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The epitome of the intrusive neighbor on television, Gladys Kravitz lived with her husband, Abner, next door to the Stephens, and spent the majority of her time attempting to convince him and anyone within earshot that something strange was occurring behind their closed doors.

Asher became a fan of Lynde’s unique, biting (re: gay) wit. Actors frequently played different characters on the same show. Soon after, Pearce was posthumously awarded an Emmy for her performance.

The producers of "Bewitched" decided to continue with Gladys and cast actress Sandra Gould in the role. So you’re going to have to learn when you can use your witchcraft and when you can’t.”

Such moments in the series are not social or cultural “fan fiction,” where the world is re-imagined as tolerant within the confines of a 30 minute episode.

His status as a frightful figurehead for the spooky season also makes perfect sense because of his most popular role (after playing himself on Hollywood Squares, of course). Every first encounter erects new closets that even an out-queer person must address on practically a daily basis.

Although “coming out” is represented occasionally as a relief for Samantha, it also echoes real life in that it can and does often lead toward greater isolation, bullying, and/or physical danger to bodies.

His Broadway credits include Silk Stockings (1955), Good Hunting (1938), You Can't Take It With You (1936), Star Spangled (1936), Hell Freezes Over (1935), Paths of Glory (1935), Black Pit (1935), Sailors of Cattaro (1934), Red Rust (1929), Fiesta (1929), S. S. Glencairn (1929), The Grey Fox (1928), The Road to Rome (1928), The International (1928), and What Price Glory (1924).[2] In 1939, he signed with Warner Bros.[1] and was cast in supporting roles, many times along with James Cagney, in such movies as Cagney's Yankee Doodle Dandy (1942), as well as with Gary Cooper in Sergeant York (1941) and Irving Berlin, Ronald Reagan, and George Murphy in This Is the Army (1943).

Bewitched never makes the argument that “coming out” will solve Samantha’s problems, because unlike even most contemporary gay programs, it acknowledges the complexities of such an endeavor, especially because coming out isn’t a singular event but an unending process. But this was before the days of IMDb, Wikipedia, and heavy serialization.

Several millennia old, with a taste for outrageous fashion and a circle of friends that included Julius Caesar and Attila the Hun, this powerful witch was completely opposed to her daughter's marriage to a mortal, dishing out acidic put-downs of Darrin in nearly every appearance. More often than not, these treatments caused havoc, much to Darrin's dismay.

Welsh actor Bernard Fox had been a staple of television series on both sides of the Atlantic since the mid-1950s.

His campy, mischievous, subtly sinister style is exactly the vibe I want all October long—and it doesn’t hurt that he gave us the greatest Halloween special ever. Lynde was free to be himself throughout his 11 appearances, though perhaps his most open turn came in Season Three's Halloween episode, “Twitch or Treat” (#81).

Fighting for Representation

Samantha lobbied for mortals to drop their misconceptions about witches in both “The Witches Are Out” (#7) and “To Trick-or-Treat Or Not to Trick-or-Treat” (#177), and, in “The Leprechaun” (#63), Darrin's little-known mythical cousin wanted “a sympathetic and understanding presentation of mee image,” all allegories that can be applied to the straight world's LGBTQ stereotypes.

Repression Is Bad

In both “Okay, Who's the Wise Witch?” (#195) and “Samantha's Psychic Pslip” (#225), Samantha comes down with witch illnesses as a direct result of denying her true self – and she passed this knowledge to Darrin in “Adam, Warlock or Washout?” (#242) by warning him that frustrating their son's burgeoning powers “would not only be unfair, but it could be harmful.”

Coming Out Is Good

Samantha 'fessed up about herself in the first episode, but in “The Witches Are Out” (#7), her friend Mary wanted to “tell everyone that we're witches” so “they'd see what wonderful, nice people we really are.” Proving that coming out is multi-layered, Samantha repeated the process with her mother-in-law in “Samantha's Secret Is Discovered” (#188), citing “the relief of not having to pretend anymore.”

Hypocrisy

Thinking Darrin endorsed anti-witch images, Endora turned him into a werewolf in “Trick or Treat” (#43).

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