The earliest material for TV originated in New York so there was very much a theatrical and literary bent to what was presented. Twelve Angry Men and Marty originated on TV before becoming Hollywood movies. Great writers from the literary and theatre world as well as directors came to TV for the new art form. It was a highly experimental time in the post war period that brought not just audio but video into the home of people around the world.
Not surprisingly, the early development of TV attracted a fair amount of Canadians from theatre and later from the early development of TV in Canada. Actors like Lorne Greene and Christopher Plummer began the move from Stratford to the U.S. for Broadway and television and film. That migration to the States has been a decades long thing. Experience, training and opportunities come in Canada but the sheer volume of content created for the large population is a siren call. The fame, the money and all that goes with it helped create a whole new industry.
Television was an existential threat in Canada. Many Canadians bought TVs in the east and aimed the antennas south from 1947 on to receive signals. The government tasked CBC (already a national presence in national radio) to create both an English and French broadcaster so in 1952 they hired hundreds of technicians, directors and talent to learn the medium for a launch that year. One of those young directors was Norman Jewison who went on to become the Oscar winning filmmaker.
The private network cooperative CTV didn't even get started till 1960-61. All the heavy lifting in Canada was done by the CBC and the National Film Board. The squabbling network seemed to grudgingly create programming for Canada aside from news and live children's programming. Most of their content was U.S. produced. However, this allowed many Canadians to see mini-series from the U.S. when they were broadcast. By 1976, the CRTC began to assist broadcasters in getting monetary gains in exchange for Canadian content. It has resulted in regular serialized series but only lately in more limited series when paired with Bell Media properties like Crave.
As the CBC rolled out stations and programming across Canada, they tried anthology series of high art. Ballet, plays and the like were performed live. They were categorized as anthology series because they were between 30 and 90 minutes of individual productions with different casts and across different theme. So much of the CBC was investing in infrastructure, staffing and programming. The technology changes were coming fast too. Video recorders and colour TV being phased in the 1950s and 60s made keeping up a challenge. Budgets were always an issue.
Based on the year I was born, I don't recall much of anything miniseries-wise from 1965 to 1970. Our family didn't get cable until 1971. In fact, cable didn't arrive in the city until 1967. Some people had antennas to receive KCND in Pembina, North Dakota but most of the shows were syndicated from 1940s and the 1960s shows. It was only in the 1970s that I began to take note of material that would meet broadly the characterization of being a miniseries or limited series.
Some say a William Holden series shown over four nights called Blue Knight was the first miniseries in the U.S. on NBC. The four hour cop show in LA was from a Joseph Wambaugh book. Holden was a big film star so getting him for a TV was coup. The following year he'd be one the cast on Towering Inferno in theatres. Funnily enough, I didn't see Blue Knight but I did see how Towering Inferno. My dad took me to it while serving with Big Brothers. Even I was too young for the movie, he didn't want me to feel left out. My dad often let me stay up late on a Friday to watch some of the movies that played such as World War II movies. I had nightmares about the disaster movie for sure.
As a rule with standards and practices, more adult drama would be reserved for last hours of primetime. More family material would be in early hours so we'd see a lot of music and variety shows. And Disney of course would be the kick off every Sunday evening. I don't know when Blue Knight aired but likely over four nights at 9 PM Central time. East and West coasts it would have aired 10 PM. Often too late for kids under 10 who would be asleep by then. Central time prime time ended at 10 PM so it was much easier for many to watch drama and get to bed early enough.
While I don't remember Blue Knight, the miniseries of 1973, I do remember the Blue Knight TV series starring George Kennedy. Alas, I didn't catch the two season show. Given then time and a very active sports and after school activity as well getting to bed earlier, there was a number of shows I was aware of but couldn't or chose not to watch. In 1974 and 1975, Winnipeg saw the addition of PBS and CKND/Global to the dial so there was a flood of older movies and the introduction of limited series, mostly from the British. The miniseries of Forsyte from the UK kicked off what we could expect to see from across the pond. I can't say my tastes were as refined back then. The British started the Forsyte back in 1967 so had the jump on everyone. The British influence was enormous and many titles were copied.
Canada didn't have the population or budget that the British and Americans did. We did, however, create one of the most expensive docudramas filled at that point in the world called The National Dream based on the book by Pierre Burton. The 8 episodes miniseries was the highest watched drama at the time. Oddly, the CBC has never made this show available to video or streaming. Our family watched it and it added to the lore of the Canadian Pacific Railway.
Canada was also doing influential work in teleplays. Not as long as miniseries but at half hour to two hours were entertaining. One such movie was Flight into Danger starring future Star Trek actor James Doohan and written by Arthur Hailey, both World War II vets. Doohan, born Canadian and Hailey naturalized Canadian. Hailey found success as an author, famously for Airport. The 1956 live production on CBC became the inspiration for drama and comedy in film and television for decades to come.
The National Dream Miniseries in Canada and QB VII in 1974 had huge influence in historical dramas based on historical events. With star writers like Pierre Burton, Timothy Findley, William Whitehead and Leon Uris, it kept to the tradition of using top notch literary writers for complicated shows. I did not see QB VII when it came out. It wasn't until about 1975 when the explosion of cable channels created the demand for pull out TV and a daily listings of what was on. In 1977, TV Guide created a Canadian version of U.S. TV guide. This became super important to planning your week and for networks to promote appointment TV.
In Winnipeg in the 1970s, the Winnipeg Free Press and the Winnipeg Tribune had pull out TV listings and reviewed TV shows. I delivered the Winnipeg Tribune and it was the plucky competitor to the Free Press. It used to be that you were a Trib subscriber or a Freep subscriber. There were no Sunday editions of either paper. The TV listings for the week came out Saturday. Because Sunday was a day when literally everything was closed, we got both papers on Saturday so that there would colour comics, TV listings and classified ads. There were no video recording machines so if you missed a show, you missed it. If there were 22 episodes of a season on average, they would likely repeat again in the summer and you could catch them then. But did it really matter if you missed one Starsky and Hutch? No. Because a year long storyline was not what they were about.
The miniseries, as mentioned, were different as they were special programming all at once over consecutive nights (or serialized over a short time) with a beginning, middle and end. They were long form storytelling. As listed above, Blue Knight starring film actor William Holden was aired in 1973 and earned Emmys for the acting. The story was largely filmed on location in Los Angeles following a beat cop. It holds up well today as a snapshot of the 1970s in LA. As opposed to Dragnet which relied on stock footage of LA and rarely referred to the personal lives on the officers. Just the facts.
The critical acclaim, ratings and overall publicity for networks in the 1970s was focused on big events that would draw sponsors and eyeballs. The dominance of CBS, NBC and ABC was growing in entertainment, sports and news. Cable was just beginning but for many years was just trying to bring network TV to areas that could not pick up signals from affiliates far away. Such was how things developed in much of Canada bringing U.S. signals into homes. Before 1967, it was near impossible to get reliable signals in Winnipeg even with giant broadcast towers in Fargo. Even after, as Videon cable customers will attest, it was possible to lose your cable signal with terrible weather as we have had in the last weeks. I remember losing the last few minutes of Where Eagles Dare fuzzing out in a storm when Richard Burton was going to reveal the traitor spilling to the Nazis. It would be a few years before I would see the movie again and learn the secret.
On network TV, they would show Hollywood movies such as James Bond movies from the 1960s in prime time. By the mid 1970s, stations such as CKND and PBS Grand Forks would show movies from the 1940s through the 1960s. Syndication meant series like Star Trek had new life. Everyone was making money. It was good for newspapers and magazines, good for studios creating movies, good for networks, cable operators and advertisers reaching new audiences. There were still missteps studios could make on budgets and film. There never seemed to be the end of someone who thought they could make a big budget blockbuster. A lot of times they were wrong. However, the libraries of many studios such as MGM proved to exactly what independent stations wanted for content and it came to fit with cable and the need for content.
There was still some regulation and corporate separation that kept TV, music and film in their own silos. Antitrust prevailed and broke up the studio system that tied up all aspects of distribution, exhibition and production. The studios had to compete and be more innovative. It took a Supreme Court ruling to get them to break up and ten years to do it. However, without it, it is unlikely we would have had the production companies in the 1960s and 1970s creating in the same way as the vertically integrated media was back then.
There were a number of reasons why TV networks started creating their own movies and miniseries. One main reason is that they didn't want to rely completely on the movie studios for content. Certainly, showing James Bond on ABC could draw ratings but it often took a while for a new Bond to come out. The networks needed material on a more regular basis. It is why in the 1950s and 1960s, it was not uncommon for series like Gunsmoke to have nearly double the episodes that were the standard in the 1970s and 1980s. The development of a season of episodes and repeats usually meant the network still had days to fill up with programming.
The networks had to satisfy their advertising sponsors and their affiliates. Getting enough sponsors meant it paid for your content which kept affiliates from seeking other affiliation or filling their space with syndicated content. This was indeed a real issue as affiliates could change their affiliation. Even networks themselves might look to switch to a different local station if that station had been reception or local composition of news. Such is the case when NBC WDAY/WDAZ became the new ABC affiliate over ABC KTHI in Fargo in 1983.
To attract the people with the money and the means to broadcast it, the networks began to begin bring people to Hollywood to see what they would be showing to kick off their fall seasons. By the 1970s, this was an elaborate star-studded affair that was attended by media, advertisers and affiliates. Aside from the regular programming of series, sports, variety shows and news, network exec wanted to buy literary material that was popular and turn it into movies and miniseries. This was a time of epic storytelling though.
Hollywood studios, as well as some overseas studios, often dramatized historical events and great works of literature. However, the maximum length many could stay in a theatre seemed to cap off at about 4 hours and only for the biggest blockbusters such Cleopatra on the Greatest Story Ever Told in the 1960s. TV broadcasts of those movies were broken up in two parts over consecutive nights to boffo ratings. This certainly clued in the networks that there was an appetite for movies over two or more nights.
The antitrust breakup created many production companies that TV and movie studios contracted with to create productions. It is of note that this is how Stephen Spielberg rose up. He directed a made for TV movie Duel from an original story in Playboy magazine in 1971. Dennis Weaver starred. At the time, he had become a star of his own TV limited series of McLeod. This was two different examples of what networks were doing to start the 1970s. Made for TV movies and a revolving wheel of mystery movies such as McLeod and Columbo.
This innovation and insatiable need for content led to miniseries. Trying to get Hollywood talent to sign up required a limited number of episodes and a hot script. It was this type of time, budget and script that drew Richard Holden and Lee Remick to Blue Knight in 1973. Four hours over for four nights of compelling TV that landed both actors awards. While there had been some miniseries before then, this triggered a flurry of activity from all three American networks and from other across the world to create miniseries.
I was just too young for some the earlier miniseries like Rich Man, Poor Man in 1976 and with it being 12 episodes long, I was likely missing a few of them because of sports since it aired in February of that year. I would have turned 11 in the middle of it. I did see it much later though. It would be 1977 before I'd be watching a miniseries from beginning to end and that was Roots. Although from an American experience, it was as much watched in Canada as the U.S. and contributed to discussion. Roots, unlike Rich Man which broadcast every Tuesday, broadcast each night for a week. The story of slavery over generation ran every night in January that year. It was the first time we'd see the introduction of LeVar Burton. He'd go onto long time success on Star Trek: Next Generation a decade later.
The same year of 1977 I would see The Godfather series composed of the two theatrical films and edited and arranged for network TV. There were quite a few miniseries back then that I watched. Some so long ago that the memory has faded. Between 1977 and 1979, there were so many. The minsieries sequel to Roots and Salem's Lot in 1979 left lasting memories. It was the first time we saw a miniseries of a Stephen King book. Salem's Lot was pretty scary for network TV!
The local pullout TV listings was how you planned the week. In the 1970s, there really wasn't the time wasting on scrolling through the phone or Internet since it didn't exist. No home computers and no video games either. Some TV shows like Stranger Things tend to mythologize those times as suburban Narnia. It wasn't but it certainly didn't have the type of varied distractions of today. Having being born in 1965, I can say the very limited TV of two channels before cable was not as compelling as going outside. I came to think of the TV as something you watched the U.S. space program on and this strange war being fought in a place called Vietnam. All of this on black and white TV.
Truly network TV had its greatest moments in the 1970 when there was literally no other competition in drama, comedy, variety, news and sports. It was only the 1980s that cable channels themselves began to compete. HBO was the movie channel most sought out when people just wanted movies. It used to be on the marquees outside hotels. HBO included.
Miniseries have always been great for historical events or sweeping literary stories. In the 1970s, Little Women was a miniseries, Harriet Taubman was miniseries and The Holocaust was a miniseries. Those type of series attracted top talent and many Canadians watched although some were more specific to the U.S. experience.
By the 1980s, it seemed the miniseries had tripled in numbers. Lonesome Dove, The Thornbirds, V, Amerika and the Winds of War were massive series that demanded attention. Big stars were cast and big stories were old from the best of the book world, historical events and speculative fiction. There were far too many to see, some might later turn up on cable or around 1982, many families starting getting VCRs. Ultimately, this helped people not miss episodes of something hugely long like Winds of War.
It should be mentioned that in the rise in tandem of networks and cable, newspapers began to struggle. In Winnipeg, the Winnipeg Tribune went under in 1980 along with the Montreal Star. The free classified ads and media ownership that preferred a monopoly. However, more ads were going to radio and TV. he Winnipeg Sun started shortly after and made sure that they competed on days the Free Press passed over such as Sundays. It was an indication of how market conditions were changing. USA Today began to publish in 1982 and their newstands looked like TV boxes and their format was to remind people of TV programming. No long form stories for them.
There was probably a 30 year period where the media of print, radio, movies and television all elevated themselves through cross promotion and ad revenue. Even the beginnings of the Internet helped promote other media for many year. It was only when giants such as social media began to hoover up other companies and ad money while manipulating things with algorithms that some of the pillars started to collapse.
It was roughly halfway through 1990s that the Internet started to be used for newsgroups, mail lists and ways of engaging with fans. The Internet Movie Database and Wikipedia were ways for TV and film audiences to really engage. Had the Internet been more like that always, it might have been a less permissive thing now.
From the 1980s to the 1990s saw cable start to take on more miniseries. Big name directors who were once attracted to networks looked to cable and premium cable to tell stories. The networks were still very powerful but HBO and USA Network started doing miniseries with big names and bigtime directors. It was still networks though that were able to really muster audience side and promotion. Stephen King had a number of network miniseries such as The Stand (ABC) in 1994, The Langoliers (ABC) in 1995 and The Tommyknockers (ABC) in 1993.
By the 2000s, there was a shift to ever greater number of miniseries from cable networks. This was not a terrible problem because cable subscriptions had risen to levels not seen before. The problem was that the packages were rising every year. And still do now. To get the premium channels like HBO required a very high price. I will write more in the next part. However, miniseries became some of the highest rated shared programming we had as a culture. The fracture was to come and is still happening now.























