TV’s That Girl aired 1966 to 1971. It’s known for breaking ground for representation of a single, independent working woman in the 1960s. But its star, Marlo Thomas, exercised subtle creative control that was truly groundbreaking.

In 10 years of watching TV for the podcast, I often identify an exact  moment when I see something profound. Six years ago, a 1967 episode of That Girl caught my attention, as Ann Marie found herself in a quid pro quo while  she was doing Donald Hollinger a favor. Hear the whole story in my podcast episode.

For  years and through 21st century #MeToo lenses, I pondered what the show’s producer and star Marlo Thomas was thinking about that episode. I had never thought of her as a change agent. Fast forward to 2024 inroads to my writing project.

My writing colleague Mary Trevor and I were finalizing our law review article when we found a solid clue. Howard University Human and Civil Rights Law Review published our it in its volume 9, 2024-2025. Our article examines 20th century women and progressive television’s battle of quid pro quo harassment at school and  work. Journal submission is a new area for me, and I am especially  amazed at Mary’s writing – so much more accessible than traditional  legalese.

This excerpt from our article contains the clue – it’s a 2011 quote from Marlo. It’s also a reminder that cultural change agents, especially the subtle ones, come in all shapes and styles.

p. 194 Marlo Thomas, of 1960s sitcom That Girl fame, described how feminist issues were raised
on the show. Differentiating her approach from the anger and directness
of activists Belle Abzug and Betty Friedan, Thomas likened hers
to that of Gloria Steinem: “We said it in a different way, maybe in a
more ‘feminine’ way—something that was a little more acceptable.’”29

p. 204 Three episodes placed Ann in prime-time television’s first known
depictions of workplace quid pro quo harassment told from the woman’s
perspective, an important step forward by That Girl producers.
Ann’s reactions shift subtly from February
1967, when the first of the three episodes below aired, to December
of that year when the two-part episode ran. In the first episode of the
three, Ann unexpectedly finds herself chosen to do a solo interview
with a man of power and prestige who has a reputation as a ladies’
man. Focused on boyfriend reporter Donald fulfilling this important
assignment, Ann commits to helping him, even at the cost of her own
safety, by proceeding with the interview despite the warning signs.
By the December episodes, which offer a very different situation,
Ann not only confronts a man endeavoring to use his power over her
but also resolves the situation herself. Through her company, Daisy
Productions, Executive Producer Thomas thus started to change
television.103