Jim McKairnes | Special to USA TODAY
At 11 seasons, “The Jeffersons” ran longer than any of producer Norman Lear’s classic 1970s comedies, including its parent show “All in the Family.” But the more important history it made came as soon as its first episode, 50 years ago this week: CBS' “The Jeffersons” marked the first Black-family comedy for which Black didn’t signal economic struggle.
George and Louise Jefferson (Sherman Hemsley and Isabel Sanford) were plain rich. Credit the Black Panthers. At least, in part.
As racial barriers fell and onscreen representation increased in the early 1970s, the biggest gains were in half-hour comedies. Some of these “Black shows” ‒ a series adaptation of Neil Simon’s “Barefoot in the Park,” military comedy “Roll Out” (from the creators of “M*A*S*H”), and barbershop sitcom “That’s My Mama” ‒ came and went. Two became giant hits: NBC’s “Sanford and Son” and CBS’ “Good Times.” But their tales of impoverished lives unfolding in famously Black neighborhoods ‒ the Sanfords were junk dealers in Los Angeles’ blighted Watts community, while “Good Times” was set in a Chicago housing project ‒ offered singular, even stereotypical, portraits: Two steps forward, one step back.
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'The Jeffersons' were elevating their status.
“The Jeffersons” made its way into primetime to shake things up. The show followed the beloved neighbors of Archie and Edith Bunker as they reveled in the prosperity of their growing dry cleaning enterprise, swapping their modest Queens rowhouse for a lavish apartment on Manhattan’s Upper East Side. The challenges they faced were more about cultural adjustment than financial hardship, as the newly affluent sought to blend in with the established elite.
The spinoff became a certainty following Hemsley’s initial appearance in Season 4 of “All in the Family.” Louise Jefferson, played by Sanford, along with their son Lionel, portrayed by Mike Evans, had been recurring characters since 1971. However, Hemsley, who was envisioned by Lear as the head of the family, wasn't available until 1973.
In his 2014 memoir titled “Even This I Get To Experience,” Lear recounted how a chance meeting outside of the entertainment industry helped to accelerate the process.
How the Black Panthers Influenced a Television Family That Wasn't 'Dirt Poor'
“One day, three representatives from the Black Panthers burst into my CBS office, declaring they were there to speak with the garbage man – me,” he recounted. “They criticized ‘Good Times,’ labeling it as trash. ‘It’s merely a white man’s interpretation of a Black family… every time you feature a Black man on television, he’s portrayed as impoverished.’”
“The Jeffersons” emerged as his answer. Following an unofficial first episode marked by a “Family” farewell, the show premiered midseason on January 18, 1975. Strategically placed in CBS' Saturday lineup, right after its successful predecessor, the new comedy quickly garnered a strong viewership. As George and Louise established their lives, audiences embraced them as well. By the end of the 1974-75 season, the show ranked as the fourth most-watched program.
“The Jeffersons” benefitted from a larger cast than seen in Lear’s other hits, too, allowing for more storylines to explore. Costars included Marla Gibbs as the Jeffersons’ housekeeper, Zara Cully as George’s live-in mother, Paul Benedict as their British neighbor, and Berlinda Tolbert as Lionel’s girlfriend (and later, wife), whose parents, played by Roxie Roker and Franklin Cover, made history as primetime’s first regularly featured interracial couple.
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However, 'The Jeffersons' mostly steered clear of political themes.
While early episodes addressed the social politics stirred by their move to Manhattan ‒ stories about identity, invoking terms like Uncle Toms and passing ‒ “The Jeffersons” didn’t court headlines the way “All in the Family” or Lear’s controversial “Maude” did. In time, race was less of a driver, and the show became a more conventional, often broad sitcom. Even the stridency of George Jefferson’s prejudice on display in “Family” ‒ the character, “imagined as a reflection of what (Archie) Bunker’s bigotry would look like in ‘blackface’” ‒ was toned down, wrote Mark Anthony Neal for Ebony in 2012. His boisterous persona was more comical than confrontational, a hot-air balloon of strutting pomposity punctured by his family.
Even the occasional “special episodes” ‒ Louise’s reflections on her less-affluent past, Lionel’s dip into alcohol abuse, George’s reunion with an old Navy pal, now a woman ‒ orbited more around the human condition than a racial one.
One notable exception: 1980’s “The First Store,” a flashback episode about Jefferson Cleaners opening on the same day in 1968 as Martin Luther King Jr.’s assassination. After Lear’s 2023 death, The Hollywood Reporter included it as one of the “Six Norman Lear TV Episodes That Changed the World.”
The show was never nominated for Emmy Awards in writing or directing categories, and won just two in total, for videotape editing and for Sanford (the first black woman to win Best Comedy Actress). “The Jeffersons” was sometimes criticized in the Black community for perceived lapses into stereotypes, or for portraying George as a buffoon. (The Baltimore Sun’s Gregory Kane called it “demeaning to Black people” in a 1999 essay about race and television.) But the show facilitated a prime-time transition from “Black shows” to series that simply offered Black casts, cemented by the arrival of NBC’s “The Cosby Show” in 1984.
“Its characters opened doors for future black actors,” wrote Danielle Cadet in The Huffington Post after Hemsley’s 2012 death. “And its success proved that African American sitcoms did, in fact, resonate with general audiences.”
The resonance of “The Jeffersons,” which ended in 1985 after 253 episodes and 15 timeslot changes, stands as its legacy: the first Black sitcom since “Sanford and Son” (1972-77) to rank among TV’s top five shows, the first to rank as TV’s top comedy for a season (1981-82), CBS’ third-longest-running sitcom at the time of its cancellation and, still, the longest-running Black comedy in network-TV history. Lear restaged one episode in a live 2019 ABC special that featured Jamie Foxx and Wanda Sykes in the lead roles.
After numerous attempts, “The Jeffersons” finally made it up that hill.
