The Kettles and their fifteen children are about to be evicted from their rundown rustic home when Pa wins the grand prize by coming up with a new tobacco slogan. Birdie Hicks is jealous of the family's new wealth, which includes a completely automated modern home, and accuses Pa of stealing the slogan. Reporter Kim Parker proves Birdie wrong and marries Tom Kettle.

The Big Valley is an American western television series which ran on ABC from September 15, 1965, to May 19, 1969. The show stars Barbara Stanwyck, as the widow of a wealthy nineteenth century California rancher. It was created by A.I. Bezzerides and Louis F. Edelman, and produced by Levy-Gardner-Laven for Four Star Television.

An investigator from the War Crimes Commission travels to Connecticut to find an infamous Nazi, who may be hiding out in a small town in the guise of a distinguished professor engaged to the Supreme Court Justice’s daughter.

Schum's first exhibition for television featured eight international artists who utilized water and land as both art medium and materia l. The format produced a new framework to present and perceive time and space on TV. Primarily functioning as an invisible witness to a variety of earth-driven art installations in Europe and the United States, the camera captures and disperses artistic process outside the typical studio environment. The broadcast presents Earth Work or Earth Art, "Land Art" was Schum's title, a term he is now recognized as coining with this 1969 broadcast.
The broadcast (transmitted by Sender Freies Berlin/ARD, 10.40pm, 15 April 1969) begins with a studio-recorded opening that has something of the atmosphere of a vernissage. Following short speeches by Schum and Jean Leering, the director of the Stedelijk Museum, Amsterdam, the artists' contributions are shown with no commentary. The eight artists from different countries (Richard Long, Barry Flanagan, Dennis Oppenheim, Marinus Boezem, Robert Smithson, Jan Dibbets, Walter de Maria, Mike Heizer) co-operated closely with Schum. The filming concentrates on the works of art that are created in rural sites, and there is none of the usual TV portrayal of the artist in a ‹studio atmosphere.› The elaborate productions were shot in Europe and the USA. Schum expanded the message of the emergent Land Art movement, which avoided the conventional ‹studio – gallery – collector› distribution channels: «Art should no longer be made for the privacy or exclusiveness of dealers or collectors. (...) Until now artists have not succeeded in finding a modern system of communication. The only chance I see for the visual arts is the conscious deployment of television.»
1- Richard Long, Walking a Straight 10 Miles Line Forward and Back Shooting Every Half Mile, Dartmoor England, Januar 1969 ; 6:00, s/w
2- Barry Flanagan, A Hole in the Sea, Scheveningen, Niederlande, Februar 1969 ; 3:45, s/w
3- Denis Oppenheim, Time track - Following the Time Border Between USA and Canada, Fort Kent, 17. März 1969 ; 2:05, s/w
4- Bob Smithson, Fossil Quarry Mirror with Four Mirror Displacements, Cayuga Lake Region, New York State, März 1969; 3:05, s/w
5- Marinus Boezem, Sand Fountain, Camargue, Frankreich, Januar 1969; 4:00, s/w
6- Jan Dibbets, 12 Hours tide Object with Correction of Perspective, Niederländische Küste, Februar 1969; 7:30, s/w
7- Walter de Maria, Two Lines Three Circles on the Desert, Mohave Desert, Kalifornien, USA, März 1969; 4:45, s/w
8- Michael Heizer, Coyote - Coyote Dry Lake California, USA, März 1969; 4:20, s/w und Farbe.