1. Julia Baker from Julia
When Diahann Carroll stepped into the role of Julia Baker in Julia, it was a major turning point for television. She played a widowed nurse raising her young son, which was a rare portrayal of a Black professional woman leading her own sitcom in the late ’60s. Julia wasn’t a maid or a background character, but the star of her own story. For many households, this was the first time they saw a Black woman on TV who was independent, confident, and modern.
Carroll herself often said she knew the show wasn’t perfect, but it mattered because it gave audiences a different kind of representation. Julia balanced humor with real-life struggles, including single motherhood and navigating a workplace. She wasn’t afraid to speak her mind, which made her character even more progressive for the era. Today, Julia doesn’t get the attention it deserves, but it opened doors for many who followed.
2. Sally Rogers from The Dick Van Dyke Show
Sally Rogers, played by Rose Marie, was one of the only female comedy writers on television—both in the show and behind the scenes of its world. She worked right alongside Rob Petrie and Buddy Sorrell, delivering sharp one-liners and standing her ground. In an era when women were mostly secretaries or housewives on TV, Sally’s presence was groundbreaking. She was single, career-focused, and perfectly content to trade barbs with the men.
While the show didn’t always address the barriers women faced in entertainment directly, Sally embodied what many women wanted to see: independence and a seat at the creative table. Rose Marie herself had lived that reality as one of the first women in comedy, which added authenticity to her role. Sally proved that women could be funny, ambitious, and witty without needing to be the butt of the joke.
3. Mike Millar from Accidental Family
Accidental Family was a short-lived sitcom, but its lead character, Mike Millar, played by Jerry Van Dyke, quietly challenged stereotypes of single fatherhood. Mike was a comedian who suddenly found himself raising his son alone after divorce, a storyline rarely seen in the ’60s. While most sitcom dads were stern breadwinners or comedic foils, Mike was nurturing and tried his best to balance his work with parenting.
Though the series didn’t last long, it reflected a shift in how families were portrayed on television. Divorce was still taboo in many parts of society, yet here was a lighthearted show about a divorced dad doing his best. Mike’s role suggested that men could be both caregivers and funny, something audiences wouldn’t fully embrace until much later.
4. Millie Helper from The Dick Van Dyke Show
Millie Helper, played by Ann Morgan Guilbert, was Laura Petrie’s neighbor and friend, and she had more depth than many supporting sitcom wives of the time. She wasn’t just there to gossip or fill background space—Millie had a sharp wit and often chimed in on bigger conversations. She felt more like a real suburban woman, juggling family, friendships, and her own opinions.
What made Millie progressive was how unapologetically candid she could be. She wasn’t afraid to speak up when something seemed silly or unfair, and she added a refreshing voice to the neighborhood dynamic. Though she’s not remembered as much as Rob or Laura, Millie reflected a quiet realism about women in suburban households. She showed that not every sitcom woman had to be perfect or deferential.
5. Ernest T. Bass from The Andy Griffith Show
On the surface, Ernest T. Bass, the wild mountain man from The Andy Griffith Show, might seem like comic relief. But Howard Morris played him as more than a goofy troublemaker. Ernest T. was fiercely independent, lived by his own rules, and refused to conform to Mayberry’s genteel standards. In a way, he represented the countercultural spirit that was bubbling up in the ’60s.
He wasn’t polished, but he challenged the idea that everyone had to fit into one mold of respectability. Ernest T. was loud, brash, and occasionally even poetic. His antics could be absurd, but he also had moments of surprising insight, hinting that life outside “proper” society had value too. For a small-town sitcom, Ernest T. added an unexpectedly rebellious note.
6. Zelda Gilroy from The Many Loves of Dobie Gillis
Sheila James Kuehl’s Zelda Gilroy was ahead of her time. She wasn’t the dreamy love interest like Thalia Menninger—Zelda was whip-smart, plainspoken, and had no problem telling Dobie how things should be. She knew she was just as clever as the boys, and her persistence in pursuing Dobie turned the usual sitcom romance trope upside down.
Zelda’s character also reflected shifting expectations for young women in the ’60s. She wasn’t content to just sit around waiting for life to happen—she was active, outspoken, and determined. Even though Dobie didn’t always appreciate her, Zelda showed that girls on TV could be brains-first, not just beauty-first.
7. Buddy Sorrell from The Dick Van Dyke Show
More than just a wisecracking writer, Buddy Sorrell (played by Morey Amsterdam) was quietly progressive in how his Jewish identity was shown on screen. While most sitcoms at the time ignored religion or ethnicity, Buddy’s background was occasionally woven into the humor in a way that felt authentic, not mocking. He was proudly himself, unapologetically sharp, and always quick with a joke.
This may seem subtle now, but in the early ’60s, TV often avoided acknowledging diversity. Buddy’s presence gave audiences a glimpse of something different, and his comedy had an edge that stood apart from the squeaky-clean tone of most sitcoms. He may not be remembered as groundbreaking, but in his own way, he broke down barriers by simply existing as a Jewish character without stereotype or caricature.
8. Gidget from Gidget
Sally Field’s breakout role as Gidget might be remembered more for its surfboards and sunny settings, but the character itself was quietly trailblazing. Gidget was independent, adventurous, and eager to carve out her own identity rather than just follow the crowd. For a teenage girl on television, she was surprisingly assertive about what she wanted, whether that was surfing with the boys or speaking her mind.
The show only lasted one season, but Gidget reflected the changing image of American teenagers. She wasn’t waiting around to be rescued, nor was she confined to the domestic spaces most TV girls lived in. She embraced fun, freedom, and a sense of individuality that foreshadowed the cultural shifts of the late ’60s.
9. Hazel Burke from Hazel
Shirley Booth’s Hazel Burke was technically a maid, but she ran the Baxter household with wisdom and authority that flipped the power dynamic on its head. Hazel wasn’t just serving coffee—she was dispensing life lessons, solving problems, and even pushing back against her employer when necessary. In an era where domestic workers were often portrayed as meek, Hazel was anything but.
Her confidence and straightforwardness made her stand out. She knew her worth and wasn’t afraid to voice her opinions, even when they clashed with Mr. Baxter’s. Hazel reminded viewers that strength and intelligence could come from unexpected places. She turned what might have been a background role into the heart of the series.
10. Charley Ruggles as A.J. Arno in The Bugaloos
Though The Bugaloos is often remembered for its wacky costumes and Sid and Marty Krofft vibes, the character of A.J. Arno was more progressive than he got credit for. Played by Charley Ruggles, Arno interacted with the Bugaloos in ways that highlighted acceptance and community. In a time when many sitcoms stayed firmly rooted in suburban families, The Bugaloos had an intergenerational, almost utopian outlook.
Arno treated the Bugaloos as equals, not as silly kids. That sense of respect across age groups and differences hinted at a more inclusive vision of society. It might have been dressed up in psychedelic music numbers, but the progressive message was still there.
11. Ann Marie from That Girl
Before Mary Richards in The Mary Tyler Moore Show, there was Ann Marie, played by Marlo Thomas in That Girl. Ann was a young single woman chasing her dream of being an actress in New York, which was a revolutionary idea for a sitcom heroine in the ’60s. She wasn’t defined by a husband or a family, but by her own goals.
The show captured the optimism and challenges of a woman making her way independently. While it still leaned into romantic storylines, Ann never lost her individuality. She proved that TV could center on a woman’s ambitions, not just her relationships. Ann Marie helped pave the way for every career-focused TV heroine that followed.
12. Ed Brown from Julia
Supporting Diahann Carroll’s Julia was Ed Brown, played by Lloyd Nolan. As Julia’s boss at the medical office, Ed could have been a one-note authority figure. Instead, he respected Julia as a professional and often treated her as an equal. Their working relationship was progressive for the time, especially given the racial and gender dynamics of the late ’60s.
Ed wasn’t perfect, but his acceptance of Julia challenged the idea that TV bosses had to be dismissive or domineering. He gave space for her character to thrive while also revealing a gentler side of workplace hierarchies. In doing so, Ed quietly became one of the more progressive authority figures on television at the time.
