Why the star of a 1960s sitcom refused to let her character marry

Cultures · Published 9 October 2026 Swipe more like this →

In short: Before Mary Tyler Moore, there was Ann Marie. Marlo Thomas defied television conventions by starring as a single, career-focused woman in New York City. She even fought to keep her character unmarried, fearing that a wedding would undermine the show's feminist message about a woman's independence and personal dreams.

That Girl, which aired on ABC from 1966 to 1971, broke the mold for female protagonists on American television. While most sitcoms of the era featured women as domestic figures or extensions of their husbands, the show centered on Ann Marie, an aspiring actress navigating life in New York City. Marlo Thomas, who served as a de facto executive producer through her company Daisy Productions, rejected early scripts that cast the lead as a traditional wife or secretary. She sought a narrative that prioritized a young woman's individual aspirations over domesticity.

The series was a significant cultural touchstone, reflecting the shifting roles of women during the 1960s. Despite its influence, the show never reached the top thirty in ratings during its five-year run. Thomas’s commitment to the character’s autonomy was absolute; when ABC pressured her to conclude the series with a marriage, she refused. She believed that ending the show with a wedding would send the wrong message to young women about their ultimate life goals, choosing instead to leave the couple engaged.

The production itself was a blend of creative ambition and industry standard. Filmed at Desilu-Cahuenga Studios in Hollywood, the show utilized various Manhattan locations for exterior shots, including an apartment on the Upper East Side. The series produced 136 episodes, and its legacy has persisted through decades of syndication and numerous pop culture parodies. From its iconic freeze-frame opening to its influence on later sitcoms like New Girl, That Girl remains a pivotal example of how television began to grapple with the modern, independent woman.

While the show is remembered for its feminist undertones, it was also a product of its time. The pilot, produced in 1965, featured different actors for the parents and a different name for the boyfriend, Don Blue Sky. These early iterations were eventually refined into the series that aired. Thomas’s influence extended beyond the screen, as she successfully steered the show away from traditional tropes, ensuring that Ann Marie remained defined by her own journey rather than her relationship status.

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