Showing off the nation’s attic

FOR A DEAL THAT WAS supposed to bring in extra cash, the Smithsonian Institution’s new television venture is shaping up to be remarkably costly. The Smithsonian, the repository for more than 136 million historical objects, artworks and other shards of the nation’s memory, has joined forces with the Showtime network to create a TV programming service called Smithsonian on Demand. The aim is to showcase the Smithsonian’s vast resources on cable TV.

Not only would Showtime provide millions of dollars to help produce programming, it also would give the Smithsonian a share of the fees paid by cable operators. Those fees, which would be worth a minimum of $500,000 in the first year, would bring in more than $99 million over the course of the 30-year deal, the Smithsonian says.

After some filmmakers objected to the deal, members of the House Appropriations Committee proposed a virtual freeze on the Smithsonian’s funding for the coming fiscal year. That would amount to a $15-million cut from President Bush’s proposed budget. Multiplied by 30 years, that reduction would more than offset the gains generated by the deal.

It’s hard to quibble with the goal of Smithsonian on Demand. There’s always room for TV programming that relies on artifacts instead of artifice. Nor can the institution, which relies on the kindness of lawmakers for most of its funding, be blamed for turning to the private sector to finance its entry into TV.

The question, however, is whether the deal would have the perverse effect of hindering filmmakers from using the Smithsonian’s collections and expertise. In exchange for having Showtime foot the bill for the new channel, the Smithsonian agreed to limit its cooperation with filmmakers who might compete with the new channel. Commercial films that would make significant use of the Smithsonian’s collections or experts would either have to be sold to Smithsonian on Demand or receive a waiver, which the Smithsonian could grant no more than six times per year.

Officials say the deal won’t affect the vast majority of films that use the Smithsonian’s resources -- and that Showtime’s money will help filmmakers whose documentaries highlight the Smithsonian’s assets. They may be right. But a better approach would be to focus on producing the best possible works for the new channel, rather than deterring other outlets from showing off the treasures in America’s attic.