Television doesn’t just reflect the era in which it’s made—it preserves it. Every laugh track, every plot twist, every character trope is a time capsule, shaped by the social norms, anxieties, and fantasies of its moment. What once passed as lighthearted entertainment can, with time, morph into something more complicated, something that doesn’t sit as easily with the cultural consciousness of today. But that doesn’t mean these shows were made with bad intentions. It just means that culture moves forward, and TV—whether it wants to or not—moves with it.
“Controversial” in this context doesn’t mean banned or unwatchable. It means complicated. It means a show that once coasted on charm or broad humor might now provoke debate, or at the very least, some raised eyebrows. These aren’t necessarily the worst offenders of the1970s, nor are they irredeemable relics—but they are reminders of how much society has shifted. What was once considered harmless fun might now read as outdated, or even unsettling. Whether it’s the gender politics ofThree’s Company, the racial caricatures inWelcome Back, Kotter, or the Confederate iconography ofThe Dukes of Hazzard, these shows highlight just how much our collective understanding of representation, humor, and power dynamics has changed.
This isn’t about judgment—it’s about context. The same way early Hollywood romanticized mobsters, or the ‘90s indulged in mean-spirited comedy, the ‘70s had its own set of cultural blind spots. And yet, these shows remain part of television history, reflecting a moment when entertainment was shaped by different expectations. Here are ten shows that, for better or worse, would stir conversation in today’s media landscape.
10‘B.J. and the Bear’ (1979 - 1981)
B.J. and the Bear
A trucker, his pet chimpanzee, and an endless string of beautiful women—B.J. and the Bearwas a road-trip action-comedy that embodied the freewheeling, slightly sleazy energy of late-’70s television. The show followed B.J. McKay (Greg Evigan), a handsome, easygoing trucker who roamed the country with his chimpanzee sidekick, Bear, frequently outwitting corrupt law enforcement and getting into adventures along the way. At the time,B.J. and the Bearcapitalized on America’s love affair with CB radios, long-haul truckers, and anti-authority road movies likeSmokey and the Bandit, turning its hero into a blue-collar outlaw with a heart of gold.
Sexist Nostalgia Disguised as Adventure
WhileB.J. and the Bearwas meant to be breezy fun, it leaned heavily into a sexist, male fantasy world where nearly every woman existed either as a romantic conquest or a damsel in distress. The show frequently featured women in skimpy outfits, reinforcing the jiggle TV era of network programming, where sex appeal was often prioritized over storytelling. Later seasons introduced a spin-off concept withThe Seven Lady Truckers, where B.J. mentored a group of attractive female drivers, further playing into the show’s male-gaze perspective.
In a modern context,B.J. and the Bearwould likely be critiqued for its shallow portrayal of women and its insistence on centering masculinity as inherently tied to independence and rebellion. Though it remains a cult favorite for fans of ‘70s trucker culture,B.J. and the Bearis a clear product of a time when television was far less concerned with representation and far more interested in escapist male fantasy.
9‘Three’s Company’ (1977 - 1984)
Three’s Company
A sitcom built on misunderstandings and innuendo,Three’s Companyfollowed Jack Tripper (John Ritter), a straight man who pretended to be gay so he could share an apartment with two women in an era when landlords wouldn’t allow mixed-gender cohabitation. The show thrived on physical comedy and farcical setups, with much of the humor stemming from Jack’s need to keep up his deception, as well as the suggestive, often risqué scenarios that played with the characters’ sexualities. At the time, it was seen as progressive in its own way—acknowledging gay identity at a time when LGBTQ+ representation on television was scarce, even if it was played for laughs.
A Punchline That Hasn’t Aged Well
The core joke ofThree’s Company—that being perceived as gay was both a useful loophole and a source of endless comedic panic—would be a hard sell today. The idea that Jack had to perform queerness to be accepted into a domestic space frames being a member of the LGBTQIA+ community as something inherently deceptive, even if unintentionally. Furthermore, the show’s female characters were often reduced to eye candy, with a steady rotation of scantily clad women parading through the series.
WhileThree’s Companywas undeniably influential and remains beloved for its slapstick humor, its outdated gender and sexuality politics would undoubtedly raise eyebrows in a modern cultural climate that expects more from its sitcoms.
Three’s Company Cast: Where They Are Now and Who Passed Away
A popular sitcom that ran for eight seasons, here’s where the Three’s Company cast are today, and which of them sadly aren’t with us anymore.
8‘Soap’ (1977 - 1981)
A satirical soap opera that pushed every boundary it could find,Soapwas one of the most controversial TV shows of its time, filled with infidelity, murder, political scandal, and even alien abduction—all played for laughs. The show tackled serious social issues through the absurd, with a sprawling cast of dysfunctional characters engaging in increasingly over-the-top melodrama.Soapwas also groundbreaking in featuring one of TV’s first openly gay characters, Jodie Dallas (Billy Crystal), who was a central figure rather than a side character or punchline.
Progressive for Its Time, Problematic in Retrospect
WhileSoapwas ahead of its time in some respects, its portrayal of Jodie Dallas was complicated. Though he was one of the first gay characters with a significant role on network television, his storyline was often riddled with stereotypes—his queerness was played as a source of humor, and his romantic relationships were treated with less weight than those of his heterosexual counterparts. At one point, Jodie undergoes conversion therapy hypnosis, believing himself to be straight, a storyline that would be deeply unacceptable today.
The show’s handling of race and gender also included insensitive caricatures and sexist tropes, reflecting a time when progressive attempts at representation were often undermined by lingering cultural biases. WhileSoapremains a bold and influential series, its humor often punches down in ways that modern audiences would find uncomfortable.
7‘The Dukes of Hazzard’ (1979 - 1985)
The Dukes of Hazzard
Few shows capture the rebellious, high-octane spirit of late-’70s television quite likeThe Dukes of Hazzard—a series about two charming cousins, Bo and Luke Duke (John Schneider and Tom Wopat), who race around Hazzard County in their iconic car, the General Lee, while outwitting the corrupt Boss Hogg and Sheriff Rosco P. Coltrane. The show was pure escapism, filled with car chases, moonshine-running adventures, and a deep affection for Southern culture. With its catchy theme song and down-home humor,The Dukes of Hazzardbecame a massive hit, embodying a carefree, outlaw ethos that resonated with audiences nationwide.
A Confederate Legacy That’s Hard to Ignore
WhileThe Dukes of Hazzardwas intended to be a lighthearted action-comedy, itslegacy is now deeply complicated by its use of Confederate iconography—most notably, the General Lee, a Dodge Charger emblazoned with the Confederate flag. What once seemed like a harmless nod to Southern heritage now stands as a glaring reminder of the show’s racial blind spots.
In the modern era, where symbols of the Confederacy are increasingly recognized as signifiers of oppression,The Dukes of Hazzardhas faced significant scrutiny. The show’s nostalgic portrayal of the South largely ignored the racial tensions and history of the region, instead presenting a sanitized, romanticized version that feels wildly out of step with contemporary perspectives. While it remains beloved by fans who see it as an innocent action-packed romp,The Dukes of Hazzardis a prime example of how cultural shifts can change the way we view even the most seemingly apolitical entertainment.
6‘Welcome Back, Kotter’ (1975 - 1979)
Welcome Back, Kotter
Set in a tough Brooklyn high school,Welcome Back, Kotterfollowed teacher Gabe Kotter (Gabe Kaplan) as he attempted to wrangle a class of misfits known as the “Sweathogs,” a group of wisecracking, underachieving students who were as lovable as they were chaotic.
Featuring a young John Travoltaas the charming yet clueless Vinnie Barbarino, the show was a massive hit, blending broad comedy with occasional heartwarming moments about the struggles of working-class youth.Welcome Back, Kotterwas part of the wave of ’70s sitcoms that aimed to reflect real social issues, using humor to explore the dynamics between teachers and students, race and class, and the tension between authority figures and rebellious youth.
Racial Stereotypes Played for Laughs
WhileWelcome Back, Kotterwas progressive for the time in its attempt to highlight a diverse classroom—featuring Black, Puerto Rican, and Italian-American characters—the show’s humor often leaned on ethnic stereotypes rather than subverting them. Characters like Freddie “Boom Boom” Washington (Lawrence Hilton-Jacobs) and Juan Epstein (Robert Hegyes) were defined by exaggerated, one-note portrayals of their racial and cultural backgrounds. At the time, this was seen as inclusive, but through a modern lens, the show’s approach to diversity feels more like caricature than representation.
WhileWelcome Back, Kotterremains a nostalgic favorite, it’s also a reminder of how sitcoms of the era often flattened marginalized identities for easy laughs, rather than offering the more nuanced portrayals expected in today’s television landscape.
Welcome Back, Kotter: Where the Cast Is Today
Here’s where your favorite cast members from Wec=lcome Back, Kotter are today.
5The Love Boat (1977 - 1986)
The Love Boat
A floating soap opera of romance, misadventure, and celebrity guest stars,The Love Boatwas pure wish-fulfillment TV, set aboard a luxury cruise ship where passengers and crew alike found love, heartbreak, and comedic misunderstandings on the high seas.
With its upbeat theme song, lighthearted tone, and endless parade of famous guest stars, the show embodied the glittering, escapist charm of late ‘70s and early ‘80s television. Each episode followed multiple storylines—some romantic, some comedic, some dramatic—all tied together by the ship’s beloved crew, including Captain Stubing (Gavin MacLeod) and the ever-smiling bartender Isaac (Ted Lange).
Sexual Politics That Haven’t Aged Well
WhileThe Love Boatwas never meant to be taken seriously, it thrived on a brand of humor and romance that would feel wildly outdated today. Many storylines centered around relentless male pursuit, often framing persistence as romantic rather than creepy. Women in the series were often treated as passive objects of desire, with little interiority beyond their romantic entanglements. The show also frequently leaned into casual sexism, with female characters frequently being reduced to ditzy, gold-digging, or overly emotional tropes.
WhileThe Love Boatwas always about fun and fantasy, its version of romance often reflected the gender norms of its time in a way that feels cringeworthy now. Ascontemporary audiences reevaluatehow media depicts consent, power dynamics, and gender roles,The Love Boatremains a time capsule of a more permissive, pre-#MeToo era of entertainment.
4‘Little House on the Prairie’ (1974 - 1983)
Little House on the Prairie
A beloved family drama set in the American frontier,Little House on the Prairiewas a nostalgic, often sentimental retelling of pioneer life, following the Ingalls family as they navigated hardship, community, and moral lessons in Walnut Grove. Based on Laura Ingalls Wilder’s memoirs, the show painted an idealized vision of rural 19th-century America, focusing on resilience, faith, and family values. For many, itremains a comforting piece of television history—an escape to a simpler time, filled with heartfelt lessons and old-fashioned charm.
A Romanticized Version of American History
WhileLittle House on the Prairiehas endured as a classic, its portrayal of race and Indigenous history is deeply problematic. The show often depicted Native Americans through a lens of white pioneer fear, portraying them as either noble savages or dangerous outsiders. The stories largely ignored the violent displacement of Indigenous people, framing westward expansion as a heroic, righteous endeavor. Additionally, some of the source material itself has been criticized—Laura Ingalls Wilder’s books include openly racist descriptions of Native Americans, and while the show softened some of these elements, the legacy of exclusion remains embedded in the narrative.
In an era where television is increasingly grappling with its historical blind spots,Little House on the Prairieserves as a reminder of how media can shape (and distort) our understanding of the past.
Netflix Is Rebooting a Classic Western TV Series With ‘The Boys’ Writer
It’s time to go back to the prairie.
3‘Happy Days’ (1974 - 1984)
Happy Days
Few shows capture the myth of the “good old days” quite likeHappy Days, a nostalgic sitcom about life in 1950s America, where poodle skirts, sock hops, and jukebox diners set the stage for teenage hijinks and wholesome family values.
Following the adventures of Richie Cunningham (Ron Howard) and hisultra-cool best friend, The Fonz (Henry Winkler),Happy Dayspainted a picture of midcentury America as a simpler, sunnier time, where problems were easily solved and moral lessons wrapped up neatly in 30 minutes. The show was a massive cultural force, spawning spin-offs (Laverne & Shirley, Mork & Mindy) and even giving birth to the term “jumping the shark.”
A Sanitized, Whitewashed Vision of the 1950s
In its relentless nostalgia,Happy Daysignored the realities of the 1950s, presenting a wholly white, middle-class version of America where racial segregation, gender inequality, and political unrest were nowhere to be seen. The show existed in a bubble of innocence, one that erased the struggles of marginalized communities who were actively fighting for civil rights during the time period it depicted.
WhileHappy Dayswas never meant to be a historical drama, its version of the past was so sanitized that it reinforced a false, overly romanticized narrative of American history. Today, when media is increasingly tasked with confronting the complexities of the past rather than glossing over them,Happy Daysfeels like an artifact of a time when television was more interested in comforting audiences than challenging them.
2‘Fantasy Island’ (1977 - 1984)
A tropical paradise where guests’ wildest dreams—and deepest fears—came true,Fantasy Islandoffered a mix of escapism, morality tales, and eerie wish fulfillment. Hosted by the enigmatic Mr. Roarke (Ricardo Montalbán) and his sidekick Tattoo (Hervé Villechaize), the show invited weekly guests to the mysterious Fantasy Island, where they could live out their ultimate fantasy—often with unexpected, sometimes dark consequences. The series combined elements of science fiction, magical realism, and soap opera melodrama,making it one of the most distinctive shows of the late ‘70s.
A Show Built on Exoticism and Problematic Power Dynamics
WhileFantasy Islandwas designed as a dream-come-true anthology series, its premise often leaned into problematic racial and gender politics. Mr. Roarke, an all-knowing, almost godlike figure, often controlled guests’ fates, creating strange power dynamics where people’s desires were manipulated rather than fulfilled.
Additionally, the show often portrayed non-Western cultures as mystical, exotic, and dangerous, reinforcing harmful stereotypes about foreign lands as places of mystery and seduction rather than real, complex societies. Tattoo, while a beloved character, was also the subject of countless height-based jokes, playing into the era’s casual approach to ableist humor.
In the era of reboots and remakes,Fantasy Islandhas been revived multiple times, with modern versions attempting to correct some of the original’s issues. But the show’s treatment of identity, gender, and race in its original form remains a reminder of how 1970s television often played into exoticized fantasies without considering the implications of its narratives.
Norman Lear Created 6 Shows That Changed Television Forever
To celebrate Norman Lear’s legacy, we look at six of his most influential TV shows that forever changed the medium.
1‘All in the Family’ (1971 - 1979)
All In The Family
Few shows defined the 1970s likeAll in the Family,a sitcom that tackled race, gender, politics, and class through the eyes of one of TV’s most infamous patriarchs: Archie Bunker (Carroll O’Connor). A working-class, conservative war veteran with little patience for changing social norms, Archie became a lightning rod for cultural debates, his stubborn worldview clashing with his liberal daughter Gloria (Sally Struthers) and son-in-law Mike (Rob Reiner). Unlike the sanitized sitcoms that came before it,All in the Familydidn’t shy away from controversial topics, using humor to explore everything from racism and sexism to war and generational conflict.
Groundbreaking or Problematic? Maybe Both.
Even in the ‘70s,All in the Familywas polarizing—some viewers saw Archie as a critique of outdated bigotry, while others saw him as a hero, laughingwithrather thanathis prejudices. Today, the show remains just as complicated. While its willingness to tackle difficult subjects was revolutionary, some of its humor feels deeply uncomfortable now.
Archie’s frequent use of racial slurs and sexist remarks—though meant to expose ignorance—can be tough to watch in a modern context. But what madeAll in the Familybrilliant wasNorman Lear’s ability to use humor as a mirror, forcing audiences to confront uncomfortable truths while still making them laugh. The show’s impact is undeniable, butAll in the Familyraises an important question: can a show be both progressive and problematic at the same time?
