It’s a common observation in television: many series tend to linger on air long after their creative peak. While some shows, like The Mary Tyler Moore Show and Seinfeld, are celebrated for concluding while still at the height of their popularity, others, like Frasier in some opinions, arguably overstay their welcome, running out of creative steam well before the final episode. This phenomenon isn’t unique to any genre or era, and as we delve into a discussion about series longevity, it’s interesting to consider how this relates to a classic like All in the Family and how viewers might perceive the quality of its later episodes.
One could argue that the final season of Frasier actually showed a slight resurgence in quality compared to the few seasons preceding it, suggesting that even shows perceived to be in decline can sometimes find a second wind before their conclusion. This leads us to consider other series and pinpoint those moments where the decline became noticeable, or perhaps when a show managed to recover some of its former glory.
Designing Women, for instance, faced a significant turning point with the departure of Jean Smart and Delta Burke. Many viewers felt that the show never truly recovered its original chemistry and charm after these key cast changes, suggesting a clear point where the series’ quality diminished.
Picket Fences is another example of a show that experienced a notable shift in quality. While its first two seasons were critically acclaimed, the third season saw a dramatic change in tone and storylines. The introduction of outlandish plots, such as test tube babies carried by cattle, marked a departure from the show’s earlier, more grounded approach to character-driven drama, leaving some viewers bewildered.
Similarly, L.A. Law struggled to maintain its initial spark after a pivotal moment – the infamous elevator shaft incident involving Rosalind Shays. The seasons that followed saw an exodus of established characters and a revolving door of new faces, accompanied by inconsistent writing. While Season 6 still held some appeal, Season 7 was widely considered a low point, and the final season, despite some improvements, felt like a different show altogether, with veteran characters often marginalized.
Peyton Place, a primetime soap opera, also faced challenges in its later years. Despite cast changes being a common occurrence in long-running soaps, the series struggled when it abruptly introduced late 60s cultural elements that clashed with its established tone. Although efforts were made to course-correct before the end, ABC ultimately decided to cancel the series.
In contrast, China Beach delivered a powerful final season. By employing a non-linear narrative, jumping between different time periods, the show effectively explored the long-lasting impact of the Vietnam War on its characters. However, the stark portrayal of Dana Delany’s character as deeply broken and lost was a jarring and, for some, unsettling departure.
Falcon Crest is often cited as a series that should have concluded earlier. Many feel its creative peak was around Season 6, coinciding with the Kim Novak storyline, and that the seasons beyond that point failed to recapture the same level of intrigue.
Moonlighting experienced turbulence in its penultimate season, largely due to Cybill Shepherd’s absence. Despite this, the season still had moments of brilliance, and the final season, while imperfect, was arguably better than its reputation suggests, showcasing the enduring chemistry of its leads.
Scarecrow and Mrs. King reportedly declined in quality during its final season, and Remington Steele is often considered to have suffered from unnecessary TV movie follow-ups. The Waltons, while remaining watchable in its later seasons, lacked the stability of its earlier years as key adult family members left the show, altering the dynamic that had defined the series.
Cagney and Lacey maintained a reasonable level of quality until the end, although some viewers noted a slight dip in the writing during its final season. Dynasty, after a period described as being on “autopilot,” surprisingly rebounded in its final season, delivering its strongest storylines since its early peak in Season 2.
Lou Grant is often praised for maintaining its quality throughout its run, while St. Elsewhere underwent a stylistic shift in its final year, becoming more melodramatic and less comedic. While not necessarily a decline in quality, this change in tone felt distinct from the rest of the series.
Thirtysomething, despite a few weaker episodes in its final year, is generally considered to have consistently improved over its run. Conversely, Murphy Brown and The Wonder Years are often cited as examples of shows that lost their creative momentum well before their conclusions.
Providence is described as deepening in meaning in its final season, although the season preceding it was considered overly melodramatic. Desperate Housewives ended on a high note, but had experienced dips in quality during earlier seasons, particularly Seasons 2 and 5.
Finally, Knots Landing presents a particularly complex case. The series experienced numerous fluctuations in quality throughout its long run, with periods of improvement, decline, and resurgence, ultimately ending after fourteen seasons of varying creative fortunes.
When we consider these varied trajectories of television series, it prompts reflection on All in the Family episodes and its own lifespan. Did All in the Family maintain its sharp social commentary and character-driven humor throughout its run? Or were there specific seasons or episodes where the quality arguably waned? Analyzing the critical and audience reception of different eras of All in the Family episodes can provide valuable insights into the challenges of sustaining quality in long-running television, a challenge faced by many of the series discussed here. Examining these shows in comparison to a benchmark like All in the Family allows for a richer understanding of the nuances of television history and the enduring question of when a series has truly run its course.
