For a significant portion of its seven seasons on NBC, Family Ties occupied an interesting space in the television landscape. While it wasn’t initially positioned as a critical darling like Hill Street Blues or Cheers, both also on NBC, Family Ties steadily grew into a ratings juggernaut. After a typical slow burn start for an early 1980s NBC show, the series became a massive hit, even reaching the number two spot in Nielsen ratings, just behind the colossal The Cosby Show. In its early years, Emmy voters seemed to overlook Family Ties, but its rising popularity couldn’t be denied. By its second season, the show earned an Outstanding Comedy Series nomination, alongside a nomination for lighting, signaling a shift in perception. The third season saw another nomination for Outstanding Comedy Series and Michael J. Fox received his first nomination for his portrayal of Alex P. Keaton. Initially considered for supporting actor due to the show’s original concept focusing on the parents, Fox’s character, Alex, quickly became the central figure. Over subsequent seasons, Fox garnered multiple lead actor nominations, securing three wins consecutively. Notably, Fox’s second win coincided with the only Emmy Family Ties ever won in writing—for an episode that daringly stepped outside the sitcom box to provide the actor with a powerful dramatic platform: “A, My Name Is Alex”.
Gary David Goldberg, the creator of Family Ties, drew inspiration for “A, My Name Is Alex” from his personal experience of grieving his parents. This deeply personal emotion was channeled into the character of Alex, who grapples with profound grief over the sudden death of his childhood friend, Greg McCormick (Brian McNamara), a character previously unmentioned in the series. The episode’s first half begins within the familiar comedic framework of Family Ties, albeit with a darker undercurrent. The Keaton family’s characteristic banter, usually centered on generational clashes, now circles around the somber topic of Greg’s eulogy, with questions about mentioning the deceased’s net worth injecting dark humor into the family kitchen setting. The narrative then pivots sharply towards heavier emotional territory. The revelation that Greg died in a car accident while on an errand Alex was meant to join triggers a severe case of survivor’s guilt in Alex. He emotionally breaks down in front of his parents, prompting their immediate decision to seek professional help for him to navigate this intense emotional burden.
“A, My Name Is Alex” at this juncture already ventures into the realm of “very special episodes,” a thematic area Family Ties occasionally explored. However, the episode’s degree of “specialness” escalates dramatically in its second half. Departing from typical sitcom sets, this portion unfolds against a stark black backdrop with minimal props, reminiscent of a stage production like Our Town. Alex engages in therapy sessions with an unseen therapist, recounting his anguish over Greg’s death and various life challenges, including his relationships with family members. As flashbacks are projected in the background, Fox physically enters these memories, portraying Alex at a younger age or interacting with his sister Mallory (Justine Bateman) with an uncharacteristic emotional vulnerability, a stark contrast to their usual playful bickering. While humor remains present, it’s interwoven with dramatic elements and a narrative structure that foreshadows later, more dramatically focused series like HBO’s In Treatment.
Looking back thirty-five years later, the lines between comedy and drama in television have blurred significantly. Deconstructive narrative approaches are now commonplace. Through a contemporary lens, “A, My Name Is Alex” might appear somewhat conventional, perhaps even slightly melodramatic. However, when it originally aired, it was groundbreaking for its departure from standard television storytelling norms. Underscoring its unconventional nature, the second half of the episode was broadcast without commercial breaks, a virtually unheard-of decision for non-news programming on a major network at the time.
While Gary David Goldberg shares official co-writing credit with Alan Uger (whose credits include Blazing Saddles alongside numerous Family Ties episodes), Goldberg consistently emphasized the episode as a true collaborative effort within the writers’ room. It feels like the culmination of seasoned television professionals collectively pushing creative boundaries, reassuring each other that venturing into this emotionally resonant territory was not only permissible but profoundly rewarding. The Emmy awarded to Goldberg and Uger for writing the episode truly recognizes the collective achievement of everyone involved. This episode stands out as a testament to the power of collaborative creativity in television, where each contributor elevated the final product.
Discover more about classic television comedy and writing on alexlampert.com.
