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WNET (channel 13), branded on-air as Thirteen (stylized as THIRTEEN), is a primary PBS member television station licensed to Newark, New Jersey, United States, serving the New York City area. Owned by The WNET Group (formerly known as the Educational Broadcasting Corporation and later as WNET.org),[2] it is a sister station to the area's secondary PBS member, Garden City, New York–licensed WLIW (channel 21), and two class A stations: WMBQ-CD (channel 46), and WNDT-CD (channel 14, which shares spectrum with WNET). The WNET Group also operates New Jersey's PBS state network NJ PBS, and the website NJ Spotlight through an outsourcing agreement.

Key Information

WNET and WLIW share studios at One Worldwide Plaza in Midtown Manhattan; WNET's transmitter is located at One World Trade Center.[3]

History

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Independent station (1948–1962)

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WNET commenced broadcasting on May 15, 1948, from a transmitter located atop First Mountain in West Orange, New Jersey, as WATV, a commercial television station owned by Atlantic Television, a subsidiary of Bremer Broadcasting Corporation.[4][5] Frank V. Bremer, the CEO, also owned two North Jersey radio stations, WAAT (970 AM) and WAAT-FM (94.7 MHz). The three stations were based in the Mosque Theatre at 1020 Broad Street in Newark. WATV was the first of three new stations in the New York City television market to sign on the air during 1948, and was also the first independent station. One unusual daytime program, Daywatch, consisted of a camera focused on a teletypewriter printing wire service news stories, interspersed with cutaways to mechanical toys against a light music soundtrack. Another early series by the station was Stairway to Stardom (1950–1951), one of the first TV series with an African-American host. WATV's transmitter was moved to the Empire State Building in November 1953.[6]

On October 6, 1957, Bremer Broadcasting announced it had sold its stations for $3.5 million to National Telefilm Associates (NTA), an early distributor of motion pictures for television, joining its NTA Film Network.[7][8] On May 7, 1958, channel 13's call sign was changed to WNTA-TV to reflect the new ownership; the radio stations also adopted these call letters. NTA's cash resources enabled WNTA to produce a schedule of programming with greater emphasis on the people and events of New Jersey, compared to the other commercial television stations.[9] NTA also sought to make channel 13 the center of a new commercial network, though during its run the NTA Film Network offered only one night of "in-pattern" network programming, Friday nights in 1957–58, and for most purposes WNTA served as the New York showcase for nationally syndicated programming and produced several such entries, notably the anthology drama series Play of the Week; the talk show Open End, hosted by David Susskind; children's show The Magic Clown; and a popular dance program emceed by Clay Cole. The station continued to lag behind New York's other independent stations—WNEW-TV (channel 5), WOR-TV (channel 9) and WPIX (channel 11)—in terms of audience size, and NTA incurred a large debt load. National Telefilm Associates put the WNTA stations up for sale in February 1961.[10]

Transition (1961–1962)

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At least three prospective purchasers expressed interest in WNTA. The most prominent was the New York City-based group Educational Television for the Metropolitan Area (ETMA), a consortium of businesspeople, cultural leaders and educators who intended to turn channel 13 into New York City's educational station. By this time, it was obvious that the non-commercial frequency that the Federal Communications Commission (FCC) originally allocated to the city, UHF channel 25, would not be nearly adequate enough to cover a market that stretched from Fairfield County, Connecticut, in the north to Ocean County, New Jersey, in the south. Prior to 1964, when the FCC required television manufacturers to include UHF tuners in newer sets as per the All-Channel Receiver Act passed in 1961, most viewers could not view UHF stations except with an expensive converter; only a few manufacturers made sets with built-in UHF tuning. Even for those who could access UHF stations, reception was marginal even under the best conditions.

With assistance from the University of the State of New York, ETMA had attempted to purchase channel 13 and convert it into a non-commercial station in 1957, when Bremer Broadcasting first put the station on the block;[11] this bid was later withdrawn. This time ETMA was competing with NTA founding president Ely Landau, who had formed a syndicate to buy the station after resigning from NTA; and David Susskind, who received financial backing from Paramount Pictures.[12]

ETMA's initial bid of $4 million was rejected by NTA,[13] but the citizens' group remained persistent. With the support and guidance of National Educational Television (NET), ETMA later received an endorsement from newly appointed FCC chairman Newton N. Minow, who established public hearings to discuss the fate of channel 13. The pendulum quickly shifted in favor of channel 13 going non-commercial, and the commercial suitors withdrew their interest.[14]

On June 29, 1961, ETMA agreed to purchase WNTA for $6.2 million.[15] About $2 million of that amount came from five of the city's six remaining commercial VHF stations (WPIX was the lone holdout), all of whom were pleased to see a competitor eliminated.[16] In addition, CBS later donated a facility in Manhattan to ETMA and NET to use as a studio. The FCC approved the transfer in October, and converted channel 13's commercial license to non-commercial.[17]

The outgoing New Jersey governor, Robert B. Meyner, addressing state lawmakers' concerns over continued programming specific to New Jersey, and fearing the FCC would move the channel 13 allocation to New York City,[18] petitioned the United States courts of appeals on September 6, 1961, to block the sale of WNTA-TV. The court ruled in the state's favor two months later.[19]

The unsettled deal almost caused National Telefilm Associates to reconsider its decision to sell the station altogether, and NTA made plans to go forward: WNTA-TV made a play to acquire broadcast rights for the New York Mets baseball team for its inaugural 1962 season.[20] Faced with either consummating the transaction or seeing it canceled, ETMA settled their differences with New Jersey officials on December 4, 1961.[21] After a few last-minute issues arose to cause further delays, the transfer became final on December 22.[22][23] Later that evening, WNTA-TV signed off for the final time. ETMA and NET then went to work converting the station, which they said would return with its new educational format within three months.

"Tonight, you join me in being present at the birth of a great adventure." Edward R. Murrow, on the first broadcast of WNDT on September 16, 1962.[24][25]

Ten months later, channel 13 was ready to be reborn under new call letters, WNDT (for "New Dimensions in Television"). With Edward R. Murrow—then director of the United States Information Agency—as host of the maiden broadcast, ETMA—now the Educational Broadcasting Corporation—flipped the switch on September 16, 1962.[22][14][26][27][28] The return of channel 13 as WNDT gave the New York City market its first educational station, and with a dial position on the coveted VHF band (in many other cities, including large ones, educational stations had to make do with UHF frequencies). New York's non-commercial UHF channel, on the other hand, signed on as WNYE-TV four-and-a-half years later in April 1967. Richard Heffner was appointed as WNDT's first general manager, serving in that position in its first year; Heffner continued to appear on channel 13 as producer and host of the public affairs program The Open Mind until his death in December 2013.[29]

Educational/public television station (1962–present)

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During the transition, and after the inaugural broadcast, WNDT faced an immediate crisis. The American Federation of Television and Radio Artists (AFTRA) was concerned about the use of teachers—some of whom were union-certified performers—on non-commercial television, and how they would be compensated should their work be distributed nationally.

AFTRA called a strike on the morning of WNDT's debut. Engineers and technicians who were members of the International Brotherhood of Electrical Workers (IBEW) refused to cross the AFTRA picket line, leaving the station's management and other non-union employees to produce the three-hour inaugural broadcast. Immediately afterwards, channel 13 went off the air again, as the strike continued for nearly two weeks.[22][24][30] The striking workers returned WNDT to the air after ten days[31] and on September 28, the labor dispute was settled.[32] However, the station's financial resources were drained, requiring an infusion of cash from the Ford Foundation to help keep the station running.[22][33]

NET originally wanted to merge its operations with WNDT, which would have given the station a direct line of funding as well as make channel 13 NET's flagship station. The Ford Foundation, which supported both groups, stopped the proposed mergers on at least two different occasions in 1962 and 1965.

Events that began in 1967 led the Ford Foundation to change its stance and push for a WNDT-NET merger. The newly formed Corporation for Public Broadcasting (created by an act of the United States Congress) initially supported NET's network role, while providing government funding for programming. But that move was followed two years later by the establishment of the Public Broadcasting Service as the CPB's own distribution system—which was a direct threat to NET's territory. It has been intimated that the CPB's creation was an attempt to curb NET's production of controversial documentaries and replace it with a less controversial, government-friendly broadcaster, less hostile in particular to the Johnson, and later the Nixon administrations (NET ignored the demand and continued with the production of the critically acclaimed documentaries). At one point, President Nixon, frustrated with NET's documentaries criticizing his administration, especially its handling of the Vietnam War, almost managed to cut NET's $20 million funding grant in half.[34] This led both the Ford Foundation and the CPB to threaten NET with funding withdrawal in early 1970, unless it merged its operations with WNDT. Not long after, the Ford Foundation brokered the merger of WNDT and NET, which took effect on June 29, 1970.[35] Channel 13's call sign was changed to the present WNET on October 1, 1970.[36] NET ceased network operations three days later, with PBS taking over the following day. The station continued to produce some shows for the national PBS schedule with the NET branding until early 1972, when they began to be identified as "WNET/13" programs;[37] a formal consolidation of the corporation's separate national and local production facilities occurred later that year.[38]

Following the merger, David Loxton established the TV Lab in 1972[22] with support from the Rockefeller Foundation and New York State Council on the Arts. TV Lab provided artists with equipment to produce video pieces through an artist-in-residence program. The Independent Documentary Fund and Video Tape Review series were both produces of TV Lab. TV Lab ended in 1984 when the CPB withdrew funds.

Since 1979, the station has been known on-air as "Thirteen". It continued to include Newark in its legal IDs (though logos for national productions read "New York") until the late 1990s. Since then, it has identified mostly as "New York", though it is still legally licensed to Newark.[citation needed]

Even after becoming a noncommercial station, channel 13 retained its original studios and offices at the Mosque Theater in Newark. The station eventually moved to the Gateway Center office building, also in Newark. In 1982, more than 20 years after becoming the New York area's flagship public television station, WNET moved its operations to the Hudson Hotel at 237 West 58th Street in Manhattan, while retaining the Gateway Center studios for a few more years.

In 1987, channel 13 celebrated its silver anniversary with a series of rebroadcasts of older programs titled Thirteen Revisited.[39]

In 1998, WNET moved to 450 West 33rd Street, straddling the railroad tracks going into Pennsylvania Station.

Channel 13's transmitter facilities, including a newly installed digital transmission system, were destroyed in the terrorist attacks of September 11, 2001. Gerard (Rod) Coppola, channel 13's head transmitter engineer, was among those who died when the north tower collapsed. His remains were discovered on December 25, 2001.[40] For the next ten months, WNYE-TV, headquartered in Brooklyn, became WNET's surrogate transmitter and airwave: for those without cable, repeats of WNET's prime time schedule were broadcast on WNYE until Channel 13 could re-establish transmission facilities back at the Empire State Building.

Some time later, in February 2003, WNET completed its merger with Long Island PBS broadcaster WLIW (licensed to Garden City and based in Plainview), combining the two stations into one operation.[22] While most of the two stations' operations have been merged, they still have separate studio facilities, separate governing boards, and conduct separate fundraising efforts.

WNET's studio, One Worldwide Plaza

During 2009, WNET's parent company, WNET.org, sustained financial difficulties, and in January, the company pared its workforce from 500 employees to 415, due to severe problems with its budget and fundraising. In October, WNET announced that its studios at 450 West 33rd Street would soon be up for sale, as it no longer needed the extra space. In November, WNET announced that all WNET.org employees would take an unpaid furlough for three to five days between Christmas and New Year's Day, with a skeleton crew of engineers remaining during that time to keep the stations on the air; however, they, too, would have to go on furloughs at the start of 2010.[41] In 2011, WNET moved its studios and offices to Worldwide Plaza.

WNET has been broadcasting digital-only since June 12, 2009.[42][43][44]

On July 1, 2011, WNET took over the programming of New Jersey Network's television stations, which were relaunched as NJTV (now NJ PBS). The network features increased coverage of news and issues pertinent to New Jersey, as well as programming from the WNET and PBS libraries. The transfer of programming to WNET was part of Governor Chris Christie's plan for the New Jersey government's exit from public broadcasting.[45] As part of the deal, WNET airs NJTV's nightly statewide newscast, NJ Today (which was renamed NJTV News on November 4, 2013), to meet its local programming obligations since it still operates on a frequency allocated to Newark. Previously, it had aired NJN's newscast, NJN News, which it co-produced with NJN from 1978 to 1981 (the program continued to air on WNET even after NJN took full control over its production).

In 2014, the Tisch WNET Studios at Lincoln Center were built at the southwest corner of 66th Street and Broadway; this facility houses two television studios. The space can also accommodate lectures, screenings and concerts. The facility is named in honor of James S. Tisch and his wife, Merryl H. Tisch, whose $15 million gift was, at that time, the single largest donation from individuals in WNET's history.[46]

On May 9, 2017, it was announced that WNET would resume broadcasting from Lower Manhattan at One World Trade Center by the end of the year.[47]

In 2019, WNET acquired New Jersey news website NJ Spotlight. The following year, it merged NJ Spotlight with NJTV's newsroom, with the NJTV newscasts becoming NJ Spotlight News.[48] NJ Spotlight would merge with NJTV News in 2020.[49] On March 25, 2021, WNET.org was reorganized as The WNET Group.[50]

On July 2, 2020, at 9 a.m. during the FCC repack, WNET relocated from channel 13 to channel 12.[51]

Original productions

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This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by editing the page to add missing items, with references to reliable sources.

Notable general-audience programs produced by WNET

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WNET has produced, created and/or presented a number of PBS shows. This includes, but is not limited to:

Notable children's programs produced by WNET

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*indicates a program that was originally presented by Connecticut Public Television.
**indicates a program that was originally presented by Maryland Public Television.

WNET has also produced programming for public television stations distributed outside of the PBS system, including:

  • In the Mix: The New Normal, a co-production with In the Mix
  • Planet H2O
  • What's Up in Factories
  • What's Up in Finance
  • What's Up in Technology

Other programming

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WNET was also one of the original co-producing entities of the PBS NewsHour, along with Washington, D.C. PBS member station WETA-TV and MacNeil-Lehrer Productions. The show debuted in 1975 as a local news-analysis program, The Robert MacNeil Report. Jim Lehrer, a frequent guest on MacNeil's show, became co-host the following year, when the show was picked up by other PBS stations. WNET produced weekend editions of PBS NewsHour alongside WETA-TV for the weekday editions until 2022 when WETA assumed production for the weekend edition in addition to the weekday editions.[53][54]

Criticism and controversy

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Misuse of federal grants

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In 2010, the office of the United States Attorney for the Southern District of New York, filed a lawsuit asserting that the WNET subsidiary, the Educational Broadcasting Corporation, misused grant money worth $13 million, donated by the National Science Foundation, the National Endowment for the Humanities and the National Endowment for the Arts between September 2001 and January 2008.[55][56][57][58] The suit asserted that WNET had used grant money that was given for the production of programs including American Masters, Great Performances and Cyberchase for other purposes.[56][57] WNET settled the lawsuit in June 2010 by paying back the United States government $950,000,[56] pledging to instate a program to ensure they honored all future federal grant requirements[55] and agreeing to not receive $1,015,046 in federal grant money that was about to be awarded,[57] WNET Vice President and General Counsel, Robert Feinberg, said to The New York Times: "This is not a scenario we want to repeat and we have no intention of repeating it."[56]

Board member influence on programming

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In November 2012, WNET was scheduled to air Alex Gibney's film Park Avenue: Money, Power and the American Dream produced by Independent Lens.[59] The film compared the wealth gap between the New York residents of Park Avenue in the Bronx and the wealthy residents of an exclusive Manhattan apartment block at 740 Park Avenue, including David Koch, a billionaire businessman and political activist.[60] At the time Koch was a board member of WNET and was planning on making "a seven-figure donation—maybe more" to WNET.[61] A furor erupted[62][63][64] when The New Yorker revealed in May 2013 that to appease Koch, the president of WNET, Neal Shapiro, called Koch offering him the opportunity to screen Gibney's film before broadcast and rebut it after it aired with a written statement. Shapiro said to The New Yorker that he "just called David Koch. He's on our board. He's the biggest main character. No one else, just David Koch. Because he's a trustee. It's a courtesy. I can't remember doing anything like this [before]".[61] WNET replaced the film's introduction by Stanley Tucci with a new introduction calling the film "controversial" and "provocative". Immediately after the broadcast, they aired a statement from Koch Industries criticizing the film as "disappointing and divisive", although a Koch spokesperson said David Koch had only watched the trailer. WNET followed the statement with an on-air round-table discussion where the moderator repeatedly mentioned that Koch's philanthropic contributions totaled a billion dollars.[61] Gibney was not invited to appear at the round-table and was quoted as saying, "Why is WNET offering Mr. Koch special favors? And why did the station allow Koch to offer a critique of a film he hadn't even seen? Money. Money talks. They tried to undercut the credibility of the film, and I had no opportunity to defend it."[61] Koch did not make the large donation to WNET and resigned from their board on May 16, 2013.[61][65]

Ethical issues with funding

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In September 2013, WNET launched a series called The Pension Peril, examining the economic sustainability of public pensions and promoting cuts to their funding.[66][67] On December 18, 2013, Neal Shapiro, president and CEO of WNET was quoted in a press release saying "this is the type of complex public policy story that only public television covers in an in-depth and ongoing way. WNET is poised to lead and further the dialogue about this challenging situation all across public media, on PBS, public radio, and online".[68]

On February 12, 2014, PandoDaily reported that the sole sponsor of The Pension Peril was former Enron trader John D. Arnold[69] who had financially backed efforts to cut public employee pension benefits.[70][71] Stephen Segaller, WNET's vice president for programming told The New York Times on February 13, 2014, that he had "absolute conviction" that the Laura and John Arnold Foundation was an admissible funder and the funding did not violate PBS' "perception" rule. On February 14, Segaller told The New York Times that WNET had reversed course after discussing with PBS "both the facts and the optics. We all take very, very seriously any suggestion that there's a perception problem about the integrity of our work or the sources of our funding, and we came to the conclusion that it's better to err on the side of caution".[67] WNET and PBS issued a joint statement saying the series would go on hiatus and WNET would return the $3.5 million grant it had received from the Laura and John Arnold Foundation.[67] Segaller said in the statement, "We made a mistake, pure and simple". PBS ombudsman, Michael Getler, commented that PandoDaily's article "shines a light, once again, on what seems to me to be ethical compromises in funding arrangements and lack of real transparency for viewers caused, in part, by the complicated funding demands needed to support public broadcasting, and in part by managers who make some questionable decisions".

Getler added that WNET "went seriously wrong" and that their "decision to accept a grant of $3.5 million from the Arnold Foundation, with a stated interest in 'public employee benefits reform', flunks PBS's own 'perception test', which is part of the service's Funding Standards and Practices."[72]

Neglecting public mission and mandate

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In late 2014, WNET programming chief Stephen Segaller received widespread criticism for proposing to push the multi award-winning documentary strands Independent Lens and POV out of a prime time slot and onto a secondary station, WLIW (Channel 21).[64][73] Over 2,000 documentarians signed a petition,[64] stating that WNET's action would lead to the shows being marginalized by PBS affiliates nationwide and have a severe effect on cutting edge documentary filmmaking.[73] Among the prominent opponents of rescheduling POV and Independent Lens were filmmakers Alex Gibney and Laura Poitras, who had campaigned against a similar move by WNET in 2012.[74] TV producer Norman Lear wrote an op-ed in The New York Times accusing WNET and PBS of a ratings-chase that "could devastate independent documentary film making". He criticized the broadcaster for "threatening, for the second time in four years, to downgrade documentaries, which are at the heart of its public mission."[73] Many of the subjects POV and Independent Lens covered – like the Koch brothers' influence on American politics in Alex Gibney's film, Park Avenue: Money, Power and the American Dream — have been controversial,[64][73] leading the Indie Caucus, a group of Independent filmmakers to speculate if the provocative subjects they explored might also be relegating them to the more obscure TV schedule.[75] Segaller said it was "preposterous" to suggest that WNET had a censorship agenda when both programs had run for more than a decade. "One disputatious moment in a many-year history does not a conspiracy make," he declared.[64] In April 2015, WNET relented and restored both strands to their original slots.[76]

Inaccuracy and improper influence

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In June 2015, a media furor forced WNET to postpone the third season of Finding Your Roots[77][78] when the Sony Pictures hack revealed via hacked emails that a subject of the series, Ben Affleck, had lobbied for material relating to a relative owning slaves be removed from the show.[79] Those edits, which violated PBS ethics standards,[77][78] brought strong criticism from the media to WNET and the producers of the show. PBS issued a statement saying "the series co-producers violated PBS standards by failing to shield the creative and editorial process from improper influence, and by failing to inform PBS or WNET of Mr. Affleck's efforts to affect program content". The statement promised the episode would be withdrawn from distribution and that the series would employ "an independent genealogist to review all versions of program episodes for factual accuracy".[80] After the suspension of the series, Adweek commented: "The network clearly understands that its integrity has been thrown into question by this controversy. Even if they understood where the producers of the show were coming from when they decided to entertain the request, PBS and the veracity of all that's included in their documentaries, requires decisive action that conveys just how serious this infraction was".[78] The series returned to the air in January 2016.[81]

LGBTQ+ content

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In March 2025, WNET came under fire by Republican members of Congress during the Anti-American Airwaves hearing, which saw the station accused of using public funding to push "radical, left positions". Following these hearings, the station scrubbed its archives of three episodes of the educational program Let's Learn—two of which featured a children's book with a transgender protagonist, while the third featured a drag queen.[82]

Subchannels

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The station's signal is multiplexed:

Subchannels of WNET and WNDT-CD[83]
License Channel Res. Aspect Short name Programming
WNET 13.1 1080i 16:9 WNET-HD PBS
13.2 480i KIDS PBS Kids
21.1 1080i 16:9 WLIW-HD PBS (WLIW)
21.3 480i World World Channel (WLIW)
WNDT-CD 14.1 480i 16:9 WNDT-CD FNX
  Broadcast on behalf of another station


See also

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

WNET

View on Grokipedia
from Grokipedia

The WNET Group is a nonprofit public media organization that operates WNET, branded on-air as THIRTEEN, a primary member television station licensed to , and serving the . As a leading producer of content for over 60 years, it focuses on creating educational, informational, and cultural programming to foster and provide alternatives to commercial media. The organization reaches over five million viewers monthly across its broadcast channels, radio station, and digital platforms, including acclaimed national PBS series such as , , and , alongside local news via NJ Spotlight News and children's educational content like . WNET originated from early television in the region, signing on as channel 13 in 1948 before transitioning to public educational programming and merging with other entities in 1970 to form its current structure under The WNET Group. It maintains a commitment to nonprofit , distributing content on topics ranging from and to social issues like and the environment, supported by viewer donations and grants. Key achievements include numerous awards for its innovative productions and a role in pioneering public media experiences, such as streaming services and community-focused initiatives, though it has faced operational changes like the planned closure of its affiliate in 2026 due to funding challenges.

History

Founding and independent operations (1948–1961)

Channel 13 in , signed on the air as WATV on May 15, 1948, operating as an independent commercial owned by Atlantic Television , a of Bremer . The station's initial studios were located in the Theater at 1020 Broad Street in Newark, with its transmitter atop First Mountain in . from these facilities, WATV served the as the fourth in the region and the 25th in the United States, filling its schedule with movies, syndicated series, local productions, and public affairs programs typical of early independent outlets in competitive markets. Early operations emphasized live local content, including variety shows and discussions, produced by staff such as filmmakers Frank Jacoby and Doris Storm, who were hired to launch the station. As an independent without network affiliation, WATV competed aggressively for advertising revenue against established outlets like , , and DuMont, often relying on low-budget programming and film packages to attract viewers in the densely populated . Financial pressures mounted due to the high costs of television production and the dominance of network affiliates, limiting WATV's growth despite its strategic location targeting audiences from a base. In 1957, Atlantic Television sold WATV, along with sister radio station WAAT, to (NTA) for approximately $3.5 million, marking a shift in ownership while maintaining its independent commercial format. Under NTA, the station adopted the call letters WNTA-TV in 1958 and continued operations with expanded film libraries and syndicated fare, though profitability remained elusive amid intensifying competition from new UHF stations and network expansions. By 1961, persistent financial losses prompted NTA to divest the station, paving the way for its transition to non-commercial educational as WNDT, ending 13 years of independent commercial service.

Transition to educational broadcasting (1961–1962)

In June 1961, Educational Television for the Metropolitan Area (ETMA), a nonprofit group, agreed to acquire WNTA-TV, the commercial station on channel 13 licensed to Newark, New Jersey, for $6.2 million, with plans to transform it into New York City's first noncommercial educational television outlet. The deal, approved by the Federal Communications Commission, was finalized on December 22, 1961, for a total of $6.45 million, including $1.25 million raised from contributions by six local commercial VHF stations to support the shift to public service broadcasting. ETMA, which later reorganized as the Educational Broadcasting Corporation, secured the purchase amid competitive pressures in the New York media market, where channel 13's VHF position offered broad coverage potential for educational content. Preparations for the relaunch involved rebranding the station as WNDT, standing for "New Dimensions in Television," and affiliating with the (NET) network to distribute instructional and cultural programming. After delays in securing studio facilities and talent agreements, WNDT commenced broadcasting on September 16, 1962, with an inaugural three-hour program hosted by , featuring speeches from figures like FCC Chairman Newton Minow and educational leaders emphasizing the station's mission to provide noncommercial alternatives to entertainment-dominated television. The debut faced immediate disruption when, on September 17, 1962, operations halted due to a with the American Federation of Television and Radio Artists (AFTRA), which demanded union jurisdiction over non-acting personnel such as teachers and journalists, along with restrictions on reusing taped content. Joined by the Local 1212, the striking unions picketed the studios, forcing WNDT off the air pending negotiations led by station president Dr. Samuel B. Gould and city labor officials. Despite the setback, the station resumed limited operations shortly thereafter, marking the successful transition to educational broadcasting and establishing channel 13 as a key NET affiliate serving the New York metropolitan area with curriculum-based shows, public affairs discussions, and cultural specials funded through grants and viewer contributions. This shift addressed the lack of VHF educational outlets in major markets, enabling broader access to NET's national programming feed.

Expansion as public television station (1962–1990s)

WNDT, licensed to , signed on as a non-commercial station on September 16, 1962, with delivering the inaugural address under the slogan "New Dimensions in Television." The station, operating on VHF channel 13, focused on instructional and cultural programming amid the early growth of educational , supported by federal initiatives like the Educational Television Facilities Act of 1962. Initial operations faced financial hurdles, relying on grants from the and local contributions to sustain expansion beyond basic local broadcasts. In 1970, WNDT merged with the (NET) network, brokered by the with $16.5 million in funding to ensure solvency, effective June 29, 1970. The merger, finalized with the call sign change to WNET on October 1, 1970, integrated NET's production capabilities under the Educational Broadcasting Corporation, transitioning from NET's distribution model to the newly formed (PBS) in 1970. This positioned WNET as a PBS member station, enabling national distribution of its content to nearly 360 affiliates and emphasizing original productions in , , and documentaries. WNET's expansion included founding the Television Laboratory in 1972 to support independent filmmakers, fostering innovative programming distributed via PBS. Key productions emerged, such as (1973–1974), (1976), Bill Moyers' Journal (1971–1981, 1986–1990), and co-production of The MacNeil/Lehrer NewsHour starting in 1975, which grew into a of public affairs journalism. By the 1980s and 1990s, WNET solidified its role as America's most-viewed public television station, leveraging grants and viewer pledges to fund expansive studios and reach millions through syndicated series.

Modern developments and mergers (2000s–present)

In 2001, WNET initiated a merger with WLIW, the station serving , to streamline operations amid financial pressures facing public broadcasters. The agreement, announced on August 1, 2001, aimed to combine programming, fundraising, and administrative functions while preserving distinct broadcast identities. The process concluded in February 2003, with WLIW fully integrated into WNET's structure, expanding its reach across the New York region. WNET transitioned to digital-only broadcasting on June 12, 2009, aligning with the nationwide full-power analog shutdown mandated by . This shift enabled multicasting capabilities, allowing simultaneous airing of multiple feeds and local content on subchannels. The change followed years of preparation, including test broadcasts, and addressed spectrum reallocation for public safety communications. By 2011, WNET had relocated its primary studios to in , consolidating facilities for enhanced production efficiency. In June of that year, under an agreement brokered by New Jersey Governor , WNET assumed operational control of the New Jersey Network's (NJN) television assets, which faced state budget cuts leading to divestiture. The arrangement rebranded NJN's services as NJTV, with WNET managing programming, including a nightly statewide newscast, through its subsidiary Public Media NJ; this preserved public television access in New Jersey without direct state funding. In March 2019, WNET acquired NJ Spotlight, a nonprofit digital news outlet specializing in policy and investigative reporting, to bolster NJTV's journalistic output. The integration created expanded coverage of state issues, combining NJ Spotlight's staff with NJTV News for collaborative reporting distributed across television, online, and social platforms. This move reflected WNET's strategy to deepen regional engagement amid declining traditional viewership.

Organizational structure

Ownership and affiliations

The WNET Group, legally incorporated as a , serves as the owner and operator of WNET (channel 13), with the station licensed to , but headquartered in . Formerly known as the Educational Broadcasting Corporation, the group functions without private shareholders or profit motives, relying on a structure typical of public media entities that emphasizes over commercial interests. is provided by an independent board of trustees comprising 31 voting members as of 2024, chaired by James Attwood Jr., which oversees strategic decisions and responsibilities. WNET maintains primary affiliation with the , functioning as the leading member station for the New York metropolitan region and distributing national PBS content alongside locally produced programs. The WNET Group extends its operations to sister stations WLIW (channel 21), a secondary PBS outlet focused on , and WLIW-FM (88.3 MHz), the area's sole NPR radio affiliate, thereby broadening affiliations to include both television and radio networks. Through Public Media NJ, Inc., a , The WNET Group has managed —a statewide public television network—since acquiring operational control from the in 2011 following a state-mandated transition. This arrangement, funded partly by state appropriations, is set to conclude after fiscal year 2026, with WNET opting not to renew the operating agreement, potentially shifting future oversight to state entities or alternative providers.

Leadership and governance

serves as President and Chief Executive Officer of The WNET Group, overseeing operations for stations THIRTEEN, WLIW21, and . With a spanning over 30 years in media production and executive roles, Shapiro has led the organization through expansions in digital content and programming since assuming the position. The executive leadership team reports to Shapiro and includes key vice presidents such as Tamisha M. Chestnut (People and Culture), Caroline C. Croen ( and ), and others focused on content production, fundraising, and operations. This structure supports the group's nonprofit mission of delivering educational and public media services across New York and . As a 501(c)(3) nonprofit, The WNET Group is governed by a Board of Trustees comprising voting trustees, life trustees, and emeriti chairs, with public meetings generally open to attendance. James A. Attwood Jr. has chaired the board since succeeding Edgar Wachenheim III in early 2023, following Attwood's designation as chair-elect in December 2022. The board, which included approximately 33 voting trustees in recent fiscal years, features vice chairs such as Charlotte Nichoson Ackert, , and Jane Stoddard Williams, drawn from business, finance, and philanthropy sectors. Subsidiary entities like Public Media NJ, Inc., which operated stations, maintained separate trustee boards until resignations in September 2025 amid plans for operational closure by 2026, reflecting broader governance adjustments within the group. The board emphasizes transparency, as evidenced by annual reviews and adherence to standards recognized by oversight bodies like the .

Programming

Original general-audience productions

WNET's original general-audience productions have primarily emphasized and innovative documentary-style narratives, distinguishing the station's contributions to public television from educational or syndicated fare. A landmark example is An American Family, a 12-part series aired in 1973 that followed the daily life of in , over seven months; widely recognized as the precursor to modern , it captured unscripted family dynamics including the coming out of son as gay, sparking national debate on privacy and . The production, directed by Craig Gilbert and filmed with techniques, reached an estimated 10 million viewers and influenced subsequent formats like Survivor. The station's flagship performing arts series, , originated from WNET's earlier NET Playhouse (1966–1973), which under producer Jac Venza introduced weekly drama to national audiences via the network. Relaunched as on January 28, 1974, the anthology series has broadcast over 1,500 performances, encompassing operas (e.g., full productions from the ), ballets, musical theater, and concerts featuring artists from to the . By its 50th anniversary in 2024, it had earned 25 and introduced initiatives like (1976–2010), capturing events from New York's cultural institutions for broader accessibility. Other notable efforts include historical dramas such as (1976), a 13-episode depicting seven generations of the Adams family with period-accurate costumes and sets, narrated by host host , which drew 12 million viewers per episode and won a Peabody Award for its educational yet entertaining portrayal of American founding . WNET's approach prioritizes high-production-value content sourced from premier venues, fostering cultural enrichment without commercial constraints, though reliant on viewer pledges and grants.

Children's and educational programming

WNET produces original children's educational programming for the block, focusing on interactive learning in subjects such as and . Its flagship series, , an animated adventure program designed to teach mathematical concepts to children ages 6-10, premiered on on January 21, 2002. Developed in collaboration with Limited, the series follows young protagonists who use problem-solving skills to thwart the villainous in a digital realm called , incorporating real-world math applications like and data analysis. By 2019, had received for educational content and secured multi-year sponsorships to support ongoing production of new episodes. In addition to broadcast series, WNET develops for younger audiences through its Kids' Media and Education team, which aims to foster curiosity and confidence via age-appropriate content. The web-based series Oh Noah!, produced by THIRTEEN for WNET, targets children ages 4-8 with animated videos and embedded games introducing basic Spanish vocabulary and cultural elements through the misadventures of a young protagonist navigating bilingual challenges. Launched in 2015 with funding from the , the series expanded with new episodes and interactive features by April 2016 to enhance without formal instruction. As New York's primary PBS member station, WNET broadcasts the full national schedule on its main channel and dedicated subchannel, including acquired series like and , while prioritizing original productions aligned with federal educational grants emphasizing STEM literacy. In January 2017, WNET rebranded its children's programming feed as THIRTEEN PBSKids to streamline access to these resources, continuing to integrate local outreach with national distribution.

Documentaries and specials

WNET produces a range of documentary series and standalone specials distributed nationally via , emphasizing , American cultural figures, and archival restorations. The flagship series , launched in 1982, features in-depth wildlife and environmental documentaries filmed worldwide, marking its 44th season in fall 2025 and accumulating over 800 awards, including 21 and three . Another cornerstone is , which debuted in 1986 and chronicles the biographies of influential artists, musicians, writers, and innovators through original films, with episodes exploring figures such as , , and . WNET's specials often highlight historical and biographical narratives, including Becoming Frida Kahlo, a 2023 production examining the artist's life and legacy, premiered during Hispanic Heritage Month. The organization also curates and restores archival documentaries, resurfacing over 50 films and series on topics such as the Black experience in America, , and through initiatives like The WNET Group Archives. These productions frequently involve collaborations with filmmakers and receive support from major donors, contributing to WNET's reputation for high-quality, fact-based storytelling in public broadcasting.

Acquired and syndicated content

WNET, as the flagship PBS member station for the New York area, airs a broad array of nationally syndicated programs distributed by PBS and American Public Television, which originate from producers outside The WNET Group. These include the evening news program PBS NewsHour, produced by WETA in Washington, D.C., providing in-depth reporting since its inception as the Public Broadcasting Service Evening News on October 1, 1975. Investigative journalism series such as Frontline, developed by WGBH in Boston and premiered on January 17, 1983, feature long-form documentaries on global issues. Similarly, the science series NOVA, also from WGBH and debuting on March 3, 1974, delivers factual explorations of scientific phenomena to public audiences nationwide. British period dramas and contemporary series form a significant portion of WNET's acquired content through the anthology, distributed by WGBH since 1971 (initially as Masterpiece Theatre). Examples include adaptations like Maigret, based on Georges Simenon's novels and aired on PBS starting in 2017, sourced from ITV Studios in the . Children's educational programming syndicated via encompasses titles such as , produced by since November 10, 1969, emphasizing early childhood development through puppetry and live-action segments. Other family-oriented acquisitions include , created by Cookie Jar Entertainment and Marc Brown, which ran from October 7, 1996, to February 2, 2022, focusing on for young viewers. In addition to core PBS offerings, WNET acquires select independent and international content for specialized feeds. On its ALL ARTS multicast channel and streaming platform, launched on October 17, 2018, the station broadcasts acquired global programs, including performances and documentaries from international archives and producers, complementing local coverage. These acquisitions, limited to local broadcast rights per WNET policy, enhance viewer access to non-U.S. cultural content without national redistribution. Syndication deals occasionally extend to talk formats, such as Conversations with Jim Zirin, a nationally distributed series on and aired on THIRTEEN. This mix ensures comprehensive scheduling, with syndicated fare filling prime-time slots alongside WNET's originals to serve over five million monthly viewers.

Funding and finances

Revenue sources and federal reliance

WNET derives its revenue from a mix of private and public sources, including individual and foundation contributions, corporate underwriting, viewer memberships, program licensing and service fees, investment income, and government grants. In fiscal year 2024 (ended June 30, 2024), the organization's total operating revenues reached $162,139,331, with major components encompassing public broadcasting entity support ($46,760,303), individual gifts and bequests ($27,583,116), memberships and subscriptions ($22,438,100), and foundation/nonprofit contributions ($17,679,612). Program service revenues, such as content licensing to other broadcasters, and passive income from investments further diversify funding, reducing vulnerability to any single stream. Federal funding, channeled primarily through the (CPB), forms a notable but non-dominant portion of WNET's , typically comprising 6-8% of operating revenues in recent years. The CPB's Grant (CSG) alone provided $10,510,936 in FY2024, supporting core operations like local programming and technical . Additional federal grants from agencies such as the ($897,247) and ($537,002) brought total direct federal support to approximately $11.95 million, or about 7.4% of revenues. As a major-market station serving urban New York, WNET's federal reliance is lower than the public television average of 18%, reflecting stronger support in densely populated areas. State and local government contributions add another layer, totaling $6,818,564 in FY2024 (primarily from New York State), but these are distinct from federal allocations and often tied to specific educational or cultural initiatives. Overall government funding hovered around 11% of the budget, underscoring WNET's diversified model while highlighting CPB's role in stabilizing non-commercial broadcasting amid fluctuating private donations. Recent federal rescissions in 2025, eliminating over $1 billion in CPB appropriations, have prompted WNET to intensify fundraising appeals and explore alternative revenue, as the loss equates to roughly 6.5% of its prior-year operating budget.

Budget management and expenditures

WNET's consolidated for the ended June 30, 2024, report total expenses of $150,535,000, marking a slight increase from $149,213,000 in the prior year. Program services constituted the largest portion at $109,657,000, or approximately 73% of total expenses, reflecting the organization's core mission in media production and distribution. and general expenses totaled $20,952,000, while expenses reached $19,926,000. The breakdown of program services expenses highlights priorities in and delivery:
CategoryFY2024 ExpensesFY2023 Expenses
National and Local Programming$70,758,000$68,239,000
Broadcast Station Operations$30,177,000$31,746,000
$3,888,000$2,784,000
Web Services$4,834,000$4,782,000
Total Program Services$109,657,000$107,551,000
National and local programming saw the most significant growth, up by $2,519,000 year-over-year, driven by investments in original content production. Broadcast operations declined modestly amid shifts toward digital platforms. Budget management follows established non-profit protocols, including board approval for operational spending from endowment funds limited to a 5% rate based on the average balance over the prior five fiscal years. Expenses are allocated across functions using systematic methods, such as time-and-effort tracking for salaries and square footage for occupancy costs, to ensure accurate attribution between program and support activities. WNET's program expense ratio, calculated as program expenses divided by total expenses, averaged 69.42% over recent audited periods, aligning with benchmarks for media non-profits but indicating room for efficiency gains in administrative overhead. In response to funding volatility, including reduced federal support in FY2025, the organization implemented staff reductions and cost controls to align expenditures with revenues.

Controversies

Misuse of federal grants and repayments

In June 2010, a of WNET.org, the Educational Broadcasting Corporation, settled a civil brought by the U.S. Department of Justice on behalf of the (NSF) over allegations of improper accounting and use of federal grant funds allocated for educational and scientific programming projects. The settlement required the repayment of $950,000 in funds already received and the forfeiture of approximately $3 million in additional grant awards that had been approved but not yet disbursed, stemming from audits that identified discrepancies in cost allocations and reimbursements for projects totaling $7.8 million. WNET did not admit liability but agreed to the terms to resolve the matter, with the effective cost representing about 13% of the delayed reimbursements sought for the affected grants. The issues arose from internal accounting practices that allegedly allowed unallowable expenses, such as overhead and administrative costs exceeding permitted limits under NSF guidelines, to be charged to the grants during the mid-2000s. These grants supported content production, including segments related to programs like Science Friday, which was produced under WNET's auspices at the time. Federal investigators determined that while the funds advanced objectives, procedural lapses in documentation and segregation of costs violated grant compliance requirements, leading to over-recoveries estimated in the low millions. Following the settlement, WNET implemented enhanced financial controls and compliance training to address the identified deficiencies, as stated by station executives who described the resolution as closing a chapter on historical practices predating current . No criminal charges were filed, and the case highlighted broader challenges in grant administration among media entities reliant on federal support, where accounting errors can trigger repayments without evidence of intentional . Subsequent NSF oversight reports referenced the matter as an example of resolved compliance issues in educational grants.

Board and donor influence on content

In November 2012, WNET faced significant criticism for its handling of the documentary Park Avenue: Money, Power and the American Dream, directed by Alex Gibney, which examined wealth inequality by contrasting the opulent residents of 740 Park Avenue—including industrialist David Koch—with poverty in the South Bronx. David Koch, a major donor to public television who had contributed millions and served on WNET's board of trustees, was portrayed critically in the film for his political activities and wealth. WNET CEO Neal Shapiro reportedly expressed anger over the film's distribution through the Independent Television Service (ITVS) without prior consultation, and amid expectations of a seven-figure donation from Koch to WNET's capital campaign, the station initially delayed its prime-time airing, prompting accusations of donor-driven censorship. The documentary ultimately aired on November 12, 2012, but the episode highlighted tensions between board members with donor ties and content decisions perceived as challenging powerful benefactors. Koch's broader influence extended to public broadcasting funding, with over $23 million donated to stations including WNET for programming and facilities, often positioning him on boards where his conservative intersected with editorial choices. Critics, including filmmakers and media watchdogs, argued that such donor-board overlaps created a , as evidenced by WNET's initial reluctance to broadcast content critiquing Koch, despite the station's public mission. WNET maintained that no direct suppression occurred and emphasized journalistic , but the controversy led to Koch's from the board in 2013, reportedly amid ongoing disputes over the film's impact. This incident underscored systemic risks in public media, where major individual donors holding positions could prioritize funding stability over unflinching scrutiny of economic elites. By 2015, WNET's programming shifts further illustrated board-level pressures favoring audience growth over niche documentaries, as the station moved series like and POV from prime slots to off-peak times to accommodate arts content and boost ratings. , responding to declining linear viewership, defended the changes as strategic adaptations, but filmmakers and advocates contended they diluted WNET's commitment to provocative public-interest , potentially influenced by board members attuned to donor preferences for less confrontational fare. These decisions reflected a where governance bodies, often comprising affluent philanthropists, weighed financial sustainability against editorial risk, though WNET officials insisted content remained driven by mission rather than external sway. No formal evidence of explicit donor vetoes emerged beyond the Koch case, but the episodes fueled debates on insulating public broadcasters from elite benefactor leverage.

Ethical lapses in funding disclosures

In February 2014, WNET aired a MetroFocus segment examining the fiscal impact of employee s in , which had been produced with funding from the Laura and John Arnold Foundation, a nonprofit known for advocating pension reforms and criticizing underfunded systems. The foundation's executive director, John Arnold, had previously donated significantly to efforts opposing traditional s, creating a perceived alignment between the funder's interests and the segment's critical framing of pension obligations as a budgetary . Critics, including public media watchdogs, argued that WNET's failure to explicitly disclose the Arnold Foundation's role during the broadcast constituted an ethical lapse, as it deprived viewers of context about potential influences on content selection and framing. While WNET included the foundation's name in end credits alongside other supporters, this placement was deemed insufficient for transparency, given that many viewers do not watch credits and the topic's sensitivity to funder incentives. The incident highlighted broader concerns in public broadcasting about underwriting practices, where donor-specific funding for issue-driven journalism risks undisclosed advocacy without on-air attribution, potentially eroding audience trust. WNET defended its practices by stating that all funders are listed in program credits and that editorial independence is maintained through internal guidelines prohibiting donor interference. However, the station declined to explain why no prominent or verbal disclosure occurred, prompting calls for revised standards on funder transparency in topic-specific programming. This event contributed to ongoing scrutiny of public media's donor disclosure protocols, with some observers recommending real-time or verbal acknowledgments for high-stakes topics to align with journalistic emphasizing conflict revelation. No regulatory penalties ensued, but the controversy underscored vulnerabilities in WNET's funding model, which relies heavily on private grants comprising a significant portion of its .

Accusations of ideological bias and mission drift

WNET, as a major producer and affiliate, has been accused by conservative critics of embedding left-wing ideological bias into its content, favoring progressive viewpoints on social, cultural, and historical issues over neutral education. These claims align with broader Republican-led scrutiny of , where stations like WNET are alleged to amplify narratives on race, gender, and identity that reflect institutional liberal leanings rather than balanced inquiry. For example, during a 2025 U.S. House subcommittee hearing, executives defended programming like documentaries—distributed via stations including WNET—against accusations of partisan focus on gender and racial topics, with critics arguing such content prioritizes advocacy over objectivity. Specific incidents involving WNET programming have fueled these bias allegations. Its interactive educational series Mission US, funded partly by federal grants, faced backlash in 2017 when the Phoenix Union High School District banned the games following community complaints over historical portrayals, particularly in modules depicting and Native American experiences as ideologically slanted toward victimhood narratives without sufficient context for resilience or alternative perspectives. Similarly, Minneapolis Public Schools suspended use of the "Flight to Freedom" module in 2015, citing concerns that simulating enslaved life was traumatic and potentially reinforced biased interpretations of agency during , though defenders praised it for highlighting personal power amid oppression. Internal dynamics at WNET have also drawn scrutiny for ideological pressures. In October 2020, 41 current employees and 34 former staff publicly demanded the resignation of CEO , criticizing his handling of the Inclusion and Diversity Council—established in 2015—and his statements on following George Floyd's death. The council accused Shapiro of lacking the judgment to lead on equity issues, particularly after he proposed restructuring the group amid complaints it had overstepped into operational decisions, such as opposing a promotion of a Black executive for lack of consultation; this episode highlighted staff demands for deeper integration of progressive racial frameworks into organizational practices, which detractors viewed as subordinating journalistic neutrality to . A subsequent 2020 diversity report revealed 70% of WNET's 380-person workforce identified as white, intensifying calls for ideological realignment in hiring and culture. Accusations of mission drift center on WNET's alleged evolution from core public service broadcasting—emphasizing factual education and local programming—toward content influenced by donor and staff ideologies, diluting its charter under the to provide noncommercial, diverse perspectives. Conservative philanthropist David Koch's 2011 appointment to the WNET board was framed by some as a to entrenched liberal , with Koch aiming to steer programming away from perceived ; however, his involvement sparked protests from left-leaning media watchdogs, underscoring tensions over external influence versus internal drift. In another case, WNET's withdrawal from distributing a 1973 documentary on the Chilean coup—resurfaced in 2025 analyses—was cited by critics as evasion of content challenging U.S. narratives, reinforcing views of public media outlets like WNET as left-leaning echo chambers reluctant to air dissenting historical accounts. These criticisms persist amid WNET's reliance on federal funding, with opponents arguing that taxpayer support enables into partisan territory, as evidenced by programming like MetroFocus segments on that some reviewers interpret as disproportionately targeting right-wing groups while underemphasizing symmetric threats. WNET maintains its commitment to , but skeptics, including former media insiders, contend systemic biases in hiring and editorial choices undermine this claim.

Recent content removals and political pressures

In May 2025, WNET removed three episodes from its Let's Learn, which had originally aired between 2020 and 2021, following criticism from Republican lawmakers during a House Subcommittee on Delivering on Government Efficiency (DOGE) hearing. The episodes included "The Hips on the Go Swish, Swish, Swish," featuring drag performer Lil Miss Hot Mess reading a children's book; "Max and the ," based on a book with a ; and "Brain and Same Both Have Long ‘A’," which incorporated elements from the Max story for instruction. WNET and platforms, including , archived pages, and streaming services, were scrubbed of the content, with PBS initially describing the drag episode as a posting error before broader removals occurred. The actions followed Rep. Greene's accusations at the March 2025 hearing that the programming used taxpayer funds to promote "radical" positions, prompting threats to withhold federal support for public broadcasters amid ongoing budget scrutiny under the Trump administration. Earlier in May 2025, WNET edited an episode of 's documentary on cartoonist , excising approximately 90 seconds of a 2016 cartoon depicting feces on then-President-elect Donald Trump's head, just two weeks before its scheduled April 15 premiere. Michael Kantor mandated the cut, citing the imagery as a "breach of taste" that might alienate affiliate stations, while of programming Segaller endorsed the decision. Filmmakers expressed concerns over potential external influence, noting the timing coincided with a March 26, 2025, congressional hearing where Republicans, including Greene, grilled public media leaders on alleged left-wing bias and misuse of funds, echoing prior PBS postponements of transgender-focused content to mitigate backlash. These incidents reflect heightened political pressures on WNET, which relies on federal grants comprising about 15% of its budget, as congressional conservatives leveraged funding reviews to target content perceived as ideologically slanted or unsuitable for public airwaves. In response to defunding threats, WNET prioritized to preserve fiscal stability, a pattern observed across affiliates amid the Trump administration's push to eliminate CPB appropriations, resulting in lawsuits by against the government and subsequent operational cuts. Critics from independent documentary circles argued the edits compromised artistic integrity, while station executives maintained they aligned with broadcast standards amid existential funding risks.

Technical operations

Channel affiliations and subchannels

WNET operates two primary broadcast television stations affiliated with the : WNET-TV (virtual channel 13, branded as THIRTEEN), licensed to , and serving as the flagship PBS outlet for the New York area, and WLIW-TV ( 21), licensed to , functioning as a secondary PBS affiliate with emphasis on regional and imported content. These affiliations enable carriage of national PBS programming, including news, documentaries, and educational series, alongside local productions distributed through the PBS network. Both stations transmit digital signals with multiplexed subchannels to expand programming options, a capability enabled by the transition completed in 2009 and subsequent spectrum repacks. WNET's subchannels focus on core offerings and children's content, while WLIW incorporates specialized national feeds. WNET (virtual channel 13) subchannels:
Virtual ChannelCall SignProgrammingFormat
13.1WNET-HD (THIRTEEN) / DD 2.0
13.2KIDS 24/7 / DD 2.0
WLIW (virtual channel 21) subchannels:
Virtual ChannelCall SignProgrammingFormat
21.1WLIW-HD (WLIW 21)1080p / DD 2.0
21.3WORLD / DD 2.0
21.4AllArtsAll Arts / DD 2.0
Subchannel configurations have evolved with PBS service changes and local priorities; for instance, provides public affairs and documentaries, while All Arts features performing and visual arts content produced or distributed by the WNET Group. Physical transmission for some subchannels occurs on shared frequencies following the 2017–2020 FCC repack, with WNET on VHF channel 12 and WLIW on UHF channel 32.

Signal coverage and digital transition

WNET's over-the-air signal is transmitted from an antenna atop the in , utilizing a directional VHF antenna with an of 6.5 kW and a of 507.8 meters. This configuration enables coverage across the New York metropolitan area, encompassing , , northern , and southern , serving approximately 7.45 million television households. The signal's reach is optimized for urban density but can experience interference in fringe areas due to terrain and multipath effects common in VHF . Prior to the digital transition, WNET operated on analog VHF channel 13, providing a single program stream with coverage limited by propagation characteristics. The station ceased analog transmissions on June 12, 2009, coinciding with the federally mandated nationwide switchover to , after which it broadcast exclusively in ATSC 1.0 format on 13.1 (physical VHF channel 12). This transition allowed for multiple subchannels, including 13.1 for main programming, 13.2 for , and occasional datacasting or secondary services, enhancing capacity without expanding spectrum allocation. In February 2022, The WNET Group, which operates WNET, announced intentions to adopt (NEXTGEN TV) standards, positioning it as the first full-power broadcaster in the nation's largest designated market area to commit to the upgrade. Implementation progressed with a collaborative launch by major New York broadcasters, including WNET affiliates, on October 16, 2023, enabling features such as higher video resolution, HDR, immersive audio, and IP integration for enhanced viewer interactivity and targeted content delivery within the existing coverage footprint. The deployment leverages hosted hosting models, with WNET's signal carried via partner facilities to maintain compatibility with legacy ATSC 1.0 receivers during the phased rollout.

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  61. https://www.nytimes.com/2010/06/17/arts/television/17arts-WNETUNITGIVE_BRF.html
  62. https://current.org/2010/06/accounting-problems-cost-wnet-1-for-every-7-in-federal-grants/
  63. https://www.mprnews.org/story/2014/09/16/science-friday-settlement
  64. https://artsbeat.blogs.nytimes.com/2010/06/16/after-misuse-of-grant-money-unit-of-wnet-org-to-make-amends/
  65. https://nsf-gov-resources.nsf.gov/pubs/2011/oig11001/oig11001.pdf
  66. https://www.newyorker.com/magazine/2013/05/27/a-word-from-our-sponsor
  67. https://www.pbs.org/ombudsman/2013/05/david_koch_and_pbs_the_odd_couple.html
  68. https://nonprofitquarterly.org/david-koch-freedom-of-the-press-and-wnet-public-television/
  69. https://www.bloomberg.com/opinion/articles/2013-06-09/david-koch-s-chilling-effect-on-public-television
  70. https://current.org/2014/04/activists-turn-up-heat-on-wgbh-over-role-of-david-koch/
  71. https://current.org/2015/02/wnets-move-to-bolster-viewing-starts-row-over-public-tvs-mission/
  72. https://variety.com/2015/tv/news/filmmakers-fight-wnet-plan-to-push-aside-documentaries-exclusive-1201424227/
  73. https://current.org/2015/04/the-pub-13-wnet-stands-by-documentary-rescheduling-why-public-media-unions-are-spreading/
  74. https://nonprofitquarterly.org/wnet-and-the-need-to-disclose/
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  76. https://www.pbs.org/publiceditor/blogs/ombudsman/tensions-over-pensions/
  77. https://www.wnet.org/about/financials/
  78. https://www.documentary.org/online-feature/pbs-and-npr-leadership-face-accusations-news-bias-during-us-house-doge-subcommittee
  79. https://www.npr.org/2025/03/26/nx-s1-5339951/npr-pbs-congress-hearing
  80. https://current.org/2017/11/second-school-district-halts-use-of-wnets-mission-us-games/
  81. https://www.edweek.org/technology/digital-simulation-game-on-u-s-slave-experience-sparks-debate/2015/03
  82. https://www.minnpost.com/learning-curve/2015/02/minneapolis-school-officials-respond-controversy-over-slavery-game/
  83. https://www.nytimes.com/2020/10/12/business/media/wnet-neal-shapiro.html
  84. https://current.org/2020/12/wnets-plan-to-address-diversity-and-inclusion-leaves-some-employees-feeling-shut-out/
  85. https://current.org/2025/08/why-wnet-backed-away-from-groundbreaking-coverage-of-the-chile-coup/
  86. https://www.pbs.org/wnet/exploring-hate/2022/08/02/hate-in-the-empire-state-extremism-and-anti-semitism-in-new-york/
  87. https://theintercept.com/2025/05/29/drag-trans-pbs-wnet-censorship-doge/
  88. https://www.metroweekly.com/2025/06/new-york-public-tv-erases-drag-and-trans-themed-episodes/
  89. https://www.nytimes.com/2025/03/26/business/media/pbs-marjorie-taylor-greene-drag-queens.html
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  96. https://www.rabbitears.info/market.php?request=station_search&callsign=wliw
  97. https://www.rabbitears.info/market.php?request=print_station&facility_id=18795
  98. https://www.wnet.org/2022/02/01/the-wnet-group-announces-plans-to-transition-to-nextgen-tv-first-broadcaster-in-the-nations-largest-designated-market-area-to-commit-to-atsc-3-0-service/
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  100. https://www.wnet.org/2023/10/17/major-new-york-city-broadcasters-launch-nextgen-tv-in-nations-largest-market-on-october-16/
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