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FACT TREK—The Death Slot (or: The Flying Fickle Finger of Fate)

Maurice

Snagglepussed
Admiral
Let’s be blunt. Did NBC give Star Trek the finger?

On September 16, 1968, four days before Star Trek’s third season premiere of “Spock’s Brain,” the second season opener of NBC’s Rowan and Martin's Laugh-In featured the very first Flying Fickle Finger of Fate award. That dubious honor—which became a weekly staple of the series—was awarded to public figures, corporations, and government agencies, for their many questionable achievements.

Laugh-In Flying Fickle Finger of Fate award WM SMALL.jpg
"And who praytell gets the daring delightful darling darting digitus derringer dis time?"​

If you'd asked Star Trek fans who most deserved the “delightful digit” many would have nominated NBC itself. The reason? The network’s March 1968 decision to rescind a plan to schedule their beloved series in a prime slot on Monday nights at 7:30 p.m. and bury it on Friday nights at 10 p.m.—the so-called “Friday Night Death Slot”—where it had previously intended to put Laugh-In.

NOTE: @Harvey and I have an extensive article on the topic on the Fact Trek blog: The Flying Fickle Finger of Fate (link), but I'll summarize the timeline of how Trek ended up in the "death slot" and you can go to the article if you want the larger picture and more about if Friday Night was a "Death Slot" at all.

The folly of NBC's decision appears obvious in hindsight. After all, Star Trek became a hit in off-network syndication, spawning movies and ever-multiplying sequel series for almost 50 years, whereas Laugh-In is a largely-forgotten and—to modern audiences—unfunny relic.

On the surface this seems to be so. As usual, the reality is more complicated.

The story began over a year prior to Trek's debut. For its second season (1965–66) NBC moved The Man From U.N.C.L.E. to Fridays at 10 p.m. Initially a flop, late in its first season the show became hot, drawing a similar audience demographic that would come to embrace Star Trek. See if the reaction to that 10 p.m. move sounds familiar:

Letters were received complaining that the time was too late in the evening, and made housewives choose between watching the show and going out for the evening. Many teens pointed out that Friday was a date night, again prompting a difficult choice for the viewer.

Whither U.N.C.L.E. ? Nope. It finished that season in the Top 20 at #13.

Early in 1966, as the networks were shuffling around shows for sponsors for the following fall, NBC at first considered putting just-ordered Star Trek into that Friday 10 p.m. time slot where U.N.C.L.E. was soaring, possibly hoping to twice catch lightning in a bottle. Ultimately Trek debuted on Thursdays at 8:30. The Man From U.N.C.L.E. was shifted to 8:30 on Fridays and its ratings plunged into the 40s.

But the tale of Star Trek's final season began late it its first. In early 1967 CBS canceled long-running western Gunsmoke (#34 for the season), then abruptly reinstated it for the fall as the lead-in for Lucille Ball’s The Lucy Show. Gunsmoke became a surprise hit, shot into the Top 10, and outdrew even Lucy.

SMOKE.jpg
That same season NBC moved Star Trek from Thursday at 8:30 p.m. to Fridays at 8:30 p.m., presumably hoping that the lead-in of Tarzan—a top 30 show the previous season—would be a better lead-in than Trek had its first season. It also moved U.N.C.L.E. to Monday at 8 p.m., only to see its ratings tank against the back half of Gunsmoke and The Lucy Show. Mere weeks into the season, NBC considered canceling it and moving Star Trek into its slot.

Instead, NBC chose to leave Star Trek put on Friday at 8:30 and closed out the season by putting untested midseason replacement series Rowan and Martin’s Laugh-In into the "kamikaze" slot where U.N.C.L.E. had been shot down by CBS’s big guns. But this was seen as temporary, and only a little over a week after Laugh-In's Jan 22nd premier the trades reported NBC’s initial approach for the fall: Star Trek for the leadoff hour on Fridays at 7:30 p.m., where its Tarzan lead had been (its rating dropped that year).

By Valentine’s Day 1968 NBC was thinking different about the fall: with Trek a possibility on Mondays at 7:30 p.m., going head-to-head with Top 10 Gunsmoke. But it was NBC’s Monday 8:30 p.m. slot that was critical to what ultimately happened, because whatever landed there had to face Lucille Ball’s new show, Here’s Lucy. No Lucy show had ever fallen out of the Top 10. A tough spot. A week later, Star Trek was still planned to face Gunsmoke while Laugh-In would go to Friday night at 10 p.m. For the next four weeks this appeared to have been "stet"

Then, 54 years ago today (March 18) Daily Variety reported “‘Trek’ May Be Off NBC’S Track In Fall,” noting the show would move to 10 p.m. Fridays, with Laugh-In staying put on Mondays at 8 p.m.

Why the sudden change? Per Variety:

[…] Network is said to have been impressed with the ratings of [Laugh-In] against the competition of “Lucy.”

In reporting on the 20th the reason was crystal clear: in Laugh-In NBC had unexpectedly found a “'Lucy'-beater” that could also take on Gunsmoke. You don't argue with success, and NBC wasn’t going to risk a win like that in hopes that Star Trek—which only placed #52 in its first season and doing no better in its second—could match it.

The irony of Laugh-In as a '“Lucy'-beater” was that Lucille Ball, the former executive whose studio birthed Star Trek, was a factor in that show losing its shot at Monday night…for better or for worse.

1968 NBC Join the Change-In Jeannie & Trek WM.jpeg
As the intro indicates, there's a lot more to this. It's a tale of demographics and ratings, how those led to the cancellation and immediate revival of Gunsmoke, Lucille Ball’s perennial Top 10 series, how those created the “kamikaze” slot that killed U.N.C.L.E., with the resulting hole in NBC’s schedule that would be filled either by explorers of the final frontier or a bunch of kooks who would “sock it to me” anything and everything, and which of them would discover if Friday night at 10 p.m. was—in fact—a "Death Slot" at all. There are tons of actual news clippings, images, and more in that piece: The Flying Fickle Finger of Fate (link).

Hopefully this is a topic some of you will find worthy of discussion.
 
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Near the start of the article, the Laugh-In quote mentions "the United States Congress, established 1981." Since it's a quote from a comedy show, it's hard to be sure, but shouldn't that be 1789?
s/b 1781.

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Star Trek's direct competition.
View attachment 26813

That explains why I didn't see it much if ever first run. My parents watched My Three Sons in 66-67, and Gomer Pyle in 67/68. My bedtime back then (ages 8-10) was 8:00 then 8:30, and occasionally that 8:30 was extended to 9. Forget the third season. I was out like a light.

I have memories of watching Gomer Pyle, but not My Three Sons. Mum says they watched Trek once in a while, but I distinctly remember them making fun of a friend who liked Star Trek. Gotta say, they were wrong. Gomer Pyle was mildly humorous to me as an adult; My Three Sons was typical 60s fare (and male-oriented at that), only Star Trek has (mostly) stood the test of time, minus of course, the typical male chauvinism of the time. [/childhood memories]
 
That explains why I didn't see it much if ever first run. My parents watched My Three Sons in 66-67, and Gomer Pyle in 67/68. My bedtime back then (ages 8-10) was 8:00 then 8:30, and occasionally that 8:30 was extended to 9. Forget the third season. I was out like a light.

I have memories of watching Gomer Pyle, but not My Three Sons. Mum says they watched Trek once in a while, but I distinctly remember them making fun of a friend who liked Star Trek. Gotta say, they were wrong. Gomer Pyle was mildly humorous to me as an adult; My Three Sons was typical 60s fare (and male-oriented at that), only Star Trek has (mostly) stood the test of time, minus of course, the typical male chauvinism of the time. [/childhood memories]
Exact same with me, though I also remember watching Bewitched and Judd, for the Defense. I even wore a cowboy bow tie like Judd. :techman:
 
Near the start of the article, the Laugh-In quote mentions "the United States Congress, established 1981." Since it's a quote from a comedy show, it's hard to be sure, but shouldn't that be 1789?

The United States Congress was in fact established March 1, 1781 (officially styled the "United States in Congress Assembled"), under the first constitution of the United States, the Articles of Confederation and Perpetual Union. The Congress was then reformed under the current constitution and re-founded March 4, 1789.
 
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Near the start of the article, the Laugh-In quote mentions "the United States Congress, established 1981." Since it's a quote from a comedy show, it's hard to be sure, but shouldn't that be 1789?

They probably picked a slip of paper at random from their "box of joke ideas" (enough for a few season's worth but all written within the span of a few weeks before they forgot about any good ones) that also read, much to the applause of the audience who though it outlandish, who would later become President as well.
 
When the majority of dates one encounters are 19xx, that's the sort of typo which tends to become immediately invisible.

My first suspicion was that it was an overzealous autocorrect. I've had a lot of frustrations with trying to enter future mm/dd/yy dates in my Star Trek chronology spreadsheet and have the software automatically add a "19" before the year.
 
Laugh-In was like nothing else on TV when it debuted, and the ratt-a-tatt speed of the thing was unheard of at the time. Like Star Wars, you can't unsee what happened afterwards so it's now difficult to appreciate their innovations in the rear-view-mirror. In a post-Laugh-In world where rapid-fire cutting became increasingly standard it no longer seems fast (in fact, before freeze-frame a lot of people would miss 4–7 frame gag images seen at the bumpers). While researching this piece and its follow up I watched maybe 10 episodes of Laugh-In and a lot of the humor makes use of topical references that are probably meaningless to anyone born after 1965 even as some smaller portion is timeless.

We pulled the whole back end of the article out to make a separate one out of it (tentatively titled The Rating Game), but what's really apparent in doing the research is why Laugh-In was so successful for NBC. In part it's because it brilliantly played the audience game and appealed to a huge demographics swath from children to the middle-aged via its willingness to poke fun at everyone and everything. Kids could laugh at all the absurd vaudevillian slapstick, young adults would get the political barbs and sex jokes, and older audiences could see the show as spoofing the youth.

The thing made money hand over fist for NBC. The ad rates were astronomical compared to the average show or Star Trek.
 
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Yeah, Laugh-In was a little before my time, but I was well aware of it in reruns and pop culture.

I caught some of the show in reruns a few years ago, and it struck me as kind of the American equivalent of Monty Python, which similarly experimented with stream-of-consciousness sketches and fast-paced gags and transitions.
 
Yeah, Laugh-In was a little before my time, but I was well aware of it in reruns and pop culture.

I caught some of the show in reruns a few years ago, and it struck me as kind of the American equivalent of Monty Python, which similarly experimented with stream-of-consciousness sketches and fast-paced gags and transitions.
Never found much similarity between the two shows.
 
Never found much similarity between the two shows.

Only in the senses I cited. They were similar in that they both experimented with new, unconventional approaches to sketch comedy and using the medium of television in innovative ways. But since they were both trying new things, they naturally tried different things from each other. And of course they differed substantially in tone and style because American and British humor and culture are different. "Equivalent" doesn't mean they were identical, it means they filled analogous roles within their respective cultural contexts.
 
Laugh-In was like nothing else on TV when it debuted, and the rat-a-rat speed of the thing was unheard of at the time. Like Star Wars, you can't unsee what happened afterwards so it's difficult to now to appreciate their innovations in the rear-view-mirror. In a post-Laugh-In world where rapid-fire cutting became increasingly standard it no longer seems fast (in fact, before freeze-frame a lot of people would miss 4–7 second gag images seen at the bumpers). While researching this piece and its follow up I watched maybe 10 episodes of Laugh-In and a lot of the humor makes use of topical references that are probably meaningless to anyone born after 1965 even as some smaller portion is timeless.

We pulled the whole back end of the article out to make a separate one out of it (tentatively titled The Rating Game), but what's really apparent in doing the research is why Laugh-In was so successful for NBC. In part it's because it brilliantly played the audience game and appealed to a huge demographics swath from children to the middle-aged via its willingness to poke fun at everyone and everything. Kids could laugh at all the absurd vaudevillian slapstick, young adults would get the political barbs and sex jokes, and older audiences could see the show as spoofing the youth.

The thing made money hand over fist for NBC. The ad rates were astronomical compared to the average show or Star Trek.
I enjoyed it at age 6; and remember Goldie Hawn, that 'Space Ghost' (aka Gary Owens) was the announcer, the Ruth Buzzie's 'Widow' character, the 'joke wall' at the end of every episode, and them all saying "Sock it to me!" multiple times an episode; and Artie Johnson's 'German Soldier' character's line of: "Very interesting...But not funny!"
 
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