"Saturday-morning cartoon" is a colloquial term for the original animated series and live-action programming that was typically scheduled on Saturday and Sunday mornings in the United States on the "Big Three" television networks. The genre's popularity had a broad peak from the mid-1960s through the mid-2000s; over time it declined, in the face of changing cultural norms, increased competition from formats available at all times, and heavier regulations.[1] In the last two decades of the genre's existence, Saturday-morning and Sunday-morning cartoons were primarily created and aired to meet regulations on children's television programming in the United States, or E/I. Minor television networks, in addition to the non-commercial PBS in some markets, continue to air animated programming on Saturday and Sunday while partially meeting those mandates.[2][3]
In the United States, the generally accepted times for these and other children's programs to air on Saturday mornings were from 8:00 a.m. to approximately 1:00 p.m. Eastern Time Zone. Until the late 1970s, American networks also had a schedule of children's programming on Sunday mornings, though most programs at this time were repeats of Saturday-morning shows that were already out of production.[4][5] In some markets, some shows were pre-empted in favor of syndicated or other types of local programming.[6] Saturday-morning and Sunday-morning cartoons were largely discontinued in Canada by 2002. In the United States, The CW continued to air non-E/I cartoons as late as 2014; among the "Big Three" traditional major networks, the final non-E/I cartoon to date (Kim Possible) was last aired in 2006. Cable television networks have since then revived the practice of debuting their most popular animated programming on Saturday and Sunday mornings on a sporadic basis.
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Until the late 1960s, a number of Saturday-morning cartoons were reruns of animated series made for prime time during a brief flurry of such series a few years earlier. These included Hanna-Barbera's The Flintstones,Top Cat, The Jetsons and Jonny Quest, Ross Bagdasarian's The Alvin Show, and Bob Clampett's Beany and Cecil.
Some Saturday-morning programs consisted of telecasts of older cartoons made for movie theaters, such as the Looney Tunes and Merrie Melodies cartoons produced by Warner Bros. Cartoons, the Tom and Jerry cartoons produced by Metro-Goldwyn-Mayer and directed by William Hanna and Joseph Barbera for that studio prior to establishing their own company; the Mighty Mouse and Heckle and Jeckle cartoons produced by Paul Terry's Terrytoons, and Walter Lantz's Woody Woodpecker cartoons (supplied by Universal Pictures). During the 1960s and 1970s, it was not uncommon to have animated shorts produced with both film and television in mind (DePatie-Freleng, established by two former WB employees, was particularly associated with this business model), so that by selling the shorts to theaters, the studios could afford a higher budget than would otherwise be available from television alone, which at the time was still a free medium for the end-user, except for a minority of households that had cable television, then strictly a medium for delivering signals from distant TV stations.[7] Some of these legacy characters later appeared in "new" versions by other producers (Tom and Jerry by Hanna and Barbera for their own company, and later by Filmation; Mighty Mouse by Filmation and later by Ralph Bakshi; Pink Panther and Sons by Hanna-Barbera with Friz Freleng as a consultant).
The remainder of the networks' Saturday-morning schedules were filled by reruns of black-and-white live-action series made in the 1950s, usually with a western background (The Lone Ranger, The Roy Rogers Show, Sky King, Fury, The Adventures of Rin Tin Tin, My Friend Flicka, etc.) and occasional first-run live-action series such as The Magic Land of Allakazam, the later color episodes of Howdy Doody, The Shari Lewis Show, Shenanigans, and Watch Mr. Wizard.
Independent stations (TV stations not affiliated with networks) usually did not show cartoons on Saturday mornings, instead running feature films (usually western or low-budget series movies such as The Bowery Boys or Bomba, the Jungle Boy), chapters of "cliffhanger" serial film, comedy short films made for movie theatres (Laurel and Hardy, The Three Stooges, and Our Gang), older live-action syndicated series like The Adventures of Superman, The Cisco Kid, Ramar of the Jungle, The Abbott and Costello Show, The Adventures of Robin Hood, Hopalong Cassidy, Flash Gordon, and Sheena, Queen of the Jungle, and regional sports shows, often wrestling or bowling programs. This was a counterprogramming strategy aimed either at children who were not interested in the typical network fare or adults wanting to watch something other than cartoons.
Filmation, primarily a cartoon producer, also turned out several live-action Saturday-morning series in the 1970s, including Shazam! (with animated sequences) and The Secret of Isis, Jason of Star Command, The Ghost Busters (not related to the 1984 movie, but rather a 1975 vehicle for Larry Storch and Forrest Tucker) and Uncle Croc's Block.
A Hanna-Barbera adaptation of the Belgian comic strip The Smurfs became a huge success in the 1980s, bringing with it other series with fairy tale-like settings (My Little Pony, Monchichis, The Biskitts, Trollkins, Snorks, etc.). Most of the genres made popular in previous generations (talking animals, superheroes, teen mysteries, science fiction, and live-action adaptations) continued to appear as well, with the exception of the musical band cartoons (only one of note, the syndicated Jem, emerged in the 1980s), as by this point, music videos from real bands were becoming commonplace on American television in the wake of the rise of MTV. CBS and the producing team of Lee Mendelson and Bill Melendez, acclaimed for their Emmy Award-winning prime time specials adapted from Charles M. Schulz's comic strip Peanuts, brought Schulz's characters to Saturday mornings in The Charlie Brown and Snoopy Show for several years; later in the 1980s, the Garfield comic strip and TV specials were adapted into Garfield and Friends, also on CBS.
The decline of the timeslot somewhat began in the early 1990s for a variety of reasons, most of which were tied to the broader multi-channel transition that affected numerous television genera. Among the direct and indirect factors in the decline of the Saturday morning cartoons:
The decline of Saturday-morning cartoons coincided with a rise in adult animation and a wave of new, creator-driven animation studios, which experienced a revival (much of it on prime time television) in the 1990s, as did animated feature films (see, for example, the Disney Renaissance), as the Saturday-morning cartoons fell out of favor.[19] Fueled by the continued requirement for educational programming, networks continued to carry some cartoons well into the 2000s; by this point, these consisted either of re-purposed reruns from cable or outsourced blocks of cartoons imported from outside the U.S. As the popularity of these blocks continued to decline and no hit shows emerged from them, by the early 2010s networks began an outright phaseout of cartoons, with the major networks opting to fill their educational mandates by commissioning live-action, mostly documentary/human interest series that were relatively less labor-intensive and expensive to produce (and, more importantly for the networks, less restrictive in regard to commercials).[22] Some of the space formerly filled by Saturday-morning cartoons would be occupied by infomercials (on local stations)[23] and expanded coverage of college football on television,[citation needed] both of which greatly expanded as the result of separate government rulings in 1984.
To help their affiliates comply with the regulations, broadcast networks began to reorganize their own efforts to adhere to the mandates, so their affiliates would not bear the burden of scheduling the shows themselves on their own time, thus eliminating the risk of having network product preempted by station efforts to follow the mandates. This almost always meant that the educational programming was placed during the Saturday-morning cartoon block.
NBC abandoned its original Saturday-morning cartoon lineup in 1992, replacing it with a Saturday-morning edition of Today and adding an all live-action teen-oriented block, TNBC, which featured Saved by the Bell, California Dreams and other teen sitcoms. Even though the educational content was minimal to non-existent, NBC labeled all the live-action shows with an E/I rating and provided the legal fiction of a blanket educational summary boilerplate text provided to stations to place in their quarterly educational effort reports to the FCC. Cartoons returned to the network in the fall of 2002, after cable network Discovery Kids (now Discovery Family) won the rights to the block in an auction, beating out other children's television companies (notably Nickelodeon, which recently programmed CBS's Saturday-morning block under the name Nickelodeon on CBS).
In the 1990s, Japanese television shows targeted towards children and teenagers were introduced to American television, including live-action tokusatsu superhero shows such as Power Rangers (Super Sentai) and VR Troopers (Metal Hero Series), and anime shows such as Pokmon, Dragon Ball, Sailor Moon, Digimon and Yu-Gi-Oh!. This led to a transition in the Saturday-morning slot from traditional American Saturday-morning cartoons towards Japanese anime, which have dominated the Saturday-morning genre since the 1990s. Yu-Gi-Oh! in particular was the most popular Saturday-morning cartoon during the 2000s.[24] be457b7860
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