BET: New Owner, but Same Drama

Despite its financial success and popularity with top black talent, Black Entertainment Television has long come under fire from those inside and outside the black creative community who feel the channel should have been more aggressive in providing meaningful and insightful entertainment by and for blacks.

Those criticisms escalated last year when BET--the nation’s only black-owned cable network--celebrated its 20th anniversary, prompting critics to lament that the network had failed to fulfill its potential, focusing too much attention on music-related programming--particularly hip-hop videos with scantily clad women.

At the time, BET Founder and Chairman Robert L. Johnson brushed aside the barbs, proclaiming that BET had been a powerhouse creatively and financially. The questions, however, have arisen again this year, as media giant Viacom Inc. completed its purchase of BET. With a new parent possessing deeper financial pockets, industry insiders and others speculated about programming changes and whether the network would start developing dramas, sitcoms and other non-music-related projects utilizing black talent.

Although BET is significantly expanding its news and documentary operations in the wake of the merger, the unveiling of BET’s upcoming entertainment schedule demonstrates that the song--or rather, the hip-hop--pretty much remains the same.

This fall will see further concentration on music shows, including the series “106th & Park: BET’s Top 10 Live,” “BET.com Countdown” and specials such as the “7th Annual BET Walk of Fame” on Oct. 30, honoring singer Patti LaBelle. The stand-up comic show “Comicview” returns for a 10th season, while five new shows premiering this fall will revolve mostly around celebrity interviews and entertainment news.

No new original sitcoms or dramas are on the immediate horizon, and BET is also shutting down at least for now its production of original movies that the network launched in 1999, which had opened up opportunities for black writers, directors and performers.

BET President and Chief Operating Officer Debra Lee said in an interview last week that BET is coming off its highest-rated season, and research revealed that viewers want the network to “evolve, but not totally deviate” from its existing format. As a result, BET-produced comedies and dramas are not high on the network’s current agenda.

“It’s not a priority for us,” said Lee. “It is not where we are yet. We will be doing more creative programming down the line, but it doesn’t make sense for us financially.”

The cost of producing weekly dramas and comedies, which can hover around $1 million a week per series, is still deemed prohibitive for BET. And the made-for-BET movies--adapted from a line of Arabesque novels aimed at the African American market--did not provide enough profit opportunities once they aired: “There just wasn’t any back end on them,” Lee said.

Curtis Gadson, senior vice president of entertainment programming and network operations, added, “When it makes sense for us as a business to go in that direction, we certainly will. BET is right on pace with its evolution, and it is corresponding to our budget and our revenue. The more we grow, the more things we will be able to do.

“The hard and frustrating thing we always run into is pointing out that we cannot be all things to all people,” Gadson concluded.

Lee said that network executives have been meeting with other Viacom units such as Showtime, CBS and Nickelodeon about doing projects together. Discussions with Showtime have focused on the development of an original movie.

“We’re in the process of doing a meet-and-greet with everyone,” Lee said.

BET is already joining forces with CBS News in an agreement that will strengthen the news division and its signature shows “BET Nightly News” and “BET Tonight With Ed Gordon.” The network will receive cutting-edge technical production resources and expand its newsgathering and production capabilities.

Still, the criticism is likely to continue. Attacks on BET have come from several corners, ranging from academics to the comic pages.

Tina Andrews, who wrote and co-executive-produced the CBS miniseries “Sally Hemings: An American Scandal,” said she had talked to several of her colleagues who felt that BET had not lived up to expectations in terms of providing a forum for the black creative community.

“They feel it’s really unfortunate,” said Andrews, who is currently writing a CBS miniseries about Coretta Scott King. “You want to have a place to ply your trade and know that you’ll be treated fairly. But for now, BET does not seem to be the place.”

One of the most outspoken critics is Aaron McGruder, the creator of the “Boondocks” comic, who frequently takes swipes at Johnson and the network in that daily strip.

“I believe the black creative community is more disturbed at what is happening at BET than the community at large is,” said McGruder. “Part of the blame has to go to those who watch it. If the folks who watched said, ‘This is whack,’ it would change. There hasn’t been enough backlash against the programming.”

Chuck Faush, a former producer and host with Fox Sports who is producing a series of national syndicated sports and entertainment specials called “InContrast,” said of BET: “The potential is there, but not today. There is a lot of disappointment. But everything is ever evolving, and with BET, hopefully the best is yet to come.”

But BET’s current strategy makes sense, maintained Doug Alligood, senior vice president for special markets for the advertising firm BBDO Worldwide.

“The folks at BET may look at what they’ve got and come to the conclusion, ‘If it ain’t broke, don’t fix it,”’ Alligood said. “To go into this new vogue is very risky and will take time. Eventually, there will be some change, but it’s certainly not going to happen in one year.”

He added, “Yes, there were a lot of expectations about what would happen with BET and Viacom. But the network is competing with the general media. And many times when you do projects on TV, you have to take into account other uses where money can be made. BET is aware of that. People should not be surprised or disappointed. Changes will be gradual. It’s the smart way to go.”

Lee and Gadson said they were thrilled with the network’s momentum--saying its ratings in the target 18-to-49-year-old demographic sought by advertisers increased 21% over last season.

Said Gadson: “Are dramas and comedies what we’re doing now? No, because it doesn’t make sense financially. Is it something we want to do? Of course. I feel confident we will get to other places in our time. It’s a growth process. We’re planting seeds, and nurturing and watering them. The last thing you want to do is step on them while they’re growing.”