The world of streaming television and a multiverse of channels can sometimes surprise viewers with suggested titles long forgotten. I recently happened upon a television series I hadn’t seen in maybe 40 years: “Family.”
The simple, unassuming title isn’t even capitalized in the opening credits. This show is an overlooked gem from the 1970s, and once I found it, I started binge-watching it. The program is even better than I remembered.
What is astounding is to consider what surrounded it on the ABC programming grid of the era: jiggle TV (“Three’s Company,” “Charlie’s Angels”); escapist fare (“Fantasy Island,” “The Love Boat”); nostalgia (“Happy Days,” “Laverne & Shirley”); sitcoms (“Barney Miller,” “Welcome Back Kotter”); and cop shows (“Starsky and Hutch,” “Baretta”).
“Family” stood out as prestige programming in its day, and I would argue it has aged remarkably well despite people forgetting it existed.
“Family” was assembled by a who’s who of well-known producers: Mike Nichols, Aaron Spelling, and Leonard Goldberg. They utilized A-list directors and, along with a stellar cast and powerful writing, created something truly unique.
The show focuses on the upper middle class Lawrence family of Pasadena, California. The father, Doug (James Broderick – father of actor Matthew Broderick), is a lawyer. The mother, portrayed by theater actress Sada Thompson, is a homemaker.
As a kid, I didn’t care about these grown-ups, but as an adult they strike me as relatable and realistic characters.
The Lawrence children were, in order: Nancy (Elayne Heilveil in season 1, then Meredith Baxter Birney in seasons 2-5); Willie (Gary Frank); and Leticia, known as Buddy (Kristy McNichol). The show raised the profile of Baxter Birney, heretofore known as a sitcom actress (“Bridget Loves Bernie”), and certainly McNichol, who became a teen idol and movie star around the time this show was airing.
As the series begins, Nancy’s marriage to Jeff (John Rubinstein, who is also the composer of the show’s theme and incidental music, also music director of the series) is on the rocks because of his constant cheating. Nancy and the couple’s son, Timmy, move back home to the Lawrence house after being away for several years. Early on, Nancy is seen as a daddy’s girl and is written as being somewhat spoiled.
Son Willie has disappointed parents Doug and Kate by dropping out of high school to become a screenwriter, photographer or a filmmaker; he’s adrift and doing different odd jobs in every episode, it seems. Willie is also unlucky in love and finds himself in several difficult relationships over the course of the series.
Buddy is the tomboyish youngest child and is a middle schooler as the series begins. Many of the stories are told from Buddy’s point of view, and McNichol is quite a performer. It’s rare to see a teenager written and performed as well as this one, and Buddy gets some of the better storylines — certainly the more topical ones.
The adults didn’t interest me as much 40 years ago. I was into whatever Willie and Buddy were doing. But watching this show today, I am overwhelmed by the understated acting of Thompson and Broderick as the parents, and Baxter Birney as the eldest daughter.
This show is so incredibly different from everything else. These characters randomly quote Shakespeare or the New Testament in their discussions and reference popular culture of the 1970s just as easily as the 1930s or any time before.
Later on, prestige dramas on television would promote a lot of this content as a ‘very special episode’ of a series. “Family” tackled many controversial topics that include but are not limited to: homosexuality; dementia; extramarital affairs; divorce; the right to die; breast cancer; premarital sex; and many more.
But it’s the moments between the characters, not so much the plots, I have found so enthralling — the conversations between a parent and child or between siblings, and the glacial pace of the editing that evokes a bygone era when life moved more slowly.
The parents are the voices of reason and behave with such maturity in dealing with the problem of the week. There is a noticeable absence of sarcasm, disdain and cynicism that is so prevalent in modern television.
If there’s a put-down, a few scenes later somebody will say, “I’m sorry.” Whenever there is an argument, the characters are seen talking it out respectfully.
In other words, “Family” is as much of an outlier today as it was during its five-season run in the 1970s and early 1980s. I have found it to be an excellent departure from other things I’ve been watching lately, and highly recommend checking it out again while it is available on Tubi.
Michael Bird is a teacher at Tallassee City Schools.
