Why “A Charlie Brown Christmas” almost didn’t air – and why it stays that way

It's hard to assume a vacation season without “A Charlie Brown Christmas.” The 1965 broadcast has turn out to be a staple – firmly anchored in traditions across generations, like decorating the tree and drinking hot cocoa.

But this popular TV special almost didn't make it to air. CBS executives felt the 25-minute program was too slowtoo serious and too different from the light-hearted spectacles they thought audiences wanted. A cartoon a few depressed child in search of psychiatric advice? No laugh track? Modest lo-fi animation? And was that a Bible verse? It seemed doomed to failure—if it wasn't discarded entirely.

And yet, against all odds, it became a classic. The show transformed “Peanuts” from a preferred comic strip right into a multimedia empire — not since it was flashy or played by the foundations, but since it was sincere.

As an economics professor who has studied the “Peanuts” franchiseI see “A Charlie Brown Christmas” as an interesting historical moment. It's the true story of a humble comic character who moved to television and managed to specific powerful, thought-provoking ideas – without being thrown off the air.

Call out of the blue

The “Peanuts” special got here about on the last minute. Somehow out of the blue, producer Lee Mendelson received a call from the promoting agency McCann-Erickson: Coca-Cola desired to sponsor an animated Christmas special.

Mendelson had previously did not persuade the agency of this Sponsor of a “Peanuts” documentary. This time, nevertheless, he assured McCann-Erickson that the characters would fit together perfectly.

Mendelson called “Peanuts” comic creator Charles “Sparky” Schulz and told him he had just sold “A Charlie Brown Christmas” — they usually only had a number of months to put in writing, animate and get the special on the air bring to.

Schulz, Mendelson and animator Bill Melendez worked quickly to place together a storyline. The cartoonist desired to tell a story that cut through the glare of holiday commercialization brought the main focus back to something deeper.

While Snoopy tries to win a Christmas lights contest and Lucy calls herself “Christmas Queen” within the neighborhood play, the forlorn Charlie Brown searches for “the true meaning of Christmas.” He makes his strategy to the local parking zone Aluminum treesa fad on the time. But he’s drawn to the one real tree – a humble, spindly little thing – inspired by Hans Christian Andersen's fairy tale “The Christmas tree.”

Jazz – and the Bible

These plot points would likely please the network, but other decisions Schulz made proved controversial.

The show would use real children's voices as an alternative of adult actors, giving the characters an authentic, easy charm. And Schulz refused so as to add amusing tracka regular in animated television on the time. He wanted the sincerity of the story to face by itself, without artificial invitations for laughter.

In the meantime, Mendelson brought in jazz musician Vince Guaraldi to compose a complicated soundtrack. The music was unlike anything normally heard in animated programs, combining provocative depth with the innocence of childhood.

Most troubling to executives was Schulz's insistence including the centerpiece of the Christmas story in what might be essentially the most crucial scene of the special.

When Charlie Brown happily returns to his friends with the dry little tree, the remaining of the “Peanuts” gang makes fun of his selection. “I guess I really don’t know what Christmas is about,” sighs a totally defeated Charlie Brown.

Gently but confidently, Linus assures him: “I can tell you what Christmas is about.” He calls out “Lights, please” and quietly walks to the middle of the stage.

In silence, Linus recites the Gospel of Luke, chapter 2, with the story of an angel appearing to trembling shepherds:

And the angel said to them, “Do not be afraid!” For behold, I bring you excellent news of great joy that can come to all people.

For to you is born at the present time in town of David a Savior, who’s Christ the Lord.

“Glory to God in the highest and peace on earth, goodwill toward men,” he concludes, takes his security blanket and goes into the wings. The remainder of the gang soon involves the conclusion that Charlie Brown's spindly tree isn't so bad in any case – he just needs “a little love.”

When Schulz discussed this concept with Mendelson and Melendez, they were hesitant. For much of U.S. history, Protestant Christianity was the usual in American culture, but within the years since World War II the society had grown somewhat more careful To make room for Catholic and Jewish Americans. Many mainstream entertainment corporations within the Nineteen Sixties were unsure find out how to cope with changing norms tended to avoid religious topics.

“The Bible thing scares us.” CBS executives said after they saw the sample copies of the special. But there just wasn't time for it Repeat the whole dramatic arc of the special offer, and withdrawing it was not an option as ads were already up.

Fun and philosophy

Luckily for the “Peanuts” franchise, the special, which aired on December 9, 1965, was an easy success. Almost half of American households tuned inand this system won each an Emmy And a Peabody Award. Schulz had achieved something audiences craved: an honest, heartfelt message that cut through commerce.

Millions of viewers I watched the annual reruns of the show on CBS after which ABC for over 50 years – and now Apple TV+.

When I used to be researching my spiritual biography of Schulz, “A Charlie Brown religion” One of my favorite finds was a letter from Florida viewer Betty Knorr in 1965. She praised the show for emphasizing “the true meaning of the Christmas season” at a time when “the mention of God in general is kept under lock and key.”

The magic of Schulz's work, nevertheless, lies within the incontrovertible fact that it resonates across all demographic groups and ideologies. Some fans find comfort within the show's gentle message of religion, while others find it in a purely secular path.

Simple but poignant: Schulz's art and his gentle humor can achieve two things. They can function protected entry points for some pretty serious ideas—be they psychiatric, cultural, or theological. Or “Peanuts” cartoons can just be heartwarming, festive entertainment, if that’s what you wish.

Today each the “Peanuts” empire and the Christmas industry is flourishing. In the Nineteen Sixties, business realities almost caused Schulz's special program to fail, but those self same forces ultimately ensured its broadcast. The result’s an everlasting touchstone of innocence, hope and faith.