Everything about Featured, eh?

Another Side of Canada: The (Multicultural) Story of Us

The final two episodes of CBC’s controversial Canada: The Story of Us aired on Sunday night, and covered a good deal of territory. Episode 9, entitled “A New Identity,” takes us from Newfoundland’s journey to join Canada, to Rocket Richard’s influence on the Separatist’s movement and the emergence of the FLQ. Episode 10, “The Canadian Experience,” covers the Vietnamese Boat people, the Oka Crisis and the creation of Canada’s third territory: Nunavut.

The segment in “A New Identity” featuring Viola Desmond’s role to further civil rights in Canada and the segment on the Indian Residential School System (RSS), featuring the story of Blue Quills, were, I am sure for many, an eye-opening experience. Canada and Canadians often elide over the not-so-pretty aspects of our history, particularly those involving racism.

My own personal involvement with Indigenous communities, and the many residential school survivors I come into contact with, pretty much ensures I am particularly sensitive to the telling of the RSS. The public protests that challenged Blue Quills Residential School, was the impetus to close the schools across Canada. The government planned instead to send all Indigenous children to local public schools. But, First Nations communities fought for and won the right to run their own community schools; one of the first steps to self-government. My only problem with the telling of this story (and yes, time is still an issue) is producers told only the beginning of the end. They neglected to note this form of abusive structural racism had gone on for upwards of five generations, and as a result of the abuses perpetrated on innocent children, the survivors and their offspring now suffer multi-generational traumas that oft-times present as lateral violence in communities.

Further, because of current funding regulations and guidelines in Canada and the provinces, instead of providing mental health services to survivors, social service agencies strip children from communities for their protection, and pay families outside of the child’s home community to raise Indigenous children. This practice is commonly referred to as The Millennial Scoop.

The final episode of Canada: The Story of Us takes a look at Canada’s multiculturalism, tying nicely to current Trudeau policies regarding the Syrian refugee crisis. This, however, presents difficult challenges for long-standing institutions like the Royal Canadian Mounted Police as demonstrated via Baltej Dhillon’s desire and proven ability to serve as an RCMP Officer whilst accommodating his religious and cultural need to wear a turban.

The creation of the Nunavut Territory tells the “how to” for Indigenous relations done right. However, the Oka Crisis is the “how to” for getting it miserably wrong.

The series close is filled with irony. The guest narrators, particularly Lorne Cardinal, Waneek Horn-Miller and Hayden King, discuss the chasm that still exists between mainstream Canadians and the Indigenous populations in Canada today. The primary complaint: there is a large part of Canada’s history that is missing from the textbooks; the very complaint that viewers and reviewers of Canada: The Story of Us have repeatedly bludgeoned producers and the CBC for.

Perhaps the best “Take Home Lesson” for Canadians is the recognition of our own deep seeded need to see our story told—an impossible task in just 440 minutes. It is interesting to note that those who were most upset were those who failed to see their own histories told, or they were told in ways that were not recognized to the lived experience that is theirs in Canada. However, this lack is the lived experience for many who continue to be marginalized in Canada; they have yet to see their stories told. They have never seen their own “Story of Us.” Maybe now the majority of Canadians who were upset at not seeing themselves adequately portrayed here in one television series might translate that experience and place themselves into the “othered” shoes for just a moment. Perhaps then the underlying bitterness that persists between cultures could be understood.

Elder David Plain of Aamjiwnaang, weighs in with his final comments about the final two episodes of Canada: The Story of Us.

The last two episodes of the series were much more balanced. If the whole series were like these two, it would have been first class. There were “feel good stories” like 1979’s Vietnam boat people and Baltej Singh Dhillon’s turban. But, there were also some “not so feel good stories.” I was pleased to see the producers tackle some of the country’s blights, such as Viola Desmond, a black Nova Scotian, and her story of discrimination, which was compounded by the courts. “English Canada’s” treatment of “French Canada”, was also related, both stories from the 1950s. However, some of them spoke to me louder because they affected me in a more personal way, like the story of Blue Quills and the residential schools.

When my parents married in the late 1920s, they were both widowed. Each had families and their own homes. My father’s house was on the reserve and my mother’s house was in the city. They had to choose where to live and they chose the city. When I was a boy, I asked my mother why we didn’t live on the reserve with our relatives. She said, “because I didn’t want you kids to go to ‘Indian school.’” I just assumed that she was talking about the quality of education, so I didn’t ask any more questions. That was the only time and all I ever heard about the horrors of the residential school system until I was in my 40s, and stories began to surface in the general public. But in our family and in the reserve community, it was just not talked about.

When the news of the trouble at Oka broke it spread, as they say, like wildfire through the native community. My sister, Muriel and myself were living in Toronto at the time. She asked me if I wanted to go to support the Mohawks, but I was employed at the time and could not get the time off work. However, that didn’t hold her back. She left the first night and was there for the duration. That was one of those decisions in life, which makes me wish I had a do-over.

The story about the creation of Nunavut was particularly heartening. I see it as recognition of Indigenous people’s sovereignty over their own land base and the right to self-determination. It’s what should be happening throughout the country. Until it does reconciliation will remain just a dream.

But the relinquishing of power doesn’t come easy. In our last election, a lot of grand promises were made to the Indigenous community. Now a lot of them are being broken. The current government promised to sign the United Nations Declaration on the Rights for Indigenous Peoples. Now they say they can’t but with no plausible explanation. The real reason is that if they did, it would give Indigenous peoples a seat at the table, a right to veto anything affecting traditional territories. Canada would much rather keep us at the “right to consult” position, whatever that means.

Nunavut is an example of the meaning of the treaties. We need to start moving towards this direction if reconciliation is ever to become a reality.

Chi Miigwetch to David Plain for his insight during the airing of  Canada: The Story of Us. I am sure our readers learned a great deal from your shared thoughts.

On Tuesday, May 16, at 8 p.m. on Facebook Live, CBC Montreal host Mike Finnerty will be hosting a live round table to discuss Sunday’s episodes.

David Plain B.R.S., M.T.S., is the author of five books with a sixth, The Exmouth Chronicles: A Memoir due out later in  2017 . You can reach David on Facebook or Twitter.

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The Wonk Report: CRTC’s Group Licence Renewal Decision

Yesterday, the CRTC released its decision on renewing the group licences for the French and English broadcast groups. The English groups are Bell, Corus (which now owns Shaw) and Rogers. Their licences expire August 31, 2017, and are now renewed (for the most part) for another five-year term.

The major news in the media has been the decision to give OMNI mandatory carriage for three years and then require it to compete for that licence with anyone else who is interested, which to some is seen as giving them a head start. However, the bulk of the decisions relate to the group licence renewals. I can understand why they aren’t making headlines as there isn’t much there. The CRTC’s priority seems to have been standardizing the licences to be consistent with each other and with the TalkTV decision and not dealing with many of the issues that were raised at the hearing or in the submissions. Not dismissed, just not even mentioned. Not surprisingly, a few things were added that had not been discussed.

Bell and Corus had tried to have their group Canadian Programming Expenditure (“CPE”) reduced from 30% to lower levels based on arguments such as how hard it is to make money as a broadcaster in the days of competition from Netflix etc., etc.  As the CPE is based on previous year’s revenues that competition is built into the calculation so the CRTC did not buy it.  Group CPE is maintained at 30% of revenues.  That’s the good news.

Bell and Rogers were subject to a Program of National Interest, a.k.a. PNI, (drama, documentaries and award shows) CPE of 5% as was the old Shaw, while Corus had a higher PNI CPE (9%) due to the higher requirements of its children’s services.  Bell and Corus argued that it should be a standard 5% for all services while Rogers had asked for historical levels.  The production sector expressed concern that a standard 5% PNI would result in a net loss of production.  The Commission decided on a flat 5% PNI CPE but encouraged the broadcasters to see that as a floor and to do more than 5%.  We’ll see.

New topics were incentives for Indigenous production and Official Language Minority Community (“OLMC”) production.  If these productions are broadcast, the broadcaster will receive a 50% credit on Indigenous production and a 25% credit on OLMC production, provided that both together are no more than 10% of group CPE (the 30% up above).  On the face of it, that seems like a good thing but there was no chance to discuss it or pick it apart at the hearing.  I wonder why there is a requirement that OLMC production has to be independently produced but not the Indigenous production.  What does APTN think of this proposal?  Does the current CRTC know that drama incentives did not work to increase drama production when it was tried and so it was specifically dropped?  Has anyone done the modelling to see how much extra production this could create and how that relates to the audience?  Given that it’s only an incentive and not a requirement will it even mean more Indigenous programming and OLMC programming or will it just mean Bell gets a bonus for 19-2 that it wasn’t expecting?

The other new topic is the CRTC holding an event on the role of women in production with an eye to increasing women in key production roles. They will also require broadcasters to report on the number of women in key roles in the programs that they commission.  While I applaud the added reporting, I do question why the broadcasters have to extend their existing Employment Equity reporting on women, visible minority, Indigenous and disabled employees to only women.

So what was left out?  The CMPA had a lengthy discussion about the definition of independent production which sought to prevent broadcasters from turning producers into service producers in all but name only (“Producer of Record” arrangements).  They asked for a return to evening exhibition requirements for discretionary (specialty) services as they are still a prime spot for programming.  They asked for a quota for non-PNI independent production as independent production is important in all programming.  They had proposals for how Corus could be required to stay in the kids business despite the removal of the genre protection policy and wanted TMN to continue with a commitment to Canadian feature films.  They asked for a definition of original programming with an eye to later requesting regulation.  ACTRA had asked for two hours of PNI in prime time.  The DGC had asked for an increase to PNI for features and long form documentaries.  The WGC asked that Bell Media’s prior contributions to BravoFACT and MuchFACT should be added to their PNI CPE and that a minimum amount of broadcaster CPE should be spent on development.  None of these issues were addressed in the decision.  That is an awful lot of effort on the part of stakeholders with very little return.

So the question is, what impact will this have on the producer or consumer?  There could now be a drop in PNI at Corus.  They will likely continue with their Producer of Record contracts and now other broadcasters may pursue that strategy.  There could be fewer original programs on all the broadcasters.  We could also see fewer children’s programs on Corus, the only one of the groups airing children’s programming.  We could see more indigenous and OLMC programming.  Possibly.

As with any CRTC decision, it will take time to see the impact of this decision.  However, there is a very real risk that the decision is not likely to make any improvements in spending on Canadian programming and may actually allow the broadcasters to spend less on independently produced drama, documentaries and children’s programming.

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Comments and queries for the week of May 12

My sister and I just saw the Season 10 finale. Wow! Goes a mile a minute, a great ride! Have a very low opinion of Crabtree’s now former girlfriend; never diss William or Julia! We are very happy that he went back to his dancer lady and apologized. Really looking forward to Season 11 to find out how things end up! —Ann-Marie

I sincerely hope that all of the characters return for Season 11 and that a bit of humour is added back into the show. I love this show and hate that in the U.S. we have to wait until January to see it. Long live Murdoch and company. —Donald

Please no more deaths, let Constable Jackson or Higgins be in a coma and let Crabtree be a brilliant cop to help Chief Brackenreid with Murdoch’s case and Dr. Ogden kicks the man’s ass and she gets away and joins Murdoch and together they are fugitives, and Crabtree’s girlfriend realizes she messed up and wants him back but Crabtree wants his old girlfriend back and they will work together. —Shirley

Too many twists and turns! Hope George lives and goes on to find true love in the end! —Roy


Where is Episode 8 [of Anne]? That wasn’t a series end. Not tantalizing, and not consistent with either the book but still rewarding alternative Anne of the rest of the series. I felt they bottled it in reaching for tired old sensationalist tropes. —Jonah

This is such a great adaptation of one of my favourite childhood stories. Amybeths’ portrayal of Anne is outstanding! Of course, each and everyone involved in the making of this show should be commended. It is fantastic! I hope Season 2 is right around the corner. Can’t wait! —CJ

I was sceptical, but this is a good show and the perfect Anne. During the pilot when she cries out of despair on the ground, I knew they’d picked the right child actress. Not everyone could pull off that scene as so genuine. —Kristi

 

Got a question or comment about Canadian TV? Email greg.david@tv-eh.com or via Twitter @tv_eh.

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MasterChef Canada selects its Top 3 in emotional episode

We are just a few weeks away from the finale on June 1, and I have to say this season of MasterChef Canada has been incredible. The guest judges have been A-list and the challenges are the most diverse and difficult I’ve ever seen. Everyone involved should be proud of the work they’ve done.

That, of course, goes for the home cooks who have been put through an emotional wringer this season. They’ve made it this far, but one was set to fall on Thursday night.

“Harvest Family Dinner” began with the final team challenge set on a farm on a crisp autumn day. The word “Family” in the episode title was, of course, a hint that producers would throw Barrie, Trevor, Mai and Thea for an emotional loop by bringing their families in to try out their menus. Barrie, who won the last challenge before Miranda was eliminated, chose his teammate. Her kept the bromance going with Trevor by selecting him, putting Mai and Thea together. The winners of the challenge would immediately be put into the Top 3 … and things got serious super-fast.

I can only imagine how fast that two hours of prep and cooking time must have flown by for the final four, but camera work was a pretty good indication. Hands and feet flew, eyes were focused and every home cook was out of breath. Barrie and Trevor opted for an elevated hunter’s meal of venison while Mai and Thea opted for a surf and turf of bison steak and scallops to reflect their home provinces. Barrie and Trevor worked side by side but without collaboration, trusting each other to pull their weight. Thea and Mai, meanwhile, made recommendations to each other and kept up the advice, and Mai threatened to take over. Which method of working would end up being the winning formula? Remember that it was Thea and Mai’s conflicting advice that had a hand in Justine’s elimination a few weeks ago.

Barrie’s wine sauce for the venison and Thea’s scallops threatened to derail the plans of both squads. The sauce was fixed and the scallops weren’t, meaning that chunk of protein was ignored and Thea’s time had been wasted. Two layers of doneness on the venison was a knock against Barrie and Trevor; the same went for Mai and Thea as Alvin’s steak was overdone. You have got to nail the doneness on protein if you want to score well on MasterChef Canada and those misses were Week 1 mistakes.

Trevor and Barrie won, sending them into the Top 3 and Mai and Thea into the Elimination Challenge. For that, the pair would have to replicate a Hawaiian cloud dessert containing a ginger cookie, pineapple sponge cake and frozen kiwi hidden under a cotton candy cloud. It seemed like an impossible task for Thea and Mai to achieve—I’d love to see Alvin, Claudio or Michael make one—and it looked in the early going like a too-puffy cake would eliminate Mai. But Thea’s candy cloud was a tad deflated and her sponge cake too dense … but her tuille was perfect. Mai’s cloud was fluffier, but a piece of foil from the butter ruined her otherwise wonderful sponge cake.

Mai was eliminated from the competition, meaning Thea is headed to the Top 3 alongside Barrie and Trevor. MasterChef Canada is taking a break for one week during U.S. May Sweeps and returns May 25.

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MasterChef Canada airs Thursdays at 9 p.m. ET/PT on CTV.

Images courtesy of Bell Media.

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Baroness Von Sketch Show, Wynonna Earp and Travelers top Rockie Awards noms

CBC’s Baroness Von Sketch Show, Space’s Wynonna Earp and Showcase’s Travelers are among the nominees for this year’s Rockie Awards.

Handed out during the Banff World Media Festival, the Rockie Awards celebrate excellence in television and digital content from around the world, with participation from more than 40 countries.

CBC’s The Secret Path is nominated in the Animation category, Odd Squad: The Movie in Children & Youth Fiction, Black Watch Snipers and Newfoundland at Armageddon in History & Biography and Paw Patrol in Preschool programming. Baroness Von Sketch received kudos in the Comedy Series: English Language category, with Wynonna Earp and Travelers facing off in the Sci-Fi, Fantasy and Action category.

Here’s a list of the nominees with Canadian projects highlighted in blue:

Animation
HARVEY BEAKS
Nickelodeon
United States

OTTO
NPO in association with NTR Television
Netherlands

REVOLTING RHYMES
Magic Light Pictures in association with BBC One
United Kingdom

SPONGEBOB SQUAREPANTS
Nickelodeon
United States

THE SECRET PATH
Antica Productions in association with Entertainment One and Edgarland Films
Canada

Children & Youth Fiction
HANK ZIPZER
Kindle Entertainment in association with DHX Media, Walker Productions, and support from Screen Yorkshire
United Kingdom

HETTY FEATHER
CBBC/BBC Television
United Kingdom

ODD SQUAD: THE MOVIE
Sinking Ship Entertainment in association with The Fred Rogers Company
Canada/United States

RANGER ROB
Nelvana Limited/Studio Liddell
Canada/United Kingdom

WILD KRATTS
Kratts Brothers Company, 9 Story Media Group Production in association with PBS, TVO and BC Knowledge Network
Canada

Children & Youth Non-Fiction
HAVE A LOOK AT MY WORLD: HAYA – A GIRL IN SAUDI ARABIA
Hanfgarn & Ufer Filmproduktion GbR, Berlin in association with Suedwestrundfunk
Germany/Saudi Arabia

HELLO WORLD!
Discovery Channel in association with Radicalmedia and WWF
United States

HORRIBLE HISTORIES SPECIAL: SENSATIONAL SHAKESPEARE
Lion Television in association with Scholastic UK, CBBC, BBC Television
United Kingdom

SHIMAJIRO: A WORLD OF WOW!
DASH Co. LTD in association with The Answerstudio Co Ltd. and TV Tokyo Corporation
Japan

OCTOPUS NEWS: FIGHTING AIR POLLUTION
HAKKA TV
Taiwan

Comedy Series: English Language
BARONESS VON SKETCH SHOW
Frantic Films in association with CBC
Canada

BLACK-ISH
Disney/ABC/ABC Studios
United States

FLEABAG
All3media International in association with Two Brothers and BBC3
United Kingdom

FLOWERS
Kudos Film & TV in association with Seeso
United Kingdom

INSECURE
HBO Entertainment in association with Issa Rae Productions, Prentice Penny Productions and 3 Arts Entertainment
United States

Comedy Series: Foreign Language
BOOMERANG
Encore Television Inc.
Canada

CALLBOYS
Woestijnvis/FBO in association with FBO, VIER
Belgium

FREEFALL
Encore Television Inc.
Canada

GENERATION B
De Mensen in association with Canvas, Gardner & Domm, VAF and Screen Brussels
Belgium

MY 80S TEEN MISADVENTURES
AVANTI CINÉ VIDÉO
Canada

Digital Fiction
#HASHTAG
SVT in association with Zentropa Sweden, Film Väst
Sweden

MY 90-YEAR-OLD ROOMMATE
LoCo Motion Pictures/9578056 Canada Inc. in association with Hawkeye Pictures and CBC
Canada

NOW WE’RE TALKING
go90 in association with an UNINTERRUPTED Original Series Produced by Blue Ribbon Content
United States

PEOPLEWATCHING
Lapaire Productions
Canada

THE 5TH QUARTER
OBB Pictures in association with 3 Arts Entertainment, Kids At Play
United States

Digital Non-Fiction
DECODED
MTV and Kornhaber Brown
United States

LIFE & DEATH ROW: LOVE TRIANGLE
BBC Studios in association with BBC Three
United Kingdom

QB1: BEYOND THE LIGHTS
go90 in association with Rated Red, Complex
United States

WE THE VOTERS: 20 FILMS FOR THE PEOPLE
Vulcan Productions, Show of Force and Warrior Poets
United States

YOUNG GUNS
go90 Rogue Atlas Productions in association with Rated Red, Complex
United States

Drama Series: English Language
AMERICAN CRIME
Disney/ABC, ABC Studios
United States

HAPPY VALLEY
Red Productions in association with BBC
United Kingdom

THE MISSING
New Pictures in association with Two Brothers Pictures
United Kingdom

THE NIGHT MANAGER
The Ink Factory in association with AMC and BBC
United Kingdom/Spain

UNDERGROUND
Sony Pictures Television
United States

Drama Series: Foreign Language
BORDERTOWN
Fisher King Productions, Federation Entertainment in association with YLE Finnish Broadcasting Company
Finland

MIDNIGHT SUN
SVT International in association with Nice Drama, Atlantique Productions
Sweden

RUPTURES
Aetois Productions Inc.
Canada

SR ÁVILA
Lemon Films in association with HBO Latin America Originals
Mexico

THE MENTEN CASE
NPO in association with Omroep MAX
Netherlands

VICTOR
Productions Pixcom Inc. in association with Québecor Contenu
Canada

Environmental & Wildlife
AFRICA’S HUNTERS
Primsoll Productions in association with Blue Ant Media
United Kingdom

BEFORE THE FLOOD
National Geographic presents a RatPac Documentary Films Presentation of an Appian Way Production. In association with Insurgent Docs and Diamond Docs
United States

MIGRATING BIRDS: SCOUTS OF DISTANT WORLDS
colourFIELD in association with ZDF & ARTE
Germany

PLANET EARTH II
BBC Studios – Natural History Unit, in association with ZDF, BBC America, France Television, Tencent
United Kingdom/Germany/United States/France/China

SAVAGE KINGDOM
Icon Films in association with Natural History Film unit Botswana for National Geographic Channels
United States

THE POACHER’S PIPELINE
Al Jazeera Media Network
Qatar

YEARS OF LIVING DANGEROUSLY
National Geographic presents a Roaring Forks production
United States

Francophone
CLAUDE LANZMANN: SPECTRES OF THE SHOAH
Jet Black Iris Corporations in association with Jet Black Iris America, Jet Black Iris Productions United Kingdom
United Kingdom/United States

HYPNO
La Récré
Canada

MIDNIGHT SUN
SVT International in association with Nice Drama, Atlantique Productions
Sweden

RUPTURES
Aetois Productions Inc.
Canada

VICTOR
Productions Pixcom Inc. in association with Québecor Contenu
Canada

VIRTUOSO
Média Qube Télé
Canada

History & Biography
BLACK WATCH SNIPERS
YAP Films in association with Corus Entertainment and Rogers Cable Network Fund
Canada

CLAUDE LANZMANN: SPECTRES OF THE SHOAH
Jet Black Iris Corporations in association with Jet Black Iris America, Jet Black Iris Productions United Kingdom
United Kingdom/United States

NEWFOUNDLAND AT ARMAGEDDON
Galafilm Productions Inc.
Canada

STORYVILLE: THE BLACK PANTHERS
Firelight Media in association with BBC
United Kingdom/United States

THE OLYMPIC DREAM – THE 1936 NAZI GAMES
SPIEGEL TV in association with Westdeutschen Runfunk, ARTE
Germany
Interactive Content

CARDBOARD CRASH
National Film Board of Canada
Canada

HALCYON
Secret Location in association with Corus Entertainment, Entertainment One, Independent Production Fund, NBC Universal, Ontario Media Development Corporation
Canada

LAWREN HARRIS: WHERE THE UNIVERSE SINGS
Secret Location in association with Bell Fund, White Pine Pictures, TVO, YesTV
Canada

TAHRIB – JOURNEY WITHOUT END
UFA LAB
Germany

TRAGICALLY HIP: LOOKING FOR A PLACE TO HAPPEN
CBC
Canada

Interactive Content for Kids & Youth
BACKSTAGE: TOO MUCH KEATON
Secret Location in association with Fresh Interactive, DXH Media, Bell Fund
Canada

DOTOPEDIA
Industrial Brothers in association with The Jim Henson company, Bell Fund, CBC
Canada

NATURE CAT’S GREAT OUTDOORS
Spiffy Pictures in association with REDspace Inc., PBS Kids
Canada/United States

PLAYTIME ISLAND
BBC Childrens Interactive and Childrens Design & Engineering
United Kingdom

ROSA’S CODE
YLE Finnish Broadcasting Company
Finland

WORLD OF PEPPA PIG
Secret Location in association with Entertainment One Family, OMDC
Canada/United Kingdom

CBC

Lifestyle
A CRUEL GIFT
KBS Korean Broadcasting System
South Korea

FOOD HEROES
ThreeSixZero Productions
Singapore

HELLO GOODBYE
FORTE Entertainment in association with Pivotal Media
Canada

MAN VS. CHILD: CHEF SHOWDOWN
Kinetic Content for FYI
United States

SMART CITIES 2.0
Very!
Singapore

Melodrama
30 LIVES
Aetios Productions Inc.
Canada

FROZEN MEMORIES
SP Televisão, S.A, in association with SIC – Socicdade Independente de Comunicação
Portugal

GREY’S ANATOMY
Disney/ABC, ABC Studios
United States

MORE THAN LOVE
SP Televisão, S.A, in association with SIC – Socicdade Independente de Comunicação
Portugal

POLDARK
Mammoth Screen Limited in association with BBC
United Kingdom

Music, Performance, Arts & Variety
IMAGINE…THE TRIUMPHS AND LAMENTS OF WILLIAM KENTRIDGE
Lone Star Productions
United Kingdom

KBS SPECIAL PROGRAM, AFFECTIVE SCIENCE PROJECT
KBS – Korean Broadcasting System
South Korea

SPIRIT UNFORGETTABLE
Little Kingdom Productions Inc, in association with Bell Media
Canada

THE SECRET OF A MASTER PAINTER
PosvideoTV in association with AVROTROS Television and NPO
Netherlands

TRACEY ULLMAN’S SHOW
BBC Studios in association with Allan McKeowan Presents
United Kingdom

Preschool
DOT.
Industrial Brothers in association with The Jim Henson Company and CBC
Canada

OCTONAUTS
Vampire Squid Productions Limited, a Silvergate Media company in association with Brown Bag Films
Ireland

PAW PATROL
Spin Master PAW Productions 3 Inc.
Canada

SESAME STREET
Sesame Workshop in association with HBO
United States

SPACE RACERS
Space Race, LLC
United States

Reality
60 DAYS IN
Lucky8 TV
United States

DEADLIEST CATCH
Original Productions LLC, a FremantleMedia Company for the Discovery Channel
United States

GAME OF LIFE – THE HEIR
SBS
Korea

HIGHWAY THRU HELL
GPM- H2H Productions V Inc., in association with Discovery Channel Canada
Canada

LEAH REMINI: SCIENTOLOGY AND THE AFTERMATH
The Intellectual Property Corporation in association with No Seriously Productions
United States

THE STORY OF GOD WITH MORGAN FREEMAN
Revelations Entertainment in association with National Geographic
United States

Science & Technology
BECOMING SUPERHUMAN
The Feds in association with the Australian Broadcasting Corporation
Australia

DEATH ON A COMET
Exploration Production Inc., in association with Discovery Channel Canada
Canada/United States

FORCES OF NATURE WITH BRIAN COX
BBC Studios Science Unit. A BBC Studios production with PBS co-produced by France Télévisions
United Kingdom

I GOT RHYTHM: THE SCIENCE OF SONG
Souleado Entertainment in association with CBC
Canada

MARS
Imagine Entertainment & RadicalMedia in association with FreMantle Italy for National Geographic
United States

Sci-Fi, Fantasy and Action
BLUE MOON
Aetios Productions Inc.
Canada

OUTLANDER
Tall Ship Productions, Story Mining & Supply Company, Left Bank Pictures in association with Sony Picutres Television
Scotland

TIMELESS
MiddKid Productions, Kripke Enterprises, Davis Entertainment in association with Sony Pictures Television and Universal Television

TRAVELERS
Peacock Alley Entertainment in association with Showcase and Netflix
Canada

WYNONNA EARP
SEVEN24 Films Inc. in association with IDW Entertainment
Canada

Social & Investigative
EXODUS: OUR JOURNEY TO EUROPE
KEO Films
United Kingdom

FLOORTJE BACK TO SYRIA
BNNVARRA Television in association with NPO
Netherlands

HEAVEN’S BORDER
Chosun Media, Walking Cycle Studios, Platform Art Film in association with TV CHOSUN
South Korea

MABEL
National Film Board of Canada
Canada

TERROR STUDIOS
Al Jazeera Media Network
Qatar

THE POACHER’S PIPELINE
CAPA PRESSE in association with CANAL +
France

Television Miniseries
APPLE TREE YARD
Kudos Film & TV
United Kingdom

KU’DAMM 56 – REBEL WITH A CAUSE
UFA FICTION GmbH
Germany

REDEMPTION ROAD
UFA FICTION in association with MIA Film
Germany

ROOTS
A&E Studios in association with Marc Toberoff + The Wolper Organization
United States

THE NIGHT OF
HBO Entertainment in association with BBC, Bad Wolf Productions and Film Rites
United States

Television Movie
DAMILOLA, OUR LOVED BOY
Minnow Films in association with BBC
United Kingdom

L.M MONTGOMERY’S ANNE OF GREEN GABLES
Breakthrough Entertainment in association with Corus Entertainment
Canada

MANHUNT: ESCAPE TO THE CARPATHIANS
Wiedemann + Berg Television GmbH & Co KG in association with ARD Degeto and the WDR
Germany/Romania

STAGE NAME NINO
cOMPAGNIA Leone Cinematografica in association with RAI FICTION
Italy

THROUGH THEIR EYES
WOWOW/ViViA
Japan

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