Networks Taking the Long View : Television: By making long-term renewal deals with their series, the networks hope to keep their viewers happy.

Network TV is suddenly employing a wise strategy--unusually long-term deals with popular series--in an attempt to stem viewer defection.

CBS’ “Northern Exposure” has been renewed for 50 episodes over two years. Fox’s “Beverly Hills, 90210” has been picked up for 60 episodes, also over two years. Other two-year deals have gone to NBC’s “Empty Nest” and CBS’ “Evening Shade,” according to the networks.

“You’re able to plan ahead, work out long-range storylines and not think in terms of doing six or 13 shows,” says John Falsey, co-creator of “Northern Exposure,” in indicating the impact on program quality and viewer loyalty in such a move.

“It allows us to start planning story arcs,” says Aaron Spelling, whose company produces “Beverly Hills, 90210.” He adds: “The cast, the crew, the staff work a little harder because they know it’s suddenly their show.”

“There’s a positive signal to the viewing audience,” says Peter Tortorici, executive vice president of CBS Entertainment. “The audience knows that the show will be there.”

“The two-year pickup is something that’s been a source of increased dialogue between producers and the networks,” says Perry Simon, NBC’s executive vice president of prime-time programs. “The thinking is that in an effort to produce shows more efficiently, we need to re-evaluate order patterns (for programs).

“Economy can be realized if producers have longer lead time and larger orders so they can make their productions more efficient operations.”

What’s more, says Simon, “At a time where there is a lot of shifting and changing in the television landscape, an established show has become more important to both studios and the networks. I think we feel the need for change, what with more choices and an increasingly competitive environment. A two-year pickup is a vote of confidence.”

It’s not the first time in television history that multi-year pickups have taken place. “Dallas,” “Knots Landing” and “Falcon Crest” all earned them in the 1980s when the CBS prime-time soaps were the rage of TV. Other series such as “The Wonder Years” and “Full House” have had two-year renewals, an ABC spokesman notes.

And way, way back in TV history--during the “Bonanza” period of the 1960s--39-week renewals for a single season were common for series.

In addition, other factors may enter into two-year deals. For example, Linda Bloodworth-Thomason, the creator of “Evening Shade,” has special clout on CBS because she also created the network’s “Designing Women.” At Fox, “Beverly Hills, 90210” has given the network what it sorely lacked--a quality, trademark one-hour drama.

An NBC representative denies that “Empty Nest” was given a two-year deal to soothe the feelings of its creator, Susan Harris, because one of her other shows, “The Golden Girls,” was dropped by the network and is moving to CBS come fall with a new format and title, “Golden Palace”--but without Bea Arthur.

As for Falsey and his co-creator, Joshua Brand, they have such an extraordinary track record of quality series--including “I’ll Fly Away” and “St. Elsewhere”--that they are a prize possession for any network.

Simon says that other multi-year deals are at least being discussed. The flip side is that some producers and shows, such as NBC’s “Cheers,” are so successful that they may not want to be tied up for two years because they can extract huge financial concessions by threatening to close shop or go elsewhere.

For audiences, however, any trend that indicates a greater permanence for their favorite shows can only be welcome. Nothing drives viewers crazier than the racehorse style of programming--giving shows a handful of outings, bouncing them around and then killing them off before the audience has a chance to settle in with the characters.

It’s a dumb way to do business--series such as “The Dick Van Dyke Show” and “Cheers” would have quickly perished without network patience. And the feeling of impermanence in many network series is a prime motivation in encouraging zapping over to alternative channels.

Virtually everything that ABC, CBS and NBC do these days is a variation on the same theme--shoring up their position among their remaining viewers. As an example, the networks--which routinely renew successful series for one full season--are now beating the drums more loudly about these pickups.

NBC, for instance, is making a lot of noise two months before the new fall lineups are announced--about already renewing such shows as “Law and Order,” “Cheers,” “Seinfeld,” “Blossom,” “Fresh Prince of Bel Air,” “Wings,” “Unsolved Mysteries” and “Nurses.”

Simon acknowledges the high-powered hype aimed at viewers: “Yeah. I think there’s been a perception that NBC is losing a number of its very familiar and well-established series. And it’s very important to us to get the message out that a significant number of veteran series will be returning next season.”

NBC lost not only “The Golden Girls” but also “In the Heat of the Night,” which CBS is also picking up for a full season, and “Matlock,” which presumably has the same deal on ABC. CBS’ other full-season returnees will include “Murder, She Wrote,” “Murphy Brown,” “Rescue 911” and “48 Hours.”

ABC’s full-season renewals include “Full House,” “The Commish” and “Family Matters.” And Fox says it has given similar pickups to such series as “Roc,” “Married . . . With Children,” “The Simpsons” and “Parker Lewis Can’t Lose.”

But the two-year renewals are more significant because the networks are asking viewers to make the same commitment to the shows that they are.

“We’ll have 25 episodes next season and 25 the season after that,” says Falsey of “Northern Exposure.” “That generally reduces the anxiety and stress. You’re more free to do what you want. If you’re tied to six or 13 shows, you might pay more attention to the ratings or listen to the networks more.”

Says Spelling: “The most advantage is that you get your cast into a family. They don’t have to worry about the next gig. You get writers and staff who say, ‘Where else can you get a two-year deal?’ And you can take risks--maybe do seven days on location because you can make it up on another show by doing only two.”

Just last year, Brandon Tartikoff succinctly addressed the networks’ dilemma and advocated longer program commitments before leaving as head of NBC Entertainment to run Paramount Pictures: Networks, he said, “have to back up and start with the viewer. Give the audience what they want.”