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The All in the Family E! TRUE HOLLYWOOD STORY.........

LOS ANGELES – E! Entertainment Television will premiere "‘All in the Family: The E! True Hollywood Story" on Sunday, August 27 at 9:00 PM ET/PT.

"WARNING: The program you are about to see is ‘All in the Family.’ It seeks to throw a humorous spotlight on our frailties, prejudices and concerns. By making them a source of laughter, we hope to show—in a mature fashion—just how absurd they are.""

On January 12, 1971, those startling words ushered in a new era of television. TV’s "All in the Family" shocked and delighted America. Producer Norman Lear’s creation was outrageous, groundbreaking and enormously popular and changed the face of primetime television with a new brand of social and political content.

In this episode of "The E! True Hollywood Story," former cast members reflect on the historical significance of the Emmy® Award-winning show, which consistently broke all the rules of network television by daring to confront issues never before broached on television -- racism, homosexuality, anti-Semitism, breast cancer, rape and many others. Co-stars also reflect on how their lives have changed since the series ended, including Carroll O’Connor’s poignant recollection of his son Hugh’s suicide.

Interviews include cast members O’Connor, Jean Stapleton, Rob Reiner, creator Norman Lear (who relates how Mickey Rooney was originally up for the role of ‘Archie’ but turned it down as "un-American") and actresses Bea Arthur (‘Maude’) and Betty Garrett (‘Irene Lorenzo’), as well as Network executives and show writers and producers.

In the program:
Carroll O’Connor, on the series’ success -- "I was the dumbbell for not realizing that the public had the insight. That the unobstructed, mostly uneducated public had a deep insight that I wasn’t prepared to give them any credit for. Being an intellectual snob, I wasn’t ready to give the little guys any credit."

Carroll O’Connor, on reviews such as Life magazine calling the show "a wretched program not worth reviewing" and the New York Times saying the sitcom was "vulgar and silly." -- "A critic can say what he wants, most of them are dumbbells, they don’t understand art."

Bea Arthur -- "There had never been anything on American TV like it. You know, Norman broke all the rules and really changed the whole face of TV sitcoms."

Perry Lafferty (Former VP of Programming/ CBS) -- "The poor censors had their books and they’re trying to make this show match up with what they’ve got in their books. And it was a day to day, knock down drag out fight. But again, to Norman’s credit, his favorite word was, ‘No, I won’t change that’."

Los Angeles Times critic Cecil Smith on Lucille Ball’s take on the series -- "After the first show...I was with Lucille Ball for a while and she was saying, ‘How awful. How could they put anything like this on the air, particularly at CBS, my station?’"

Leonard Goldberg (Former Head of Programming, ABC), on the network, which twice turned down pilots for "All in the Family" -- "It was one of those decisions that I guess when the history of television is written is kind of a landmark certainly for ABC in the late sixties and early seventies cause it would have turned the network around."

Goldberg, on screening the series’ pilot to ABC executives in January 1969 -- "The lights came up, and I got up and turned around, and the room was empty. The room was completely empty. All of the people who had been at the screening were gone...I walked out and I caught up to the president of the network who was just getting into an elevator, and I said, ‘What? What’s going on?’ And he said to me, ‘We’re going to pretend that this never happened, that you never screened this show for us’.

"Fred Silverman (Former Head of Programming/CBS), on one of the reasons executives at CBS picked up "All in the Family" -- "The personality of the network was defined by the ‘Beverly Hillbillies,’ ‘Petticoat Junction,’ ‘Gomer Pyle’ and ‘Hee Haw’, which was great if you lived in Wyoming. But for a company that owned television stations in New York City, Chicago and Los Angeles, it was a disaster."

Norman Lear -- "I’ll never forget the day that Carroll O’Connor walked into this office on Sunset Blvd. and sat down. I don’t recall whether he rattled off a few lines or just slipped into the character or read a half a page. But he was Archie...."

Carroll O’Connor -- "I had the power to really drive everybody crazy, including Norman, who had to give way a lot. He didn’t like it that he had to give way....I had to fight all the way and very often get nasty. I got very nasty with him. I fault myself, I didn’t have to get that nasty. And I made him dislike me. I made him dislike me and then, of course, I turned around and disliked him."

Creator Norman Lear -- "Carroll O’Connor, the actor, the producer, the intellect, I don’t say those three things pejoratively. That O’Connor was fearful and misguided, I found most of the time."

Perry Lafferty, on the conflict between O’Connor and Lear -- "One day Norman came into my office...and he said to me, ‘Either Carroll O’Connor goes or I go’ …I took a deep breath and I said to Norman--I didn’t even bother to call New York because that’s ridiculous, they would hang up on me if I said, ‘Norman wanted to get rid of Carroll O’Connor’--I said, ‘We can always get another producer’."

Jean Stapleton, on auditioning for the role of Edith -- "I was very excited. But he had seen every actress in my category -- I think in the whole world-- for the part. So I didn’t know whether I would get it."

Richard Dreyfuss (in an archival interview), on auditioning for the recast role of ‘Michael Stivic’ -- "Norman Lear wanted Rob for the part, he wanted that boy for the part. He didn’t want me, he didn’t want Joe Yatz, Hymie Snyder, he didn’t want Loopity Loo--he wanted Rob Reiner. I went to see Norman to kind of you know, ‘Can I get a reading?’ He said, ‘No, I want Rob Reiner’."

Rob Reiner, on being overwhelmed by fans -- "It was like being in a rock-n-roll band. It was like being the Beatles, you know, but we were doing a sitcom."

Sally Struthers (in a 1978 interview on "Dinah!") -- "I went in and read for Norman Lear and I had bad laryngitis. And he’d seen a couple hundred girls for the part of ‘Gloria.’ And he handed me a scene to do. A yelling scene. And I had to do this screaming scene with no voice. And Norman thought it was so funny with my yelling with no voice that he let me come back and do a second interview."

Actor David Dukes, on filming the scene where he attempts to rape ‘Edith Bunker’ -- "There was a moment when I did something, I tore her dress or something, to where it was clear that I am not going to be a funny rapist and the audience went ‘ahhhh.’ And when 400 people do that it’s a big sound, and it was like I just looked at Jean and it was like ‘Jesus God, what’s happening?’ Because the audience just hated me, hated me. And I had no idea what I was stepping into."

Former "All in the Family" director John Rich, on Sammy Davis’ guest appearance -- "We had heard that Sammy Davis had been on the ‘Johnny Carson Show’ and he (Davis) was talking about a wonderful new show he saw called "All in the Family". And he said to Johnny, ‘Wouldn’t it be wonderful if I was on a show like that? Can you imagine what that would be like? Really, ‘a one-eyed colored Jew meets Archie Bunker’ is the way he put it."

Carroll O’Connor, on his son’s suicide -- "He was witty, he was funny, popular, very popular and he was very smart and he had a wonderful career there in front of him if he had just got himself straight. And a beautiful wife and a little boy—he had no reason to blow his brains out—none."

Jean Stapleton, on Lear asking her opinion on killing off her character – "Norman called me, they had had several meetings with CBS about it. And Norman was the last hold out. And then he said it is just very difficult for me to let this happen. And so I said to him, ‘Well you know Norman, she’s only fiction.’ And there was this dead silence on the phone and I thought that I had really offended him but then he came back with this statement, ‘To me she isn’t.’ Which was very telling and very dear."