Shows That Changed America

BY DEMETRIA GALLEGOS

Many Americans mark the different times of their lives by the TV shows that they loved. They re--member the shows that defined their childhood; that had them planted on couches for appointment viewing; that they binged when streaming came into the picture; that were fodder for water- cooler conversations.

So what are the TV shows that have mattered most? Experts have their lists, but we knew there were plenty of other worthy series.

We asked Wall Street Journal readers, “What TV shows do you think have had the biggest impact in America since the medium was invented?”

Here are the nominees, chronologically from the first year of production.

The Ed Sullivan Show (1948)

A pure entertainment hour, without which Elvis, the Beatles and countless other acts might not have had their phenomenal initial exposure.

The show was a time each week when everyone gathered around the TV together, to see something novel and to be entertained. There was no animation, digitization, AI, laser lights, elaborate sets or video montages. Just an act in front of a stage curtain: pure entertainment.

We cheered the great acts, and sympathized with the poor ones. They entered our living rooms, and our lives.

— Jerry Lyons, Narberth, Pa.

I Love Lucy (1951)

I grew up in the ’50s and watched “I Love Lucy” on those lucky days I was sick (or pretending) and couldn’t go to school.

Desi Arnaz came up with the three-camera filming technique, and they kept (and owned) tapes of every show, reruns and residuals. Everything flowed from there. — John Crowley, Des Moines, Iowa Star Trek (1966)

The original series ran for only three seasons, but from its subsequent syndication and relaunch, the series developed a huge following. Now there are decades of content that is still fun to watch even for those who are not science- fiction nerds like myself.

So why does “Star Trek” have such staying power? For Americans in particular, pioneering is a deeply rooted cultural value. Also, America is a melting pot as most of us are descendants of immigrants. So we are also fascinated by characters whose cultural values are so far from anything we encounter in our daily life (like Klingons and Vulcans).

While the stories have connections to what is happening in the real world today, the science-fiction context provides just enough distance from reality to make any underlying moral lessons palatable. — Liz Prochnow, Sugar Land, Texas

The Carol Burnett Show

(1967)

A groundbreaking comedy for its time, it paved the way for other sketch comedy that followed using the same formula, more or less, such as “The Sonny & Cher Comedy Hour” and “Saturday Night Live.” We watched the show as a family. It never disappointed us for a laugh with its great cast and their recurring characters and movie spoofs. My mom adored Carol Burnett.

— Brendan Manley, Melbourne Beach, Fla.

All in the Family (1971)

Beginning with its first episode, I was addicted. Looking back over the 200+ episodes, the show covered such controversial topics as homosexuality, racism, the Vietnam War, labor unions and infidelity. Archie Bunker created his own lexicon and made the nickname “Meathead” as common as Bob. He spared no one when it came to his biases. He was an equal-opportunity racist who truly believed he was the sole source of wisdom in the family. He also showed his emotional side (e.g., his grandson’s baptism and his disdain for Meathead’s draftdodging buddy), which often moved the viewer to tears.

Overall, the show opened our eyes to bigotry and racism while

‘M*A*S*H’ cast including Alan Alda, front, and Loretta Swit, below at left. Kevin Costner and Piper Perabo in the ’I Want to Be Him’ episode, season 4, below right. at the same time making us laugh. All the while we were becoming better people for having watched the show.

— Cal Quast, St. Charles, Mo.

M*A*S*H (1972)

In the early ’60s, war-themed sitcoms included “Hogan’s Heroes” and “McHale’s Navy.” But once the evening news put the Vietnam War’s reality into America’s living room nightly, what was once funny and innocent just wasn’t funny any more.

What made “M*A*S*H” so special as a comedy and drama was the writers’ and actors’ ability to entertain while exposing the human toll on those who served. A shellshocked soldier who thought he was Jesus. The death of Henry Blake. And Radar O’Reilly, who represented all those drafted as boys who came home as men.

— David Grobisen, Cardiff-by-the-Sea, Calif.

Sex and the City (1998)

I was in middle school or early high school when this show made its debut, and even though I wasn’t the target audience, its cultural impact was impossible to miss. Girls I knew referenced the characters, and suddenly conversations about dating, relationships and sexuality— topics that felt pretty taboo on television at the time—were part of everyday pop culture.

The show also made New York City and female friendship feel like central characters, which was something television hadn’t really centered before. Looking back, it clearly shifted what people expected TV to talk about and who those stories could focus on.

— Robert Maier, Pittsburgh

American Idol (2002)

This was the defining show of my generation (I am 28). It made celebrities of the hosts, Ryan Seacrest, Simon Cowell, Randy Jackson and Paula Abdul. Singers became overnight stars including Kelly Clarkson, Carrie Underwood and many more. It has had staying power over 24 seasons. It was embedded in the culture, constantly discussed, mocked and replicated with varying degrees of success. Missing an episode meant being left out of the conversation the next day.

— Luke Michels, Hoboken, N.J.

Mad Men (2007)

The show appealed to a demographic of people who were born in the 1960s and 1970s in the U.S., when ads and TV commercials had an indelible imprint on their childhoods and their view of key consumer products (food brands, appliances, toys, etc.). I am one statistic in this demographic.

This same cohort witnessed and participated in the growing power of corporations in the 1980s and beyond, so “Mad Men” provided a grounding context on the power of brands built around individual stories.

Finally, I think the story lines involving the individual members of the production were gripping and also highlighted the changing social fabric, norms and mores of the 1960s that have defined our experience of the past 50 years.

— Kaushik Bhaumik, Burlingame, Calif.

Yellowstone (2018)

Before “Yellowstone” hit, most prime-time TV was crime shows, reality shows and inane sitcoms. Yellowstone elevated television to a new level, and did so without special effects or CGI, but instead via a combination of compelling story, strong writing and acting, and cinematography that rivaled that of movies. Television had lost the importance of story, and “Yellowstone” reminded us all that story matters, and can provide a vehicle for larger topics.

“Yellowstone” also introduced a conversation about the complexities of land ownership, commercial development, environmental concerns and the history of our nation, particularly with respect to Native Americans. It was able to present more than one side to those issues and do it in a way that was both educational and entertaining, and at the same time it offered compelling human stories about family and loyalty and love. “Yellowstone” made it OK to have a two-way conversation about these controversial issues, something our nation desperately needs right now.

— Kendall Sterling, Myrtle Beach, S.C.

Ed Sullivan, above, on set in the 1960s. Nichelle Nichols, William Shatner, Robert Walker Jr. and Leonard Nimoy in the ‘Charlie X’ episode. Carol Burnett, right, takes sketch comedy to a new level.