It’s difficult to picture the holiday season without “A Charlie Brown Christmas.” This TV special from 1965 has become a cherished tradition for countless families over the years.
However, at first, it seemed like it might never see the light of day. CBS executives were skeptical, thinking the 25-minute show was too slow, overly serious, and not aligned with the lively spectacles they believed viewers craved. A cartoon centered on a gloomy child seeking psychiatric help, complete with lo-fi animation and a Bible reading, seemed bound for failure.
Yet, miraculously, it turned into a classic. The show transformed “Peanuts” from a popular comic strip into a multimedia powerhouse—not because it adhered to the norms of entertainment, but because it was genuine.
From my perspective as a business professor who has studied the “Peanuts” franchise, “A Charlie Brown Christmas” marks a fascinating point in history. Today, it’s unlikely such an unassuming comic strip character talking about deep, thought-provoking issues would even make it on air. The special was put together in a whirlwind of activity. Almost unexpectedly, producer Lee Mendelson received a call from the advertising agency McCann-Erickson: Coca-Cola was interested in sponsoring an animated Christmas special.
Previously, Mendelson had tried and failed to get the agency to back a “Peanuts” documentary. This time, though, he confidently assured McCann-Erickson that these characters were perfect for the task.
Mendelson called Charles “Sparky” Schulz, the comic strip’s creator, telling him he’d secured the deal for “A Charlie Brown Christmas.” They had just a few months to write, animate, and air the special.
Schulz, along with Mendelson and animator Bill Melendez, quickly crafted a storyline. The cartoonist aimed to provide a narrative that cut through the glitzy holiday commercialism, drawing attention to more meaningful themes.
In the storyline, while Snoopy enters a Christmas lights contest and Lucy appoints herself the “Christmas queen” in a neighborhood play, a dejected Charlie Brown seeks the “real meaning of Christmas.” He’s drawn to a sparse, real tree in a lot full of chic aluminum ones, hinting at Hans Christian Andersen’s “The Fir Tree.”
These plot elements might have pleased the network, but some of Schulz’s decisions sparked controversy.
Unlike other animated television shows of the time, Schulz decided to use real children’s voices instead of adult actors, infusing the characters with an authentic, simple charm. He also refused to add a laugh track, allowing the story’s sincerity to shine without forced humor.
Meanwhile, Mendelson enlisted jazz musician Vince Guaraldi to create the soundtrack. The resulting music was a unique blend of emotional depth and childlike innocence, unlike anything typically associated with animated shows.
Possibly the most concerning aspect for the executives was Schulz’s insistence on including part of the Nativity story in one of the special’s key scenes.
When Charlie Brown feels dejected about his choice of tree, Linus reassures him, saying, “I can tell you what Christmas is all about.” With the spotlight on him, Linus recites a passage from the Gospel of Luke, movingly reflecting on the angel’s message to the shepherds: “Fear not, for behold, I bring you tidings of great joy, which shall be to all people.”
He ends with the heavenly choir’s proclamation: “Glory to God in the highest, and on earth peace, good will toward men,” then quietly walks offstage, his security blanket in hand. Soon the gang realizes Charlie Brown’s tree just “needs a little love.”
When Schulz brought up this idea to Mendelson and Melendez, they were cautious. Historically, Protestant Christianity had been the cultural norm in the U.S., but post-World War II America had begun negotiating space for Catholic and Jewish Americans. Amid these evolving norms, most mainstream entertainment providers in the 1960s veered away from religious content.
Upon seeing the special, CBS executives were uneasy about its religious elements. But given there was no time to rework it and advertisements had already aired, they couldn’t pull the plug.
Luckily for the “Peanuts” franchise, the special that aired on December 9, 1965, was a hit. It captivated nearly half of the American households, later winning both an Emmy and a Peabody Award. Schulz had tapped into a desire for an honest, heartfelt message that transcended commercialism.
Decades on, millions still tune in to enjoy the special.
In researching my spiritual biography of Schulz, I came across a 1965 letter from Florida viewer Betty Knorr, who applauded the show for emphasizing “the true meaning of the Christmas season” in what she felt was a time where “mention of God” was often subdued.
Schulz’s work is uniquely resonant, appealing to people across different beliefs and perspectives. Some viewers take comfort in its gentle spiritual message, while others appreciate it from a secular viewpoint.
Schulz’s art and humor serve as approachable gateways to profound themes—be they psychological, cultural, or theological. At the same time, “Peanuts” cartoons offer heartwarming, festive fun.
Today, the “Peanuts” franchise is as robust as ever, thriving just as the Christmas industry is. Back in the 1960s, commercial considerations nearly derailed Schulz’s special, yet those same forces secured its broadcast, cementing a timeless touchstone of innocence, hope, and belief.
Stephen Lind, author of “A Charlie Brown Religion,” is an associate professor of clinical business communication at USC’s Marshall School of Business. This article was created in partnership with The Conversation.
