Welcome to a journey back in time to the wild world of 1970s television, where disco grooves and bell-bottoms weren’t the only unforgettable elements of the era. While the ’70s brought us some iconic TV classics, it also birthed a slew of cringeworthy, head-scratching, and downright awful shows that left audiences baffled and entertained in equal measure. Whether you vividly remember these television travesties or are about to discover them for the first time, prepare yourself for a gallery that delves into the depths of television’s dark and quirky corners.
Strap in for this nostalgic trip through the worst TV shows of the 1970s, featuring infamous flops like BJ and the Bear, Supertrain, The Ropers, and Mrs. Columbo.
Let’s dive headfirst into the world of small-screen misfires, and maybe, just maybe, find some guilty pleasures along the way. Read on to explore the TV flops that even time couldn’t forget.

Super Friends, the Hanna-Barbera produced cartoon that aired throughout the 1970s, holds a unique and enduring place in the hearts of fans in spite of the fact that it wasn’t very good. While it may not have boasted the animation quality and intricate storytelling of modern superhero adaptations, it was the groundbreaking series that first brought the iconic heroes of the Justice League to the small screen.
With characters like Superman, Batman, Wonder Woman, and Aquaman, Super Friends was a simplistic yet wholesome approach to storytelling, coupled with a commitment to promoting positive values and teamwork, made it a beloved part of many childhoods. This is a series to keep in your memory palace, just don’t unlock that door.

Gary Marshall, a renowned producer, aimed to create a compelling series with Who’s Watching the Kids? in 1978, centered around the lives of two Vegas showgirls. Linda Goodfriend and Caren Kaye portrayed the protagonists, who shared a small apartment in Las Vegas while juggling their careers and family responsibilities. Comedy was brought into the mix by co-stars Jim Belushi and Scott Baio. Despite the promising elements, the show failed to resonate with viewers, as the storyline left them unimpressed.
NBC decided to pull the plug on Who’s Watching the Kids? after just eleven episodes, marking it as a short-lived and ultimately unsuccessful venture in Gary Marshall’s extensive career in television production.

Flying High, a 1978 series, entered the television scene as another attempt to replicate the success of Charlie’s Angels. The show revolved around the personal lives of three stunning women who worked as stewardesses for Sunwest Airlines, boasting a beautiful cast that included Pat Clouse, Kathryn Witt, and Connie Sellecca. On paper, it seemed to have all the right ingredients for an entertaining story. However, viewers didn’t find these ladies’ adventures compelling, and the show faced criticism for its stereotypical writing and production. Consequently, Flying High was canceled after just a few months on the air, underscoring the challenge of emulating the success of a popular series with a copycat format and the importance of originality in television storytelling.

The CBS sitcom Co-Ed Fever was a colossal disappointment, with only one out of six produced episodes ever making it to the airwaves. Featuring a cast that included Alexa Kenin, Cathryn O’Neill, Heather Thomas, Tracy Phillips, and Jillian Kesner, the series revolved around the lives of young women living in a dorm at Baxter College.
To make matters worse, Co-Ed Fever was initially conceived as one part of a three-part “frat house” comedy series, but the show’s dismal plot and production quality led to the failure of the entire project.

The Brady Bunch Hour, which aired from November 28, 1976, to May 25, 1977, stands out in television history as an earnest but ultimately ill-conceived endeavor. Produced by Sid & Marty Krofft Productions and featuring cast members from The Brady Bunch, this variety show was, to put it bluntly, far from a critical success.
Attempting to capitalize on the popularity of the original series, it often came across as a clear cash grab. The format featured skits, songs, and guest appearances, attempting to combine the family-friendly charm of the Brady family with the variety show format of the era. However, the execution fell short, with critics and even some fans finding it lacking in quality and coherence. Despite its brief run and lukewarm reception, The Brady Bunch Hour remains a curious footnote in television history, a reminder that even beloved TV families can’t always successfully transition to new formats.

BJ and the Bear, a short-lived action comedy series that aired from 1979 to 1981, found its place in the television landscape during a very specific cultural moment. The show followed the adventures of BJ McKay, a trucker with his pet chimpanzee named Bear, as they traveled from city to city, solving crimes along the way. While the premise was certainly unique, the series struggled to find its footing creatively, and it often came across as a product of its time—a time when the popularity of films like Smokey and the Bandit and Every Which Way but Loose had ignited a fascination with trucking and CB radio culture.
The show seemed to be produced mainly to ride the coattails of these trends, but it failed to capture the same magic, resulting in a program that’s largely remembered for its quirky premise and its reflection of a bygone era in American popular culture.

The Sonny Comedy Revue, which briefly aired on ABC in 1974 for just one season, marked a pivotal moment in the career of Sonny Bono. Following the dissolution of his marriage to Cher and the subsequent cancellation of their popular variety show, The Sonny & Cher Comedy Hour, this solo venture was seen as Sonny’s attempt to establish himself in the entertainment world as an artist all of his own. However, it was widely regarded as a misstep and fell far short of its predecessor. Critics noted that the show was uneven in quality, and many viewers felt that Cher’s absence was keenly felt, as her charisma and dynamic chemistry with Sonny had been a driving force behind their earlier success.

This short-lived sitcom spin-off of Welcome Back, Kotter, marked an ambitious but ultimately ill-fated attempt to showcase the talents of Pat Morita in a leading role. Airing for a mere five episodes on ABC from September 25 to October 30, 1976, the series was notable for being one of the first to feature a predominantly Asian-American cast, breaking ground in its representation. However, despite its groundbreaking premise and the undeniable talent of Pat Morita, the show struggled to find its footing with both critics and audiences alike.
After the pilot episode was screened for national television critics in June 1976, it garnered harsh criticism, with the group collectively deeming it the “worst new show they had endured.” Many lamented that Morita deserved a better vehicle for his considerable talents. One critic went so far as to write: It was so much worse than anything else we saw this summer that it looked as though it had possibly been made for some other purpose than entertainment, possibly for shipment to some enemy country where the CIA wanted to scramble the brains of the citizenry.

Originally titled Second Start, this failed series embarked on a journey filled with setbacks and challenges right from the start. Starring Bob Crane as Bob Wilcox, a character in his 40s who opts to leave his insurance salesman career behind to pursue medical school, the series attempted to capture the magic of other successful ’70s sitcoms like The Bob Newhart Show and The Mary Tyler Moore Show. However, its troubled production history was indicative of its inability to replicate that success. Originally slated for a fall 1974 debut, the show faced delays due to the Federal Communications Commission’s reintroduction of the Prime Time Access Rule, which limited the broadcast networks’ prime time programming.
The constant delays, re-shooting of the pilot, and shifting release dates created a sense of uncertainty around the series. Ultimately, The Bob Crane Show struggled to find its footing in the shadow of its acclaimed predecessors and is remembered more as a failed attempt to chase their success rather than a standout sitcom in its own right.

The Starland Vocal Band Show was a clear example of the entertainment industry’s penchant for attempting to cash in on fleeting fame. Hosted by the one-hit wonders, The Starland Vocal Band, who had achieved brief stardom with their single “Afternoon Delight,” the series was a glaring ratings grab. Modeled after the format of more successful variety shows like The Sonny & Cher Comedy Hour, it sought to capitalize on the band’s momentary success. However, the series failed to strike a chord with viewers, and its inherent reliance on a single hit song proved to be a short-lived gimmick.

This spin-off of the immensely popular Three’s Company, proved to be a significant disappointment despite the high hopes placed on its success. Initially pitched in the wake of Three’s Company’s early triumphs in 1977, the idea was met with hesitation from both the show’s stars and producers. However, the show’s continued success in its second season prompted a reconsideration in 1978, this time with the support of new ABC leadership. While Audra Lindley found the idea intriguing, Norman Fell, who was beloved for his role in Three’s Company, was reluctant to leave a proven hit for an uncertain spin-off. To address his concerns, the producers promised Fell that if The Ropers didn’t succeed within a year, he and Lindley could return to Three’s Company. Unfortunately, The Ropers faced multiple challenges, including a shift to a Saturday evening time slot that led to a sharp decline in viewership. Despite Norman Fell’s efforts to salvage the show’s ratings, it was canceled by ABC in May 1980, leaving Fell and Lindley in a difficult position. However, the addition of Don Knotts to Three’s Company during The Ropers run made their return to the original series impractical, as it would have disrupted the successful dynamic of the show. Ultimately, The Ropers serves as a cautionary tale of the risks and uncertainties involved in spinning off beloved characters from a hit show into a new venture.

The Secret Empire was a television series that attempted to carve out its niche in the world of superhero shows with a unique twist – the main character’s psychic powers were only activated while playing a pinball machine called The Secret Empire. This peculiar premise added an unusual layer to the typical superhero narrative. However, despite its intriguing concept, the show struggled to find an audience and quickly faded into obscurity.
One of the key factors contributing to its downfall was the attempt to capitalize on the pinball fad of the time, a gamble that proved ill-fated. Even the enthusiasm of pinball enthusiasts couldn’t save the series from its inevitable plunge.

The ill-fated series Mrs. Columbo stands as a stark example of how attempting to cash in on the success of a beloved show without understanding its essence can lead to failure. Spun off from the iconic mystery crime drama series Columbo, Mrs. Columbo sought to explore the life of Lieutenant Columbo’s wife, but it struggled to find its own identity. Poor ratings and a lukewarm reception from both viewers and the original producers of Columbo spelled doom for the series.
In a desperate attempt to change its course, both the show and the eponymous character underwent a name change. However, this effort failed to salvage the sinking ship, and Mrs. Columbo met its demise in March 1980 after just 13 episodes.

Supertrain, touted as a groundbreaking television series with its luxury, atomic-powered train capable of super speeds, ended up being a colossal disappointment. Despite its promising and innovative concept, the show was marred by poor writing and execution. The producers had invested significant resources into this ambitious project, creating a two-hour pilot episode and producing a total of nine episodes. However, the lackluster quality of the writing and the failure to capture viewers’ interest led to the series quickly derailing. Supertrain not only proved to be a creative misstep but also a significant waste of money.

Mobile One, an adventure series that hit the airwaves on September 12, 1975, became a textbook example of a short-lived television series due to its dismal ratings. Despite the presence of a talented cast including Jackie Cooper, Julie Gregg, and Mark Wheeler, the show couldn’t muster enough viewer interest to keep it afloat. ABC had hoped to position Mobile One as a competitor to NBC’s Chico and the Man and CBS’s MASH but it quickly became apparent that there was no real contest. The series was axed after just 13 episodes, underscoring the harsh reality that even the most promising shows can’t survive without a dedicated audience and strong competition in the crowded television landscape.

The Immortal, a 1970 ABC drama series, presented an intriguing premise with Christopher George playing the role of Ben Richards, a youthful-looking race car driver with a unique secret – his special blood made him impervious to the effects of aging. However, the show’s potential took a downward turn as the plot unfolded. When Richards donates his blood to save his wealthy employer, his life takes a dramatic turn for the worse as the employer exploits his newfound youthfulness. The series attempted to pivot into a thrilling cat-and-mouse game between Richards and the employer’s bounty hunter, but it failed to engage viewers effectively. Despite its efforts to salvage the show, The Immortal struggled to maintain audience interest, ultimately lasting for just 15 episodes before being pulled off the air in January 1971.