Let Us Be The One: The Story of America's Fourth Network

In 1968, Howard Hughes attempted to buy ABC, but deal fell through. He then purchased Sports Network, an occasional broadcast network. It was renamed Hughes Television Network. Some thought it would develop into a fourth network, but it never did. This is my humble attempt to see what happened if it did. The timeline is presented as excerpts from TTL's Wikipedia counterpart, Plexipedia.

-------------------------

Excerpted from the Plexipedia article "UBC."

History

1960s: Establishment of the network

Foundations

In 1968, Howard Hughes decided to get into television. He attempted to purchase the American Broadcast Company, but was unable to close a deal. Since Hughes couldn't buy a network, he would create one. His first move was the purchase the Sports Network Incorporated (SNI). To support his new network, a foundation of affiliates would be needed. To this purpose, Hughes bought the Kaiser Broadcasting Company. The two companies were fused into the United Broadcasting Company (UBC). The bulk of the SNI staff was transformed into UBC Sports. However, SNI president Dick Bailey was named UBC president. By December, UBC would be ready to launch.

Beginning of the network

The network premiered on Sunday January 11, 1969. Its initial lineup consisted of two nights of primetime programming, Sunday and Saturday. Sunday's schedule contained three programs, Beat the Clock (game show), You're Putting Me On (game show), and the UBC Big Event (sports). While the UBC Big Event was primarily showed contests from the NHL, MLB, and NBA, it also showcased other leagues such as the NASL or PBA. It was on the UBC Big Event that the Basket Bowl premiered. Saturday night had He Said, She Said (game show), the Cowsills Comedy Hour (variety), and UBC Saturday Movie Night. As expected, the UBC shows finished last in the ratings.

The 1969-70 fall season would see UBC add a third night of programming, Friday. UBC would return all its shows except two. The Cowsills Comedy Hour failed to even last until summer. It was replaced by two game shows, Gambit and Liar's Club. However, the Cowsills would provide inspiration for UBC's first hit show, the Treehorn Family. You're Putting Me On managed to last until the new fall season. To help raise their ratings profile, UBC pickup some shows from the other networks. They also introduced their first scripted shows.



1970s: Rise to success

During the early part of 1970, the NFL was trying to get it television contract for games on Monday night. NFL Commissioner Pete Rozelle was hesitant to sign with either of the smaller networks, ABC and UBC, but CBS and NBC were not interested. While ABC was bigger and more established, UBC offered more money. In the end, the NFL took a chance and signed with UBC. The 1970-71 season saw UBC launched their Monday night of programming with UBC Monday Night NFL as the cornerstone. In markets without UBC affiliates, independent and other network affiliate stations could opt to broadcast it, but only if they showed UBC's entire Monday schedule. This option would help UBC Monday Night NFL become a ratings hit.



Excerpted from the Plexipedia article "1970s in television."

The existence of UBC caused the other networks to have work harder for their TV movies. They would either by dig up old unused scripts or expand pilots out to feature length. ABC would find the pilot as television movie particularly effective. Over the next few years, the ABC Movie of the Week would be used as a springboard for a number of successful series as well as a few unsuccessful ones. In addition, UBC caused CBS to accelerate their plans to modernize their image. They would cancel a number of viable non-urban based shows. The other networks would soon follow suit resulting in what would eventually be called the "Rural Purge". The Purge angered enough viewers that Congress threaten to become involved. The networks responded with new "rural" shows that predictively failed in the ratings.



Excerpted from the Plexipedia article "UBC."

Initially UBC Sports concentrated on the network's primetime sport shows. At the start of 1971, UBC expanded into weekend sports programming. In addition to game broadcasts, they would produce the UBC Sports Spectacular, an anthology show. It would provide strong competition for ABC's Wild World of Sports during its run. UBC would next expand into late night programming. Over the next several months, UBC would expand into the remaining non-primetime program areas. The spring saw the launch of their late night programming with The Late Night Show. Of course, this show would ultimately fail as during this time Johnny Carson dominated late night. However, UBC would achieve success with Saturday late night show, Front Row. The series showcased taped concerts of popular bands. UBC Evening News premiered in July. With the coming of the 1971-72 fall season, UBC entered the two remaining areas, weekday daytime and Saturday morning children's programing. The initial daytime lineup included game shows and soap operas. Their Saturday package was the usual mixture of live-action and animated shows.



Excerpted from the Plexipedia article "George Lucas."

When UBC expanded to seven nights a week, the quest for new content reached new heights. It was into this competition that George Lucas entered. After the failure of THX 1138, Lucas found it hard to get his next picture financed. The only studio interested in the script was Paramount and that was only as a television movie. Newly hired after his run on the Mod Squad, Harve Bennett had been sitting in on a few film pitches. He was hoping to find a diamond in the rough that he develop into a hit series. He saw the potential in Lucas's script. Bennett convinced Lucas to turn the script into a series. For his part, Lucas hoped the series could provide a springboard back into features as it had for his friend Spielberg. American Graffiti proved to be hit for UBC by appealing to all types of audiences. It was particularly resonated with Baby Boomers, the demographic advertisers loved. The other networks attempted replicate UBC's success with their own versions. None were successful.



-------------------------

A sampling of familiar 1972 shows as they appeared in TTL.



TTL's Primetime schedules.

Available seasons are 1968-69, 1969-70, 1970-71, 1971-72, and 1972-73 or click on images below to view at a larger size.
 
Last edited:
Not only Star Trek, with Lucas tanking in movies, you killed off modern Sci Fi in general. Tastes differ, I suppose, but is there any particular reason for that?
 
If I am reading those schedules right, you turned Star Trek into a one-season flop? :mad:


:p

Star Trek premiered in September 1966. This TV timeline begins with the 1968-69 season, which would be the show's third season (like in OTL.) I doubt the OP would give Star Trek a two-year delay in TTL.
 
Now that's emberassing...

Still, Star Wars is often credited with making SciFi vouge for first line, serious cinema/TV...
 
This is fascinating stuff.

(Other people have mentioned Star Wars already, so although I don't know how far ahead you've planned things and don't want to overstep my bounds, here's something to keep in mind for the future if George Lucas does break back into movies: in OTL, he initially conceived Star Wars after he couldn't get the film rights to Flash Gordon. Star Wars originated post-PoD, so that's probably erased, but Flash Gordon's still a possibility.)
 
If I am reading those schedules right, you turned Star Trek into a one-season flop? :mad:
:p

Star Trek premiered in September 1966. This TV timeline begins with the 1968-69 season, which would be the show's third season (like in OTL.) I doubt the OP would give Star Trek a two-year delay in TTL.

Not quite. The POD is September 1968. Star Trek is the middle of its infamous third season. in TTL, the former Kaiser stations, now UBC affiliates, lobbied managemnt to pick up Star Trek for a fourth season which they did. Star Trek was one of three shows that they pickup from NBC's cancellation pile. The shift in time slot allowed Star Trek to gain solid ratings. However, the ratings were not enough to offset the cost of the show. So, it was cancelled a second time. The same went for the other shows UBC picked up (Get Smart, Ghost and Mrs. Muir, and Red Skelton Show.

I'm intrigued by the Teen Titans cartoon. Who was in the lineup?

The cartoon Titans were a cross between the "Haney Era" and the "Revelency Era" Titans. The first season team was Kid Flash, Raven (OTL's Lilith, they gave here a codename is TTL), Speedy, Wonder Girl, and Jericho. In TTL, Joshua retained his original name and identity. So in TTL, he becomes DC's first black superhero. He is chosen to replace Robin due to Robin's rights being tied with a Batman cartoon proposal. In addition, the team is assigned missions by the Mr. Jupiter. The second season sees Mr. Jupiter dropped and Aqualad and Firestar added to the team. Firestar is basically OTL's Karen Beacher with Starfire's powers. This season also included guest shots by Robin (his rights issue having been resolved), Hawk & Dove, the Ant, and Beast Boy.

Not only Star Trek, with Lucas tanking in movies, you killed off modern Sci Fi in general. Tastes differ, I suppose, but is there any particular reason for that?

As above, Star Trek is still present. So, I haven't killed off modern science fiction. Just without Star Wars, it will be flavored differently.

Disappointed that MASH had a shorter run as well.

Shorter, but stronger as Gelbart produces entire series. In TTL, fans consider the TV series as sequel to the film instead of a reinterpretation.

The Cast
Wayne Rogers - Capt. "Trapper" John McIntyre, MD
Donnelly Rhodes - Capt. R. C. "Jeeter" Carroll, MD (Trapper's sidekick)
DeanJones - Col. Henry Blake, MD
Phyllis Davis - Maj. Margaret "Hot Lips" Houlihan, RN
Gary Burghoff - Corp. Walter "Radar" O'Reilly
Larry Linville - Maj. Jonathan Hobson, MD
Robert Gooden - Pvt. Lorenzo Boone
Charles Siebert - Maj. Stephen J. Carlyle, MD (Hobson's replacement)

This is fascinating stuff.

(Other people have mentioned Star Wars already, so although I don't know how far ahead you've planned things and don't want to overstep my bounds, here's something to keep in mind for the future if George Lucas does break back into movies: in OTL, he initially conceived Star Wars after he couldn't get the film rights to Flash Gordon. Star Wars originated post-PoD, so that's probably erased, but Flash Gordon's still a possibility.)

I'm not done with Lucas, yet. He has had an effect on popular culture already. The American Graffiti tv series has the equivalent impact OTL's Happy Days and the Waltons.
 
If they decided to give star trek a little second chance, maybe they will later push for a possible Star Trek Phase II rather movies?
 
This took a little longer than I wanted, but here is Part II.

-------------------------

Excerpted from the Plexipedia article "Primetime Access Rule".

The Primetime Access Rule (PAR) is a regulation enacted in 1970 by the US government's Federal Communications Commission (FCC). The PAR went into effect at the start of the 1971-72 television season (the week of September 13–19, 1971). It has been refined and modified a number of times since its creation.

The concept behind the PAR was to prevent the domination of the television production market by the major television networks. The FCC was afraid that this domination would prevent the development of syndication/production company competitors. So, the FCC reduced primetime to twenty-one hours. The FCC felt that PAR would help affiliates have greater control over their programing decisions. In addition, they prohibited networks from owning syndication companies. This was done by establishing the Financial Interest and Syndication Rules. With production and syndication separated, the FCC believed that would allow for a greater number of program choices to the market.

Weekend nights
In 1974, a modification was made to PAR. This modification allowed the networks to reclaim an hour of programming on Sunday and Saturday nights. If a network wanted to reclaim the Saturday hour, FCC required that programs in the areas of news, public affairs, the arts, and education. There was no such requirement for the Sunday hour. Despite this restriction, all four networks reclaimed both hours. In March 1975, the FCC added children's programing to areas that the Saturday areas. The following year, the FCC would eliminate the Saturday hour requirements.



Excerpted from the Plexipedia article "Cliffhanger!".

After two successive failures at a wheel show, UBC turned to the producers of their biggest hit, Harve Bennett and George Lucas. Bennett knew Lucas had been getting restless. Lucas had been unable to get past the pitch stage with any of his treatments. Despite the success of American Graffiti, the film studios still saw him as a TV guy. Bennett thought a new shared project might help revitalize Lucas. Bennett and Lucas would try a different type of wheel show. They decided to bring back the movie serial. Cliffhanger!, their new show, would split its hour between two separate segment. Each drawing on projects they had been unable to produce, the two segments quickly took shape. As not to directly compete with one another, each half would be a different genre (science fiction and action/adventure). Bennett and Lucas only agreed to do the show if it was given a full season. While UBC did not have trust the public, they did in Bennett and Lucas. This trust was reconfirmed when the show became an instant hit. At the conclusion of 1976-77 season, UBC would attempt to spin off each serial into its own series. Knowing it would kill Cliffhanger!, Bennett and Lucas refused. They knew a show like this had a limited life span and they ended it after four seasons.

Segments/Serials
Each Cliffhanger! season was broken into two parts allowing Lucas/Bennett to produce sixteen different serials over the course of the series. This allowed them to explore as many genres as they wanted. While at the first glance it appears serials are unrelated, but in actuality Lucas/Bennett used the format to create a unified universe.[original research?]



Excerpted from the Plexipedia article "Gene Roddenberry".

1970s
Roddenberry was sure that Star Trek could successfully transfer into feature films. He pitched the Norman Spinrad treatment, He Walks Among Us, to Paramount. They were intrigued, but wanted something lighter. Roddenberry had Gene L. Coon convert the treatment into a screenplay which emphasized the comedic elements. Paramount liked the screenplay, but ultimately passed. Roddenberry and Coon reworked the screenplay further, removing all Star Trek elements. The screenplay became part of three picture deal with Universal Studios. His third film, Apocryphus, was successful enough that NBC optioned it for a television series. It would prove a ratings success. As success leads to success, NBC ended up optioning a fourth Roddenberry property, The New Prometheans.



Excerpted from the Plexipedia article "UBC".

Paramount buys UBC
While not unexpected, the death of Howard Hughes put the future UBC at question. As an entertainment arm, UBC was never a good fit within the Hughes Tool Company's overall focus. So, the decision was made to spin off UBC and put it up for sale. The strongest of the initial offers came from Metromedia. Due to the number of run-ins with Metromedia CEO/owner John W. Kluge, UBC management pushed for other options. Fortunately for them, one was in the wings. Even before coming head of Paramount in 1974, Barry Miller knew a fourth network could be successful. When UBC went up for sale, he knew Paramount should make its move. The key was getting Gulf+Western management, Paramount's parent company, on board. Gulf+Western was worried about costs of a takeover, remembering the Desilu purchase. Diller convinced them that the network would pay for its own acquisition. The board relented and UBC joined the Paramount (Gulf+Western) family. Kluge who was known for being petty and vindictive, did not take the UBC/Paramount merger lightly. He tried to get an injunction to block the sale, but failed. Over the next few years, he filed a series of lawsuits against Hughes and Paramount/Gulf+Western with each suit in turn being eventually dismissed. These suits took a toll on Kluge and Metromedia. Metromedia was ultimately forced to file for bankruptcy in 1981. According to his associates, the stress of Kluge's battle with Paramount damaged his health and was a contributing factor to his death.



Excerpted from the Plexipedia article "Star Trek".

With Roddenberry having a success at Universal, Paramount was prompted to take a second look at a Star Trek film. In short order, they green-lit a film. Within in a year, the script was completed and the cast and crew signed. Paramount decided it could reduce costs by moving the production to England. Despite being in England at the time, his commitment to Apocryphus only allowed Roddenberry to be involved indirectly. Upon release, Star Trek: Shockwave became a solid box office hit. Two years later, the sequel Star Trek: Kitumba hit the box office and was again a solid hit, but the returns were lower than previous film. This resulted in Paramount deciding to pass on a third film.

When Paramount took over UBC, one of the first things newly minted president Michael Eisner did was figure out which of Paramount's existing properties could leveraged to his benefit. Among the properties on his list was Star Trek. While Paramount Pictures believed that Star Trek had run its course, Eisner only partially agreed. He thought the characters had reached their end, but not the underlying concept.

As the Trekkie phenomenon had made themselves known with the championing of the films, Eisner knew they could make or break the series. To make the television movie as successful as possible, Eisner brought back some of the original production staff. With Roddenberry unable to directly participate in the production of the show due to his commitments to Apocryphus and The New Prometheans, the staff would use this opportunity to fix what they thought was "wrong" with the original show. To make a splash, Eisner took inspiration from past UBC and ABC productions and decided to use a television movie to launch the new series. Eisner took the two-part series opener and premiered it on The UBC Big Event to stellar ratings. While there were grumblings from some Trekkies, the show quickly established itself as a top 20 hit. UBC quickly expanded its initial thirteen episode commitment to a full season.



Excerpted from the Plexipedia article "American television in the 1970s".

The Bicentennial Shuffle
In 1976, all four major networks replaced their presidents. When Michael Eisner took over as head of UBC, it really wasn't surprise. Following UBC purchase by Paramount, a shakeup in management was expected. The next move did surprise the industry. ABC had fallen to a distant fourth place. Most industry insiders had expected to them to go after Fred Silverman of CBS or the former head of UBC, Dick Bailey. However, they decided to hire NBC's Herb Schlosser. According to later ABC executives, the decision was based on Schlosser's seemingly overnight transformation of NBC from fourth to second place network. Of course, NBC afraid of losing that place sought out a big gun. They lured Fred Silverman away from CBS. CBS was only network that didn't hire from without, preferring to promote from within by making Alan Wagner president.

Jiggle television
While most people ascribe the origin of the term, jiggle television, to one or more of the prominent feminists of the day, it actually comes from quip by Dick Cavett. He was making a reference to how it appeared that women of prime time, primarily due to their mode of dress, were "made of Jell-O by the way their body parts jiggled". The trend was to dress female characters in attire would vary between swimsuits, low cut dresses, short shorts, and undergarments. While this kind of event occurred on other networks, ABC seemed to specialize in it. Most critics attribute this to ABC's desperation at being the distant fourth place network. However, ABC would only get a brief ratings spike for these shows as viewers tended watch other things when they found there was no substance there. It also resulted in ABC being given the disparaging nickname, T&ABC.

As to which shows fall under this definition has always been a matter of debate. Soaps and dramas are usually excluded, but low-brow and escapist entertainment are not. When a show is defined as jiggle television, two reactions happen. Either the show embraces the term, even if it somewhat indirectly or they flat refute it. The prime examples of those that embraced it included Man of the House, Bad Cats, All-American Girls, and Mile High Air. Some shows considered the term as a way for critics to dismiss or demean the show. Wonder Woman producers stated that critics that referred to their show as such were just outing themselves as a misogynist. CBS would attempt to fuse feminism with T&A with the Gemini Project.[citation needed] The show would manage to last two seasons.



Excerpted from the Plexipedia article "Miniseries".

United States
Most historians agree that the first miniseries in the United States was the BBC produced The Forsyte Saga. Despite being shown on public television, it proved popular enough to get the attention of the major networks. UBC would the first of the Big Four to produce their own miniseries, a three-part adaption of Irving Wallace's novel, The Man. Broadcast during the spring of 1974, it produced a tremendous ratings boom for UBC. While the networks took note, only UBC forged ahead. 1975 saw the broadcast of Centennial. The ten-part miniseries was based the 1973 James A. Michener best-seller. UBC's success spurred the other networks to broadcast their own miniseries. In 1976, NBC tried a different tact with The Kent Family Chronicles. Instead of broadcasting the series over successive nights, NBC made it part of its spring primetime schedule and broadcast an episode every Monday night. CBS would achieve the greatest success with the adaption of Alex Haley's Roots. The final episode would set the record for highest rated TV program of 1970s.



Excerpted from the Plexipedia article "Night Flight".

Origins
During the 1977-78 season, UBC broadcast the controversial, but highly rated Richard Pryor Show. However, between the daily grind and the endless battles with Standards and Practices, Pryor was ready to end the show. In an effort to salvage the situation, UBC executives met with Pryor and his staff. Reluctantly, UBC agreed to let Pryor out of his contract. In exchange, he agreed to do a series of specials for the network. In addition, UBC agreed to keep the Richard Pryor Show, but only if it underwent retooling. As a show of good faith, UBC ordered 24 episodes of the to-be retooled show. UBC decided that this new show would work best in late night. With Front Row fading dramatically in the ratings, the revised show (tentatively titled Lights, Camera, Chaos) would replace it. The late night slot gave the show more freedom due to the fact that Standard and Practices tended to be less strict on that time slot. In addition, that spring the Supreme Court had curtailed the FCC's power over television broadcasts. Just as production began, UBC executive Jeffery Katzenberg retitled the show, Night Flight. That fall, UBC found itself with an unqualified hit.



-------------------------

Here's some of things that are happening in the world of sports.



TTL's Primetime schedules.

I noticed a small error in a couple of the original schedules which I fixed. Available seasons are 1968-69, 1969-70, 1970-71, 1971-72, 1972-73, 1973-74, 1974-75, 1975-76, 1976-77, 1977-78, 1978-79, and 1979-80 or click on images below to view at a larger size.

The Late 1960s


The first half of the 1970s


The second half of the 1970s
 
Excerpted from the Plexipedia article "American television in the 1980s".

TALENT STRIKES OF 1980 & 1981
The early 1980s were rocky ones for American television as the fall broadcast season was delayed in successive years by talent strikes. The 1980 Actors strike began in July of that year and took four months to resolve. By mid-August, it became apparent to the networks that no matter how quickly the strike was resolved it would give them time enough to get new episodes produced for the launch of the fall season. Each network tried to get an edge on the others as they filled their schedules with a combination of reruns, specials, game shows, and imported shows. The results were mixed, but ultimately ABC proved to real winner by gaining five Top 40 shows. This was an improvement over the previous season when they had only one Top 40 show, the ABC Movie of the Week.

In 1981, Hollywood was hit by a second talent strike, this time it was the Writers Guild of America. As with the previous year's strike, it would be late October/early November before the new fall season would materialize. By late September, the production companies acceded to the WGA's demands. Not realizing how profitable the Pay-per-view and home video markets would be, they granted a higher percentage of the profits in these areas. Unfortunately for the WGA, the gains made under this contract would be lost in later contract negotiations.



LATE NIGHT CHANGES
In 1979, a dispute between NBC and Johnny Carson entered a new phase. At the time, the California legal statutes limited certain kinds of contracts to a maximum of seven years. Carson claimed that he was now a free-agent because his current contract was signed in 1972. NBC countered that the additional agreements he had signed extended the contract until 1981. Carson responded by taking NBC to court. According to NBC president Fred Silverman's autobiography, he thought this was just a negotiating ploy and refused to settle. By the time Silverman realized his mistake, it was too late. In the spring of 1980, the courts ruled in Carson's favor. Much to the surprise of the general public, Carson did not sign a new really big contract with NBC. Instead, he left for ABC. His new show, Nighttime with Johnny Carson, was broadcast four nights a week. For the first few months, ABC ran edited versions of Tonight Show episodes that owned by Carson's production company. Eventually, these would be replaced with reruns of Nighttime. Besides Carson, ABC also managed to secure his "permanent" guest host, Joan Rivers by giving her own talk show, Later with Joan Rivers. Like Nighttime, Later would run four nights a week and be owned by Carson's production company. To fill that Friday slot, ABC took inspiration from the UBC show Night Flight. Unlike their previous attempt at a late night variety show, National Lampoon Television was a success. The loss of Carson and Rivers left NBC scrambling. After weeks of guest hosts, they eventually settled on Art Fleming. He would go on to host the show for a decade. Despite changing networks, Carson still ruled late night until he retired in 1997.




THE GROWTH OF CABLE TV
During the 1980s, cable television saw a tremendous amount of growth with the percentage of cable households rising from 20% (1980) to 60% (19889). This increase would lead cable providers to expand their offerings to include specialty channels. These specialty channels covered a single type of programming such as children's (Pinwheel), sports (GSN and NESPN), news (CNN, SNN and ANC), music (VHT and TMC), performing arts (ARTS), and movies (Home Venue and Showtime). The availability of these channels would eventually lead to a fragmentation of the television audience which caused a decrease in the broadcast networks' viewing audience. This downward trend would continue through the present day.

-- NESPN; ARTS; HOME VENUE; VHT;


Excerpted from the Plexipedia article "Curdled (idiom)".

Curdled is idiom used to describe the point at which a television show has begun to decline. Johnny Carson is credited with coining the term. It first used in his first opening monologue at ABC. He referred to CBS as the Curdled Broadcast System as most of their shows were past their prime. The concept of curdling might have passed out of the public conscious if not for Nate Camp. In his TV Guide article (August 2, 1980), he listed his top choices on shows that curdled and why. The ubiquity of TV Guide ensured that this term would be cemented within the broadcast industry and the public at large. Since its inception, the idiom has expanded beyond television to mark the decline of any manner of endeavor.

Excerpted from the Plexipedia article "NCAA v. CFA".

NCAA v. College Football Association, 462 U.S. 85 (1983), was a case in which the United States Supreme Court ruled that National Collegiate Athletic Association (NCAA) attempts to prevent member schools from accepting the College Football Association television were a restraint of trade and thus a violation of the Sherman and Clayton Antitrust Acts.

While membership in the NCAA was voluntary, there are no competing organizations. In addition, schools who played against non-NCAA teams could be sanctioned. Thus, the NCAA maintained a monopoly. Their absolute control over the college football television rights lead to the larger schools forming the College Football Association (CFA). When the CFA successfully negotiated a contract for the members, the NCAA threatened to ban any school who signed on from all future NCAA competitions. In response, the CFA took the NCAA to court. The CFA would win at each level with the NCAA appealing each loss until the Supreme Court held in the CFA's favor.



Excerpted from the Plexipedia article "American Broadcasting Company".

In 1978, Schlosser attempted to revitalize the network by shaking things up in the various divisions. Among these changes were appointment of Roone Arledge to ABC News and Richard Wolf to ABC Sports.

Arledge's appointment was a success for ABC. He transformed their nightly news program which caused it to rise from a third place to a close second. Once Walter Cronkite retired in 1981, it would reach number one. He would also create ABC's long running news magazine show, F.Y.I.

In contrast to Arledge's success, Wolf's appointment was a failure. Besides the loss of key personnel who followed Arledge, Wolf had to deal with turf wars among his staff. Many of the new senior staff were from different departments. The rivalries carried over and lead to a toxic workplace. Interference by the legal department during negotiations with the CFA caused the loss of college football. The CFA schools left for CBS and UBC. This loss shook the confidence the Big Ten and Pac-10 had in ABC and caused them to leave for NBC. By 1980, ABC Sports programs were finishing last in the ratings.

Wells's turnaround
By the start of 1980, ABC's fortunes had fallen tremendously. They were a distant fourth in the ratings with only one top 50 hit. By the end of January, Herb Schlosser resigned. ABC quickly hired his replacement, Frank Wells. Among Wells's first moves was the hiring of Grant Tinker as head of programming. Wells tasked Tinker with overhauling primetime. In his autobiography, Tinker in Television, encouraged him to "think outside the box" because that was what "helped" the other networks achieve their success. Within two and half years, Tinker replaced every show on the schedule at the time of his hiring. He brought the western, animation, and talent shows back to primetime. In addition, he is credited breathing new life into the procedural drama with addition of "gritty-realism".

At Wells's behest, Arledge reassumed control of ABC Sports. With Well's backing, Arledge cleaned house. He would fill the college football sized hole in the schedule with games from the two major leagues they had under contract, the NASL and UBA. Both leagues were undergoing a revival of popularity. Professional football was also return with the launch of the USFL. Soon, ABC Sports began to regain lost programming. Starting in 1988, ABC would broadcast five successive Olympic Games. They would regain the rights to Division I FSA games in 1984.

Within three years of Wells's hiring, ABC rose from a distant fourth to a close third in the ratings. As ABC's fortunes rose, they attracted the interest Ted Turner. Turner was interested in expanding his media empire further. In 1978, he acquired the basically bankrupt 20th Century Fox. By 1982, he had restored it to profitability. In 1983, he would prevail over Capital Cities for ownership for ABC.



Here's some of things that are happening in the world of sports.



TTL's Primetime schedules.

Available seasons are 1980-81, 1981-82, 1982-83, 1983-84, and 1984-85 or click on images below to view at a larger size.

The first half of the 1980s
 
"Renegades" sounds interesting...
For a moment I confused UBC with a different fictional fourth network, RBS. Of course, that network would have a gameshow entitled "Foursquares", a soap opera entitled "Morningside" and a noted newsteam that would likely earn Peabody awards for a major story they broke in 1983...
http://en.wikipedia.org/wiki/Special_Bulletin
Of course, one also wonders how the runs of "Devil Dan" and "The Happy Harringtons" went on UBC...
http://en.wikipedia.org/wiki/The_Barefoot_Executive
 
Last edited:
I loved the massive work to the TL, with templates and good cultural trivia. keep like this buddy.

So...What will be about Wrestling? maybe more company that the WWE would survive and have show with the one of the big four? would have a Monday night slot(or other day, like Tuesday if Football competition is pretty big?)
 
Top