Every Show In The All In The Family TV Universe, Ranked

Before Shonda Rhimes became known for brilliantly weaving political issues into her universe of shows, Norman Lear was creating the template for Rhimes and others to follow. The famed showrunner, only recently passing away in 2023 at age 101, was a television powerhouse of the 1970s and 1980s. He sought to progress the American public's political and social tolerance in the midst of racial progress, the rise of second-wave feminism, and the gay rights movement. Lear kept the pulse of sociopolitical progress, creating characters of opposing views within his shows to expose the prejudice at the heart of conservative ideologies. And nowhere is this more evident than in one of his most famous series, "All in the Family," which starred Carroll O'Connor as Archie Bunker, an old-fashioned patriarch at odds with his changing world.

Beginning with "All in the Family," Lear created a universe of spin-offs that collectively changed TV history. The playful — and sometimes heated — political debates featured on his various sitcoms not only improved representation of marginalized groups on TV, but also pushed Americans to think more critically about the effects of politics on everyday people. Here are all of the shows in the "All in the Family" universe, ranked.

"All in the Family" fans may know 704 Hauser as the Bunker family's address, but it was also the name of a spin-off that followed two decades after the original show.

It starred John Amos, known for his role as James Evans in "Good Times," as a new patriarch, Ernie Cumberbatch. Taking place in the Bunker's old house, the series was Norman Lear's swing at bringing his sitcom formula into the 1990s. "704 Hauser" lands last on this list because it felt out-of-place within its television era aesthetically and tonally. It felt like a '70s sitcom plopped into a '90s landscape.

Additionally, many of the aspects of Norman Lear shows that made them special in the '70s had become commonplace by the time of the show's run. Middle-class Black families and interracial dating, the two most "subversive" aspects of the show, were ubiquitous in '90s television. With more exciting Black family dynamics on TV such as "The Fresh Prince of Bel-Air," "Living Single," and "Martin," "704 Hauser" just wasn't going to cut it. The network agreed, axing the show after just five episodes.

"Checking In," the "Jeffersons" spin-off starring Marla Gibbs, lands second-last on this list simply for its extremely short run. In the series, Gibbs reprised her role as Florence from "The Jeffersons," (the titular couple's housekeeper) but this time in a new context: As the housekeeping manager of a hotel. The show featured Gibbs' signature wry humor and delivery, as well as a quirky cast of characters.

Really though, the person that stood out most from "Checking In" was the character Betty, played by R&B legend Ruth Brown. She stole any scene she was part of, with her booming voice and excellent comedic timing. There was certainly potential with Betty and other characters if given the chance, but the series was cancelled after only four episodes. For Brown, the show's failure was merely a footnote in her legacy. She had a hugely successful recording career prior to the show, and went on to join the cast of John Waters' 1988 classic "Hairspray" as Motormouth Maybelle.

Following the beloved daughter of the Bunker family, "Gloria" centered on the titular character's life post-divorce as a veterinarian. Sally Struthers continued to bring her signature charm and innocence to Gloria, and it was mostly still entertaining to watch. However, as the spin-off of a spin-off ("Archie Bunker's Place"), "Gloria" had the feeling of a game of telephone. Some of the comedy got lost in translation, or rather in getting further away from its parent series.

Gloria as a character was great in "All in the Family" because she was one archetype within a larger family dynamic of contrasting personalities. This dynamic continued to a lesser degree on "Archie Bunker's Place" with Carroll O'Connor still present as Archie Bunker. However, as a standalone character, Gloria didn't have the charisma needed to carry the comedic aspect of the show. Her surrounding cast didn't pop as much as her previous ensembles, and as a result "Gloria" is one of the less memorable entries in the Norman Lear universe.

A spin-off to continue "All in the Family's" success after its end (as well as Jean Stapleton's exit), "Archie Bunker's Place" featured more hustle and bustle than the original show. It took place at Archie's newly purchased tavern in Queens, and featured a sizable cast of new characters to interact with Archie's infamous bigotry.

What makes this series a stronger entry in the Norman Lear universe is that it is a better showcase of the actual geographical setting: New York. While "All in the Family" felt more suburban, set mostly in the home, "Archie Bunker's Place" naturally had more connection to the wider city. This was evident by the diversity of the employees and regulars at the bar, including gay folks, undocumented immigrants, and Jewish people.

In a way, the series reflected Bunker's character evolution. He began "All in the Family" close-minded, but through that series into this one, he left his comfort zone (the home) and expanded his worldview into new areas (the tavern). And of course, the comedic social dynamics audiences had come to love were still present and entertaining.

"Good Times" was a watershed series in the history of Black television. Depicting Black people as poor was not new in the 1970s, but humanizing their struggles and portraying them as a strong nuclear family unit certainly was. Particularly, the presence of James Evans (John Amos) was huge, as Black families were often portrayed as fatherless (and in turn, inadequate).

Just as the theme song described, "Good Times" was brilliant because it was defiant in its joy. It could at once be harrowing and hilarious, with the Evans family finding ways to love and lean on one another in the neglected Chicago projects. It balanced these opposing tones for a majority of its run, making audiences laugh and also consider the broader systemic harm inflicted upon Black urban communities. Toward the end, however, the series began to lose its aforementioned balance by focusing on the clown of the show, J.J. (Jimmie Walker). It tipped too far into silliness, which both Amos and Esther Rolle vocally criticized. Their eventual departures from "Good Times" left the show feeling hollow.

Still, the show remains iconic in television history, and one of the best entries in Norman Lear's catalogue.

And then, there's Maude!

"Maude" starred the incomparable Bea Arthur (before her "Golden Girls" days) as Edith Bunker's liberal, feminist cousin. It was groundbreaking in its own way, centering on a four-times-married, pro-feminism, pro-civil rights woman in the 1970s. As with most other Norman Lear series, the show dealt with politics and social issues. Topics like race, gender, and abortion were never off the table, creating various moments that made TV history. But unlike the rest of Lear's shows, "Maude" featured almost exclusively liberal points of view — there weren't any "bigots" in the main cast to serve as interpersonal conflict for the characters. Instead, the comedy rested purely on excellent writing and cast delivery, especially by Arthur. Her signature alto voice and deadpan delivery is simply comedic gold. It's the kind of delivery that paved the way for actresses like Aubrey Plaza and Stephanie Beatriz to create their own signature characters in the modern day.

An oft-forgotten aspect of "Maude" is how absurd the character could be sometimes. She could say the silliest one-liner with a completely serious face and all you could do was laugh. The series also charmingly portrayed a mother-daughter relationship between Maude and Carol (Adrienne Barbeau) built on mutual respect, love, and intelligence. Overall, though overlooked in favor of other Lear shows, "Maude" holds up against the best sitcoms of any era.

"The Jeffersons" bore many similarities to "All in the Family." George Jefferson (Sherman Hemsley), once a neighbor of the Bunkers, was just as bigoted as Archie, but he had more awareness of race because he was Black. The similarities end there, though: "The Jeffersons" had much more attitude than "All in the Family."

Hemsley had two killer comediennes to bounce off in Isabel Sanford (Louise "Weezy") and Marla Gibbs (Florence), more so than Carroll O'Connor did on "All in the Family." The three of them interacting with the supporting characters delivered infectiously funny television. The actors also utilized physical comedy in ways that other Norman Lear shows didn't. George Jefferson had his own signature walk that could make you laugh without a single line read!

Though not as much as its predecessor, "The Jeffersons" still dealt with serious social issues such as gun control, alcoholism, racism, and even trans identity. It tackled these subjects head on, and nearly always in ways that weaved comedy into the lessons within the screenplay. All of that, and the series has the best theme song on this list, hands down.

Could any other show have topped this list? "All in the Family" is literally the granddaddy of them all, the roots on the tree from which all previously discussed shows branched from. It's the best show in Norman Lear's catalogue because it didn't shy away from friction in its scripting. Up until its debut, there were plenty of oppressive views expressed on TV, but never before had such views been vociferously challenged. Indeed, the point of having characters like daughter Gloria (Sally Struthers) and son-in-law Mike (Rob Reiner) to call Archie out on his bigotry was to laugh at his nonsensical worldviews rather than confirm them. This subversive approach saw "All In the Family" initially met with doubt, even warning from its network. However, audiences came to learn that the combative nature of the episodes was what made them entertaining.

The aforementioned three characters, as well as meek and loving wife Edith (Jean Stapleton), were an electrically comedic ensemble. Their range of personalities and political inclinations provided an entry point for a wide range of viewers, which only strengthened the series' popularity. Despite the prickliness of its main character, "All in the Family" attracted viewers of all races who were also experiencing a time of great social change. To modern eyes, some of the opinions espoused may seem outrageous and dated. That may be true. Yet, appreciating "All in the Family" is understanding that it is a vital historical artifact. It is a snapshot of 1970s America, for better and worse.