First-run syndication

[ClassyCo]

Occasionally I get into certain fads, trends, or eras in television history.

Here lately I've been into those television shows that were canceled by their respective networks and later successfully revived in first-run syndication. It was a popular trend to bring back canceled sitcoms in syndication during the 1980s. Two of the most successful comedies revived are usually said to have been Mama's Family and Charles in Charge.

Of course there were a host of other sitcoms that were brought back for second lives in first-run syndication. Some of them were brought back simply to push the show over the desired threshold of totaled episodes for syndicated stripping.

The picture:
Top row: Mama's Family, Charles in Charge, It's a Living
Bottom row: Punky Brewster, 9 to 5, Silver Spoons

 

[tommie]

The most popular comedy in syndication:

 

[ClassyCo]

The most popular comedy in syndication:

I was wondering how long it would take before someone brought Baywatch up.

 

[tommie]

I was wondering how long it would take before someone brought Baywatch up.

One post!

Also, watching Mary Hartman, Mary Hartman - a daily comedy-soap opera about yellow waxy build-ups.

I did love Peter Bentley's Amazon when it aired:

 

[Daniel Avery]

I've always regarded the 'golden age' of first-run syndication (roughly 1986-95) as the period of time when producers finally realized that they could keep a lot more of the profits if they circumvented the networks. Production companies had been forced to grovel to the network heads for decades, begging them to pick up their shows, and watching the networks haul away the majority of the profits from the more successful shows. There had been first-run shows available for long before the mid-1980s--Hee Haw being notable for its success in the country-music genre and its longevity. But the system really blossomed in the mid-1980s because of the boom in talk shows in daytime. Hosts and producers of those shows decided to sell the shows directly to stations rather than relying on a network to distribute them. Local stations had large blocks of their broadcast day that was not filled by network programming (mornings, early evening, and late fringe past midnight), and talk shows were preferable in that period because of the exploitative content and 'star power' of many of the hosts. This was preferable to sitcom reruns or local news. Hosts like Oprah owned a chunk of their show's profits, and as she (and others) became rich and famous a lot of producers saw that cutting the networks out of the equation might allow them to keep more of the profits from a show.

Also in the mid-1980s, there were a lot of independent television stations--that is, a station not affiliated with CBS, NBC, or ABC. They relied even more on reruns of old movies and off-network programming. The Fox Network came along in 1986 but originally only aired original programming on Sunday nights. Independent stations that decided to become a Fox affiliate had to fill up their days and nights with content, so there was yet another demand for various programming. Many of the syndicated shows that aired weekly (as opposed to daily like talk shows) looked and sounded just like network programming and had the same high production values, so the independent/Fox-affiliated stations now had the chance to carry a few more original shows, not just reruns of the other networks. The producers of these shows also pre-sold large chunks of the advertising time that was being aired, allowing the independent channels to go 50/50 with them on ad time to have their local commercials airing alongside national brands, which is preferable to having your commercial time being dominated by cheesy ads for record albums, Life Alert, and Ginsu Knives.

In the early 1990s the first-run market expanded into action/adventure hours, a mix of standard crime dramas and sci-fi/fantasy shows that the networks tended not to have much faith in. This move was likely based on the success of Star Trek: Next Generation, which was syndicated rather than a network show. Shows like Forever Knight, Highlander, and Viper popped up with huge (for that time) budgets, and though I think FK began as a TV-movie on CBS, I don't think any of the others ever even approached a network about airing the show. They knew first-run syndication would give them more artistic freedom as well as "financial freedom" to spend a lot of money per episode. I recall reading that Highlander had a highly unique co-production deal between US, Canadian, and French companies that allowed the show to film half its season in France and half in Canada, giving it a cinematic look that could never have happened if it had been on a US network.

I can't really pinpoint why first-run syndication comedies did not continue to be produced after about 1993. Maybe it was the move toward dramas on the networks, or maybe they did not have as many stations airing them once Fox expanded their programming to seven days per week. Many of the original comedies had run their course, but they were not replaced with others. I know some cable channels had matured enough to produce their own originals (Lifetime Movies, for example), but those channels didn't do sitcoms, either. Court shows took over for many of the talk shows that got cancelled (and are just as profitable, apparently), and of course there are still plenty of sitcom reruns to buy. Reality TV also took some of the time away.

 

[ClassyCo]

I've always regarded the 'golden age' of first-run syndication (roughly 1986-95) as the period of time when producers finally realized that they could keep a lot more of the profits if they circumvented the networks. Production companies had been forced to grovel to the network heads for decades, begging them to pick up their shows, and watching the networks haul away the majority of the profits from the more successful shows. There had been first-run shows available for long before the mid-1980s--Hee Haw being notable for its success in the country-music genre and its longevity. But the system really blossomed in the mid-1980s because of the boom in talk shows in daytime. Hosts and producers of those shows decided to sell the shows directly to stations rather than relying on a network to distribute them. Local stations had large blocks of their broadcast day that was not filled by network programming (mornings, early evening, and late fringe past midnight), and talk shows were preferable in that period because of the exploitative content and 'star power' of many of the hosts. This was preferable to sitcom reruns or local news. Hosts like Oprah owned a chunk of their show's profits, and as she (and others) became rich and famous a lot of producers saw that cutting the networks out of the equation might allow them to keep more of the profits from a show.

Also in the mid-1980s, there were a lot of independent television stations--that is, a station not affiliated with CBS, NBC, or ABC. They relied even more on reruns of old movies and off-network programming. The Fox Network came along in 1986 but originally only aired original programming on Sunday nights. Independent stations that decided to become a Fox affiliate had to fill up their days and nights with content, so there was yet another demand for various programming. Many of the syndicated shows that aired weekly (as opposed to daily like talk shows) looked and sounded just like network programming and had the same high production values, so the independent/Fox-affiliated stations now had the chance to carry a few more original shows, not just reruns of the other networks. The producers of these shows also pre-sold large chunks of the advertising time that was being aired, allowing the independent channels to go 50/50 with them on ad time to have their local commercials airing alongside national brands, which is preferable to having your commercial time being dominated by cheesy ads for record albums, Life Alert, and Ginsu Knives.

In the early 1990s the first-run market expanded into action/adventure hours, a mix of standard crime dramas and sci-fi/fantasy shows that the networks tended not to have much faith in. This move was likely based on the success of Star Trek: Next Generation, which was syndicated rather than a network show. Shows like Forever Knight, Highlander, and Viper popped up with huge (for that time) budgets, and though I think FK began as a TV-movie on CBS, I don't think any of the others ever even approached a network about airing the show. They knew first-run syndication would give them more artistic freedom as well as "financial freedom" to spend a lot of money per episode. I recall reading that Highlander had a highly unique co-production deal between US, Canadian, and French companies that allowed the show to film half its season in France and half in Canada, giving it a cinematic look that could never have happened if it had been on a US network.

I can't really pinpoint why first-run syndication comedies did not continue to be produced after about 1993. Maybe it was the move toward dramas on the networks, or maybe they did not have as many stations airing them once Fox expanded their programming to seven days per week. Many of the original comedies had run their course, but they were not replaced with others. I know some cable channels had matured enough to produce their own originals (Lifetime Movies, for example), but those channels didn't do sitcoms, either. Court shows took over for many of the talk shows that got cancelled (and are just as profitable, apparently), and of course there are still plenty of sitcom reruns to buy. Reality TV also took some of the time away.

I always love your posts. Every time I start a new thread, I just can't wait to read your thoughts on the issue.

This is another informative one to add to the list.

 

[Daniel Avery]

One of those first-run syndication comedies that made a brief splash was Throb, a series centered around the employees at struggling "Throb Records". It only run a few years but was a ratings hit when it first started. Diana Canova (Soap) was the star of the show, and Jane Leeves (later of Frasier) played her office "frenemy". In one scene Sandy (Canova) was consoling her boss after one of the artists he dropped from the label became a star after signing with a competitor. She pointed out that show business was full of "missed opportunities". After listing a couple of famous artists who had been passed over, she added, "Throb was turned down by CBS...."

 

[tommie]

I can't really pinpoint why first-run syndication comedies did not continue to be produced after about 1993.

I think it has to do with the same reason why The CW ended up abandoning sitcoms in the late 00s - since stations like to program in hour blocks it usually means that to effectively sell a comedy you usually need a companion piece. So either you'd have to have an effective plan to sell it as a companion piece to an existing sitcom (either a show that's successful in reruns or another syndicated sitcom) or create two shows and sell them as a package. While stations have half hour news broadcasts I imagine that pairing those together with sitcoms wouldn't be ideal and things like court shows just worked better for that purpose. I imagine scripted hour long shows just ended up being easier to sell.

 

[Daniel Avery]

Another issue working against both the sitcoms and the hour-long dramas was the weekly release of episodes (rather than "strip syndication" of Monday-Friday). Viewers were (and still are) accustomed to seeing the same show every weekday in most dayparts (other than primetime). The local channels would have to buy the first-run syndication comedies or action hours in groups of five--one for Monday, one for Tuesday, etc. From the minute Fox Network hit the airwaves in 1986 they did not program anything at 10pm Eastern, opting to give that hour to their affiliate stations to (supposedly) produce a nightly newscast. To this day, Fox still doesn't offer anything for the 10pm slot. Since most of the smaller stations out in the hinterlands were barely scraping by, they could not afford to have a news division--so that hour became one of the most popular timeslots for the action hours. They were good counter-programming for the big three networks, who were airing a lot of the same kind of shows at 10pm. For the stations (mostly in large cities) that could do a newscast, a sitcom would often be aired in the second half of the hour. But a lot of channels from all affiliations picked up various sitcoms and action hours to fill various holes in their schedules. I recall the weekends were filled with first-run stuff during early-prime and whenever there wasn't sports-related events airing.

 

[bmasters9]

At least one game show went into first-run syndie after having a very brief run on its network (and this is the only one I've heard of that has done that; I may be incorrect): Tic Tac Dough w/Wink Martindale (had a roughly two-month, 45-show summer run on CBS Daytime in 1978, and then went into first-run syndie starting Sept. of that year; the syndie run would be known for having a few notable champions [most notably Thom McKee, Navy pilot who took $312,700 in cash and prizes over 45 or 46 shows in 1980]).

Here is the first show of the 45-episode CBS Daytime summer run:

And here's the first show of the syndie run:

And a show from the run of the famous Thom McKee in 1980:

 

[Daniel Avery]

I recall watching Tic-Tac-Dough in my youth. Where I lived, it aired in early evening (like 7 or 7:30). Martindale's still alive, God Bless him, though he and fellow game show host Bob Eubanks look like they got the 2-for-1 deal at the plastic surgeon.

 

[bmasters9]

I recall watching Tic-Tac-Dough in my youth. Where I lived, it aired in early evening (like 7 or 7:30).

IIRC, when it was on WPVI Channel 6 in Philly (6ABC, ABC O&O of that area), that's the time slot it had.

 

[ClassyCo]

Some of the sitcoms that got a revival in syndication underwent numerous changes during the transition, especially those that languished a few years before getting renewed for their "second life" in syndication.

MAMA'S FAMILY (the #1 sitcom in syndication the entire four years it aired in that market) lost Carol Burnett and Harvey Korman, and Betty White and Rue McClanahan moved on to THE GOLDEN GIRLS on NBC.

MAMA'S FAMILY was cancelled by NBC in 1984, and was brought back in first-run syndication in 1986. Vicki Lawrence, Ken Berry, and Dorothy Lyman all reprised their roles. Also added to the mix were Beverly Archer and Allan Kayser, and the sitcom produced an additional 95 episodes (bringing the series total to 130) before closing up shop in 1990.

I recall watching MAMA'S FAMILY on the ION channel and TBS when I was a kid. On the latter station, it aired in the mornings, immediately following SAVED BY THE BELL. It's still one my favorite television sitcoms.

 

[Daniel Avery]

Carol Burnett did not appear in the syndicated version of Mama's Family because she and Joe Hamilton had gotten divorced. Hamilton had been her producer/collaborator on her original show, but in the divorce he got the production company and she got the ranch in Hawaii. They did a great job of hiring an actress to play Eunice as a teenager in a flashback, and I think they had a sound-alike actress do a "Eunice voice" over the phone, but Bubba never did get a proper scene with his mother.

 

[ClassyCo]

Carol Burnett did not appear in the syndicated version of Mama's Family because she and Joe Hamilton had gotten divorced. Hamilton had been her producer/collaborator on her original show, but in the divorce he got the production company and she got the ranch in Hawaii. They did a great job of hiring an actress to play Eunice as a teenager in a flashback, and I think they had a sound-alike actress do a "Eunice voice" over the phone, but Bubba never did get a proper scene with his mother.

As much as I enjoy the syndicated years, I wish Carol Burnett would've been able to pop-in and visit MAMA'S FAMILY. She was great as Eunice, and her presence was missed.

The ordeal surrounding Vicki Lawrence continuing MAMA'S FAMILY in syndication for Carol's ex-husband damaged the two women's relationship for years. Carol refused to speak to Vicki for like two decades, I think. When they finally patched things up, they started doing some MAMA'S FAMILY reunions, without mentioning Carol's absence. And why would they?

 

[AndyB2008]

The Fame TV series was originally axed by NBC after 2 seasons due to low ratings, but MGM/UA Television (MGM/UA produced the original film hence their interest to keep the TV series going) cut a deal with TV syndication company LBS Communications.

Hence why Fame was revived in first run syndication and continued for 4 more seasons.

 

[tommie]

The Fame TV series was originally axed by NBC after 2 seasons due to low ratings, but MGM/UA Television (MGM/UA produced the original film hence their interest to keep the TV series going) cut a deal with TV syndication company LBS Communications.

Hence why Fame was revived in first run syndication and continued for 4 more seasons.

I also assume that a big part of it being able to be sold in syndication was that it probably had a very young audience - it might not have had the overall audience reach to survive on a network, I think the demographics would've been appealing for syndicators to air. I also see that it was syndicated on Saturdays (as opposed to NBC's scheduling on pre-Must-Watch-Thurdays) - I assume in a pre-prime time / afternoon slot when kids would be home to watch it. It seems to me like a dry-run of what would later become the teen Saturday morning block NBC did with Saved By the Bell, California Dreams etc.

 

[Daniel Avery]

Though there was no set day or time for the individual stations to air their syndicated purchases, the choice to air a lot of the hour-long programs on the weekends probably had more to do with trying to counter-program various sporting events that were airing on the big networks every weekend. Once Fox grew large enough to buy the rights to air some of those sporting events, those stations did not have to rely as much on buying syndicated originals (or reruns, for that matter).

I'm sure there was some thought about choosing a particular show to air at a particular time because it was the more appropriate choice---thus why Fame might have ended up in a late-Saturday morning slot rather than, say Forever Knight with its more "nighttime primetime" feel. But no, there wasn't much pressure on stations from the syndicator to air a show at any particular time unless maybe it was time-sensitive like Entertainment Tonight or tabloid garbage like Hard Copy.

 

[AndyB2008]

One post!

Also, watching Mary Hartman, Mary Hartman - a daily comedy-soap opera about yellow waxy build-ups.

I did love Peter Bentley's Amazon when it aired:

Amazon (the Peter Benchley series) of course starred Rob Stewart, best known for his role in Sweating Bullets (retitled Tropical Heat overseas). Despite the Floridian setting, no filming actually took place in Florida. (The fictional Key Mariah was played by countries like Mexico, Israel, South Africa and Mauritius).

Although Sweating Bullets was a moderate success in the US and UK due to airing late night, it became a massive success in Serbia where it aired in primetime - Serbians saw the sunshine of Key Mariah as a fantasy to get away from real life, same reason why Neighbours and Home and Away succeeded in the UK. (Rob Stewart didn't know how successful Sweating Bullets was in Serbia until he saw a Facebook group about his character).

 

[tommie]

Speaking of syndication, an upload of syndicated anthology series "Romance Theatre" which was basically a 30 minute show that had five episode weekly stories (essentially a mini-soap) and ran for 26 weeks in the 1982-83 season. Week 3, "Love at the Top", apparently got cut into a VHS release (I assume other weeks might've gotten the same treatment in the early VHS market) and has now been uploaded on YouTube: