What’s New Is Old at This Year’s TV Marketplace : * Convention: Fewer buyers and sellers at the annual showcase for syndicated programming is evidence of the industry’s money woes.

As the first day of the National Assn. of Television Program Executives wound down Tuesday, the expansive floor of the New Orleans Convention Center looked less like television’s grand marketplace and more like a sleepy Sunday afternoon swap meet.

“We’re here scouting programs for next year, and we’re shocked by the drop-off in attendance,” said Nancy Rayburn Taylor, a buyer for USTA-TV Worldnet. “You can get through the aisles, for heaven’s sake.”

With advertising revenue down last year, putting the entire TV industry in a squeeze, there are indeed fewer buyers and sellers at the annual showcase for syndicated programming--about 8,300 as of Wednesday, compared to 8,900 last year. And the programs out there, most vying for release this fall, are largely derivative of current syndicated hits.

The muscle-bound, star-spangled “American Gladiators,” for instance, has spawned a darker version in “Knights and Warriors.” Hulking combatants in “Road Warrior” drag engage in battles of good versus evil in an arena called the Warriordome.

The overnight success of “Studs,” meanwhile, has procreated three new series proposals. “That’s Amore,” about real couples who air out their problems before a live studio audience, is based on a TV series that’s a sensation in Italy and even uses the same suave host, Luca Barbareschi. Bob Eubanks plans to reunite unrequited lovers in “Infatuation,” and “How’s Your Love Life?,” hosted by Pat Bullard, features a celebrity guest panel.

Since reality-based series have pretty much exhausted the cop/detective genre, producers now seem to be moving into new territories.

Take for example, the Hollywood clones.

“Hollywood Celebrity Mysteries,” hosted by Bill Bixby, promises to take viewers “on location to reveal the astonishing facts behind the deaths of Tinseltown’s most famous and tragic figures,” including Marilyn Monroe, Elvis Presley and Natalie Wood.

That’s not to be confused with “Famous Hollywood Mysteries,” a weekly half hour offering “intense drama, celebrity expose and startling new revelations that have only been hinted at--up to now,” featuring segments on Marilyn Monroe, Elvis Presley and Natalie Wood.

In addition, host Tony Curtis looks at the hidden lives of Hollywood greats in “Hollywood Babylon,” and another show, “Only in Hollywood,” uncovers unusual local stories.

“There’s no points taken off for lack of originality in this business,” said Henry Schleiff, chairman of Viacom Entertainment. “Points are given for entertainment. What syndicators try to do is sit down and analyze research and needs, rather than put the cart before the horse.”

More than ever, the talk of the convention is about new and innovative deal-making--such as offering stations more local advertising time--rather than new and innovative programming.

The most burgeoning category is talk shows. New entries are being offered by Whoopi Goldberg, celebrity profiler Kitty Kelley, Vicki Lawrence, radio show host Rush Limbaugh, former Philadelphia talk show host Jane Whitney and former Planned Parenthood President Faye Wattleton.

At the same time, Montel Williams, Jerry Springer and Los Angeles radio psychologist David Viscott are all trying to roll out their regional shows nationally, and a sophomore class of talkies, including Jenny Jones and Maury Povich, are fighting for renewals.

The problem is that with money tight for many stations, few seem willing to take a risk on anything new. Although there are some promising entries, none of the new talk shows seem to be regarded here as breakout hits. “I don’t see any Oprahs out there,” one buyer remarked.

“The buyers are becoming increasingly careful,” said Dean Maytag, a buyer for the ABC affiliate WISN-TV in Milwaukee, who is loading up with reruns of network sitcoms because he finds them more stable performers. “Incumbent talk shows are holding up pretty well. So if you have a show that’s doing OK, there’s no reason to take a chance.”

That’s another reason for the lookalikes. It’s generally acknowledged here that less than 10% of the shows being pitched will ever make it to broadcast. And of those that do, only 10% will last longer than one year.

“You take a risk every time you try to cut through with a new idea,” said Ronald Ziskin, executive producer of “Kitty Kelley” and “That’s Amore.” “People are nervous.”