Television in the 1970s brought us some of the most groundbreaking and beloved sitcoms of all time—shows like “All in the Family,” “MAS*H,” and “The Mary Tyler Moore Show” that continue to be celebrated and referenced decades later. Yet for every Norman Lear classic that’s been preserved in the cultural conversation, there are once-massive hits that have somehow faded from our collective memory despite their enormous popularity during their original runs. These forgotten comedies once dominated the Nielsen ratings and spawned catchphrases that everyone knew, only to gradually disappear from syndication packages and streaming services, becoming footnotes in television history rather than enduring classics.
1. “Chico and the Man” (1974-1978)
This groundbreaking NBC sitcom starring Freddie Prinze as Chico Rodriguez and Jack Albertson as Ed Brown explored the unlikely friendship between a young Chicano mechanic and the cantankerous Anglo owner of a run-down garage in East Los Angeles. The show became an immediate ratings smash, finishing its first season as the third-highest-rated program on television and turning 20-year-old Prinze into one of the first Latino superstar entertainers in America. Prinze’s charismatic performance and catchphrases like “Looking good!” entered the pop culture lexicon, while the show’s exploration of cross-cultural friendship in a working-class setting offered something genuinely new to primetime comedy. Click Americana further remembers this endearing show’s seamless ride to success upon its premiere.
The series took a devastating blow when Prinze died by suicide in January 1977 at the height of the show’s popularity, leading producers to make the controversial decision to continue without him. The show introduced a new character played by 12-year-old Gabriel Melgar, but audiences understandably struggled to accept the series without Prinze’s magnetic presence. Despite once being one of television’s biggest hits and breaking ground for Latino representation, the tragedy associated with the series and rights issues have kept it largely unavailable in later decades, preventing younger generations from discovering Prinze’s groundbreaking performance.
2. “Alice” (1976-1985)
This long-running CBS sitcom based on the film “Alice Doesn’t Live Here Anymore” followed widow Alice Hyatt (Linda Lavin) as she pursued a singing career while working as a waitress at Mel’s Diner in Phoenix. The show became famous for Polly Holliday’s scene-stealing performance as sassy waitress Flo, whose catchphrase “Kiss my grits!” became a national sensation and led to her own short-lived spinoff series. The sitcom’s portrayal of working-class women supporting each other while dealing with financial struggles and single motherhood resonated with viewers, keeping it in the Nielsen top 20 for most of its nine-season run. Remind also has additional secrets that even the biggest fan of the series may not know.
Despite its impressive 202-episode run and strong ratings throughout the late ’70s and early ’80s, “Alice” has gradually disappeared from the pop culture landscape, rarely mentioned in discussions of classic sitcoms. The show’s working-class setting and focus on the financial and personal challenges of working mothers made it more relatable than escapist, perhaps contributing to its fadeout compared to more fantastical sitcoms of the era. While “Alice” occasionally surfaces in syndication packages, its cultural footprint has diminished dramatically considering it was once appointment television for millions of American households.
3. “Soap” (1977-1981)
This daring ABC comedy created by Susan Harris satirized daytime soap operas while pushing the boundaries of what was acceptable content on network television. The show followed the interconnected lives of the wealthy Tate family and their middle-class relatives the Campbells, featuring storylines about adultery, homosexuality, demonic possession, alien abduction, and organized crime that were shockingly progressive for prime time. The series faced intense controversy before it even aired, with religious groups and conservative organizations launching protest campaigns based only on script descriptions. Its disappearance is in contrast to its fame and infamy Click Americana describes it as having back when it first aired.
Despite the initial backlash (or perhaps because of it), “Soap” became a ratings hit and critical darling, launching the careers of stars like Billy Crystal, who played one of television’s first openly gay recurring characters, and Robert Guillaume, whose butler character Benson was popular enough to earn his own successful spinoff. The show’s serialized format was revolutionary for a sitcom, ending each episode with a cliffhanger and narrator asking “Confused? You won’t be after this episode of ‘Soap’.” Despite its innovative approach and once-significant cultural impact, the series has faded from mainstream awareness, perhaps because its transgressive content now seems tame compared to modern comedies.
4. “What’s Happening!!” (1976-1979)
This ABC sitcom based on the film “Cooley High” focused on three Black teenage friends—Raj, Dwayne, and Rerun—navigating adolescence in a working-class Los Angeles neighborhood. The show’s authentic portrayal of African American youth culture and friendship stood out in an era when Black characters were often relegated to supporting roles. Fred Berry’s physical comedy as the beret-wearing, dancing Rerun made him a breakout star, while the show’s good-natured humor and relatable coming-of-age storylines helped it find a devoted audience despite network scheduling challenges.
Despite solid ratings and a successful syndication run in the early 1980s that even spawned a revival series (“What’s Happening Now!!”), the original show has gradually faded from the cultural conversation. The series’ realistic portrayal of Black teenage life without resorting to the negative stereotypes common in earlier programs made it groundbreaking, particularly in its focus on education and positive aspirations for its characters. Rights issues and changing syndication patterns have limited its availability in recent decades, causing this once-popular sitcom to become increasingly obscure despite its cultural significance.
5. “One Day at a Time” (1975-1984)
This Norman Lear sitcom broke new ground with its portrayal of a divorced mother raising two teenage daughters on her own in Indianapolis. The show tackled serious issues like teen pregnancy, suicide, and sexual harassment while maintaining its comedic tone, helping viewers confront social changes happening in American families. Bonnie Franklin’s performance as the independent Ann Romano offered a new kind of female protagonist, while Valerie Bertinelli and Mackenzie Phillips as her daughters Barbara and Julie showed the challenges of adolescence during changing times.
Despite running for nine seasons and frequently ranking among television’s most-watched programs, the original series gradually disappeared from cultural memory until Netflix’s Latino-focused reboot brought renewed attention to the concept. The show’s frank discussion of topics like feminism, teen sexuality, and women’s changing role in society made it significant in television history, but its somewhat conventional format compared to other Lear productions may have contributed to its lower profile in retrospective discussions of ’70s television. The series’ realistic family dynamics influenced countless later sitcoms, though it rarely receives credit for its innovations.
6. “Maude” (1972-1978)
This groundbreaking “All in the Family” spinoff starred Bea Arthur as Maude Findlay, Edith Bunker’s outspoken, liberal cousin whose feminist politics and assertive personality made her a revolutionary character for primetime television. The show tackled unprecedented subjects for a sitcom, most famously in a two-part episode where 47-year-old Maude decides to have an abortion—two months before the Roe v. Wade decision legalized the procedure nationwide. Arthur’s commanding performance as an unapologetically outspoken middle-aged woman who didn’t conform to traditional gender expectations represented something genuinely new in television comedy.
Despite its impressive ratings and critical acclaim during its six-season run, “Maude” has become increasingly difficult to find in syndication, limiting its accessibility to new generations of viewers. The show’s explicitly political nature and controversial storylines may have contributed to its relative obscurity compared to other Norman Lear productions. The series’ willingness to address serious topics like alcoholism, mental health, and domestic violence through the lens of comedy influenced later shows like “Roseanne” and “Grace Under Fire,” but “Maude” itself has largely vanished from the cultural conversation despite Arthur’s iconic performance.
7. “Welcome Back, Kotter” (1975-1979)
This ABC sitcom about a teacher returning to his alma mater to teach a group of underachieving students (known as the “Sweathogs”) became a cultural phenomenon that launched John Travolta to stardom as the cocky Vinnie Barbarino. The show’s multicultural cast of characters reflected the diverse urban classroom environment of 1970s Brooklyn, while catchphrases like “Up your nose with a rubber hose!” became playground staples across America. The series balanced comedy with occasional serious storylines about the challenges facing inner-city education and the potential of students who had been written off by the system.
Despite its massive popularity and the merchandising empire it spawned (including lunch boxes, action figures, and a hit theme song), “Welcome Back, Kotter” has gradually disappeared from syndication rotations and streaming services. The show’s era-specific slang and cultural references may contribute to its dated feel compared to more timeless comedies of the period. Travolta’s departure in the final season and the show’s declining quality in later years may have tarnished its legacy, causing this once-ubiquitous sitcom to fade from public consciousness despite its significant cultural impact during its heyday.
8. “Phyllis” (1975-1977)
This “Mary Tyler Moore Show” spinoff starred Cloris Leachman as the snobbish, self-centered Phyllis Lindstrom, who moves to San Francisco with her daughter Bess after the death of her husband Lars. The show paired Leachman’s comic brilliance with a supporting cast that included the legendary actress Judith Lowry as Mother Dexter and Henry Jones as her new husband, creating a multigenerational comedy that explored changing family dynamics. Leachman’s portrayal of a middle-aged widow forced to reinvent herself professionally and personally was unusual for television comedy of the era.
Despite Leachman’s Emmy-winning performance and solid ratings in its first season, a series of unfortunate events—including the deaths of two cast members—contributed to the show’s cancellation after just two seasons. The series never achieved the enduring syndication success of “The Mary Tyler Moore Show” or “Rhoda,” causing it to fade from memory despite its quality and Leachman’s remarkable performance. The show’s exploration of a woman rebuilding her life after unexpected widowhood presented a narrative rarely seen in sitcoms, making its relative obscurity particularly unfortunate.
9. “The Jeffersons” (1975-1985)
This “All in the Family” spinoff followed George and Louise Jefferson as they “moved on up” from Queens to a deluxe apartment on Manhattan’s East Side, becoming one of television’s longest-running sitcoms and a pioneering portrayal of an affluent Black family. The show’s exploration of race relations, class tensions, and the challenges of social mobility offered something genuinely new to television comedy, while Sherman Hemsley’s portrayal of the proud, opinionated George Jefferson created an iconic character. The series tackled serious issues like racism and discrimination while maintaining its comedic tone through outstanding performances and sharp writing.
Despite running for an impressive eleven seasons and 253 episodes, “The Jeffersons” has received less cultural recognition and preservation than many shorter-lived sitcoms of its era. While not completely forgotten like some entries on this list, the show’s current cultural footprint seems disproportionately small compared to its original impact and groundbreaking nature. The series’ straightforward exploration of race and class in America may have made some networks uncomfortable with keeping it in heavy syndication rotation, limiting its exposure to younger generations of viewers despite its significant place in television history.
10. “Good Times” (1974-1979)
This “Maude” spinoff centered on Florida Evans and her family living in a Chicago public housing project, becoming television’s first sitcom featuring a two-parent African American family struggling with urban poverty. The show’s catchphrases like Jimmie Walker’s “Dyn-o-mite!” became national sensations, while its theme song with lyrics about “temporary layoffs” and “easy credit rip-offs” spoke directly to the economic challenges of the 1970s. The series balanced humor with serious storylines about issues facing inner-city families, including unemployment, racism, gang violence, and the challenges of maintaining family unity amid financial hardship.
Despite its cultural significance and strong ratings during its six-season run, “Good Times” has become increasingly difficult to find in syndication compared to other Norman Lear productions. Behind-the-scenes tensions—particularly the departures of John Amos and Esther Rolle over concerns about the show’s direction—contributed to uneven later seasons that may have damaged its legacy. The series’ unflinching portrayal of economic struggle and systemic inequality was revolutionary for its time, making its relative absence from modern cultural conversation particularly notable given its influence on later Black family sitcoms.
11. “WKRP in Cincinnati” (1978-1982)
This CBS sitcom about the staff of a struggling radio station attempting to reverse their fortunes by switching to a rock format combined workplace comedy with a genuine love for music and radio broadcasting. The show’s ensemble cast included memorable characters like fashion-challenged news director Les Nessman, sleazy salesman Herb Tarlek, and mysterious DJ Venus Flytrap, each bringing distinct comedic energy to the series. The Thanksgiving episode featuring the infamous turkey drop (“As God is my witness, I thought turkeys could fly”) is widely considered one of the funniest half-hours in television history.
Despite critical acclaim and a devoted fanbase, “WKRP” has been severely hampered in syndication and streaming by music licensing issues, as the show’s extensive use of period rock songs has made it prohibitively expensive to release in its original form. The series’ loving portrayal of the radio industry and the changing landscape of American popular music in the late ’70s made its soundtrack integral to its appeal, creating an unfortunate situation where the very element that made the show special has limited its availability to new audiences. Despite influencing countless later workplace comedies, the complete series remains difficult to experience as originally broadcast.
12. “Barney Miller” (1975-1982)
This intelligent, character-driven sitcom set in a New York City police precinct presented a dramatically different view of law enforcement than the action-packed police dramas of its era. The show focused on the humanity and humor of the detectives rather than crime-solving heroics, addressing serious topics like racial profiling, police corruption, and civil liberties through thoughtful comedy. Hal Linden’s performance as the patient, philosophical Captain Miller provided the perfect center for an eccentric ensemble of detectives dealing with the bizarre realities of policing Manhattan’s 12th Precinct.
Despite running for eight acclaimed seasons and winning multiple Emmy Awards, “Barney Miller” has gradually faded from cultural prominence compared to more broadly comedic sitcoms of its era. The show’s deliberate pacing, dialogue-driven humor, and refusal to manufacture artificial excitement may make it feel less immediately accessible than more high-concept comedies. Television historians and comedy writers consistently rank it among the greatest sitcoms ever made, yet it rarely appears in streaming catalogs or popular discussions of classic television. The series’ mature approach to comedy and nuanced portrayal of law enforcement deserves wider recognition in the current conversation about police representation in media.
13. “Sanford and Son” (1972-1977)
This groundbreaking NBC sitcom starring comedian Redd Foxx as junk dealer Fred Sanford revolutionized the portrayal of Black families on television, becoming one of the decade’s highest-rated shows. Adapted from the British series “Steptoe and Son,” the show transplanted the premise to the Watts neighborhood of Los Angeles, focusing on the contentious but loving relationship between Fred and his son Lamont. Foxx’s background as a nightclub comic brought an edgy authenticity to the role, while his famous heart attack routine (“I’m coming, Elizabeth!”) became one of television’s most recognizable catchphrases.
Despite ranking in the Nielsen top ten for most of its six-season run and helping establish NBC’s dominance of Thursday night television decades before “Must See TV,” the series has gradually receded from pop culture prominence. While occasionally available in syndication, the show has never achieved the streaming ubiquity or cultural reverence afforded to contemporaries like “All in the Family.” The series’ groundbreaking portrayal of African American characters with complexity and humanity helped pave the way for later Black family sitcoms, yet its significant contributions to television history are often overlooked in retrospectives of the era.
14. “Three’s Company” (1977-1984)
This innuendo-laden farce about a man pretending to be gay to platonically live with two women became one of the decade’s biggest ratings hits despite being consistently dismissed by critics as mindless fluff. The show’s success rested largely on John Ritter’s exceptional physical comedy skills as Jack Tripper, whose misunderstandings and pratfalls elevated the show’s otherwise basic premise. Supporting characters like landlords the Ropers and later Mr. Furley (Don Knotts) became fan favorites, while the show’s suggestive humor pushed boundaries for network television.
Despite running for eight seasons and spawning two spin-offs (“The Ropers” and “Three’s a Crowd”), the series has experienced a significant critical reevaluation downward over time, often cited as an example of the broader, less sophisticated comedy that dominated the late ’70s and early ’80s. While still occasionally found in syndication, the show’s reputation has suffered as its sexual politics and reliance on misunderstandings appear increasingly dated to modern viewers. The series’ massive popularity and cultural impact during its original run stands in stark contrast to its diminished legacy compared to more progressive comedies of the era.
15. “Laverne & Shirley” (1976-1983)
This “Happy Days” spinoff following the adventures of brewery workers and roommates Laverne DeFazio and Shirley Feeney became the most-watched American television program in its third season. The chemistry between stars Penny Marshall and Cindy Williams powered the show’s physical comedy and working-class sensibility, while the Milwaukee setting provided a backdrop rarely seen in television comedy. The show’s opening sequence with the title characters reciting “1, 2, 3, 4, 5, 6, 7, 8, Schlemiel! Schlimazel! Hasenpfeffer Incorporated!” became one of TV’s most memorable theme introductions.
Despite its massive popularity (it still ranks among the highest-rated television series of all time at its peak) and eight-season run, “Laverne & Shirley” has gradually disappeared from the cultural conversation compared to its parent show “Happy Days.” The series’ later California-set seasons and Williams’ departure near the end of the run arguably diluted its initial appeal, while its broad physical comedy may seem less sophisticated to modern viewers than more character-driven sitcoms of the era. The show’s groundbreaking focus on female friendship and working-class women’s experiences deserves more recognition than it currently receives in television retrospectives.
The fading of these once-massive sitcoms from our cultural memory illustrates how fleeting television fame can be, even for shows that once dominated the ratings and spawned nationwide catchphrases. Music licensing issues, changing tastes, and the limited availability of complete series for streaming have all contributed to these popular comedies becoming increasingly obscure despite their original impact. As we continue to reexamine television history through more diverse and critical lenses, perhaps these forgotten hits will receive the renewed attention and appreciation they deserve—before the memories of their cultural significance disappear entirely.
