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All That Glitters 

Satirical look at a world where women rule and men are objectified.






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Complete series cast summary:
Barbara Baxley ...  L.W. Carruthers unknown episodes


The world was exactly like ours EXCEPT that women were the dominant gender. Women were the captains of industry and men were household workers, secretaries, and waiters trying to attract attention with their sexuality. To add some additional twists to that twist, there were characters into dominance/submission, a woman who had been a man (played by Linda Gray), and (of course) women CEOs having affairs with their secretaries. Written by <linda_ball@lbffp.com>

Plot Summary | Add Synopsis


Comedy | Fantasy







Release Date:

18 April 1977 (USA) See more »

Also Known As:

L'Evo di Eva See more »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:



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Did You Know?


Video taped production started in early March 1977 with director Herbert Kenwith replacing James Frawley on the first day of cast rehearsal with multiple, six electronic video camera blocking rehearsal session, and then, video taping the sit-com's half hour program. The production designer, Hub Braden, initially had very little in-put nor contribution from Stephanie Sills, nor from associate producers in the "look" and conceptualizing - in designing the scenic set elements. More vocal attention dictated the premise for the Globatron corporate logo, and designing the producer's office stationary graphics featuring a long stemmed red rose. The original director, James Frawley, was not hired when production began, nor was he involved in developing graphics nor any scenic elements (sets) for the series. Nor did James Frawley comprehend the scenic tricks of built-in video-camera paths inside the set for multiple camera angle coverage when blocking shots. Frawley's film directing limited practical expertise - was - blocking performers in a four-wall interior set environment related to a one camera group or single shot position, allowance for lighting each single shot set-up, moving the film camera, relighting, enabling setting-up a reverse angle cover shot. Frawley had no experience with multiple (video) camera blocking shots, lighting performers, dealing with sound boom engineers. On the first day of cast rehearsal and camera blocking coverage, frustrated, he dismissed all but one of his camera-men and his video camera; the five camera-men and electronic video cameras were side-lined on the stage's perimeter camera-pen. The producers had no control of their stage since Frawley was now their show's king-pin! Blaming their production designer, they looked for Braden, to fire him! Norman Lear, learning of the pan-demoniac producers quandary, the stage's turmoil, arrived unannounced after being alerted, observing the day's proceeding activity. After silently standing by observing the stage's stymied progress, (a two and half hour observation), Lear fired James Frawley! Lear brought in his favorite director Herb Kenwith, to take over the directorial reigns, who met with Stephanie Sills and her associate producers late in the evening. Learning that the producer was firing Braden, Kenwith responded, who had worked with Braden on the NBC drama "Return to Peyton Place" - "You can't fire him, he is the only one who knows what is going on in this studio!" After Herb Kenwith joined the production company, Kenwith collaborated with Braden developing scenic elements required in the progress of the show's scenario. Kenwith, a witty and charming character, himself, was a hands-on inspired director who knew how to communicate with every production department, with the producers, the writers, and cast performers. Kenwith knew he was the central force in the progression of the Norman Lear series' concept. See more »

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User Reviews

WAAAAY ahead of its time!
14 May 2003 | by akjudeSee all my reviews

I have always been a fan of Norman Lear, with his vision and unique sense of humor. "All That Glitters" was one of his best, and I really missed it when it vanished so abruptly. It's a shame that the networks are so quick to pull shows that are unconventional before they have a chance to prove themselves, despite rabid fan bases. (Examples (in alphabetical order): All's Fair, Early Edition, Earth 2, Family Law, Firefly, First Monday, Freaks and Geeks, Golden Years, L.A. Doctors, Ned and Stacey, Nightmare Cafe, Now and Again, Pretender, Prey, Push Nevada, Reasonable Doubts, Relativity, Space:Above & Beyond, Sportsnight, Strange Luck, The Days and Nights of Molly Dodd, Tracker, Vengeance Unlimited, VR.5, Witchblade, and possibly Mister Sterling) (You can't tell I'm a SciFi fan, can you?)

It's gotten so bad that I won't watch new shows that I've heard are great until it's been on at least 3 seasons - It seems that every time I get hooked on a show, it disappears... Of course, now, I just get the DVDs of the complete series. (That's how I've watched Angel, and will probably watch 24.)

Okay, done ranting now!

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