14 ’80s TV Show Promos That Wouldn’t Run Today
Some beloved promos from the ‘80s now feel out of step with how we view gender, race, violence, and identity on screen.
- Alyana Aguja
- 4 min read
In the 1980s, TV show promos often pushed boundaries with humor and themes that reflected the cultural blind spots of the time. These 30-second spots sold audiences a version of entertainment built on stereotypes, casual violence, and outdated social norms. Looking back, it’s clear how much the cultural compass has shifted and why some of these promos would never pass today’s standards.
1. The Dukes of Hazzard (CBS, 1979–1985)
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Promos often spotlighted the Confederate flag on the General Lee, treating it as a symbol of rebellion rather than its deeper historical implications. Today, the flag’s racist associations would make that imagery a nonstarter on mainstream networks. Back then, it was played for laughs and action, not controversy.
2. Diff’rent Strokes (NBC/ABC, 1978–1986)
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A promo for a special episode titled “The Bicycle Man” dealt with child molestation but used oddly upbeat narration, making the tone feel mismatched and uncomfortable. Networks in the ’80s didn’t always know how to frame “very special episodes” with the gravity they deserved. Modern standards would require more sensitive handling and content warnings.
3. Three’s Company (ABC, 1977–1984)
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Promos leaned hard into sexual innuendo, with Jack Tripper pretending to be gay to live with two women. What was then a “harmless misunderstanding” now reads as casual homophobia played for laughs. A promo today would face serious backlash for using queerness as a comedic punchline.
4. Married… with Children (Fox, 1987–1997)
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The promos highlighted Al Bundy’s crass jokes and misogynistic rants, branding the show as “TV’s most outrageous family.” Back then, it was edgy and proud of it. Today, that kind of promo would need major reframing to avoid reinforcing harmful gender stereotypes.
5. The A-Team (NBC, 1983–1987)
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Promos often showed non-stop gunfire and explosions, with zero consequences or injuries. The show’s fantasy violence was never questioned on air. In today’s media landscape, even action shows are expected to show accountability or realism.
6. Knight Rider (NBC, 1982–1986)
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Some promos emphasized David Hasselhoff’s charm alongside sexist jokes and one-liners about women. In the ’80s, that was just another Thursday night. Now, it would be flagged for outdated gender dynamics and objectification.
7. Punky Brewster (NBC, 1984–1988)
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A promo for the “urban issues” episode showed characters awkwardly navigating topics like race and drugs with cringeworthy dialogue. The attempt to teach kids life lessons was noble but poorly executed. Modern promos would likely rework or omit these moments entirely.
8. The Love Boat (ABC, 1977–1986)
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Promos for “romantic adventures at sea” leaned heavily into dated gender roles, with women swooning and men chasing. The tone was meant to be playful, but today it reads more like a glamorized version of workplace flirtation. Consent was more implied than discussed.
9. Charles in Charge (CBS/Syndication, 1984–1990)
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Promos portrayed Charles as the perfect guy-next-door babysitter, with lots of suggestive banter with teen girls. It was all meant to be sweet and funny, but by today’s standards, it would raise too many red flags. The dynamic between adult caregivers and young charges would be scrutinized more closely.
10. Mr. Belvedere (ABC, 1985–1990)
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Some promos featured Mr. Belvedere reacting to “strange American customs” with eye-rolls and a touch of cultural superiority, playing into British-versus-American stereotypes. It was meant to be charming but now feels classist and reductive. That kind of humor wouldn’t fly today without more nuance.
11. Small Wonder (Syndication, 1985–1989)
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Promos celebrated a robot girl hiding in plain sight, often focusing on how she could clean, obey, and stay silent. Framed as the ideal child, the underlying message would draw criticism today for promoting obedience and subservience, especially in girls. What felt futuristic now feels a little dystopian.
12. Webster (ABC, 1983–1989)
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Promos relied heavily on Emmanuel Lewis’s cuteness and stature, often making him the butt of physical or visual jokes. That kind of humor, based on a child’s body, would now be considered exploitative. It’s a clear example of how the ’80s blurred the line between affection and objectification.
13. Growing Pains (ABC, 1985–1992)
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Some promos leaned into Kirk Cameron’s “bad boy charm,” framing rebellious teenage antics as charming and harmless. Later revelations about Cameron’s personal views have retroactively colored these promos in a new light. They feel out of sync with today’s more complex conversations about teen behavior and accountability.
14. Too Close for Comfort (ABC/Syndication, 1980–1987)
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Promos often made light of the dad character obsessing over his daughters’ dating lives, bordering on possessive and intrusive. Played for laughs in the ’80s, that trope now feels toxic and patriarchal. Today’s audiences expect parental figures to trust, not control.