Everything about Orphan Black, eh?

Reaction to CRTC’s Policy framework for Certified Independent Production Funds

By Anonymous 

UPDATE: If the intent is to attract “top talent” that will make all these new “American” Canadian shows more viable, the CRTC should probably know that even some of the most successful Canadians in L.A., like the showrunner/creator of Bones, isn’t impressed.

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Canadian Television is about to become slightly less full of Canadians, thanks to a major CRTC decision released quietly yesterday.

The CRTC is allowing the independent production funds (including the Shaw Rocket Fund, Rogers Fund, Cogeco Program Development Fund, Telefilm Canada, and the Harold Greenberg Fund) to reduce their “point system” for what determines Canadian-ness of a project from 8 to 6. The general effect of this will be to allow for the hiring of non-Canadians in key creation and starring roles (ie: Americans will be able to create and star in “Canadian” TV series).

This, in fact, by the CRTC’s own admission, was one of the points of the decision:

“The current criterion requiring eight out of 10 Canadian content certification points to qualify for CIPF funding is restrictive and excludes many productions that could otherwise be of high quality and qualify as Canadian. Moreover, a reduced requirement could help smaller and perhaps more innovative projects to qualify for funding. A reduced requirement of at least six points could also facilitate the hiring by production companies of non-Canadian actors or creators, who may increase a project’s attractiveness and visibility in international markets.”

Reaction from the Canadian creative community was swift, and critical.

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What’s particularly unusual about this decision is that something with far-reaching implications was done as a “paper hearing,” ie: the CRTC did not hold any public consultations.

The last time something like this was proposed, the Writers Guild of Canada brought a group of screenwriters to Hull to appear before the commission. They made a convincing case as to why this “flexibility” wouldn’t lead to better quality Canadian programming. It seems that current chairman J.P. Blais was determined to not repeat this exercise.

Of concern to fans of actual Canadian TV shows, of course, is the fact that once again in no way was the audience consulted. The CRTC didn’t bother to seek out or try to understand the feelings of fans who celebrate unique Canadian points-of-view and creative directions on display in Canadian-created shows such as Orphan Black, Flashpoint, X Company, Letterkenny, Wynonna Earp, Lost Girl, Rookie Blue, Saving Hope, Motive, or many more.

As Peter Mitchell, executive producer and showrunner of Murdoch Mysteries explained on Facebook, even the premise of the CRTC’s decision is faulty:

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The problem with the CRTC’s decision is that it really doesn’t advance any new idea. Many Canadian producers have been doing their level best to copy “American-style” shows for years, watering down the Canadian creative role as much as possible. They never seem to do as well as the original work such as Orphan Black or Murdoch Mysteries. That’s why you’re not seeing Season 4 of the forgettable XIII, and why Houdini & Doyle, which debuted to so much fanfare, died a quiet death.

The idea that Canadian producers will be able to attract top American talent is dubious at best. Because if you’re American, and you’re working in the American industry where there’s more money, and more prestige, why would you take a massive pay cut to work in Canada? Instead of top American talent, you’re likelier to get the people who can’t get hired anymore, who might have had credits in the 1980s or 1990s. And now the CRTC has blessed the idea that these marginal players are more valuable than the top homegrown talent who are responsible for the industry’s top successes.

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There are other ways to approach the idea of creating hits, rather than this failed road. But the CRTC seems to be enamored with the fantasy that “flexibility” fixes all, rather than actually supporting talent.

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And the best part? A government that ran at least partially on a platform of promoting culture is signalling to the next generation of storytellers not to bother—that it’s time to leave:

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So there’s nothing good here if you’re a Canadian writer or actor hoping to star in or create a Canadian show. Or if you’re someone who likes the unique point of view you see from Canadian TV shows. But the producer’s association loves it. I’m sure you’ll be getting something great from that writer who did one episode of Simon & Simon any day now.

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Great news, isn’t it?

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Link: Tatiana Maslany on ‘Orphan Black’ Diversity: “It’s Something I’m Most Proud Of On Our Show”

From Ross A. Lincoln of Deadline:

Link: Tatiana Maslany On ‘Orphan Black’ Diversity: “It’s Something I’m Most Proud Of On Our Show”
“I’ve always felt, also, that our show kind of transcends the genre. The conceit is sci-fi, but it focuses more on the human aspect, what it is to be human, what is it to be an individual; how do you exist as an individual in a system that seeks to commodify you? We’re lucky that we’ve hit onto something in that balance.” Continue reading.

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Link: Tatiana Maslany of ‘Orphan Black’ on Show’s Complex LGBTQ Storytelling

From Alamin Yohannes of NBC News:

Link: Tatiana Maslany of ‘Orphan Black’ on Show’s Complex LGBTQ Storytelling
When Tatiana Maslany landed the lead role on BBC America’s “Orphan Black” she was “terrified to start” and could not have imagined what the series could become. Now heading into next year’s final season, “Orphan Black” — and its two-time-Emmy-nominated star — have a substantial LGBTQ following, thanks in part to the series’ commitment to complex LGBTQ representation. Continue reading. 

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Link: ‘Orphan Black’ showrunner on final season: ‘It’s better to cancel yourself’

From Daniel Holloway of Variety:

Link: ‘Orphan Black’ showrunner on final season: ‘It’s better to cancel yourself’
“We sort of had five seasons in mind, and the thing that we just didn’t want to do is get kind of soft around the middle,” said executive producer and co-creator Graeme Manson. “We think that it’s better to cancel yourself than to get canceled, than to peter out.” Continue reading.

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Space announces fifth and final season of original thriller Orphan Black

From a media release:

– Space confirms 10 additional one-hour episodes of ORPHAN BLACK Season 5 to premiere in 2017 –
– Temple Street, a division of Boat Rocker Media, produces ORPHAN BLACK in partnership with Space and BBC America –
– Season 4 finale airs tonight at 10 p.m. ET on Space, followed by an all-new episode of AFTER THE BLACK –

Space announced today the renewal of the fifth and final season of critically-acclaimed original series, ORPHAN BLACK. The clone conspiracy thriller sees the return of the award-winning Canadian actress Tatiana Maslany in her multiple versatile roles as the clone sisters. An additional 10, one-hour episodes are set to air in 2017 on Space. The Season 4 finale of the Peabody-winning series airs tonight at 10 p.m. ET on Space, followed by the finale of fan-favourite insider series, AFTER THE BLACK. The first three seasons of ORPHAN BLACK are streaming now on CraveTVTM.

In the Season 4 finale of ORPHAN BLACK “From Dancing Mice to Psychopaths” (June 16 at 10 p.m. ET), when communication with Cosima is cut off and Neolution appears to be within striking distance, Sarah’s alliance with Rachel goes out the window. Sarah lures a high-level Neolutionist into a trap, and sets out to bring down Neolution once and for all. For new episode images, click here.

After a hair-raising season of emotional flashbacks (Beth’s back-story), shocking reveals (Delphine is alive) and of course, new, game-changing clones, (M.K., Ira), Space’s original insider series AFTER THE BLACKprovides closure for Season 4 of ORPHAN BLACK tonight, Thursday, June 16 at 11 p.m. ET, following the season finale of ORPHAN BLACK. In this star-studded episode, hosts Ajay Fry and Morgan Hoffman sit with the inimitable Tatiana Maslany, Kevin Hanchard, and Kristian Bruun, for their take on the season’s shocking reveals, memorable moments, and behind-the-scenes secrets.

ORPHAN BLACK is produced by Temple Street, a division of Boat Rocker Studios, in association with Space and BBC America. Executive producers are Ivan Schneeberg and David Fortier and Kerry Appleyard of Temple Street, Graeme Manson and John Fawcett. “Orphan Black” is distributed by BBC Worldwide.

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