the scripts for “Come Blow Your Horn” (1963); “The Night They Raided Minsky’s” (1968); “The Thief Who Came to Dinner” (1971); “Stand by Me” (1986) and “The Princess Bride” (1987), both of which were directed by former “All in the Family” co-star Rob Reiner; and “Fried Green Tomatoes” (1991). He wrote and directed the tart 1971 comedy about the tobacco industry “Cold Turkey.”