Of the thousands of American TV sitcoms ever produced, only a small portion of them are genuinely enjoyable and funny 40 years after their production. Barney Miller is one of those shows. More interesting than this fact, however, is that this show has many features atypical of its genre and time period:
1. Virtually all of the action (excepting a handful of scenes and the strange and mostly unenjoyable 'Wojo's Girl' 2-parter) takes place at a single location, the police station. In this way, the show is like a stage play, and of course, stunningly similar to the classic Kirk Douglas play & film 'Detective Story.'
2. There is almost no slapstick, no catchphrases, and no toilet humor.
3. Unlike the most popular sitcoms of the mid-1970's, such as 'All In the Family', 'Good Times', etc. none of the recurring cast play their characters broadly. None of them are shouting tyrants, cartoonish buffoons, dingy housewives, etc. Most of the regular cast played their characters toward the deadpan end of the comedic spectrum. (The recurring Inspector Luger, played by the great James Gregory, is gently buffoonish, but nothing like Ted Baxter or George Jefferson.) One episode is an exception to this rule, 'The Brownies,' which is one of the 10 funniest sitcom episodes ever produced. If you have seen this episode, you know why the characters were played differently this time around, and you know that the essence of the story is seeing the characters behaving different than usual.
4. With the exception of Barbara Barrie as the intermittent presence of the titular character's wife in the early episodes, there are no recurring female characters. (Just an observation, not saying this is a good thing for every sitcom.)
These facts argue in favor of the theory that artists who seek to create something of quality and durability should not always try to imitate. Doing something different can be good.
The writing and the performances are the essence of why this show is good. But also there is the faded paint and rumpled clothes, and the varying degrees of world-weariness in faces of Yamana, Fish, Capt. Miller, and Inspector Luger, which evoke the gritty, working class realities of old New York before a series of quasi-fascist mayors tried to reboot the city as a kind of fantasyland for rich people and tourists.
A final point of interest to which I will draw your attention is gentle and matter-of-fact way in which the cops interact with both 'criminals' and 'victims.' You won't see them trying to intimidate or torture criminals into confessions. There is an implicit message of compassion in this, along with the related notion that when the total circumstances of life are taken into account, the moral differences between people don't seem all that huge.
