Spanish-Language Television in the United States by Kenton T. Wilkinson

Author:Kenton T. Wilkinson [Wilkinson, Kenton T.]
Language: eng
Format: epub
Tags: Social Science, Media Studies, Ethnic Studies, American, Hispanic American Studies, Performing Arts, Television, General
ISBN: 9781317688600
Google: UZK9CgAAQBAJ
Publisher: Routledge
Published: 2015-09-25T05:04:07+00:00

Post-Sale Employment Issues

As we have seen, one concern regarding the Univision sale centered on employment—that bringing in Televisa and Venevisión would cause increased airtime dedicated to imported material and less domestic production. Critics cited as evidence a statement by Jerrold Perenchio in his application for the Univision licenses: “the programs offered to the venture by Televisa and Venevision will include at least a quantity of programs sufficient to fill a 24-hour-a-day, seven-day-a-week broadcast schedule” (cited in Claudia Puig, 1992b). Perenchio was making the case that his enterprise had access to sufficient programming to supply the stations; critics interpreted his statement as a plan to halt U.S. production at Univision. When pressed for a clarification, Bob Cahill, an attorney for Perenchio Television, responded, “it means that we have the right, but no obligation … it’s just an assurance that we have a programming source, but we don’t have to take it” (Claudia Puig, 1992b). Univision president Ray Rodriguez spun the point further arguing that competition from Telemundo would keep pressure on his network to air popular programs, not just inexpensive ones, and also emphasized enhanced export opportunities for Univision-produced programs through Televisa’s and Venevisión’s extensive distribution networks (Brennan, 1992a). The cultural relevance of programming aired for U.S. Hispanics was at issue, as were production-related jobs.

Once the sale finalized in December 1992, the new owners began implementing changes. Although the FCC approval hurdle had been cleared, critics and the press remained vigilant. Univision’s canceling three U.S.-produced shows and laying off 70 employees in February 1993 appeared to confirm predictions of a Latin American import pipeline.12 The network defended its action as necessary cost-cutting to reduce its debt (Lopes, 1993). To justify its selection of canceled shows, Univision referred to the Nielsen Hispanic Television Index, which, opportunely, released its first national ratings for Spanish-language television in December 1992. Two of the canceled shows ranked in the top twenty, but it’s important to note that the top three programs were telenovelas, produced by Televisa and Venevisión. The staff reductions at Univision continued during 1993; by August at least 175 employees had been laid off nationwide, Hispanic Business reported (Mendoza, 1993). A number of other workers resigned, including the news director and a well-known chief correspondent, Sergio Muñoz at KMEX in Los Angeles, where turmoil followed the downsizing as a number of former employees believed the station’s news declined in quality and dignity after the ownership change (Cerone, 1993; Mendoza, 1993).

Before the layoffs took place there had been realignments of executive talent at both Univision and Telemundo. The highest-profile and most controversial relocation concerned Joaquin Blaya who was acting president of Univision Holdings when Hallmark announced it would sell the network and station group. Blaya became infuriated that the sale to Perenchio and partners was presented to him as a “done deal” only hours before it was made public. He quickly tendered a management-led offer that included other Univision executives, but was turned down by Hallmark leadership. About six weeks after the sale announcement Blaya made news of his own by declaring that he had accepted the president and CEO position at Telemundo.

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