Maude (TV)
"Maude" is a groundbreaking American sitcom that first appeared on CBS on September 12, 1972, following the character Maude Findlay's introduction on "All in the Family." Maude, portrayed by Beatrice Arthur, is depicted as a liberal, upper middle-class feminist, contrasting sharply with the conservative, male chauvinist values of her cousin Edith Bunker's husband, Archie. The show is set in suburban Tuckahoe, New York, where Maude navigates various personal and social challenges, including menopause, her husband Walter's struggles with alcoholism, and a controversial abortion decision, which sparked significant protests upon airing. Over its six-year run, "Maude" resonated with viewers, particularly during the women's liberation movement, by presenting a more realistic portrayal of family life and women's issues than previous sitcoms. Despite its initial popularity and high ratings, the show faced declining viewership in later seasons and ended on April 29, 1978. "Maude" is recognized for pushing the boundaries of television content and paving the way for more complex female characters in future programs.
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Subject Terms
Maude (TV)
Identification Television situation comedy
Maude was television’s answer to the women’s liberation movement—a program about an outspoken woman involved in situations that had previously been off-limits for situation comedy.>
Date Aired from 1972 to 1978
Producer Norman Lear
Key Figures
Norman Lear (1922- ), television producer
Key Figures
Norman Lear (1922- ), television producer
The character of Maude Findlay made her first television appearance on December 11, 1971, on an episode of All in the Family. Maude was Edith Bunker’s cousin and the polar opposite of Edith’s husband, Archie. In contrast to Archie, a conservative, working-class male chauvinist, Maude was liberal, upper middle class, and an opinionated feminist. As played by Beatrice Arthur, a five-foot-nine woman with a deep bass voice, Maude was nothing like the demure housewives and mothers that traditionally had been characters in television comedies. Maude proved so popular during two appearances on All in the Family that the show’s producer, Norman Lear, spun off a situation comedy (sitcom) for her. Maude debuted on the Columbia Broadcasting System (CBS) network on September 12, 1972.
Maude lived in suburban Tuckahoe, New York, with her fourth husband, Walter (played by Bill Macy), her divorced daughter, Carol (Adrienne Barbeau), and her grandson, Phillip (Kraig Metzinger). Maude dealt with a variety of crises during her six years on the air. She experienced menopause and had a face-lift. Walter suffered with alcoholism, a nervous breakdown, and the bankruptcy of his appliance store. In a two-part episode, forty-seven-year-old Maude learned that she was pregnant. She decided to have an abortion, and Walter supported her decision. These shows initially aired in November, 1972, and drew protests from right-to-life groups; the controversy grew even more heated when the episodes were repeated the following August. The U.S. Catholic Conference convinced some of CBS’s affiliates not to run the programs, and Lipton Tea pulled its advertising. CBS aired the programs despite the complaints.
Maude earned high ratings in its first four seasons. Many baby boomers considered the show’s depiction of family life more realistic than the perfect families portrayed in earlier sitcoms. The program’s feminist leanings resonated with viewers during the heyday of the women’s liberation movement. By its fifth year, however, the show no longer placed among the twenty-five top-rated programs. In a final attempt to salvage the show, Maude moved to Washington, D.C., to work for a Democratic congressman. The congressman died, and Maude was chosen to complete his term. However, after three episodes of this format, Arthur decided to leave the show. Maude’s final episode aired on April 29, 1978.
Impact
Maude dealt with social issues and domestic situations that earlier sitcoms ignored. The show set new standards for content, language, and the depiction of women. Maude’s success made it more acceptable for other television programs to feature strong-minded, independent women characters.
Bibliography
Cowan, Geoffrey. See No Evil: The Backstage Battle Over Sex and Violence on Television. New York: Simon & Schuster, 1979.
Dow, Bonnie J. Prime-Time Feminism: Television, Media Culture, and the Women’s Movement Since 1970. Philadelphia: University of Pennsylvania Press, 1996.
Jones, Gerald. Honey, I’m Home! Sitcoms, Selling the American Dream. New York: Grove Weidenfeld, 1992.
Marc, David. Comic Visions: Television Comedy and American Culture. 2d ed. Malden, Mass.: Blackwell, 1997.