That ‘70s Show was a popular sitcom airing on the Fox Network from 1998 through 2006. The plot was based around seven teenagers growing up in Point Place, Wisconsin; a relatively small town on the outskirts of Kenosha. The show took place between May 17, 1976 and December 31, 1979 and followed the fictional lives of Eric Forman, Donna Pinciotti, Steven Hyde, Michael Kelso, Jackie Burkhart, and the foreign kid simply known as Fez. Ashton Kutcher, who played the character Michael Kelso from 1998-2006, had the greatest post-show success, landing later roles in movies such as “Dude, Where’s My Car?” and “The Guardian” as well as his own series on MTV called “Punk’d”.
The popular sitcom consistently referenced multiple current events and happenings formulated throughout the 1970s. These milestones included technological advances, political movements, and social movements; as well as cultural norms and developments dissimilar to contemporary society. That ‘70s Show achieved success by appealing to a diverse audience, including modern-day teenagers, young adults, and a middle-aged public able to recall the lifestyle in which they were raised. Drawing a large and diverse crowd, the series can still be viewed at present on cable networks such as FX in America, as well as a variety of other networks both nationally and internationally.
One of the major conflicts, consistent throughout the majority of episodes, is the generation gap between Eric Forman and his father, Red. Red Forman, a working class WWII and Korean War veteran, is the pinnacle of conservatism, the embodiment of traditional American values, work ethic, and patriotism. A no-nonsense guy, Red is a tough father who tries to instill his values onto his son Eric; however, this is often an unsuccessful routine, and this conflict serves as the foundation of the show. Eric, caught up in the irresponsible trendy ‘70s lifestyle, often drifts through life with a care-free attitude relative to most of his friends. Activities such as smoking weed, or “the circle” as it is indirectly referred to throughout the show, frustrate Red who was serving in the Pacific when he was of similar age.
“The Circle” serves as the consistent platform for discussion amongst Eric and the rest of the gang. It is here, and only here, that the characters discuss their dilemmas (often obliviously) in a tranquil and stress-free environment. Habitually, the circle signifies unity amongst a group of lifelong friends expressed through a reoccurring daily ritual. Although the occasional circle routine can amplify an already existing problem, the majority of sessions result in humor and harmless escapism. Through this renowned and reoccurring affair, producers Bonnie and Terry Turner express their views on drug culture, the American family, and society by drawing comparison between historic and contemporary cultural norms.
Semiotic analysis can be applied to this particular event due to the multiplicity of signs and symbols revealed. Semiotics—the study of signs, symbols, and the process through which meaning is created and communicated—offers tools for uncovering the cultural codes and conventions that govern the period and interpret a meaning. Specific signifiers and what they signify formulate signs to the audience who then interpret what the producer is indirectly portraying.
Virtually everything in a particular scene can be considered a signifier. Therefore, for the sake of simplicity, I will seek to analyze one specific “circle” scene which aired during the third season of That ‘70s Show. Eric Forman, Steven Hyde, and Michael Kelso are found sitting across from each other in the familiarity of Eric’s basement. A flashback takes the viewer to the first ever “circle” in which the gang is shown experimenting with marijuana for the first time. Although the viewer can easily decipher what activity the adolescents are participating in, the producers never openly mention marijuana, nor do they reveal the drug or the boys in the direct act of smoking. Rather, the creators use particular signifiers to communicate meaning to the audience.
The scene opens up with the camera fixed on a younger version of Steven Hyde holding a stick of incense in his left hand and a lighter in his right (view the clip below @ 1:37) We immediately identify that the character is Hyde due to his decipherable physical appearance. Hyde’s notorious afro, tinted prescription glasses, and infamous facial smirk are openly revealed to draw an unmistaken conclusion amongst the audience as to whom the character is portraying. Throughout each season of That ‘70s Show, Steven Hyde is constantly found wearing the same pair of glasses and the same hairdo. Therefore, when regular viewers of the program observe an actor attempting to portray a younger version of Hyde, these similar characteristics present an obvious connection. First time viewers of the program are able to effortlessly identify the character as well due to the preceding scenes that lead up to the particular event at hand. Prior to the flashback, Steven Hyde is witnessed sitting in a similar location and wearing comparable clothing. The producers make an easy connection to all viewers as to who this new character is attempting to resemble.
The viewer then immediately draws the conclusion that Steven is either about to smoke marijuana, or has just concluded a session. This interpretation is derived from two signifiers portrayed in this particular shot; the lighter and the incense. Acknowledgment of a similarity between contemporary and historical society are also revealed through these articles. Adolescents living in today’s world may identify with the ritual of burning incense in order to hinder the recognized smell of marijuana smoke. Therefore, 21st century teens recognize a similarity between their parent’s generation and their own. The lighter and incense draw conclusion from a majority of viewers, however a portion of the population may not comprehend what they signify due to never encountering popular drug use or culture; possibly an early 20th century generation or young children in contemporary society.
Perhaps the most obvious signifier in the scene is the smoke itself circulating the room. The smoke signifies marijuana use in the location in which Steven Hyde and the rest of the gang are sitting. It is also a dead give away that the teens were smoking something in that room; providing a physical signifier (or evidence) that something is occurring. Hyde’s infamous smirk, which reoccurs throughout each episode in which he is under the influence, represents another signifier in this scene. A “chill”, relaxed, comfortable equilibrium, often associated culturally with marijuana use, is signified through Hyde’s facial expression, thus providing the onlooker with yet another signifier suggesting drug activity.
The most innovative signifier is the camera, which creatively represents the “joint” being passed between Hyde, Kelso, and Eric. This is another reoccurring theme which presents itself each time a “circle” session takes place. Not always immediately identified by the audience, this particular signifier is intentionally masked and requires the viewer to interpret and acknowledge the connection. The camera is tactically placed on the circular table in which the 3 young teens are participating in the event. When each individual speaks, the camera revolves in a clockwise fashion and focuses on that person’s face. After Hyde, Kelso, or Eric has his say, the camera, indirectly symbolizing the joint being passed, adjusts from that individual to the next.
The camera is an important prop which is used innovatively throughout the show. Both connotative and denotative meanings are applied through the camera; with “the camera” representing the signifier and “the joint” representing what is being signified. The denotation derived from this model (the camera aka signifier + the joint aka signified = denotative sign) is that the camera ultimately represents the joint being passed. This denotative sign then becomes the signifier in a new chain, to which is attached a (political) signified (“drug use is harmless”).
French researcher and literary critic Roland Barthes’ second-order semiological system pertaining “myths” can also be applied to That 70’s Show. Myths are referenced here, not as particular falsehoods or fairy tales, but as specific connotations with political intentions and consequences. In this case, the producers had a definitive political objective pertaining to marijuana use; both in historical and contemporary society. Through specific actions and consequences witnessed over various episodes, Bonnie and Terry Turner tackle the drug dispute and subtly offer an interesting perspective.
As previously mentioned, the main characters in the show can be found regularly attending “circle” gatherings. During these meetings, the characters come together for the first time in each episode to discuss their separate dilemmas. Importantly, none of the major characters are shown experimenting with other drugs, driving under the influence, or causing any damage. Instead, Eric, Donna, Hyde, Jackie, Kelso, and Fez usually laugh harmlessly at each others jokes and problems while humorously admiring themselves. Through these actions, the producers express their view on adolescent marijuana use; ultimately underlining the harmlessness and non detrimental effects derived from recreational activity. However, an unvarnished promotion of drug use is still a dangerous move in mainstream America.
Brilliantly, the Turners indirectly presented a separate political perspective on the issue as to not isolate their audience. Eric’s parents, Red and Kitty Forman, are established as the only responsible adults through the development of the sitcom. They often take Eric’s gang of friends into their home and provide for them in times of need. The Forman’s, however, do not participate in any illegal drug activity and strongly condemn it in their home. Red can often be found telling Hyde that if he is caught in the act, he will be kicked out of their home for good. This is inconstant with other character’s parents, as they are perceived to be irresponsible and negligent. Donna’s parents, Bob and Midge Pinciotti, are referenced throughout the episodes as “weed smokers.” Bob and Midge have marital issues and eventually end up getting a divorce when Midge runs off to California. Bob then centers in on himself, indirectly neglecting Donna who, in one episode, then begins to get into trouble intentionally for attention. The Forman’s come to the rescue and eventually talk to Donna; playing the parental role.
Steven Hyde’s mother is the best example of this implied anti-drug message. During the first season of the show, Hyde’s mom runs off with a trucker and leaves him to fiend for himself at home. Hyde, whose parents were already divorced, cannot survive on his own while attending high school. The Forman’s take Hyde in, who eventually ends up staying with them throughout the entirety of the sitcom. Intact, the original “circle” scene serves as the foundation to this theory. While the younger version of Hyde is passing around the “joint,” Kelso thanks him for the “stuff”(indirectly referencing marijuana). Hyde responds with “Hey man, don’t thank me, thank my mom. If she hadn’t of passed out, I couldn’t have raided her stash”, Kelso replies with the statement “Hyde, you have the coolest mom ever.” The audience, knowing that Hyde’s mother is utterly irresponsible and negligent, is indirectly confronted about the consequences of drug use.
Through these separate messages, the producers subtly encode the following:
Recreational marijuana use is acceptable, normal, and essentially harmless for adolescents; regardless of generation. However, drug use is not acceptable (nor should it be) when one reaches adulthood and ultimately has to take on major responsibilities such as work and/or raising children.
Gitlin (1979) developed a process of domestication, which is defined by “alternative ideas and troubling issues are raised, but ultimate contained within boundaries that leave the “rightness” of existing relations and authorities unchallenged.” The emergent and radical potential of That ‘70s Show as a vehicle of the drug legalization movement is skillfully contained and domesticated by the subtle anti-drug message in the show. Although recreational use is seemingly tolerated throughout the show, the lasting effects and consequences are subtly revealed to the viewers; ultimately communicating a concealed agenda. Though the producers dab into the alternative (and controversial) idea of acceptable drug use, they discreetly exemplify the “rightness” of contemporary social norms.
The producers of That ‘70s Show did a magnificent job of creating unique signs, symbols, and characters to portray a message in an entertaining way. Through the use of physical objects, as well as an engaging dialogue, Bonnie and Terry Turner tackle important issues and indirectly offer a multitude of perspectives. The program ultimately reached success by carefully constructing a premise that refused to isolate any specific audience; or pertain to one group of viewers. Through the practice of semiotics and, in particular, the use of mythological discourse, That ‘70s Show accomplished the difficult task of creating a sitcom attractive to all audiences, regardless of political position or principle.
