If UPN Goes Under, What Happens to Its Programs?

In a business known for preying on weakness, the UPN network has become the latest object for the buzzards to circle--already the butt of one grim joke labeling the 5-year-old enterprise “Dead Network Walking.”

News Corp.’s surprise deal to acquire the Chris-Craft TV stations--which provide the network’s cornerstone, including major affiliates such as KCOP in Los Angeles--has left the future of UPN in doubt, spurring speculation it might be shut down. At present, such assumptions are premature. News Corp. Chairman Rupert Murdoch gave UPN a tentative vote of confidence last week, suggesting it could continue with Fox as a partner or in some other form.

Still, the proposed acquisition has alarmed producers working on UPN shows and left other creative talent wary of pitching new series to the network. Indeed, one talent agency source--like many of those contacted, reluctant to speak publicly about the matter--suggested studios should pull the plug on projects now in an effort to cut their losses.

Moreover, the impact could be felt particularly hard by African American talent, which UPN has steadily employed since its launch.

UPN’s Monday lineup is regularly seen by roughly 3.5 million viewers, more than three-quarters of them African Americans. “The Parkers” is currently the most-watched program in African American homes, while the sitcom from which it was spun off, “Moesha,” ranks fourth.

“This would shut down a whole group of creative young artists with unique points of view. No other network would want a show such as ‘Girlfriends,’ ” said Felicia D. Henderson, co-executive producer of the Showtime series “Soul Food,” referring to a new UPN comedy starring Tracee Ross, the daughter of singer Diana Ross. “What would happen to people like the pioneering spirits of Sara Finney, Vida Spears [and Ralph Farquhar], who created ‘Moesha’? I may disagree with a large part of the programming, but the network has provided a valuable outlet.”

In fact, Kweisi Mfume, head of the National Assn. for the Advancement of Colored People, took a break from the Democratic National Convention last Thursday to tape an appearance on “Moesha.” Featuring Mfume delivering a speech about the importance of voting, the episode is due to air in November on the eve of the national election.

“Of course, we are very concerned about what may happen, considering that UPN has one of the best records in terms of minority hiring and representation,” NAACP spokesman John White said. “We are not sure what’s going to happen yet, but we’re watching it closely.”

Series Target Young Men

UPN’s rival for the title of “fifth network,” the WB, offers its own block of comedies principally starring black performers. Though the major networks have increased ethnic diversity in their lineups for the coming season under intense criticism from the NAACP, those inroads have primarily involved integrating casts rather than creating series about black families or featuring a minority in the lead role.

UPN also emphasizes series targeting young men to capitalize on its wrestling franchise, “WWF Smackdown!,” but there are many prime-time alternatives courting that demographic, which can’t be said for blacks.

For that reason, pulling the plug on UPN “would be a minor tragedy, in a way,” said Doug Alligood, senior vice president of special markets for the advertising firm BBDO Worldwide in New York, taking with it some of the most popular programs among black audiences.

Alligood added that viewers would likely follow those shows were another channel to fill the breach. “People don’t watch networks,” he said. “I don’t think black viewers care what network it’s on. If it’s on and they want to watch, they’ll find it.”

Yet there is no guarantee, even in an era of fragmented audiences, that another network would step forward.

“Without a doubt, there will be a huge void in the black creative community if these shows go off the air,” said actor-director Charles S. Dutton, who recently directed the critically acclaimed HBO miniseries “The Corner.” “The WB may pick one of these shows up, but none of the big four networks are going to put on shows like this.”

“When I think of my friend Mara Brock Akil and where else she would get an opportunity to develop a show like ‘Girlfriends,’ I get very anxious,” Henderson said.

The WB would almost certainly benefit if UPN ceases to operate, as would Pax TV--a seventh broadcast channel, launched two years ago, consisting of former home-shopping stations.

“If UPN were to go away, that means there would be a lot of unaffiliated stations,” said Jeff Sagansky, president and chief executive of Pax TV. Currently reaching about 80% of U.S. homes, Sagansky estimates without UPN, Pax could add stations in cities blanketing another 3% to 4% of the country.

Network officials are doing their best to convince outsiders and affiliates it’s business as usual at the network.

UPN chief executive Dean Valentine acknowledged that “there are going to be some suppliers that have anxieties” about producing shows for UPN but pointed out that few marquee producers have beaten a path to its door anyway. Despite series from major players such as director Barry Sonnenfeld and the team behind “Homicide,” Valentine noted that the network has generally been forced to seek programs from less traditional sources, “who remain more open to us.”

UPN Still Courting Talent

UPN development executives are still courting creative talent (if unable to provide the rock-solid reassurance producers would like to hear), and Valentine noted that its new-series needs are limited, so some constriction of the creative pipeline won’t pose an immediate problem.

The network airs 10 hours of prime-time programming each week--compared to 22 hours on ABC, CBS and NBC--and two of those are devoted to “Smackdown!,” which almost single-handedly hoisted UPN past the WB in ratings during the TV season that concluded in May. In addition, six of UPN’s nine regular series are produced by divisions of Viacom, its parent company.

Producers privately say they will forge ahead hoping for the best, assuming any program that demonstrates ratings viability on UPN will find a home elsewhere and, at the least, that Viacom or News Corp. will honor the network’s existing financial commitments.

At this point, even plans to change the network’s name have become uncertain. Viacom, which also owns Paramount Pictures, had announced that UPN (which stand for United Paramount Network, reflecting the participation of Chris-Craft’s United Television) would become simply “the Paramount network” in January.

Valentine was able to joke a bit about the precariousness of the situation. Asked about the identity switch to Paramount, he said, “I see nothing wrong in that name, but I reserve the right to change my opinion at a moment’s notice.”