Norman Lear was mostly known for pioneering the world of television by creating groundbreaking shows that challenged societal norms. But he also found innovative approaches to television production and distribution. Despite his cultural success, the “industry” remained a monolithic advertising-hungry machine.
One venture that exemplifies Lear's ingenuity in the face of television conglomerates was the syndication of his iconic series, "Mary Hartman, Mary Hartman." Here’s how Norman Lear brought this satirical masterpiece to a wider audience through syndication.
The Birth of Mary Hartman, Mary Hartman:
"Mary Hartman, Mary Hartman" made its debut in 1976 and immediately garnered attention for its unconventional format and darkly comedic take on suburban life. Created by Norman Lear and co-developed with writer Ann Marcus, the show followed the mundane yet absurd life of Mary Hartman, played by Louise Lasser, as she navigated through the bizarre occurrences in her small town of Fernwood.
"Mary Hartman, Mary Hartman" ingeniously employed the soap opera format as a canvas for comedic exploration. In a genre traditionally known for melodrama and sensational plot twists, Norman Lear flipped the script, injecting biting satire and dark humor into the mundane fabric of everyday life. The show's parody of soap opera conventions was evident in its deliberate exaggeration of the genre's tropes—ridiculous cliffhangers, over-the-top emotional reactions, and absurdly complex interpersonal relationships. Mary Hartman, the titular character, navigated through her tumultuous life with a deadpan delivery, turning tragic circumstances into laugh-out-loud moments. The juxtaposition of soap opera dramatics with mundane suburban life not only provided a fresh and entertaining perspective but also served as a clever commentary on the absurdity of societal expectations and the conventions of traditional television storytelling. "Mary Hartman, Mary Hartman" didn't just use the soap opera format; it subverted it, creating a comedic masterpiece that transcended the boundaries of its genre.
But not only was the show made in the style of a soap opera, it also mirrored the broadcast scheduling of a typical soap opera, written and filmed to be broadcast on a daily basis.
This mixture of risky tone and demanding production schedule was the where the networks could no longer get fully behind the same boundary-pushing mindset from Lear that had made them lots of advertising money.
Syndication: A New Frontier:
In the 1970s, syndication was a relatively unexplored frontier. Most television shows were aired on network channels, with limited options for reruns and reaching broader audiences. However, Norman Lear saw an opportunity to break away from the traditional model and take "Mary Hartman, Mary Hartman" directly to local stations through syndication.
Lear's Decision to Syndicate:
Syndicating a show was not the norm at the time, and it came with its set of challenges. However, after difficulty with the networks in making the show as envisioned, Lear was determined to reach a wider audience and break free from the constraints imposed by network television. Syndication offered him the freedom from those with the power to “give the green light,” and the flexibility to air the show at different times and on different channels across the country, allowing for a more decentralized approach to distribution.
Local Stations Embrace the Unconventional:
The decision to syndicate "Mary Hartman, Mary Hartman" was met with skepticism by some, but local stations recognized the potential of Lear's creation. The show's unique blend of soap opera drama, social satire, and black comedy appealed to a diverse audience, and stations were eager to bring this distinctive content to their viewers.
Cultural Impact and Legacy:
The syndication of "Mary Hartman, Mary Hartman" proved to be a game-changer. The show's unconventional approach and Lear's willingness to challenge the norms of television distribution paved the way for future unconventional shows. "Mary Hartman, Mary Hartman" remains a cultural touchstone, remembered not only for its content but also for the innovative path it forged in the world of syndication.
It was a prophetic move. We now make TV shows more often to find a smaller, more personally-engaged and enthusiastic audience, and sometimes those can turn into full-blown hits. But unconventional schedules, and different approaches to the format are more widespread than ever.
At Thirdwing, with streaming we’re syndicating house by house, with unique, off-beat content actually very much inspired by Lear’s writing and approach to characters and cultural issues.
So we wish Mr. Lear well in his journey from Earth (or whatever other pretty, soft phrasing you like), and thank him for not only inspiring us with his cutting characters and dialogue and social acuity, but also for his maverick approach to sharing it with the world (or, at least, America).
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