20 Iconic TV Shows That Defined the 1970s

Let’s be honest: TV in the ‘70s was a lot simpler than what we’re used to now. There were only three networks, four basic types of shows (sitcoms, dramas, cartoons, and news), and special effects were mostly just… not great. But that simplicity is actually what makes the decade so strange and essential – almost everything iconic about modern TV started right there, with those yellow living room carpets and bulky wood-paneled sets. Basically, the ‘70s walked so the rest of TV history could sprint.

So, if you want a crash course in the shows from that era that actually left a mark, here’s my take on the big ones and why they mattered. Some were game-changers, some were delightfully weird, and almost all have been copied endlessly ever since.

• 'M*A*S*H' (1972–1983): If you judge a show by how many people watched its finale (that is, basically everyone), then M*A*S*H sits at the top. This one started out as a dark comedy about American medics trying to stay sane in the Korean War. It took the antiwar spirit of the movie it was based on, then stretched that out over 11 seasons – and yes, did the rare thing of ending well. If you think TV can’t pull off drama and comedy at the same time, you haven’t seen this.
• 'Dallas' (1978–1991): Soap operas always leaned into the drama, but Dallas blew things up in the best possible way. The Ewings – a Texas oil clan too rich for their own good – stabbed each other in the back for more than a decade. And then there was that cliffhanger: 'Who shot J.R.?' turned into its own national pastime, with people literally betting on the outcome. I’d call it over-the-top, but honestly, the drama holds up.
• 'Laverne & Shirley' (1976–1983): Probably no one guessed that a couple of side characters from Happy Days would get their own sitcom and outdo the original in a lot of ways, but Penny Marshall and Cindy Williams as two Milwaukee brewery workers were pure sitcom gold. There’s a simplicity to it that just works – two women, dead-end jobs, and a friendship that’s funnier than just about anything else from the era.
• 'Mork & Mindy' (1978–1982): Another Happy Days spin-off, but this one got weird. Robin Williams as Mork, the extraterrestrial who lands in Boulder, Colorado and torpedoes Mindy’s life with nonstop chaos, might be peak television. It’s the only show where Williams’ manic energy was actually the point, so if you ever wondered how he became Robin Williams… it starts here.
• 'Little House on the Prairie' (1974–1983): You wouldn’t think wholesome frontier families and 1800s farm life would translate to must-watch TV, but somehow Little House made it work. Michael Landon anchored the Ingalls family through love, hardship, and some genuinely heavy topics (racism, addiction, you name it). But it was never preachy or dull, and for a lot of people, it was the original comfort show.
• 'Sanford and Son' (1972–1977): It’s difficult to overstate how big a deal Sanford and Son was – and not just because Redd Foxx could insult anyone and get away with it. Foxx (Fred Sanford) and Demond Wilson (Lamont) played off each other with a ridiculous chemistry that pushed boundaries (especially racial ones), but it also opened doors for more diverse casting in sitcoms. Some jokes haven’t aged, but as far as trailblazers go, this one ranks high.
• 'Taxi' (1978–1983): Look, nobody grows up wanting to be a New York cab driver, but Taxi made it seem almost… fun? The magic wasn’t in the story but in the faces: Judd Hirsch, Danny DeVito, Andy Kaufman (when he felt like showing up), plus Christopher Lloyd and Carol Kane, all packed into one workplace sitcom. Every episode is just a reminder of how good casting can carry a show forever.
• 'The Muppet Show' (1976–1981): Pretty bold move: take puppets – a format everyone saw as strictly for kids – and make them the centerpiece of a variety series for everyone. That’s what Jim Henson pulled off here. The recurring sketches for Kermit and crew (plus a weekly guest star) became the kind of TV event families actually watched together. If you’re wondering why the Muppets keep coming back, this is why.
• 'Wonder Woman' (1975–1979): Hard to believe, but the Lynda Carter Wonder Woman was only on for three seasons and told her entire Nazi-punching, evil-thwarting origin in just 60 episodes. For a show that’s still a go-to pop culture reference, it’s a surprisingly short binge. Superhero TV owes a lot to this one, even if the costumes and effects seem retro now.
• 'The Mary Tyler Moore Show' (1970–1977): 'Love is all around,' and so was Mary Richards, TV’s ultimate working woman. Mary Tyler Moore’s newsroom sitcom crushed the competition because the cast (Ed Asner, Betty White, Valerie Harper, just for starters) felt like real people. Plus, it showed single women who didn’t have to apologize for ambition – pretty radical for network TV in 1970. The last episode is still considered one of the best ever made, period.

For all the nostalgia about ‘classic TV,’ it’s easy to forget how experimental or groundbreaking things got in the ‘70s, even with only three networks. Whether you love a strong ensemble cast, a little sci-fi weirdness, or just, you know, a puppet throwing a fish, this list pretty much covers all the bases.

If you look up 'TV that actually changed the game,' most examples are probably sitting somewhere above.