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Been that way since The Honeymooners.

Here's an essay I found online:

The intersexual dynamics (gender-role reversal) of The Honeymooners are, indeed, the source of the show's humor.
Ralph Cramden is a flawed man: a buffoon, a blowhard, and a schemer — but also a dreamer. A sillyheart — but one motivated only by a desire to better himself and/or the financial situation of his family.
He is a man whose ambition consistently exceeds his grasp; whose abilities always fall short of his objectives; whose execution never lives up to his plans.
His bluster, his grand schemes, and his volcanic temper all project the image of a man who believes he is in command of the situation. And the comedy — and the cultural insight — come from the fact that this authority is almost entirely performative. Ralph thunders, but Alice rules.
Alice Kramden's quiet power forms the counterweight to Ralph's noisy bravado. She is the emotional adult in the room, the one who sees through every get-rich-quick plan and deflates every puffed-up declaration of masculine pride. Her sharp retorts and perennial exasperation invert the expected 1950s gender hierarchy: the wife, ostensibly subordinate, is the one who actually understands the world and keeps the household from collapsing under Ralph's fantasies. In this sense, the show's gender-role reversal is not a gimmick but its central engine — the source of both humor and truth.
The dynamic is mirrored with the Nortons. Ed Norton, Ralph's best friend, is even more childish (while simultaneously less ego-driven) than Ralph, while Trixie shares Alice's grounded realism. Together, the two couples form a kind of domestic ecosystem in which the men loudly insist on their authority while the women struggle to keep them from "going off the rails."
What makes The Honeymooners enduring is that beneath the sparring lies genuine affection. Ralph's bluster is always deflated before it becomes cruelty, and Alice's sarcasm is always tempered by loyalty. Their marriage, for all its volatility, is built on a mutual recognition: he needs her clarity, and she tolerates his chaos because she sees the earnestness beneath it. The gender-role reversal is therefore not merely comedic but humanizing. It reveals the gap between the idealized 1950s male authority figure and the flawed, lovable men who actually inhabit those roles.
In the end, the show's reversed intersexual dynamics play with traditional gender expectations while celebrating the resilience of partnership. Ralph may dream of sending Alice "to the moon," but the truth is that she keeps him grounded.

Regards,