Norman Lear, Sitcom King Who Changed TV -- And America

 Norman Lear appears during the "American Masters: Norman Lear" panel at the PBS Summer TCA Tour on Aug. 1, 2015, in Beverly Hills, Calif. (AP)
Norman Lear appears during the "American Masters: Norman Lear" panel at the PBS Summer TCA Tour on Aug. 1, 2015, in Beverly Hills, Calif. (AP)
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Norman Lear, Sitcom King Who Changed TV -- And America

 Norman Lear appears during the "American Masters: Norman Lear" panel at the PBS Summer TCA Tour on Aug. 1, 2015, in Beverly Hills, Calif. (AP)
Norman Lear appears during the "American Masters: Norman Lear" panel at the PBS Summer TCA Tour on Aug. 1, 2015, in Beverly Hills, Calif. (AP)

Norman Lear was television's prolific genius whose trailblazing sitcoms in the 1970s and 1980s revolutionized US entertainment -- and helped change the way a nation saw itself.

With boundary-breaking shows like "All In the Family" and "The Jeffersons," Lear -- who has died aged 101 -- helped millions of viewers confront their deepest fears, frailties and prejudices, as well as their aspirations, with humor and humanity.

Among his milestones was creating the first African American nuclear family regularly appearing on television: the Evans clan on "Good Times," beginning in 1974.

He injected the sensitive subjects of race, class, inequality and politics like the anti-war movement into his work, breaking the sitcom mold and beaming modern visions of family life into millions of US households.

Lear abandoned the idealistic representation of American families seen on shows like "Leave It to Beaver" (1957-1963) and adopted a more real-world depiction -- and in so doing, he changed the face of television.

"What was new was that we were engaging in reality," the famed creator said in the 2016 documentary "Norman Lear: Just Another Version of You."

Fellow comedy star Mel Brooks hailed Lear as "the bravest television writer, director and producer of all time."

Lear's family, in announcing his death, said Wednesday their patriarch wrote about real life, "not a glossy ideal."

"At first, his ideas were met with closed doors and misunderstanding. However, he stuck to his conviction that the 'foolishness of the human condition' made great television, and eventually he was heard."

In the mid-1970s, at the height of his eight-decade career, Lear had five sitcoms airing in prime time -- an era before cable or streaming, when Americans watched television collectively.

Broadcaster CBS estimated at the time that a staggering 120 million Americans watched Lear programming each week.

The six-time Emmy Award winner wrote, produced, created or developed roughly 100 specials and shows including 1980s mega-hit "The Facts of Life" and the long-running "One Day at a Time."

His revolutionary comedy also earned him a spot on President Richard Nixon's so-called enemies list.

Blue-collar comedy

Lear's most explosive creation was "All In the Family," a blue-collar comedy so audacious that its first episode, in 1971, came with a disclaimer.

The half-hour show featured abrasive patriarch Archie Bunker, lovably irascible but bigoted, narrow-minded and clashing with his liberal relatives.

It marked a TV paradigm shift.

"Television can be broken into two parts, BN and AN: Before Norman and After Norman," writer and producer Phil Rosenthal said in the 2016 documentary.

Lear, donning his trademark porkpie hat, also produced or funded such big-screen classics as "The Princess Bride" and "This is Spinal Tap."

But television was his magic medium.

Never far from the surface in Lear's shows were the issues gnawing at American society: misogyny, racism, women's rights and political division.

He dug deep into the exigencies of Black life. And while "Good Times" was intended as a white audience's window into Black America, "The Jeffersons" represented the American Dream for Black people.

Over 253 episodes from 1975 to 1985, "The Jeffersons" portrayed African American success through an unapologetically Black couple "movin' on up" in New York society.

'Enemy' of the family?

Norman Milton Lear was born on July 27, 1922, into a Jewish family in New Haven, Connecticut.

His mother emigrated from Russia, and his father was a salesman who served time in jail and had a bigoted streak that embarrassed his son -- but also served as source material.

Lear attended Emerson College in Boston but dropped out to enlist in the US Army, flying 37 World War II bombing sorties as a radio operator and gunner.

By 1949 he moved to Los Angeles, where he found success writing for TV variety shows.

He also produced films including 1963's "Come Blow Your Horn" starring Frank Sinatra, and in 1967 received an Academy Award nomination for best screenplay for "Divorce American Style."

With "All In the Family" and the TV shows that followed, Lear's influence skyrocketed.

So did his concern about the mix of politics and religion.

Criticism from conservative circles poured in, with televangelist Jerry Falwell calling Lear "the number one enemy of the American family."

Lear pushed back against the burgeoning religious right, and in 1981 founded People For the American Way, a group promoting civic engagement and freedom of expression and religion.

Lear's work ethic was legendary. After his 100th birthday, he collaborated with TV host Jimmy Kimmel on "Live in Front of a Studio Audience!" specials in which star-studded casts performed remakes of classic Lear shows.

A pioneer on multiple fronts, Lear's portrayal of true-to-life traumas sealed his reputation.

In a watershed 1972 episode of "Maude," the title character agonizes over terminating her pregnancy, a plotline that brought the abortion fight to prime time one year before the Supreme Court guaranteed the right to abortion.

Half a century later, Lear -- who married three times and had six children -- told "E! Insider" the issues his sitcoms addressed carry equal resonance today.

"The culture has shifted and changed... but the way families experience life is pretty much the same," he said.



Gl-icked? Movie Theaters Pin Hopes on Big 'Wicked,' 'Gladiator' Weekend

'Gladiator II' has benefited from a long, expensive marketing campaign. Chris DELMAS / AFP
'Gladiator II' has benefited from a long, expensive marketing campaign. Chris DELMAS / AFP
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Gl-icked? Movie Theaters Pin Hopes on Big 'Wicked,' 'Gladiator' Weekend

'Gladiator II' has benefited from a long, expensive marketing campaign. Chris DELMAS / AFP
'Gladiator II' has benefited from a long, expensive marketing campaign. Chris DELMAS / AFP

US movie theaters are hoping the lightning-in-a-bottle magic of last year's "Barbenheimer" phenomenon can strike again this weekend, with the simultaneous release of two of 2024's most hyped films: "Wicked" and "Gladiator II."
"Wicked" is the movie adaptation of the hit Broadway musical, starring pop sensation Ariana Grande, while "Gladiator II" marks Ridley Scott's return to ancient Rome, 24 years after his epic original won the best picture Oscar.
Whether audiences will embrace the tongue-in-cheek "Glicked" (or "Wickiator") memes being hopefully circulated by marketing departments -- or even dress up in witch hats and togas -- remains to be seen.
But cinema lobbies and shopping malls across the country are being daubed in the pink-and-green shades of the "Wicked" witches, and kitted out with cardboard miniature Colosseums, ahead of a period that analysts say will be crucial for the industry, AFP said.
"I am certain that this is going to be the biggest Thanksgiving the industry has ever seen," said Jordan Hohman, an executive at Phoenix Theatres.
"Wicked" alone is "the biggest opening film in terms of advance sale tickets" in the US chain's 24-year history, currently pacing 63 percent ahead of "Barbie," added president Cory Jacobson.
While rival Hollywood studios have traditionally been wary of launching two major films on the same weekend, the record-breaking summer of 2023 showed it can be mutually beneficial -- with the right movies.
Like "Barbie" and "Oppenheimer," the female-skewing "Wicked" and male-focussed "Gladiator II" are "oriented to different audiences," said analyst David A. Gross, of Franchise Entertainment Research.
"Wicked" has inspired promotional tie-ins like a makeup line and a cupcake kit, while "Gladiator" ads have been ubiquitous during NFL telecasts.
"There is zero issue in terms of stepping on each other's feet," said Gross.
Still, matching the heady heights of "Barbie" and "Oppenheimer" will be a tough ask. Those films took $245 million combined on their opening weekend in North America alone.
"Barbenheimer was an example of two films massively over-performing... an unexpected best-case scenario," cautioned Daniel Lora, senior VP of content strategy for Boxoffice Media.
But part of the industry's current bullishness comes from another massive film, Disney's "Moana 2," which will join "Wicked" and "Gladiator II" in multiplexes just a week later.
"I don't think this is a two-picture experience. I think it's a three-picture experience," said Jacobson.
Marketing blitz
Should the next few weeks live up to hopes, it will come at a much-needed time for Hollywood.
Despite a profitable summer featuring hit sequels like "Inside Out 2" and "Deadpool & Wolverine," 2024 has been a mixed bag for an industry still dreaming of a return to pre-pandemic numbers.
The first five months of the year were hampered by a thin release schedule, stemming from the production delays caused by Hollywood strikes and Covid.
The fall has also been a disappointment, with box office dud "Joker: Folie A Deux" foremost among a series of flops and middling releases.
But the early signs for this weekend look promising.
"Gladiator II" opened in dozens of other countries last week, taking a whopping $87 million overseas. Paramount will be hoping for similar numbers in the US this weekend.
"Wicked," from Universal, the studio behind "Oppenheimer," is predicted to take north of $100 million this weekend in North America alone.
Both movies have benefited from long, expensive marketing campaigns.
At a major Las Vegas movie theater convention in April, Paramount began their annual presentation with an executive riding into the Caesars Palace arena on a chariot flanked by Roman soldiers.
Universal's presentation ended with thousands of plastic flowers held aloft by audience members to create a giant green-and-pink "Wicked" themed electronic lightshow.
Eight months later, both studios will learn if those strategies have converted into ticket sales.
"When something really catches fire, and it's not just a marketing campaign flogging it, honestly it can just take off and go higher than anybody can predict," said Gross.
"So let's see what happens."