As published in the Providence Sunday Journal, February 19, 2017.
Leave it to Mary Tyler Moore to provide a welcome respite from the political wrangling that dominates Facebook these days. Amid reports of the actress’s passing on January 25, my news feed filled with clips of the opening title sequence of The Mary Tyler Moore Show, the Emmy-winning sitcom in which Moore played the lead character, Mary Richards.
Comments in the posts were unusual in their unanimity. It seems just about everyone finds the “Love Is All Around” theme and Mary’s iconic hat toss irresistible.
The show was can’t-miss TV for my brothers and me growing up. Our mother was a fan, too, though I think she preferred the sharper social commentary of All In The Family, another 1970s sitcom classic.
“Your mother didn’t need to watch The Mary Tyler Moore Show,” my wife, Deb, said as we mourned Moore by watching episodes from the first season on Hulu. “She was living it.”
Deb was right. In 1970, the year the show debuted, Mom and Mary Richards shared the same hairdo, had the same fashion sense, and even walked the same way – briskly, with purpose. More important, they were both single working women in their 30s – something that could arch eyebrows then.
But there was one difference: Mom, recently separated and soon to be divorced from my father, was raising my two brothers and me.
James L. Brooks and Allan Burns, the creators of The Mary Tyler Moore Show, originally conceived of Mary Richards as a divorcee. While Moore and her husband and co-producer, Grant Tinker, loved the idea, the executives at CBS were not so enamored.
According to Jennifer Keishin Armstrong’s book Mary and Lou and Rhoda and Ted, the network believed American audiences wouldn’t tolerate a divorced lead in a series. CBS’s head of programming, Armstrong writes, “worried that Moore’s loyal fans would react badly to her being a divorcee, a status he thought implied a woman of lesser morals.” Only after Brooks and Burns rewrote Mary Richards’ backstory – she would be rebounding from a breakup with a fiancé, not a husband – did CBS green-light the show.
While the stigma of divorce was diminishing in the early 1970s, it was still prevalent enough to make me self-conscious about my family’s recent realignment. I didn’t want anyone to know about what had happened and felt an unspoken kinship with my one friend whose home was also “broken” – a common term at the time for families that had gone through a divorce.
My mother railed against the characterization of her family as “broken.” She told my brothers and me not to be fooled by appearances. “You see all the houses in this neighborhood?” she asked rhetorically one night at our kitchen table in Providence, pointing her fork at the street. “There’s a story behind every door, and it isn’t always Ozzie and Harriet.”
I busied myself with the food on my plate. There was an edge to Mom’s tone that betrayed an indignation I had never heard before. It made me feel uneasy and, at the same time, emboldened. My brothers and I would eventually embrace her rejection of the “broken home” narrative and voice it ourselves.
In the meantime, we watched Mom prosper. She earned a degree in retail merchandising at Johnson & Wales; opened her own teen and junior fashion boutique on Atwells Avenue; became a partner in two other successful entrepreneurial ventures; and served as an officer in the Federal Hill Businessmen’s Association.
After the first season of The Mary Tyler Moore Show, tweaks were made to the lyrics of the opening theme song to reflect Mary Richards’ success at navigating life as an independent woman. “How will you make it on your own?” became “Who can turn the world on with her smile?” And “You might just make it after all” was replaced by the more affirmative “You’re gonna make it after all.”
With Mom, there was never any doubt.