Broadcast to FAST (Part I)
The Evolution of Television and Distribution
Introduction
I’ve noticed a theme of “a touch of retro” or “things aren’t as good as they once were” in my posts. I’m likely not going to buck that trend with today’s post. Today I’m going to talk about how the medium used for television/content has evolved (mostly in terms of delivery).
As a member of Generation X, television significantly influenced the culture of my upbringing. Saturday mornings, before school cartoons, and afternoon cartoons are a concept that generations after mine didn’t experience. Morning cartoons disappeared in favor of local news. Afternoon cartoons on local stations disappeared altogether, with more focus on cable kids’ networks.
Original programming that someone my age at the time would have enjoyed, let’s say Star Trek The Next Generation, didn’t even get distributed by a network – rather it was syndicated to local TV stations by Paramount.
The content I enjoyed gradually vanished from the broadcast airwaves. If someone had informed me in the 1980s that the cartoons I watched (such as The Transformers), the franchises I appreciated (Star Wars, Star Trek), or even the comic books favored by my friends would continuously be rebooted into major Hollywood blockbusters, I would have found it difficult to believe. However, two to three decades later, these aforementioned franchises have become significant contributors to the financial success of the studios that now own their rights, through box office releases or signature shows on subscription services.
This shows how business models for content have changed over the past few decades. Now, corporations focus less on competing with each other and more on short-form independent digital content like YouTube and TikTok on mobile devices. Further, distribution methods are extended with newer digital broadcasts and FAST (Free Ad-Supported Streaming Television). To understand this shift, let's delve into the evolution of the medium.
The Dawn of Television
In the 1930s, home entertainment was primarily delivered through radio broadcasting. Many popular programs took the form of radio theatre. This concept may seem unfamiliar to modern audiences, but it is true that previous generations, such as your great grandparents, likely gathered around a console radio to listen to their favorite shows.
Motion pictures have long been the benchmark for fully immersive storytelling. By the late 1930s, film studios regularly began producing movies in vibrant Technicolor. It is worth noting that the issue of meaningful dialogue audio in films was not resolved until the 1920s.
The lack of a medium for delivering visual entertainment created a notable void in home entertainment options, which radio broadcasting networks such as CBS and NBC sought to fill. These networks began conceptual testing in the late 1930s. However, the advancement of these initiatives was interrupted by the commencement of World War II.
Post war in the mid to late 1940s consumers started buy televisions for use their living room. However, the exponential growth into the millions did not occur until the 1950s.
Early Hurdles for Distribution
Television encountered two major challenges in achieving widespread public accessibility. Fortunately, the rapid technological advancements of the era effectively addressed these issues in a timely manner.
One issue was the lack of affiliates in smaller markets. For example, WNBC (formerly WNBT, WRCA) in New York began limited daily broadcasts in the early 1940s. Notably, WNBT initially broadcast on VHF Channel 1, which was later reassigned for public safety and land mobile communications.
Smaller broadcast markets did not receive an affiliate until the 1950s. For instance, Boise, Idaho, a smaller market in a remote region of the United States, had a population in the low 30,000 range at this time. Boise received its first television broadcaster in 1953. This station, KIDO-TV, shared content from multiple networks (NBC, CBS, and later Du Mont) as it was the sole broadcaster in the area. This practice of sharing content from multiple networks decreased significantly in the latter half of the 20th century.
Even still, the problem of distribution to very small towns that suffered reception problems due to mountainous or hilly terrain still existed at this point. This would gradually be remedied by translators (repeater stations), a practice still employed today.
Broadcasters then had to face the problem of delivering content to these affiliates.For radio, this was actually done over a network service from AT&T, literally over telephone lines.
Initially used for radio, AT&T's distribution system was adapted for television, alongside Western Union's offer to broadcasters. By the mid-1950s, the networks switched to microwave relays, a network of towers spaced about 30 miles apart. This distribution method was further simplified with satellites in the late 1960s.
Evolution of Broadcast Content
The first television networks, CBS and NBC, originally established a presence in radio broadcasting. In a complex situation related to AT&T's evolving business portfolio at the time, NBC acquired two radio brands, commonly referred to as "NBC Red" and "NBC Blue." The "Red" designation was associated with stations traditionally owned or affiliated with NBC.
After antitrust action in 1943, NBC sold NBC Blue to Edward J. Noble, forming the American Broadcasting Company (ABC).
This led to the “Big 3” that persisted for many years in the realm of television: ABC, CBS, and NBC. DuMont which lasted from the mid-1940s to the early 1950s had trouble competing with the larger networks before shuttering. Fox did not form as a network until 1986 with the debut of a daily late night television program.
Content and Growth
Early television did not operate 24 hours a day. Many stations commenced local broadcasts in the late afternoon. The content broadcast locally varied from station to station, primarily consisting of modest local programming. Due to limited or expensive video recording technology at the time, tangible examples outside of photos are difficult to find. Local stations would switch to their network content during primetime hours. Consequently, early broadcasting typically occurred for five to eight hours in the evenings when families could watch together after work or school.
Entrepreneurs observed the revenue generated by television advertising. Advertisers identified television as a new medium and invested a substantial amount of money to promote their clients’ products. This led to the creation of more stations and an extended broadcast day.
In most markets, stations were broadcast on VHF (Channels 1-13, though Channel 1 was reallocated). Originally, there were 18 channels in the VHF plan; however, due to wartime and other allocation conflicts, this was ultimately limited to channels 2-13. Ten markets in the United States were never licensed a VHF station; instead, all of their licenses were approved for UHF stations. The FCC approved mixed-market VHF/UHF in 1952, leading to the potential for continued station startups and more stations signing on.
To increase the broadcast day and expand the market, television networks began introducing morning news programs, such as NBC's Today in 1952. Broadcasters also added children's programming, including Captain Kangaroo, which debuted in 1955. Soap operas started occupying midday slots from the mid-1950s onward. Overnight broadcasts on local stations became more common in the 1980s, although some larger stations aired movies during the overnight hours before then.
Starting in the 1950s, syndicated reruns of shows such as I Love Lucy enabled broadcasters to fill their programming schedules more efficiently. This trend expanded significantly in the 1960s and 1970s with programs like The Andy Griffith Show and The Flintstones. As independent stations unaffiliated with networks increased in number during the 1970s and 1980s, they achieved profitability by obtaining rights to air reruns of shows like Star Trek in a strategically scheduled manner.
Things looked good for local television station owners and the big broadcast networks. Unbeknownst by many at the time, this dominance would slowly be eroded by the Cable TV model.
The Cable Television Era
Almost as early as broadcast television itself existed, cable television (Community Antenna Television or CATV) was originally developed as a solution for delivering television signals to houses in a Pennsylvania valley. A large antenna was on a hilltop, and cables ran to the houses below. This allowed the TV sets in the valley to sidestep the hills blocking the terrain. This technique was replicated in populated areas with similar geography constraints elsewhere as well.
With advancements in technology during the 1970s, CATV operators gained the capability to efficiently utilize the VHF spectrum. This allowed them to fill gaps between stations with out-of-town channels offering notable programming, such as WTBS from Atlanta, WGN from Chicago, and WOR from New York, which are also known as Superstations.
HBO was launched as the first satellite broadcaster specifically intended for distribution through CATV networks. The revenue model involved profit-sharing between HBO and the local operator, a practice that continues today. Non-subscribers were initially restricted by band-pass filters that blocked the HBO signal. This method was later replaced by addressable electronic converter boxes, which decoded the HBO signal only with proper authorization.
In the late 1970s, additional non-premium cable networks, delivered by satellite, were introduced alongside the Superstations. Notable examples include C-SPAN, ESPN, USA, and Nickelodeon (initially branded as Pinwheel). These networks often shared the broadcast day with one another. For instance, USA Network would share its airtime with C-SPAN, and Nickelodeon would collaborate with A&E, which began broadcasting in the early 1980s.
During the late 1970s and early 1980s, cable television (CATV) expanded its purpose beyond delivering television signals to valleys and low-lying areas. It started being installed in various urban and suburban regions to provide consumers with more television options. Prominent additions during the 1980s included MTV and CNN. HBO launched a second channel called Take 2, later known as Cinemax. Showtime was introduced as an alternative to HBO for both providers and subscribers. By the mid-1980s, The Weather Channel, The Disney Channel, Lifetime, and The Discovery Channel were also available.
All of these new channels resulted in a distribution issue. With the existing local and other stations, the new stations were unable to fit on VHF channels 2-13. Consequently, converter boxes were introduced to move/map stations from UHF frequencies to more logical channels, starting at 14, making these newer networks easily accessible. However, there remained a theoretical bandwidth limit, which was later addressed with digital systems.
During the 1990s, cable network owners such as MTV Networks began exploring options to expand their brand reach. MTV launched MTV2 and other specialized variants to cater to specific audience preferences. Similarly, VH1 and Nickelodeon, both of which MTV acquired full ownership from a partnership with Warner Communications, underwent similar expansions. Discovery Networks refined their branding by offering channels specifically dedicated to themes such as science and military/warfare history. Additionally, ESPN expanded its offerings with the introduction of ESPN2 and subsequently other networks like ESPNews.
Regional sports such as baseball, hockey, and basketball have been gradually transferred from local over-the-air stations to regional sports networks, which are primarily available through cable television.
HBO, Showtime, Cinemax, The Movie Channel, and Starz began offering channel variants.
Other channels like CNBC, MSNBC, Fox News, and Comedy Central were launched in the 1990s. Due to carriage negotiations, which became increasingly intense during this period, the parent companies managed to maintain these channels in the lower channel numbers. Channels such as ZDTV/TechTV, BBC America, and G4 were generally assigned to triple-digit channel numbers, which might have resulted in fewer viewers discovering or tuning into them.
Many of these systems transitioned to a format requiring a cable box to access the complete range of available channels. Although some did not adopt contemporary digital standards, they utilized technology to compress multiple channels into the space previously occupied by one. This advancement facilitated the offering of "200+" channel packages in cable bundles during that period. The price tags associated with these bundles were quite high compared to other costs at the time (though in retrospect, much less than what many pay for content today).
Satellite as an Option
In the late 1970s and early 1980s, some viewers opted to have an entire C-Band (large) satellite dish in their front yard, bypassing the cable providers. These were obnoxiously huge and generally an eyesore, however – many didn’t seem to mind at the time.
As licensing models changed, network operators realized these dishes represented a loss of revenue and began scrambling/encrypting the signal without a paid subscription. All but the very basic content became encrypted.
Subsequently, Direct Broadcast Satellite (DBS) providers such as Primestar, EchoStar, and DirecTV began offering satellite networks directly to consumers, bypassing CATV providers. These DBS providers offered larger channel lineups than some CATV providers, which did not have full coverage for all local markets. Prices were comparable, and premium channels and pay-per-view services included options like NFL Sunday Ticket on DirecTV. However, early DBS services did not offer local stations, which were a foundation of CATV. Additionally, in the late 1990s, as Internet access became increasingly important, Cable TV and local telephone providers had an advantage with bundled internet service. At that time, high-speed internet via satellite was not a viable option.
CATV Influence on Programming
With these custom programming options, ad revenue increased as channels and content were directly delivered to a target audience. This was something that local broadcasters could not achieve. As a result, premium networks like HBO gained the financial capability to produce their own distinctive and critically acclaimed programming. This HBO content was not subject to FCC guidelines for family-friendly standards.
This development enabled HBO to produce acclaimed shows such as The Larry Sanders Show, Oz, Sex in the City, and The Sopranos. HBO's new, bold content forced broadcast networks to re-evaluate their programming strategies, which had primarily consisted of formulaic sitcoms and non-serialized dramas. This transition proved challenging, prompting networks to prioritize profitability over prestige. While there were some exceptions, this shift was one of the factors contributing to the decline of the broadcast network prime time block, a trend that continues to this day.
In the early 2000s leading into the 2010s, various networks began producing notable content, such as Dexter on Showtime, or AMC's series Mad Men, Breaking Bad, and The Walking Dead. FX presented shows like The Shield, Rescue Me, Sons of Anarchy, and Justified. HBO continued its programming with shows like The Wire and later Game of Thrones.
Despite the success of CATV, another disruption was imminent in the early 2000s.
Coming Soon
In Part II, we will examine how “binge watching” and DVDs by mail changed viewing models, and how this evolved into the streaming services we have today. Further, we’ll look at how competition between studios offering streaming and cable TV providers has inadvertently caused viewers to turn away to other free options such as returning to Over-The-Air and FAST.