The series originally aired in a half-hour format on NBC. Despite an outstanding first year, in which his show was ranked fourth in the Nielsens and won two Emmy Awards, the series’ ratings toppled in its second season. When NBC canceled the show, it was immediately picked up by CBS, and The Red Skelton Show became a Tuesday night staple from 1954 to 1970, garnering a total of 16 Emmy nominations.

The format of the series was similar to Skelton’s radio program. Each show began with Skelton performing a monologue based on topical material, followed by a musical interlude. Next would follow a series of blackout sketches featuring one or more of his characters. The sketches were a mixture of new material and old routines perfected over the years in vaudeville and in nightclubs (including his popular “Guzzler’s Gin” sketch). At the end of the program, Skelton would turn serious, expressing his gratitude to his audience for their love and laughter. His signature closing line became “Good night, and may God bless.”

The Red Skelton Show, unlike other variety series, did not rely on guest stars every week. Skelton had a strong group of support players, most of whom had worked with him on radio, including Benny Rubin, Hans Conried, Mel Blanc, and Verna Felton.

Most of Skelton’s characters were first developed for radio and worked equally well on television. Among the best known were Junior the Mean Widdle Kid (who was famous for his expression, “I dood it”), country boy Clem Kadiddlehopper, Sheriff Deadeye, boxer Cauliflower McPugg, drunkard Willy Lump-Lump, and con man San Fernando Red. Skelton had a reputation for his extensive use of “headware”—each character had his own specific hat, which Skelton used as a means to find the center of each personality. The only television addition to his repertoire of characters was Freddie the Freeloader, a hobo who never spoke. A special “silent spot” featuring the hobo character was added to the program and provided Skelton the opportunity to demonstrate his talents as a pantomimist.

Skelton’s forte was his use of slapstick. He appeared oblivious to physical punishment and often ended his vaudeville act by falling off the stage into the orchestra pit. One of his most popular pieces was created for his premiere show. At the end of his monologue, while Skelton was taking a bow, two hands reached out from under the curtain, grabbed him by the ankles, and swept him off the stage.

Many stars got their start on The Red Skelton Show. In 1954, Johnny Carson, one of Skelton’s writers, was called upon to fill in for the star when Skelton injured himself during a rehearsal. The Rolling Stones made one of their earliest U.S. appearances on the show in 1964.

Critics often chastised Skelton for breaking into laughter at his own material on the air. But, no matter how many times he succumbed to his giggles, took another pratfall, mugged for the camera, or made asides to the audience, his popularity only increased.

Although the series remained among the top-20 rated shows, CBS canceled it in 1970, citing high production costs. However, it was also the case that Skelton’s main audience was very young viewers, and it is more likely that the network wanted shows that would increase its audience share of young adults. The next season, Skelton returned to NBC in a half-hour format on Monday night, but the new show lasted only one season.

During the run of his variety series, Skelton was also able to demonstrate his dramatic abilities. He played punch-drunk fighter Buddy McCoy in Playhouse 90’s The Big Slide (CBS, November 8, 1956), for which he was nominated for an Emmy Award as best actor. He died in Rancho Mirage, California, on September 17, 1997.