TV, eh? | What's up in Canadian television | Page 1145
TV,eh? What's up in Canadian television

He Said/She Said: Reaction to Rogers/Shaw/Bell Media’s fall lineup

Join Greg and Diane every Monday as we debate what’s on our minds. This week: Our thoughts regarding Rogers, Shaw and Bell Media’s 2015-16 broadcast schedules.

He Said:

Make sure you take a peek at Diane’s fall announcement scorecard for her grade on the networks when it comes to Cancon and our thoughts on CBC’s fall schedule.

Overall, I’m frustrated with the amount of Canadian content that Rogers and Shaw have lined up for City and Global. A measly 60 minutes are devoted to homegrown series on City thanks to a second window of Mr. D and original episodes of Sunnyside. That’s it. Mr. D has gotten the short end of the stick in this formula, leading off the night on Thursdays in November and into unproven U.S. import Life in Pieces. Sunnyside has a cushy spot between Bob’s Burgers and Brooklyn Nine-Nine on Sundays in a night of back-to-back sitcoms that Global and Fox have made famous.

Over it Global it’s even more dire because they have exactly zero minutes of Cancon lined up for the fall. Shaw boss Christine Shipton played up the midseason return of Big Brother Canada and newbies The Code and Houdini and Doyle which, again, is just three hours of original stuff amid all of the acquired programs from south of the border. Adding to my frustration, of course, is the fact that Shaw cancelled Remedy only to trumpet U.S. medical drama Heartbreaker. (Two days after Shaw jetted star Melissa George to their upfront, NBC bumped Heartbreaker to mideason.)

Granted, Shaw has loaded up on Canadian content on its specialty channels with unscripted fare like Curse of the Frozen Gold, Battle Factory, Klondike Trappers, Unusually Thicke, The House that HGTV Built, Leave It to Bryan, Chef in Your Ear, Chopped Canada Teen Tournament, Food Network’s Great Canadian Cookbook, First Dates and scripted work in Vikings. That’s certainly more than what Rogers offers on OLN, FXX and FX Canada.

Bell Media comes off like a saviour thanks to putting Saving Hope in the prime Thursday night 9 p.m. slot on CTV, a move that shows confidence in the series. Motive and MasterChef Canada will both be back at midseason on CTV while CTV Two packs Saturday nights with repeats of The Listener, Flashpoint and Motive. On the other hand, Bell Media is playing it safe by sticking with what works on CTV and CTV Two; I wish the upcoming Letterkenny was given a chance to shine on the main networks rather than on The Comedy Network and CraveTV.

She Said:

How depressing is it that the highest praise we can bestow on the major private networks this season is “yay, one of them is giving one of their own shows a decent fall timeslot”? Canadian TV: the home of lowered expectations.

Fall is a rough time for homegrown programs, though, amid the saturation of US shows’ big budgets and big marketing campaigns. It seems we’ve learned time and again that new series have a better chance of a successful launch in winter rather than fall.

Which doesn’t explain why there’s not much to say about the “16” part of their 2015-16 schedules. Motive and MasterChef Canada are coming up this winter and … no, never mind, there’s no “and.”

Global and City still have announced nothing original scheduled for post-Christmas. Only Global used the 2015-16 season announcements as an opportunity to talk about new upcoming shows – The Code and Houdini and Doyle, not yet in production and with no air dates attached, so don’t expect to see them before spring — and that appeared to be a case of misdirection in the hopes people wouldn’t notice they had butkus actually scheduled for 2015-16 in their scheduling announcements so far. The specialty networks are where Shaw has shows, but the mothership network? Nada. 

I expect more development/in production announcements soon-ish, given how thin things are looking like right now and rumours of shows in their last seasons. I also expect Canadian shows may be slotted in ad hoc as US cancellations force a hole in the precious simsub schedules. But when putting on a show for advertisers through upfronts and high season schedules, the private networks are still all about that U.S. product with little to no room for original productions.

There’s a persistent rumour that Canadian productions don’t bring in the Canadian advertising like a U.S. show does. Chicken? Egg? If the networks don’t value them as much, it becomes hard to argue that advertisers and audiences should.

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Speech: Jean-Pierre Blais at the Banff World Media Festival

From a media release:

The new television age
Content is abundant in today’s television age. It’s available from countless sources, on countless devices, at any time of the day or night. Now more than ever, viewers control and customize their television experiences. Choice is the reality of this age. But that reality is not without challenges. The players in the traditional television system must adapt if they are to survive. Broadcasters and creators must find new ways to bring content to viewers as they move away from appointment-based viewing and toward on-demand consumption.

We at the CRTC were mindful of such changes, the pace with which they unfolded and the challenges they created. We’re not blind to the industry—despite what some occasionally say. It’s why, even as far back as the summer of 2013—at this very festival, no less—I told you a few truths about the broadcasting industry. Continue reading.

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Movie Central’s Script to Screen call for submissions now open

From a media release:

Corus Entertainment’s Movie Central, along with the National Screen Institute – Canada (NSI), announces the call for submissions for the fourth year of Script to Screen. Script to Screen is a writer-oriented, feature script development program funded by Movie Central and delivered by NSI. The program selects gifted writers and helps shape their ideas from the early stages of development through to a polished, production-ready script with market appeal.

The call for submissions is now open to the first 200 complete applications. Up to five selected writers will receive a development advance of up to $50,000.

Interested applicants can apply now. Submissions are open to the first 200 complete applications. Visit http://www.nsi-canada.ca/courses/script-to-screen/ for more information.

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CBC partners with Banijay International for new TV ventures

From a media release:

CBC announced today the launch of Format Incubator, a collaborative venture between CBC, distributor Banijay International and the independent production community, aimed at boosting the creation of original, exportable television formats.The hunt is on for new unscripted concepts that have strong domestic and international appeal, and break new ground in factual programming.

CBC and Banijay International are seeking unique concepts that resonate with audiences and have the potential to spark a national dialogue about a topic that matters to Canadians. Format Incubator will select a small number of format ideas to develop, ultimately narrowing down the selection to one to three formats to go to pilot.

Canadian producers are invited to submit their original, non-derivative prime time unscripted formats in the following programming areas:

  • Field-based factual. These formats take people on a journey of knowledge; have interesting characters, strong narrative, stylistic production and editing, and a unique point of view.
  • Studio-based entertainment. For adults 25-54 and families, a collective viewing experience that reaches out to the audience to participate in the program in many different ways.

Proposals are being accepted now, until August 3rd. Full guidelines and submission details can be found at CBC’s Independent Producer page.  Please visit:

http://www.cbc.ca/independentproducers/genres/factual_entertainment.

Format Incubator will support up to three new unscripted pilots through the development and production process, and broadcast the pilots in prime time on CBC Television in March 2016. Chosen pilots will benefit from development and creative editorial support from CBC and Banijay, and an expedited distribution process to bring their concept to the international market.

Pilots will be financed by CBC and Banijay International, along with provincial and federal tax credits. Canadian producers will retain copyright of the program, and the format will be owned equally and jointly by the production company, CBC and Banijay International.

 

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Buck Productions and Patrice Théroux partner for ReincarNATE

From a media release:

Sean Buckley, Owner and Executive Producer, Buck Productions announced today that industry heavyweight Patrice Théroux has joined ReincarNATE, a TV series based on the popular comic books by writer Michael Moreci and illustrator Keith Burns. The project is currently in development at Buck Productions. Théroux joins Buckley as Executive Producer, while up-and-comer James Cooper who directed Interview with a Time Traveler and Elijah the Prophet, developed the adaptation and wrote the pilot. ReincarNATE marks one of the first projects that Théroux has attached himself to since departing eOne.

Moreci is a megastar in the comic world, having penned ReincarNATE, Roche Limit, Dawn of the Planet of the Apes, as well as Hoax Hunters, which is currently being developed into a feature film. Based on the popularity of Moreci’s outstanding body of work, Heavy Metal is re-releasing theReincarNATE trade paperback, including all four issues of the series, for fans in November 2015 and a brand new series of ReincarNATE comics is set for release next year.

ReincarNATE is a one hour crime drama focused on down-on-his-luck Private Eye Nate McCoy. After being shot in the head during an investigation, Nate gains the ability to interact with versions of himself from past lives; Jameson, a wild west lawman, and Alan, a contract killer from the 1960s. With their help, Nate takes on the dangerous underworld, crooked cops, and scumbags, including El Panda; a criminal heavyweight who may have been responsible for the murder of his father.

About Buck Productions
Buck Productions is a leading content creation company that has seen success in feature films, television, branded content, documentaries, and commercials. Considered one of the most diverse production houses in North America, owner and CEO Sean Buckley has cultivated a concept-first culture, where ideas and end-products are paramount. Buck is one of North America’s foremost production companies. Buck Productions has also been named on Realscreen Magazine’s Global 100 list of independent production companies for the past five years in a row.

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