Serving black TV

REGINALD HUDLIN had a golden year in 2005 before he decided to throw it away.

The veteran filmmaker was serving as an executive producer for the new Chris Rock comedy “Everybody Hates Chris,” after having directed the pilot episode of the heralded UPN series. “The Boondocks,” the animated version of the incendiary comic strip that he helped develop for television, had made the Cartoon Network’s Adult Swim slate. “Chris” and “Boondocks” were among the most buzzed-about shows of the fall.

An unapologetic comic book geek since childhood, the 44-year-old Hudlin had also realized his lifelong dream, hooking up with Marvel Comics to pen Black Panther, a black superhero, and Spider-Man.

It had all seemed to mesh for the Harvard graduate with strikingly eclectic tastes (name anyone else in Hollywood with a collection of 50,000 comic books who worships funk master George Clinton and the screwball comedy “His Girl Friday”). So Hudlin was understandably nonplused when the phone call came that turned his world upside down.

Seemingly out of the blue, Hudlin, who had no corporate leadership experience, found himself wooed by top executives for the newly created title of entertainment president of Black Entertainment Television, the highly successful cable network celebrating its 25th anniversary.

Taking on the position has established Hudlin as one of the entertainment industry’s top black executives, more than a decade after his most noteworthy triumphs in film (directing the groundbreaking “House Party” and “Boomerang”).

He envisions transforming BET into “the most dominant venue not only for African American talent but for consumers of African American entertainment” by rebuilding the news department, developing a wide range of original and topical series, and establishing divisions devoted to films and animation.

BET, available in 80 million households, has a solid programming base and a loyal viewership, particularly among young blacks. Its music show “106th and Park” is a regular stop for top hip-hop and film stars. The network scored impressive exclusive interviews with major figures such as former President Bill Clinton and O.J. Simpson.

But throughout much of its history, BET has also been clouded by criticism from blacks and others who claimed the network had failed to live up to its potential. Too much focus, they complained, had been on raunchy music videos featuring scantily clad women and brash rappers bragging about their bling and sexual appetites. The emphasis was on the bottom line, rather than the cultural enlightenment and challenges that come with the development of original dramas and comedies, they claimed.

Robert L. Johnson, the network’s founder and CEO, has historically brushed aside objections to BET’s agenda. He became the nation’s first black billionaire when he sold BET to Viacom in 2000 for $3 billion but remained the major force behind the network’s programming and vision. But Johnson is stepping down this month to pursue other business interests, and a new management team is being formed to take BET to the next level.

The top management of the network and its parent company reached out to Hudlin in the summer. They believed his urban-mainstream sensibilities, proven eye for spotting new talent and wide-ranging Hollywood connections -- including Quentin Tarantino, Ice Cube, Steven Bochco and Chris Rock -- would hasten BET’s evolution.

Hudlin had in the past expressed his own misgivings about the network. Now he contends that BET was put in the no-win position of appealing to an audience that wanted it to be all things to all black people.

“The frustration was not what was on the channel so much as what wasn’t on the channel,” Hudlin says. “Then I get a call saying I’m on the short list for the job of president of BET, and I was completely intrigued. I called my brother Warrington, who I’ve always consulted with. He said, ‘Reggie, this isn’t a job you want to do, this is a job you have to do.’ ”

In the end, Hudlin opted for the path of most resistance, trading in the comparative easy chair of sitcom producer for the hot seat of a network head, complete with its constant pressure and deadlines, insane hours and never-ending scrutiny.

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Hit the ground running

AS the new year launches, Hudlin has thrown himself into his role as network suit, although “suit” doesn’t accurately describe his wardrobe of stylish pullovers and sweaters.

His focus is entirely on the network. A creative and personal falling out with “The Boondocks” creator Aaron McGruder ended his connection with that series, even though his earlier involvement contractually obligates the show to credit him as an executive producer. (Ironically, during their partnership, McGruder often viciously attacked BET and Johnson in “The Boondocks” comic strip.)

Hudlin formally took over June 28, and he’s starting to put his team together, hiring former CNN pop culture correspondent Toure; Selwyn Hinds, former editor of the Source magazine; and writer and filmmaker Nelson George to help shape a revamped version of BET News. He’s looking for a director of animation. He’s bought popular syndicated shows such as “In Living Color.”

In addition to pouring more resources into “College Hill,” the reality series based at black universities that is BET’s most popular offering, Hudlin this March is launching “Season of the Tigers,” a reality series revolving around the football team and marching band of legendary Grambling State University. He’s also interested in creating a Sunday evening version of “Meet the Press” that would feature black religious leaders instead of journalists discussing the issues of the week.

“Doing this has been a challenge, and there is definitely a learning curve, but that’s what gets the adrenaline up,” says Hudlin, whose closely cropped hair and graying beard frame a quietly handsome face. “Do I feel we’re on the right track as far as the shows we want to do and the audience demand? Absolutely.”

But Hudlin cautions: “It’s going to be years before BET is able to fulfill everyone’s dream, just as it would at any other network. Don’t call me up mad next time you see BET because ‘that video’ is still on. It takes a long time to develop shows. And we’re going to do the right shows.”

Hudlin’s pop-culture-mixed-with-Ivy League pedigree and BET are an odd couple, but it could turn out to be the perfect fit, say some observers.

“Reggie’s hiring is not only good for African Americans but for the industry,” says Johnathan Rodgers, chairman of TV One, a cable network targeting adult blacks.

Adds Ali LeRoi, the co-creator of “Everybody Hates Chris”: “Reggie looks so status quo on the surface, very conservative, very educationoriented. Everything about him says ‘executive’ -- except this is a guy who loves to blow things up. He loves comic books, he loves explosions. Nothing about Reggie makes sense.”

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Listening for a perfect pitch

THE rainy November day had been one long meeting after another for Hudlin and his staff at the BET offices in Studio City, but the new chief’s energy remained high, fueled mostly by bottled water and a variety of pitches from various producers in the conference room. One group offered up an idea for a series centering on Christian-based comedians. A group representing Queen Latifah discussed a series of programming possibilities.

Throughout the presentations, Hudlin listened receptively to the pitches, often interjecting his own ideas into the mix or erupting into laughter, punctuated by a literal “HA!” Although he was warm and enthusiastic, he maintained a guarded manner, his face giving few clues as to what he really thought. And though he had a comfortable rapport with others, the room’s dynamic was clear: He was the decision-maker.

“Everything seems perfect, but I just wanna be sure of some of the content,” he said at one point to the producers of the Christian comedian concept.

The first steps in bringing freshness to BET in these first few months have been more challenging for Hudlin than even he anticipated. Before he could decorate his new office at the BET western headquarters on the CBS Radford Studios lot, Hudlin got caught up in deadlines that threatened to overwhelm him.

His schedule has been almost all-consuming, resulting in marathon days of back-to-back meetings and continual trips across the country, most often to network headquarters in Washington, D.C.

Before he could start acting on his ambitious programming plans, his agenda was sideswiped by unforeseen events. While preparing for two major specials, a comedy awards celebration and BET’s 25th anniversary, the network was swept up in the recovery effort for the victims of Hurricane Katrina, which struck hardest at the lower-income black residents of New Orleans.

In less than a week, Hudlin helped organize a star-studded telethon with A-list talent, including Wynton Marsalis and rap mogul Russell Simmons, and which featured taped appearances from Secretary of State Condoleezza Rice and Bill Clinton. The hastily organized event raised $13 million.

The Sept. 16 telethon, Hudlin says, was a perfect example of both BET’s current status and the potential it has to reach an even larger audience.

“I don’t think there’s a media company with greater potential than BET,” he says. “Black culture is pop culture. There’s never been a consistent place where you can see all aspects of black culture.... I’m helping to shape a news department. We are going to be a safe haven for creative people.”

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Lessons learned along the way

FEW films were as critically loathed in 2002 as “Serving Sara.” The misguided romantic comedy starred Matthew Perry as a New York City process server who hooks up with his “mark” (Elizabeth Hurley) to serve divorce papers on her cheating husband. The most noteworthy aspect of the film was that Perry entered rehab during production, forcing the film to shut down while he recovered.

The film, the last feature directed by Hudlin, marked a departure from his usual fare. In 1990 he created the genre of the hip-hop movie with his first feature, “House Party,” starring the then unknown rap duo Kid ‘N Play. His second film, “Boomerang,” broke ground as one of the only adult-oriented romantic comedies in the last 20 years to revolve around affluent young black people. The romantic comedy starred Eddie Murphy but also featured several talents who were just starting their careers: Chris Rock, Martin Lawrence, David Alan Grier, Tisha Campbell Martin and, in the “plain Jane” role, future Oscar winner Halle Berry.

Though those earlier films were major hits, the last several years have not been as noteworthy. Hudlin has worked steadily, directing episodes of “The Bernie Mac Show” and other series. But his later movies, 1996’s “The Great White Hype,” 2000’s “The Ladies Man” and particularly “Serving Sara” were not well received.

Hudlin provides commentary on that film’s DVD. But rather than following the path of other directors’ commentaries, which focus frankly on production problems, Hudlin continually lavishes praise on Perry and Hurley without mentioning any difficulties.

“I remember being at the premiere, and being ambivalent, to say the least,” he recalls. “Then this contractor comes up to me, just smiling, and said, ‘Man, this is the greatest film you’ve ever done.’ That’s when I learned a great lesson -- no matter how bad a movie is, it’s someone’s favorite movie. So why should I poop on that? I’m so grateful that someone took pleasure in what I did.”

He adds, “Taking on assignments like this in Hollywood taught me a lot. It led to the circumstances which led me to this.”

While he says he has no regrets about taking on the BET revamp, it has already taken somewhat of a toll. He has been forced to dial down his comic book obsession. And quality time with his wife, Chrissette, and their infant daughter, Helena, has been dramatically reduced.

“I literally get no sleep,” he says. “My wife can’t understand why I can’t get home before 9 every night. But I couldn’t be more excited about what we’re doing here.”

BET President Debra L. Lee says Hudlin’s hiring is part of a three-year strategy to broaden BET’s appeal. “Our first priority is to produce more original programming,” says Lee, who will succeed Johnson as the head of the network when Johnson steps down at the end of January. “We want to do reality shows, comedies, made-for-TV movies.”

The obstacles facing the network aren’t new, analysts say. “People might expect the breadth of programming to expand and change, but this is not a new challenge for BET,” said Brett Pulley, author of “The Billion-Dollar BET: Robert Johnson and the Inside Story of Black Entertainment Television.” “They can’t be all things to all people. They can be a better entertainment channel. Maybe they can become another version of MTV with different demographics. I certainly expect them to do substantive programming with Reggie on board.”

Johnson said that when he met with Viacom Chief Executive Sumner Redstone and former Viacom President Mel Karmazin a few years ago to discuss the network’s purchase and future, he told them, “I want BET to be the preeminent African American media company in the country. They agreed, and that gave me the comfort to make the transaction. I wanted a programming person who could direct content. This was a tough search -- Debra looked at a lot of people. Some had strengths, but Reggie had it all. He was an entrepreneur, very creative, tremendously sensitive to African American entertainment and had the right personality.”

Hudlin says he couldn’t be more driven or determined about his new path. And he’s still excited about his other accomplishment last year: “killing off” Spider-Man in a story arc he wrote for the comic book.

“He gets killed by a super villain,” says Hudlin. A huge smile washes over his face. “It really has been a banner year.”

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(BEGIN TEXT OF INFOBOX)

Key moments from 26 years of Black Entertainment Television

Jan. 25, 1980

BET debuts as the nation’s first and only black-owned cable network, with programming for two hours every Friday night. The first offering is the movie “Visit to a Chief’s Son.”

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Nov. 21, 1980

“The Bobby Jones Gospel Show” debuts as the network’s first series. It is still running today.

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June 26, 1981

“Video Soul,” BET’s first entertainment series, premieres with the video “Let’s Groove” by Earth, Wind & Fire.

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April 10, 1989

The network opens a $10-million studio in Washington, D.C.

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Jan. 24, 1996

BET News anchor Ed Gordon hosts the first live televised interview with O.J. Simpson after his acquittal on murder charges, scoring the network’s highest Nielsen rating ever to that point.

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Nov. 3, 2000

BET joins Viacom Inc. in a $3-billion acquisition announced by founder and CEO Robert L. Johnson.

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Jan. 28, 2004

The network’s first reality series, “College Hill,” debuts. The show, set at black universities, is BET’s highest-rated original series.

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Jan. 25, 2005

BET celebrates its 25th birthday.

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June 2005

Johnson announces Debra L. Lee as his successor and takes title of chairman. In July, Lee appoints Reginald Hudlin president of entertainment programming.

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Contact Greg Braxton at calendar.letters@latimes.com.