Everything about Industry News, eh?

Season 4 of Super Channel’s Tiny Plastic Men starts production

From a media release:

After a big year of Canadian Screen and Canadian Comedy Award nominations, Tiny Plastic Men begins production in Edmonton on a fourth season of the unique comedy series to be broadcast on Super Channel in Canada and Hulu and Hulu Plus in the United States.

Edmonton talents Chris Craddock, Mark Meer, and Matt Alden return as the writers and stars of the series playing three man-boys who test bizarre toy prototypes in their playroom of an office at the eccentric Gottfriend Brothers Toy and Train Company.  Chris Craddock will also be trying his hand at Co-Directing the series this season along with newcomer Mike Peterson.

Guest Stars on the show this season include Colin Mochrie (Whose Line is it Anyway) as fictional Canadian Astronaut Whizz Banger and Joe Flaherty (SCTV, Freaks and Geeks) as Mysterious Package Delivery Man.  Mochrie and Flaherty join a growing list of guest stars over the seasons of Tiny Plastic Men including Alan Thicke (Growing Pains, Unusually Thicke), Kevin McDonald (Kids in the Hall), Georges Laraque (NHL superstar), and the legendary Toxic Avenger creator and President of Troma Entertainment Lloyd Kaufman.  

Season four will premiere three episodes online in February 2016 before airing nationally in Canada on Super Channel and on Hulu in the USA May 2016.

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Production begins on Global’s new original drama The Code starring Jason Priestley

From a media release:

– Set to premiere on Global in Spring 2016, the series is produced by Entertainment One in association with Shaw Media –

Entertainment One Television (eOne) and Shaw Media announced today that production has begun on The Code (working title) starring Golden Globe nominee and Canadian Screen Award winner Jason Priestley. Set to premiere on Global in spring 2016, this new 10-episode one-hour drama series is a rousing P.I. procedural with a wry wit that combines drama, humour, and romance. Priestley plays “Matt ‘Shadow’ Shade”, an ex-pro hockey player who uses his ability to read people and anticipate their moves in his new gig as a crime-solving P.I. along with his smart, beautiful, and feisty partner “Angie Everett” played by Cindy Sampson (Rogue, Rookie Blue).

Shot on location in and around Toronto, The Code takes a modern spin on the classic noir hero story, as Matt and Angie investigate a wide range of fascinating cases from fraud to adultery to conspiracy and murder, while offering a great relationship drama along the way.

Additional cast include Barry Flatman (Fargo, Defiance) as Shade’s father “Don” – the ultimate blue-collar hockey dad. Matt Shade wouldn’t be the ex-pro athlete that he is if Don hadn’t driven him to every game and pushed him to be focused and hard-working. Jordyn Negri (Warehouse 13, Dino Dan) plays Shade’s visually impaired daughter “Jules” who is wise beyond her years but yearns to fit in – just like every 14-year-old.

The Code will also feature guest stars throughout the season, including hockey legend Doug Gilmour who makes a cameo in episode one.

The Code is executive produced by John Morayniss and Rachel Fulford for eOne along with Shawn Piller, Lloyd Segan, Shelley Eriksen, Alan McCullough, Tassie Cameron, Kelly Makin and Jason Priestley. Showrunners/writers are Shelley Eriksen (Continuum, Flashpoint) and Alan McCullough (Rookie Blue, Reign). Set to direct this season are Kelly Makin, Anne Wheeler, Shawn Piller, Charles Officer, Jason Priestley, Rob Lieberman and Jerry Ciccoritti.

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Tara Ellis returns to CBC as Executive Director, Scripted Content

From a media release:

Tara Ellis returns to CBC as Executive Director, Scripted Content

  • New leadership for CBC comedy, drama, kids and digital originals teams

Starting October 19, Tara Ellis will become Executive Director, Scripted Content. Ellis will lead CBC’s scripted content teams as they continue to raise the bar in comedy and drama, kids programming and digital originals.

“Tara is one of Canada’s leading media executives and her incredible reputation, creative expertise, relationships with the independent community and leadership experience will undoubtedly serve her well in this role.”, says Sally Catto, General Manager Programming. “Not only will she bring a fresh new perspective, but also an impressive track record to CBC’s already stellar scripted lineup.”

Most recently Senior Director of Original Drama Content for Shaw Media, Tara Ellis oversaw original scripted drama and comedy programming for Shaw Media’s conventional network Global and specialty channels including Showcase and History Channel. In her prior role as Alliance Atlantis’s VP of Content for Showcase, Tara led acquisitions, original production, and scheduling for the premiere specialty drama service. Prior to that, Tara was Executive in Charge of Production for CBC, overseeing long-form development and production of movies, mini-series and feature films. She also programmed Canadian short films and feature films for the public network.

The Globe & Mail has named Tara as one of the 40 Most Influential People in Canadian television for her efforts in bringing new talent to Canadian airwaves. In December 2012, Tara was honoured with the Women In Film & Television Crystal Award for Creative Excellence. She has served as board member and co-chair of WIFT-T, and as industry advisor to the Banff Media Festival, Strategic Partners, and others.

Tara will report to Sally Catto and reporting to her will be the Senior Directors of drama, comedy and children’s content. The digital originals team will report to Tara with respect to all scripted digital content.

“I am delighted to be returning to CBC where I started my career in TV drama. The scripted team under Sally have been developing and commissioning exciting, entertaining and relevant work at a time when the role of the national broadcaster has never been more crucial.”, says Ellis. “I’m thrilled at the prospect of working with the independent community to continue to make the CBC the go-to home for great creative talent and projects in Canada.”

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Comparing the major party platforms on culture

There are a lot of issues at play in this federal election but we know that readers of TV, eh? are particularly interested in federal government support of Canadian culture and specifically Canadian television.  The following outlines and compares the major party platforms (to the extent they exist at the date of posting) on Canadian culture.

Note that I have pulled the platform promises from the party announcements (with links) and added any additional information that I could find.  I’ve added in clarifications from the NDP and Liberals (no response to my enquiry to the Conservatives) and as well things that were said by Andrew Cash (NDP) and Stéphane Dion (Liberal) at the Screen Industries Debate held October 7, 2015 in Toronto (there was a last minute cancellation from the Conservative representative). I have submitted a few follow up questions to the Liberals and the NDP and will update this post when I receive answers.

Conservative Party

There have been no party platform announcements on Canadian culture from the Conservative Party.  The closest thing to a platform announcement was Stephen Harper’s video promising to not tax Netflix or similar streaming services and claiming that the Liberals and NDP would do so.

Fact Check – neither party has taken the position that Netflix should be taxed but have at the federal Heritage Committee supported Netflix providing more data such as the number of Canadian subscribers and number of Canadian programs in their catalogue (the data they refused to give the CRTC).  This was repeated by Stéphane Dion at the debate and Andrew Cash raised the need to ensure fair payment to creators from OTT distribution as an issue but neither went so far as to endorse a ‘Netflix Tax’.

NDP

The NDP recently released their culture platform.  It is not fully costed but includes:

  • $60 million over 4 years to Telefilm and NFB and Canada Council
  • loosen rules to obtain Canada Council
  • income tax averaging for artists and cultural workers
  • promote work internationally through cultural attaches at embassies
  • $10 million digital content fund to fund content to celebrate 2017
  • reverse $115 million cuts to CBC and guarantee multi-year stable funding for the CBC (five years was suggested by Andrew Cash) and an independent process for appointing board members
  • Review the Broadcasting Act as part of a National Digital Strategy (this is not in the platform but was mentioned by Andrew Cash in the debate and by my recollection is the first and only time anyone has mentioned National Digital Strategy during this campaign)

Questions:

  • What is the breakdown of the investment in Telefilm, NFB and Canada Council?
  • What kind of rules need to be loosened to increase access to Canada Council?
  • Why is there no increase in the federal government contribution to the Canada Media Fund, which funds television, convergent and digital content. The CMF has not had an increase since its predecessor was founded in 1996 (other than digital content funds being reallocated from Telefilm to CMF in 2010).  Note that when asked this question, Andrew Cash mentioned looking at decoupling the digital media requirement from television funding through the CMF, which could potentially have a significant negative impact on the Canadian digital media industry.
  • What is the logic behind income tax averaging for artists and cultural workers and not all freelancers?
  • Why is the digital content fund limited to content to celebrate 2017 and not a permanent or ongoing fund?

Liberal Party

The Liberal culture platform has a bit more detail as culture has been included in their fully costed plan:

  • reverse $115 million cuts to CBC and top it up an additional $35 million per year, create a new strategic plan that incorporates the new funding and takes into consideration the new digital world, the CBC board to have merit-based and independent appointments
  • double Canada Council from $180 million to $360 million
  • Telefilm and NFB each receive an additional $25 million per year
  • Restore Promarts and Trade Routes cultural promotion programs and increase funding to $25 million each year
  • Increase funding to Young Canada Works for the next generation of museum staff
  • Invest in cultural infrastructure
  • Review the Broadcasting Act to update it for new technologies
  • Ensure that the mandated Copyright Act review takes place in 2017 (there is a concern that the Conservative Party will not implement the review or may short change it)
  • Allocate some of the promised funding for training to mid-career training for media professionals to help them adapt to new technologies
  • Advance 75-80% of the tax credit payments to improve cash flow and reduce interest costs

Questions:

  • The last 4 points were from Stéphane Dion at the debate. I am trying to get clarification (and confirmation) of the last point in particular as it would be a huge cost savings benefit to the Canadian film and television production industry.
  • Why is there no increase in the federal government contribution to the Canada Media Fund, which funds television, convergent and digital content. When Stéphane Dion was asked this question at the debate, his response was that there had been no agreement by stakeholders appearing at Heritage Committee hearings on what the CMF needed.  It could be more money but it could be guideline changes.  He felt the need for more industry consultation before making a proposal.  It could be that the parties are waiting for Heritage’s internal review of the CMF before making any commitments.  I was also advised by a party spokesperson that the focus was on replacing Conservative budget cuts and the CMF had not been cut.
  • Does the Liberal Party have any plans for a National Digital strategy?

Green Party
The Green Party culture platform has a lot of ideas but no costing associated with it:

  • Increase funding to all of Canada’s arts and culture organizations including the Canada Council for the Arts, Telefilm Canada, orchestras, theatres, and publishers. The goal will be to make increases in this sector commensurate with increases in support over the years for other sectors such as transport, energy, and health care;
  • Provide stable base funding for the CBC so it can continue to provide quality Canadian content television and radio programming in both official languages to all Canadians;
  • Restore CBC international short-wave service;
  • Reverse the CBC application and CRTC approval for commercial advertising on CBC Radio 2;
  • Reverse cuts to suppertime news and local programming in CBC and Radio Canada;
  • Ensure that the Canadian Radio-television and Telecommunications Commission (CRTC) reserves more bandwidth for independent and non-profit stations;
  • Enact legislation that requires cinemas and video chains to have at least 20% Canadian content;
  • Restore and improve arm’s length principles in the governance of arts and cultural institutions and agencies under federal jurisdiction. In keeping with such a position, we believe that the heads of Canada’s cultural organizations such as the CRTC, Canada Council, CBC, and Telefilm Canada should not be appointed by the political party in power but by an arm’s length committee made up of competent people representative of the various diverse stakeholders in Canadian society;
  • Seek greater support and adequate resources for arts grants programs;
  • Seek increased funding incentives for artists and art events to tour Canada’s rural regions;
  • Provide protection for indigenous intellectual and artistic property rights;
  • Increase support for community arts programs and facilities across Canada by establishing stable base funding at a set percentage of the federal budget;
  • Equalize federal funding for arts and culture among provinces, territories, and municipalities to make it consistent with the provinces and municipalities that have the highest current standards;
  • Provide incentives to all provinces and territories to restore and improve arts and culture components in schools and extra-curricular activities, not only in urban but also in rural areas;
  • Extend income tax relief and incentives to artists (on the very successful models established by Ireland and the city of Berlin).

Questions:

Well, lots of questions starting with a costing but in particular:

  • Why is there no increase in the federal government contribution to the Canada Media Fund, which funds television, convergent and digital content. The CMF has not had an increase since its predecessor was founded in 1996 (other than digital content funds being reallocated from Telefilm to CMF in 2010).
  • Does the Green Party have any plans for a National Digital strategy?
  • Will increases to CBC funding make up for the service cuts that the Green Party wants to reverse?
  • How will increased bandwidth for independent and non-profit stations (whatever that means) ensure more independent and non-profit stations exist?
  • Some provinces use provincial funding to incent productions to come to their province instead of another and therefore develop a local industry. The Green Party equalization strategy will prevent that.  Was that intentional?

It is interesting to compare the language of the NDP and Liberal platforms.  The NDP platform emphasizes artists:  “In this election, only the NDP can be trusted to invest in CBC, to invest in Canadian content, and to support Canadian artists.”  On the other hand the Liberal platform talks about culture as an economic generator of middle class jobs:  “A Liberal government will reinvest in our cultural and creative industries, to create jobs, grow the economy and middle class, and strengthen our rich Canadian identity.”

However, I despair that both the Liberals and NDP continue to think that a film and television industry cares about Canada Council grants since the Canada Council funds artists and specifically NOT “work created for the cultural industries of commercial film and television”.  I know that I’ve tried to explain this to MPs and party staffers from all parties and I haven’t been alone.

I would also like to point out that the Liberal Party appears to have relied heavily on Heritage Committee appearances and submissions to know what the industry thinks and is advocating.  It is easy to dismiss these committee appearances as a waste of time because little is done (particularly in the last couple of years) as a result of their hearings but clearly they are a significant way for parties (as well as the government) to gather information.

I will update this post as and if I gather more information.

UPDATE:  The Canadian Media Production Association compiled their own list of party promises including a lovely and handy one page chart here.  Also, the NDP have released a fully costed platform and you can find the costing for the cultural promises on page 70.

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