Everything about Industry News, eh?

The CRTC’s Differential Pricing Decision – for us content people

Over here on the content side of things most of us are not familiar with phrases such as ‘zero rating’ and ‘differential pricing practices’ so might tune out of a CRTC decision titled “Framework for Assessing the Differential Pricing Practices of Internet Service Providers” but we shouldn’t.  Net neutrality is an increasingly important concept for content creators and consumers.

Let’s go through a few definitions first.

Net neutrality is the principle that all data on the Internet should be treated the same.  It costs the same to the user, it is regulated (or not) the same and it is delivered the same (i.e. no throttling of certain kinds of data).  So the video or the game that you create is not treated any differently from email or music or apps etc.

Differential pricing is the practice of offering the same content or services to consumers at different prices.  Examples are:

Zero rating:  the practice of not charging consumers for certain kinds of data.  That could be sports or all video or gaming.  That data would then not be counted towards the consumers data cap and would make that service more competitive.

Sponsored data:  an application provider arranges with an Internet Service Provider (ISP) to discount the data associated with its app.

The CRTC’s decision is to disallow these differential pricing practices (and any others that arise, based on a framework that has been developed to assess the practices) in order to maintain net neutrality.

In practical terms this means that immediately Vidéotron’s Unlimited Music Service, which excluded the data used by that music streaming service from certain mobile plans, was offside.  What it means for content creators is that ISPs cannot distinguish themselves on the basis of what content they have to offer – no exclusive access or zero-rated access to Netflix, or CraveTV or gaming.  They can compete on price and speed and size of the data caps but not content.  Look at this quote from the decision:

“The Commission considers that any short-term benefits of differential pricing practices would be greatly outweighed by the negative long-term impacts on consumer choice if ISPs were to act as gatekeepers of content through their use of such practices.”

Gatekeepers.  Does that sound familiar?  This is why the decision should be of interest to content creators, particularly those who are moving away from broadcasters as gatekeepers to offer their content directly to consumers.  The Differential Pricing Practices decision means that you will not be moving from broadcaster to ISP as gatekeeper.  For digital content creators it means that the ISP cannot insert itself between you and your audience.

 

 

 

 

Facebooktwitterredditlinkedinmail

Kevin White previews this year’s Writing Room Intensive at the TSC

This year’s WGC Writing Room Intensive at the Toronto Screenwriting Conference is notable for a couple of reasons. For one, it’s the first time the TSC’s Intensive is focusing on comedy writing. And secondly, the Intensive is being run by Kevin White and Ins Choi, the co-creators of CBC’s hit comedy Kim’s Convenience, giving the participants the opportunity to write a mock episode of the series which is, coincidentally, prepping for Season 2 on CBC.

On Thursday, Amy Cole, Derek Robertson, Elize Morgan, Gillian Muller, Jennifer Siddle, Lisa Rose Snow, Marcia Johnson and Richard Clark will join White, Choi and myself for six-hour session (there will be snacks, just like a real writer’s room). What can these lucky eight expect from the session? We got Kevin White to tease what’s in store. And check back on Friday to read my recap of the session; I’ll be moderating a panel discussing the group’s experiences on Saturday, April 22, at the Toronto Screenwriting Conference.

First off, what interested you about participating in the Writing Room Intensive this year?
Kevin White: It’s hard to get experience making stuff and doing stuff. I feel like anytime you can share that with people, with the hopes that people can learn and get better at the craft [is good]. And, hopefully, we learn something too and get a chance to meet emerging or young writers. That’s what was in it for us. If anyone can take anything away from the way we write the show, all the better.

What are you hoping they walk away with?
I don’t really know how other writer’s room are run. I’ve been in other people’s rooms as a writer for hire, so I have some sense of that. I’ve adapted a lot of things over the years as to how we approach breaking story and writing scripts collectively, so I hope some of that might be informative and helpful to people who have had less time in rooms. From a selfish point of view, it’s always nice to meet writers you haven’t worked with before and have a chance to see what their ideas are about, how they think and their point of view. I think it will be exciting for us to have eight fresh eyes on the material and really hear what it’s like for someone who hasn’t had any previous experience or exposure to the behind-the-scenes of our show freshen our outlook as well.

Will you be setting up the Intensive like you do it on Kim’s Convenience?
We’re going to try. Obviously, we have part of the morning finding out who everyone is. Then we’ll share ideas.

What can you say about the breakout sessions you have planned?
We have seven writers in the room on Kim’s Convenience now. With a number like that, we often work in different side group configurations. I hope we’ll have time to break up how we do it a little bit. Ins will have half the room, I will have half the room and we’ll be able to work in two smaller groups and report back to the bigger group. We want to be able to work with as many people as possible and meet with as many people as possible.

People will, presumably, be coming to the table with ideas. We need to hear those ideas and ruminate on them on them in the smaller groups. We’ll boil down to the ones that seem to have the most promise and then get back together and have feedback as the groups present their strongest ideas. They may be big stories and they may be small stories. Then, once we land on the stories we like the most and can sort of fit together, then we can figure out what will be the main story and what will be the other story. There might even be a third story. Then we’ll probably break off again into groups and beat those out.

Are you expecting to have an episode outline completed by the end of the day?
[Laughs.] I don’t know! I’m sure we can cobble together something. You can always make something because of time constraints because day’s end is coming. But, yes, I think we’ll be able to cobble together the bones of an episode and try to come up with what those 18 or 20 scenes could be for this typical Kim’s Convenience episode.

The Toronto Screenwriting Conference runs April 22-23, 2017. Get the latest information—including events and how to register—on the official website.

Facebooktwitterredditlinkedinmail

Women in Film & Television – Toronto and Meridian Artists Announce Inaugural Mentorship Opportunity

From a media release:

Women in Film & Television – Toronto (WIFT-T) announced today that they have partnered to create a new mentorship opportunity. The Meridian Artists Agency Mentorship is open to a woman with at least two years’ experience, but not more than five, in the screen-based media industry. It is a full three-week immersion at Meridian Artists, a premiere literary agency and leading entity in the Canadian entertainment industry, founded by Glenn Cockburn.

The mentee will learn, through job-shadowing, how a select roster of the most talented writers, directors, and producers in North America are represented and managed; learn more about client management and development, generating ideas, preparing pitches and selling shows; tap into the youth and animation markets; get a glimpse into the world of publishing; see how clients are “pitched” for roles; and experience the bullpen.

The inaugural Meridian Artists Agency Mentorship will take place from October 23 to November 10, 2017. The mentee will also receive a cash honorarium and on-stage recognition at the 2017 WIFT-T Crystal Awards Gala Luncheon in December. Deadline to submit is May 31, 2017. For more information on the submission process, visit wift.com.

About WIFT-T: Women in Film & Television – Toronto (WIFT-T) is a member-based organization of women and men working in screen-based media that supports the development and advancement of women in the industry. Membership in WIFT-T enables women to be capable, confident, connected and successful in their careers. For more information, visit www.wift.com.

About Meridian Artists: Founded in 2005, Meridian Artists is a premiere full service e-literary and talent agency and a market leader in the Canadian entertainment industry. With principal offices in Toronto and Los Angeles, Meridian Artists is an established leader in the representation of actors, authors, screenwriters and directors. www.meridianartists.com

Facebooktwitterredditlinkedinmail

Toronto Screenwriting Conference announces Magee Mentorship Award winners and Writers Room participants

From a media release:

The Toronto Screenwriting Conference (TSC) today announced the five winners of the first annual Magee TV Diverse Screenwriters Mentorship Award, a mentorship and bursary program that was created to help emerging and mid-level screenwriters from diverse backgrounds to be mentored, network with other Canadian television professionals and be exposed to other leaders in the field of screen-based writing.

To achieve this objective – each of the five winners including Anil Kamal, Mackenzie Sinclair, Marsha Mason, Maya Bastian and Nadia Alam will receive a complimentary registration for the highly anticipated two-day conference that takes place in Toronto over the weekend of April 22-23. The winners will also join Al Magee, founder of Magee TV, a producer, writer and story editor with a long history of mentorship, for a pre-conference meet up in addition to each receiving a three-month mentorship with Canadian screenwriting professionals that include Alejandro Alcoba, Desmond Sargeant, Duana Taha, Pat Mills and Renuka Jeyapalan. Click HERE to see the bios for the winners and click HERE to see the bios for their chosen mentors.

The winners were chosen by their mentors based on submissions that included the following four criteria: one concept for an original series or feature film, one writing sample, a letter of interest and intent and a letter of reference.

The TSC also announced today the official selection of participants who will join co-creators Ins Choi and Kevin White of CBC’s runaway hit, Kim’s Convenience, in support of this years WGC Writing Room Intensive. Amy Cole, Elize Morgan, Gillian Muller, Jennifer Siddle, Marcia Johnson, Richard Clark, Lisa Rose Snow and Derek Robertson will all work alongside Ins and Kevin in a mock writers room on Thursday, April 20th. The team will then reconvene on stage at the conference for a special session on Saturday, April 22nd where they will finish the process of breaking story in the room in front of the TSC delegates. Click HERE to see the bios for each participant.

The Writing Room Intensive participants were selected through a juried process and all who entered for consideration were required to meet certain qualifications including relevant experience (either past or present) working on a television series as either a story coordinator, staff writer, story editor, producer, executive producer, creator and/or showrunner.

The Toronto Screenwriting Conference runs April 22-23, 2017. Get the latest information—including events and how to register—on the official website.

Facebooktwitterredditlinkedinmail

Announcing the WGC Screenwriting Awards Presenters

From a media release:

The Writers Guild of Canada is pleased to announce the presenters for the 21st annual WGC Screenwriting Awards (held on April 24 at the TELUS Centre for Performance and Learning’s Koerner Hall in Toronto).

Joining host Laurie Elliott on stage: Pure showrunner Michael Amo with actor Alex Paxton-Beesley, Bellevue co-showrunner Jane Maggs with actor Shawn Doyle, and Second Jen showrunner Jeff Biederman with Second Jen co-creator and actor Amanda Joy.

The WGC Screenwriting Awards are the only awards in Canada to focus solely on screenwriting talent. Finalists include the writers of scripts from Kim’s Convenience, Odd Squad, Letterkenny, X Company, Private Eyes, Wynonna Earp, 19-2, Degrassi: Next Class, Two Lovers and a Bear, Maudie and more. Special awards including the WGC Showrunner Award will also be presented.

The 2017 awards are hosted by screenwriter, stand-up comedian and actor Laurie Elliott, and are written by screenwriter and stand-up comedian Terry McGurrin with Laurie Elliott.

The complete nominees list can be found here.

Facebooktwitterredditlinkedinmail