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The 1990s were the heyday for the multi-camera sitcom. Some of the greatest comedies of all time aired during that time—Friends, Seinfeld, Frasier, The Nanny, The Fresh Prince of Bel-Air. These are the shows we know and love and continue to watch on repeat. Then there are those great sitcoms that were forgotten yet deserved to be in the same conversation—3rd Rock From the Sun, Wings, NewsRadio. But what about those shows that were forgotten, and for good reason? That’s what we’re here to discuss.
Being forgotten is one thing, but not even holding up over time is another. The ten titles on this list have aged like milk. These shows feature terrible premises, poor caricatures, and concepts that have since become antiquated. These shows are iconic for all the wrong reasons. The ’90s were a time when every big-name star leaped onto the small screen for a television vehicle. They were car crashes, so be prepared to see some legends during some of their career low points. Many of these shows have been wiped away from memory. Others you can find on YouTube. No matter what, they’re too terrible to be believed. How many do you remember?
‘Ask Harriet’ (1998)
Once upon a time, drag was used as a punchline. In the ’90s, it was used in a wholesome manner by the beloved Mrs. Doubtfire. Then there was Fox’s abysmal Ask Harriet, which proved that when handled without care, it’s just sexist and unfunny. Created by David Cassidy, Jonathan Prince, and Billy Riback, Ask Harriet follows Jack Cody (Anthony Tyler Quinn), a chauvinistic male sportswriter, who loses his job and cross-dresses as a woman to get hired as a newspaper advice columnist. To keep his new position, he is forced to maintain his female alter ego, “Sylvia Coco,” at staff meetings and public appearances. There was only so much disbelief that could be had when the drag in question was what was presented.
The plot bore an eerie resemblance to Tootsie, but there was absolutely no charm to it. For those young adults who grew up with Boy Meets World saw Quinn, best known for playing Mr. Turner, in an entirely new light. Alongside Quinn, the cast included Lisa Waltz as his ex-girlfriend, Melissa Peters, who originally fired him, and the iconic Ed Asner as Mr. Russell, the mogul who owned the paper. Despite a 13-episode order, there was no hope for the ill-conceived show, which only broadcast five. The series relied on outdated, cringey gender politics and a drag conceit that alienated viewers because of how it was portrayed. In a time in which drag has become mainstream, it comes as no surprise that the show holds a 0% Rotten Tomatoes score.
‘Can’t Hurry Love’ (1995–1996)
Hangout comedies were all the rage once Friends found its faithful following. A year after NBC had their hit change pop culture, CBS tried their hand at a similar format. The result was Can’t Hurry Love. Created by Gina Wendkos, the series followed the everyday dating exploits in Manhattan and centered on Annie O’Donnell (Nancy McKeon), an intelligent 28-year-old woman navigating the dating scene in NYC alongside her carefree roommate and friend, Didi Edelstein (Mariska Hargitay), a sexy divorcee known for dispensing dating advice. The men in Annie’s life include Roger Carlucci (Louis Mandylor), a womanizing colleague, and Elliot Tenny (Kevin Crowley), one of Annie’s married co-workers who often joins in on the misadventures. The show was conceptualized as a female-led urban ensemble series, but it simply could not compete with the ladies of Friends.
The show was widely panned as an uninspired knock-off of its NBC rival. The “single in the city” trope was rushed to production without care, resulting in it being filled with tired stereotypes, predictable plot points, and dumbed-down humor. Sadly, it was proof that the former The Facts of Life star was incapable of leading a series as she was still seen as Jo Poliniaczek more than half a decade later. While it did hold strong with The Nanny as its lead-in, Can’t Hurry Love was canceled after a single season. It’s sadly forgotten because it couldn’t hold up to its contemporaries. Perhaps television history wouldn’t be the same if Can’t Hurry Love hadn’t succeeded, as it wouldn’t have freed up Hargitay to star as Olivia Benson on Law & Order: Special Victims Unit! If you have the urge to find the pilot, it’s a laugh to see Hargitay sex it up as she records an answering machine message on the technological relic like a call girl. A far cry from the powerful Olivia Benson we adore today.
‘Good & Evil’ (1991)
There are many credits that Susan Harris will be celebrated for. Soap, Benson, Empty Net, and The Golden Girls, just to name a few. But one show that she may not want to be remembered for is the short-lived 1991 comedy Good & Evil. Hoping to find the funny in soap operas once again, Good & Evil satirized the genre as the story revolved around two wealthy sisters with opposing personalities and their bitter rivalry over the inheritance of the family’s cosmetics empire. Teri Garr played Denise, the casually cruel and conniving CEO, while Margaret Whitton played Genny, the sweet and respected scientist. Through dark, zany humor focused on jealousy, backstabbing, and power struggles between the siblings, including their shared romantic interest in handsome Dr. Eric Haan (Lane Davies), Good & Evil may have worked had it not had one fatal flaw.
Good & Evil‘s intent was to be a campy, soap-opera-style parody. Unlike her more lighthearted comedies, Good & Evil was a tad too cynical, which was not what audiences craved. There was no doubt that Harris knew how to craft a comedy, but Good & Evil was a jarring mix of mean-spirited comedy that leaned straight into offensive territory. Though it had a fun ensemble, which included Seth Green, Marian Seldes, and Brooke Theiss, there was only one thing the show was remembered for. Good & Evil was heavily scrutinized by the National Federation for the Blind for its portrayal of supporting character George (Mark Blankfield). George was a blind psychologist but was portrayed as a bumbling, slapstick figure who constantly knocked things over in a cartoonish manner. With swift backlash for a deeply demeaning portrayal, ABC pulled the plug after airing only six of the 13 ordered episodes.
‘Herman’s Head’ (1991–1994)
The overall concept of Herman’s Head was quite strong, leading to a three-season run. Unfortunately, the execution by today’s standards is a tad uncouth. Created by J.D. Lobue and Greg Antonacci, the Fox sitcom follows Herman Brooks (William Ragsdale), an aspiring writer working as a fact-checker at a Manhattan publishing company. From all outward appearances, Herman embodies the young man on the fast track. However, his contrasting personality traits inside his head are constantly working and bickering. They include Angel (Molly Hagan), representing compassion, sensitivity, and his moral compass; Wimp (Rick Lawless), representing fear, insecurity, and anxiety; Genius (Peter Mackenzie), representing intellect, logic, and wisdom; and Animal (Ken Hudson Campbell), representing lust, hunger, and primal impulses. Outside his head, Herman is surrounded by quirky, colorful characters, including Jay Nichols (Hank Azaria), his best friend and self-proclaimed ladies’ man, Heddy Newman (Jane Sibbett), his manipulative, social-climbing co-worker who uses her attractiveness to get ahead, Louis Fitzer (Yeardley Smith), a neurotic fellow fact-checker, and Mr. Paul Bracken (Jason Bernard), the eccentric boss. Herman’s Head was a high-concept classic that does not hold up today, becoming a far cry from a concept that did work: Inside Out.
The surreal comedy was exactly what Fox was looking for. The show had instant allure with its connection to The Simpsons, which both Smith and Azaria were a part of. It had a similar referential humor that was even parodied on the animated sitcom. But that style of funny was better suited to a cartoon. Herman’s Head relied on crude gender stereotyping, extremely early ’90s lad culture, and overall flawed and cringeworthy brain caricatures. The primary draw was the “Greek chorus” inside Herman’s head, but these avatars exposed some chauvinistic traits that, without the conceit, would have made Herman unsavory. But you forgave Herman when Jay was the outright womanizer sans comedic characters to laugh at. Through his objectification and misogynistic edge, it was an Azaria character who lacked genuine charm. Herman’s Head was certainly not just a product of its time tonally, but its cramped production created a rough edit. The echoey headset is hard to watch back today, which looked like abysmal local-access television. Herman’s Head will forever be a mixed bag entry from the decade, but sadly, it does not hold up as much as it should.
‘High Society’ (1995–1996)
Imagine being a cheap imitation of another show, thinking you could get away with a sanitized version of a raunchy, anarchic British cult hit. That’s exactly what High Society was. There was no way the Larry Levin-created sitcom would ever be as brilliant as Absolutely Fabulous. In High Society, the sitcom followed the decadent and outrageous lives of two wealthy New York women, Ellie Walker (Jean Smart), a spoiled, man-chasing author of best-selling, trashy romance novels, and Dott Emerson (Mary McDonnell), a divorced, successful publishing executive. Then there’s Val Brumberg (Faith Prince), a bubbly former college friend who moves into Dott’s swanky Fifth Avenue apartment after leaving her husband. Tension ensues, leading to campy, decadent, and rude humor that made Absolutely Fabulous the hit it is, only weaker than its predecessor. Unfortunately, over time, the show has largely been forgotten, becoming a blip on the stars’ resumes.
High Society was meant to be the safe replacement for If Not for You, starring Elizabeth McGovern and Hank Azaria, who play two individuals who fall in love with one another despite being involved with other people. But when the show that you replace the slightly taboo premise with is a watered-down version of a British staple, it’s not going to fully find its footing. The struggle in the writing is that it didn’t go far enough. The series relied on crude, shock-value jokes meant to be edgy. But it was seen as forced rather than pronounced. Rather than create two chaotic characters as they did with Eddie Monsoon (Jennifer Saunders) and Patsy Stone (Joanna Lumley), Smart’s Ellie was the crass and selfish, hard-drinking, erratic one, while McDonnell’s Dott was meant to ground her. It was a formulaic Odd Couple dynamic that undermined the intended tone. Between High Society and the similarly swiftly canceled Style & Substance in 1995, starring the aforementioned Nancy McKeon, it seemed like Smart’s sitcom run was one. The 21st century was when we finally gave Smart the chance to be the leading lady we knew she could be on television.
‘Men Behaving Badly’ (1996–1998)
One of the other most quintessential comedies out of the UK in the ’90s was Men Behaving Badly. Unlike the previous series, the States just took this premise and attempted to Americanize it. And it turned out badly. Created by Matthew Carlson based on Simon Nye‘s creation, Men Behaving Badly centers on “guy code.” Two unapologetic, beer-chugging bachelors, slacker Jamie (Rob Schneider), and more put-together Kevin (Ron Eldard), are roommates and best friends. While they are perfectly content wallowing in their own immaturity, their partners and neighbors are constantly attempting to civilize them. Avoiding responsibilities and indulging in perpetual adolescence, Men Behaving Badly was a creatively neutered remake of an edgy sitcom that pushed the bounds in the wrong direction.
The premise was far too risqué for network television, so significant creative changes were made. Morally repulsive and borderline inappropriate, Men Behaving Badly was toned down, which made it incredibly worse. The original series was raunchy, crude, and filled with alcohol-soaked humor. By trying to play the middle, the comedy came across as uncomfortable. Especially in terms of Jamie, who was unapologetic, anarchic, and toed the line of stalker behavior. In hindsight, the persistent immaturity and far-too-casual sexism are difficult to take. It was so tone-deaf that three main cast members—Eldard, Justine Bateman, and Julia Campbell— departed, though salary demands were the official reason. But even with Ken Marino as Steve Coprin replacing Kevin, the mass exodus was felt. NBC let it stay for two seasons, but even that was too much for viewers to handle.
‘Over the Top’ (1997)
It’s a shame that, looking back at it, a show like Over the Top flopped so gloriously. Of the 12 ordered episodes, ABC only chose to air three. Fortunately, Tim Curry fans circulated them all for the world to see. But the reason this show makes this list isn’t necessarily its content, but rather the behind-the-scenes antics that tarnished its potential. Created by Michael Katlin and Nat Bernstein, Over the Top follows Simon Ferguson (Curry), an eccentric, down-on-his-luck actor who gets fired from a soap opera. Broke and needing somewhere to turn, he moves into The Metropolitan, a Manhattan hotel run by his ex-wife, Hadley Martin (Annie Potts), where he mooches off her kindness. The show centered around Simon adapting to a chaotic household that included Hadley’s rebellious teenage daughter, Gwen (Marla Sokoloff), and good-hearted son, Daniel (Luke Tarsitano). Inside the hotel, there is Robert McSwain (John O’Hurley), the infrequently-seen hotel investor who has a crush on Hadley, Rose (Liz Torres), the no-guff assistant manager of the hotel, and Chef Yorgo Galfanikos (Steve Carell), a Greek immigrant who is obsessed with presenting the perfect meal while exuding a manic temperament. While the show sounds like a perfect ’90s sitcom, the executive meddling behind the scenes became a black cloud.
The show was doomed from the start. The original pilot was not set in a Manhattan hotel but in an upstate New York bed-and-breakfast. That pilot featured different actresses as Gwen and Rose, Natanya Ross and Debra Jo Rupp, respectively. But the premise wasn’t the problem. There were heavy rumors swirling that ABC only optioned the series because of the romantic entanglement between executive producer Robert Morton and ABC’s new head of programming, Jamie Tarses. With the order to retool and overhaul the script, Over the Top was flawed. The trouble was that, rather than a will-they-won’t-they dynamic, Curry’s Simon was an abrasive ex-husband who was only present to cause chaos. Even though the premise reflected the co-stars’ real-life relationship as neighbors, their chemistry in the story struggled. It was a waste of talent as Curry was forced to overact. Now, the only one to outshine him in that department was Carell, who played into the Greek stereotype, accent and all. While the show did help slowly boost his profile, it was a tad on the offensive side in hindsight.
‘The Norm Show’ (1999–2001)
Following a triumphant run on Saturday Night Live, it was inevitable that Norm Macdonald would front his own show. But looking at it today, it’s nearly impossible to sit through. Created by Bruce Heldord and the comedian himself, The Norm Show, or colloquially called Norm, follows Norm Henderson (Macdonald), a disgraced former professional hockey player banned for life from the league for gambling and tax evasion. To avoid a prison sentence, Norm is forced to perform five years of community service as a caseworker in a social services office. Unprepared and completely untrained, Norm relies on his sarcastic, mischievous, and cynical charm to navigate bureaucracy and help his eccentric clients. He is aided by his strait-laced, by-the-book best friend and co-worker, Laurie (Laurie Metcalf), and their neurotic colleague, Danny (Ian Gomez). His roster of clients includes Taylor (Nikki Cox), a former prostitute who credits Norm with turning her life around and eventually joins the office staff. With a reliance on cynical humor, The Norm Show became wildly dated quite quickly.
The show’s premise is of a man seeking redemption for egregious crimes, but he doesn’t quite do so. Macdonald’s character was defined by arrested development and a profound lack of maturity, a toxic archetype that was more grating than endearing. The show relied on Macdonald’s smart-ass sarcasm and signature trolling. The humor thrived on controversial topics like self-loathing, bad sex, and failed relationships. While the show had some behind-the-scenes turmoil, including receiving the Friday night “death slot,” the writing quality deteriorated, leading to desperate, bizarre plot shifts. Yes, Norm suddenly developed the ability to read minds. The Norm Show may have been seen as ahead of its time to some, but Norm’s brand of comedy didn’t work in a network television setting.
‘The Secret Diary of Desmond Pfeiffer’ (1998)
It’s quite terrifying to think The Secret Diary of Desmond Pfeiffer was ever allowed on television, but the ’90s were a wild decade. The ill-conceived UPN comedy from Barry Fanaro and Mort Nathan followed Desmond Pfeiffer (Chi McBride), a sharp-witted, Black English nobleman who flees gambling debts in England to become a valet to President Abraham Lincoln (Dann Florek) in the White House during the American Civil War. The show used the Civil War-era setting as a spoof of the 1990s Clinton administration and contemporary pop culture. It featured a highly satirized and historically inaccurate take on the Lincoln White House. Desmond is surrounded by eccentric figures and must navigate the politics and romance while serving as the only sane individual in the group. There certainly is room to mock the Lincolns, as seen with Cole Escola‘s Oh, Mary!, which may have been inspired by Christine Estabrook‘s emotionally unstable, flirtatious Mary Todd Lincoln. But alas, this show faced criticism before an episode even aired.
The Secret Diary of Desmond Pfeiffer was met with immediate protests and public backlash. Several African-American organizations, as well as the Los Angeles City Council, called for the show to be canceled before airing, arguing that a comedy set against the backdrop of American slavery was in incredibly poor taste and trivialized a tragic period of history. To try to mine humor from American slavery and the Civil War, paired with forced, superficial satires of the contemporary Clinton-Lewinsky scandal, the series was always in poor taste. It was misguided from the start. Even if you gave it leeway and tried to compare it to the British satire Blackadder, the humor largely fell flat, with caricatures of historical figures that alienated viewers across the political and cultural spectrum. In the end, the original pilot was pulled, and only four episodes aired before the next work gave the show the final axe.
‘The Single Guy’ (1995–1997)
As previously discussed, every network hoped to capitalize on the hangout comedy success of Friends. Even its own network! If Can’t Hurry Love was the female-led version, The Single Guy was the male-led version. Created by Brad Hall, the sitcom centered on Jonathan Eliot (Jonathan Silverman), a struggling New York City novelist searching for his dream woman. Surrounded by quirky married friends, Trudy and Sam Sloan (Ming-Na Wen and Joey Slotnick), and an eccentric doorman, Manny Córdoba (Ernest Borgnine), who dispenses unsolicited advice, the show chronicles his humorous daily mishaps with romance and urban life. The show was meant to be Friends with a marriage perspective, hence why Ross Geller (David Schwimmer) made a random cameo. Sandwiched in between Friends and Seinfeld, The Single Guy was not Must-See TV.
Even with Hall in charge, the series was derivative. Rather than cultivating a unique identity, the show’s Manhattan-set neuroticism and cynical relationship humor felt dated even during its original two-season run. Becoming a clone served as its fatal flaw. But it didn’t go as hard as the Jerry Seinfeld-led series. It was virtually the PG version. To make matters confusing, Hall’s wife and Seinfeld star, Julia Louis-Dreyfus, popped up. Just not as Elaine. She was among the revolving door of cameos of famous and soon-to-be stars, including Larry Miller, Jack Black, Conan O’Brien, Marie Osmond, Paula Abdul, Emilio Estevez, Jenna Elfman, Molly Shannon, and Don Rickles. When ratings slipped after network meddling, writers abruptly dropped major supporting characters, including Matt (Mark Moses) and Janeane (Jessica Hecht), and added new ones, completely shattering any semblance of attachment. At the end of the day, it was cynical relationship advice dispensed by the married characters that framed singlehood purely as a transitional waiting room for marriage. That couldn’t be further from reality today.
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Michael Block
Almontather Rassoul
