Entertainment
7 Forgotten ’80s Sitcoms That Have Aged Like Milk
Nothing beats watching a sitcom after a long day — but some ’80s sitcoms just wouldn’t sit well with today’s audiences. The art of making people laugh is as timeless as the genre itself, and sitcoms are especially appealing because of their ensemble casts and episodic stories, making them easy to enjoy without committing to a serialized plot. While iconic hits like Seinfeld and modern favorites like Abbott Elementary often dominate the conversation, plenty of underrated sitcoms are just as capable of delivering laughs.
That said, some of these forgotten gems would likely spark controversy if they premiered in today’s more socially aware climate, where audiences have higher expectations for how sitcoms handle sensitive topics. Whether due to poorly written scripts, unconvincing ensemble chemistry, or intentionally provocative themes, here are the ’80s forgotten sitcoms that have aged like milk.
‘Married… with Children’ (1987–1997)
Married… with Children follows Al Bundy (Ed O’Neill), a former high school football star who now works as an underpaid shoe salesman. Despite his downfall, Al can’t help but dream of his glory days. Back at home, Al lives under the same roof as his spendthrift wife, dim-witted daughter, and awkward son. When they’re not bickering over dwindling paychecks, they’re probably fighting with their neighbors. But that’s not stopping Al from trying to get him and his family out of suburban purgatory.
Considering the Bundys are a problematic family by design, Married… with Children intentionally utilizes provocative humor that ranges from sexism to fat-shaming. Many episodes revolve around offensive gags, from Al buying Peggy (Katey Sagal) a new bra so men will stare at her breasts, turning sexual harassment into a joke, to his repeated insults toward overweight women shopping at the shoe store. The series also introduces NO MA’AM — the National Organization of Men Against Amazonian Masterhood — where members celebrate resisting women and complain about how women supposedly ruin men’s lives.
‘Charles in Charge’ (1984–1990)
There’s a new nanny in New Brunswick — and he’s a dude. Charles in Charge follows 19-year-old college student Charles (Scott Baio). Choosing an unconventional side gig, he ends up working as the live-in housekeeper and babysitter for the Pembroke family. In exchange, he gets sweet perks like his own room and board. Little does he realize that taking care of the family’s three children is much harder than any homework he brings from his classes.
Relying on outdated humor, Charles in Charge frequently makes casual microaggressions by objectifying women. One of its creepiest storylines has Charles supervising a slumber party full of teenage girls, with the jokes framing him as “lucky” to be surrounded by them. The show is even more unsettling in hindsight after co-star Nicole Eggert accused Baio of sexual misconduct in 2018, alleging he made advances toward her when she was 14. Co-star Alexander Polinsky also accused Baio of verbal abuse and physical assault.
‘It’s Your Move’ (1984–1985)
It’s Your Move follows Matthew Burton (Jason Bateman), a charming teenage con artist whose endless scams keep everyone fooled. However, he meets his match when Norman Lamb (David Garrison), a former teen con artist turned teacher, moves into the neighborhood. When Norman starts dating Matthew’s widowed mother and becomes one of his teachers, the two constantly try to outsmart each other with their never-ending hijinks. Recognizing every trick in Matthew’s playbook, Norman becomes his greatest rival.
With Matthew being a kid himself, It’s Your Move risks giving the wrong idea to impressionable young viewers of the same age. Throughout the show, he’s an expert liar and schemer, pulling off elaborate cons, tricking adults into believing his lies, and gaslighting people to get out of trouble — including repeatedly trying to break up his mom’s relationship with Norman. The problem is that these behaviors are played for laughs, making it seem like being manipulative or mean is funny instead of showing the real consequences.
‘Small Wonder’ (1985–1989)
Sci-fi meets sitcom in Small Wonder. Out of the blue, robotics engineer Ted Lawson (Dick Christie) secretly brings home V.I.C.I. (or Vicki), a childlike android he created to help disabled children. Pretending she’s their newly adopted daughter, the Lawson family must hide Vicki’s (Tiffany Brissette) true identity while she learns how to act human. Their biggest challenge doesn’t come from the government. Instead, it’s their nosy neighbors, the Brindles, who threaten to expose Ted’s greatest experiment and the family’s biggest secret.
Robots have always been a touchy subject in sci-fi, so turning a little girl into a sentient android was bound to raise some eyebrows. Back in the ’80s, though, the idea felt more kitschy than unsettling, since conversations about AI, robots, and autonomy were practically nonexistent outside of fiction. Looking back, however, the premise is harder to ignore. Vicki is expected to obey her parents without question, and if she doesn’t, she can simply be dismantled. Even as she displays increasingly human behavior, she’s treated more like property than a person, stripping her of any real autonomy.
‘Mama’s Family’ (1983–1990)
Mama’s Family follows sharp-tongued widow Thelma “Mama” Harper (Vicki Lawrence) as her quiet household is turned upside down when her recently divorced son Vinton (Ken Berry) moves in with his teenage children. Things get even more chaotic after Vinton marries their bubbly neighbor Naomi (Dorothy Lyman), adding another personality to the already crowded home. Spun off from The Carol Burnett Show, the sitcom follows the Harper family’s constant arguments, quirky personalities, and everyday misadventures.
Much of Mama’s Family’s chemistry comes from the family’s nonstop bickering. While sarcastic remarks are common in many sitcom families, the show often pushes them into full-blown screaming matches that cross the line. Whether it’s Mama constantly berating her children or the family turning on Mama, verbal abuse is often played for laughs. On top of that, when Vinton tries to express his feelings instead of yelling, his vulnerability is treated as something “wrong” or too feminine, reinforcing outdated stereotypes about masculinity.
‘She’s the Sheriff’ (1987–1989)
It takes a woman to do a man’s job properly. She’s the Sheriff follows Hildy Granger (Suzanne Somers), a widowed mother of two who unexpectedly becomes sheriff of fictional Lakes Country, Nevada, after her husband’s sudden death. With no law enforcement experience, Hildy must balance raising her children while learning the ropes of her new job and handling the town’s daily problems. Making matters harder is Deputy Max Rubin (George Wyner), who believes he deserved the position instead.
She’s the Sheriff had the chance to be a progressive sitcom in the ’80s, but instead it played into the same ditzy stereotype Somers was known for in Three’s Company. Rather than portraying Hildy as an empowered working woman, the show often depicts her as more focused on her personal life than her duties as sheriff. It also doesn’t help that her male colleagues frequently dismiss her responsibilities as a mother, treating them as interference with the job.
‘Dear John’ (1988–1992)
Dear John follows John Lacey (Judd Hirsch), a Manhattan prep school teacher whose life falls apart after his wife leaves him for his best friend. Instead of a proper goodbye, his 10-year-marriage ends when he receives a “Dear John” letter. After losing his home and custody of his son, John starts over in Queens and joins the One-to-One Club, a support group for divorced and widowed singles. Together with his new unlikely friends, he gets through post-separation life one day at a time.
Where there’s divorce, there’s usually the question of who’s to blame. Dear John often frames women as the reason marriages fall apart, largely through John’s bitter perspective of his ex-wife. That one-dimensional view also extends to characters like Louise (Jane Carr), who is frequently portrayed as sex-obsessed for laughs. At a time when conversations about women’s sexual liberation were only beginning to gain traction, the show missed an opportunity to treat the topic with more nuance instead of turning it into a recurring joke.
Dear John
- Release Date
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1988 – 1992-00-00
- Directors
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John Rich, Stan Daniels, James Burrows, Art Wolff
- Writers
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Howard Meyers, Marco Pennette, Rod Parker, Jeremy Stevens, Mark Reisman
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Isabella Hofmann
Kate McCarron
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