Programs/Content

Video center chief Fifer will lead ITVS

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ITVS, the CPB-funded organization operating in the tricky middle-ground between independent filmmakers and public TV stations, has appointed a leader in the San Francisco indie community as its next chief executive. [She succeeded James Yee, who died in March 2001.]

Sally Jo Fifer, executive director of the Bay Area Video Coalition since 1992, will join the Independent Television Service as its top executive in August. BAVC grew explosively under her leadership — through partnerships with Silicon Valley companies during the soaring tech boom and through job-training contracts with federal, state and local government agencies. The ITVS Board sought an executive with entrepreneurial skills and a proven ability to “raise money and think creatively,” says Mark Lloyd, chairman of ITVS and president of the Civil Rights Forum on Communications Policy. “Sally’s experience with the Bay Area Video Coalition certainly suggests that she has those qualities.”

Programs/Content

Philly gets its first airing of 1968 Wiseman film

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If Frederick Wiseman’s High School works like a time machine, transporting viewers back to their own coming of age experiences in this quintessential American institution, the journey will be bittersweet for alumni of Philadelphia’s Northeast High School, where the landmark documentary was shot. Most alums have never seen the documentary, but they remember the local controversy over how it depicted their alma mater. Threatened with what he describes now as “vague talk” of a lawsuit, Wiseman in 1968 agreed not to screen High School within miles of the city. More than three decades later, the documentary has achieved classic status among independent films. PBS will present it as such Aug. 28 [2001] as a P.O.V. Classic, a new strand developed by Executive Producer Cara Mertes.

Programs/Content

APT sees 70% carriage for animated tales of danger and heroism

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Serialized adventures of an orphan mouse who dreams of becoming a heroic warrior come to the screen [in April 2001] through American Public Television. Redwall, an animated series about woodland creatures in a medieval abbey, stands apart from PBS kiddie fare as a series that’s not appropriate for the Barney and Dragon Tales set. Redwall is for school-aged kids. British author Brian Jacques, whose books are the basis for the series, began writing them out of dissatisfaction with modern children’s stories. “I thought to meself, what’s wrong with kids discovering the magic of a real story like I used to read as a kid?”

System/Policy

Spending goals, slowdown prompt 60 layoffs at PBS

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Anticipating the rollout of a new strategic plan and budget proposal,
PBS laid off 60 employees March 15. Although the 9 percent cutback of positions was spread across the company,
the programming department saw some of the most significant changes in what
PBS describes as a “strategic realignment” under President Pat Mitchell. Among the team of regional programming execs that Mitchell began hiring
last summer, Jacoba “Coby” Atlas and John Wilson were elevated as co-chief
programming executives. Atlas, PBS’s West Coast exec, now has responsibility
for all primetime and news/public affairs programs. Wilson remains in charge
of children’s content, fundraising and syndicated programs, and scheduling. Pat Hunter, formerly v.p. of programming administration, was promoted to
senior v.p. and assigned project management duties.

Programs/Content

PBS version of ‘reality TV’ distills drama from real life

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As provocatively staged “reality TV” series explode on the commercial networks, PBS is expanding its own slate of what it calls “observational documentaries” in the network’s reinvention under President Pat Mitchell. In April [2001], American High, a fast-paced docusoap series dropped by Fox last summer, will lead off a new weekly PBS strand targeted to teens and young adults. Then, in the fall, Senior Year, a 13-part series that PBS execs promoted to television critics during the January press tour, will take over the same Wednesday 10 p.m. timeslot. This summer P.O.V. also will present Fred Wiseman’s 1968 film High School, a national broadcast debut that was also promoted at the press tour. With American High and Senior Year, PBS aims to create a new strand, “so the audience can find it and know it’s going to be there,” and keep tuning in, said John Wilson, senior programming v.p. PBS has scheduled repeats of American High through the summer, and is considering a second run of Senior Year after its debut.

Children's programming

Better Saturday competition seen for the kids audience

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In a bid to expand its children’s franchise into an increasingly competitive daypart, PBS on Sept. 30 will launch Bookworm Bunch, a block of six new animated series slated for Saturday mornings. Produced by Toronto-based Nelvana Communications, Bookworm Bunch is PBS’s first offering of original children’s fare for weekends — when stations traditionally program their own selection of how-to programs and other fare. PBS created the block as a distinctive alternative to the rock ’em-sock ’em, boy-oriented fare aired by other broadcast networks on Saturdays. Maurice Sendak’s Seven Little Monsters will make their TV debut with Marvin the Tap-Dancing Horse (and boy pal Eddy), Elliot Moose, Timothy, Corduroy and tiny George Shrinks.

Programs/Content

PBS President Pat Mitchell: ‘I think I’ll be learning every day of the year’

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Since she was hired as PBS president early in February [2000], Pat Mitchell has met with 60 or 70 of public TV’s managers, and station board leaders as well, in trips to stations and at the APTS Annual Meeting. To oversee station relations, she hired the network’s former board vice chairman, Wayne Godwin, away from Cincinnati’s WCET (he starts work this week at PBS). And she’s expected to announce further initiatives starting next weekend at the PBS Annual Meeting in Nashville. Mitchell, a longtime producer in commercial TV, was previously head of Time Warner’s CNN Productions, based in Atlanta. She still has yet to pack her household and move to the D.C. area.

System/Policy

For the first time, a producer leads PBS

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PBS’s new president is Pat Mitchell, departing head of CNN Productions and
Time Inc. Television, whose appointment was ratified by the PBS Board Feb. 4. She is the first producer to take PBS’s top job, and is as comfortable in
front of cameras as behind them, having performed in numerous on-air roles. Her major projects for CNN included the Peabody-winning Cold War,
a 24-part documentary series that she executive produced with Jeremy Isaacs,
and Millenium: A Thousand Years of History, also supervised with Isaacs. A search committee reached an “enthusiastically unanimous” decision to recommend
Mitchell as the best candidate for the post last week, said Wayne Godwin,
committee co-chair and president of WCET in Cincinnati.

Programs/Content

Nonprofits courting DBS for set-aside channels

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A ground-floor chance to secure channel space on direct broadcast satellites is opening up for noncommercial organizations that have the wherewithal to deliver educational or informational public-service programming. DirecTV, the largest DBS system, has set a Sept. 1 [1999] application deadline for prospective programmers to be considered in its initial selection of new channels. PBS, Internews, and Free Speech TV are among the nonprofits vying for the space. DBS services–a once-crowded field of competitors that has merged down to two major players–are under orders from the Federal Communications Commission to allocate 4 percent of their video channel capacity for noncommercial educational programming.

Children's programming

Is Tinky a gay role model for boys, or a purple toddler in full play?

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International stardom has not been easy for Tinky Winky, the Teletubby recently “outed” by the Rev. Jerry Falwell as a gay role-model for children. First there was a big flap in England, shortly after the show’s 1997 debut, over the dismissal of the actor playing Tinky Winky. Producers said he had been too rambunctious on the set. But the actor apparently endeared himself to viewers by flamboyantly waving the now-notorious red handbag, and did not go quietly. The Sun, Britain’s largest tabloid, launched a campaign to reinstate the actor, but to no avail.

Documentaries

For subjects, documentary is “strong form of family therapy”

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Various people tried to prepare Juanita Buschkoetter for the public reaction to The Farmer’s Wife, filmmaker David Sutherland’s cinema verite depiction of the real-life struggle to keep her husband’s farm and their marriage afloat, but the reponse to the show’s debut this fall was far beyond her expectations. “I had no idea how many people would actually watch it,” she said in a recent interview — let alone the folks who would go far out of their way to drive by the Buschkoetter house, or send the family generous gifts. “Since the film, people come by to take pictures, pull in and talk,” Buschkoetter added. It’s gotten so she doesn’t want to leave her three daughters at home alone anymore. Since the eldest is now 12, she previously had found it safe to do so.

People

Henry Hampton: ‘He endured because his vision was so important’

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Henry Hampton, the visionary filmmaker who documented the history of the civil rights movement with the landmark PBS series Eyes on the Prize, died Nov. 22 [1998]. He was 58. Hampton recovered from lung cancer some nine years ago, but complications from the treatment that sent the disease into remission claimed his life. The official cause of his death was myelodysplasia, a bone-marrow disease.

Programs/Content

Edward James Olmos will head interim Latino TV grantmaking organization

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Actor Edward James Olmos is heading a new interim organization that will spend CPB programming funds on public TV projects by and about Hispanic Americans. The Latino Public Broadcasting Project fills a gap left by the National Latino Communications Consortium, which lost CPB funding early this year when an audit by the corporation’s inspector general reported questionable spending practices and misuse of grant monies [earlier stories]. CPB has no “ongoing business relationship” with NLCC, said CPB President Bob Coonrod during a Nov. 17 press conference announcing the new alliance. “We now have an ongoing business relationship with the Latino Public Broadcasting Project.”

Programs/Content

CTW finds its cable outlet: a venture with Nickelodeon

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In a partnership that aims to position educational children’s programs at the forefront
of the digital cable movement, Viacom’s Nickelodeon cable network and Children’s
Television Workshop last week announced plans to launch a new network for kids, to be
called Noggin. The long-anticipated channel will feature programs from each partner’s library,
including old episodes of the venerable Sesame Street, to serve both preschoolers
and school-aged children. Early plans call for it to run without commercials, drawing
revenues solely from cable-operator fees. “In an era when many television networks have abandoned their responsibility to do
more than just entertain, we are extremely proud to be joining with the long-standing
leader in kids’ educational programming, CTW, to bring Noggin to life,” said Herb
Scannell, president of Nickelodeon. “We hope to make learning cool, through
Noggin.”

Programs/Content
Teletubby on a happy walk

Eh-oh!

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Over the hills and far away, Teletubbies come to play. In Teletubbyland, a lush green landscape of undulating hills spotted with clumps of bright flowers, the world is safe and fun — a place to explore and learn through play. We know this because the sun baby, who rises over the set at the beginning of each episode, gurgles, coos and shrieks with pleasure at the adventures of the Teletubbies, four alien yet adorable, toddlerlike beings who live there, cared for and entertained by otherworldly gadgets. Teletubbies, the groundbreaking BBC children’s series that’s prompted both an outcry and a massive consumer craze since its debut last March debut in Britain, is about to arrive in the PBS schedule, April 6. The series is based on the premise — already much-debated in Britain — that very young children are watching television but don’t understand it, so they might as well have a show that’s designed for them.

Programs/Content

Teletubbies in Britain: craze, controversy and consumer frenzy

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Teletubbies haven’t officially landed in the U.S. public TV schedule yet, but they’ve already roused controversy in Britain and landed a great big licensing deal over here. Hasbro, makers of Playskool Baby and other major toy brands, will introduce a range of Teletubbies products–soft toys, figures, games, puzzles, bath toys and other items–by next fall. “It was important to find a partner who understands that young children need to be nurtured, not exploited,” said Kenn Viselman, president of the itsy bitsy Entertainment Co., which holds licensing rights to Teletubbies in the U.S. and Canada. Teletubbies, the children’s TV program that sparked both a craze and outrage in Britain with its debut on BBC2 this year, will begin airing on PBS’s Ready to Learn Service in April. If the British response to the show is any indication of what to expect from U.S. audiences, brace yourselves for a consumer grabfest of purple dinosaur proportions.

Programs/Content

‘Something was very wrong’

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Four days before the May 27 airing of “Innocence Lost: The Plea,” Frontline’s third documentary on the Little Rascals child-abuse case in Edenton, N.C., the prosecutor announced she was dropping all remaining charges in the long and troubling legal action. For producer-director Ofra Bikel and her colleagues at Frontline, the decision brought a rare sense of gratification. Over the past seven years, Bikel’s persistent scrutiny of a prosecution she had come to believe was unjust has made a big difference in many people’s lives. Whether the effect has been for the better or the worse depends on how close you live to Edenton, and which side of the Little Rascals case you want to believe. “It’s not very often that a television program can set people free,” commented David Fanning, Frontline’s senior executive producer.

Development

‘The question of length is really settled’

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A movement among big-market stations to accept 30-second underwriting spots is turning up the heat on PBS to resolve longstanding discrepancies between national underwriting policies and more permissive practices at local stations. Some say six of the top ten stations are accepting the longer spots; others count 19 of the top 20. Among the stations now accepting 30-second underwriting messages are WNET, New York; KCET, Los Angeles; KQED, San Francisco; WCET, Cincinnati; WTVS, Detroit, and KRMA, Denver. The national underwriting that directly supports production of national programs has slipped in recent years, while local stations’ spot sales have grown–probably surpassing the total for national underwriting in recent years. “We can reach 80 percent of the U.S. population with 30-second messages on public television today,” said Keith Thompson, president of Public Broadcast Marketing, a firm that specializes in spot sales on public radio and TV stations.