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TV,eh? What's up in Canadian television

The Wonk Report: TalkTV rehashed and Bell’s Kevin Crull said what?

A Prime Time in Ottawa summary –  Part 2

By Cynthia Lynch

(See part 1 of this post here)

The Wonk Panel – Focus on TalkTV

This panel was tough to pull off because we don’t know what the decisions will bring, although of course everyone has a theory. Although there wasn’t much new on this panel, what struck me was the amount of general agreement on most of the issues from a diverse group of panellists – something that moderator Peter Miller pointed out but that the panellists don’t think will last. Right now, everyone’s business is being negatively affected by the slow-drip method of releasing decisions and the uncertain environment this creates. No one wants to sign a deal when the environment could change drastically, and Kevin Goldstein from Bell pointed out that the Commission doesn’t seem to have any problem messing with already signed agreements through regulatory action, a prospect he described as “terrifying”. The panellists all agreed that we are heading into a time of great disruption and transition, but no one really knows how it will play out.

The other thing the panellists agreed on was that the TalkTV proceeding was not the proceeding that we thought we were getting, although no one seemed to agree on what they thought they were getting. Jay Thomson from the CMPA mentioned that he thought the proceeding began with a conversation about balancing consumer choice with driving independent creation forward, but that got jettisoned. Goldstein said that they were hoping for a forward-looking policy that will help them compete but instead we seem to be debating irrelevant things that never should have been on the table. All in all, there was dissatisfaction with the Commission on all sides.

An interesting viewpoint was added to the panel from the consumer side, represented by Alysia Lau from the Public Interest Advocacy Centre (PIAC) and to a certain extent by John Simcoe from PricewaterhouseCoopers who started the panel off by presenting some research they have been doing on what consumers are expecting. Compared to other panels, though, this was one panel where the audience wasn’t talked about as much as in other areas. Asha Daniere from Blue Ant did speak up for the Commission protecting consumer choice, however, she made the point that consumer choice is not the tyranny of the majority. As an independent broadcaster, it is only natural that Blue Ant would be concerned about the implications of any pick-and-pay policies that come out of the decision; Daniere’s point was that consumers can’t pick something if there is no way for them to find out about it.
A highlight for me and some of the other wonkier wonks in the room was Jay Thomson’s (feigned?) incredulity at Kevin Goldstein’s admission that the Crave TV when offered through the BDU had Cancon requirements as a VOD service, but when offered as only an internet service, it is completely free of any requirements. Goldstein agreed with Thomson that this may seem ridiculous, but also pointed out that it is equally ridiculous that Netflix has no requirements. But in the end, the panel adopted a wait and see attitude; there’s not much more they could do until the rest of the decisions come out.

Kevin Crull Keynote

Bell Media President Kevin Crull’s Friday lunch speech seemed to be a summary of the case Bell will be making before the courts in their upcoming CRTC appeals. Although this was off-putting for some in the room, people at my table were convinced.

He started off by asking the audience about the type of broadcasting system we want to have – one with Canadian content, local news, diversity of voices – and then saying that if none of those things are important (which they obviously are, to that crowd) then we are on the right track. In his view, the private broadcasting system we have now is not sustainable and we either need to make some changes or give up and leave all the Canadian content creation to the CBC (with more funding, at taxpayers’ expense, of course).

As proof of the private system’s unsustainability, he offered up the fact that while CTV is having an immensely successfully year in the ratings, they aren’t making any money.

The fundamental flaw in the private system, as Crull sees it, is that there is no legitimate Canadian rights market. Broadcasters all over the world buy foreign (U.S.) content to attract audiences and subsidize the creation of their domestic content. It is only in Canada that audiences have direct access to that U.S. content, undermining broadcasters’ ability to make money from it.

In Crull’s view, letting Canadian cable systems deliver American networks into Canadian homes was one of the first steps in ruining the Canadian rights market and simultaneous substitution was an inelegant and insufficient system to protect Canadian rights. He argued that the channels should have been blocked in the first place and that this would still have given Canadians lots of choice in programming because the broadcasters would still bring those shows in.

I found it curious that someone whose business includes a distribution service, one that is partly built on delivering U.S. channels to Canadians, now wants to end that practice. Or more accurately, regrets that the practice ever existed in the first place. Clearly we would have had a different broadcasting system, and Bell would have had a different kind of business, if cable (and satellite) companies had never been allowed to distribute U.S. channels here.

At the same time, Crull went on to defend simultaneous substitution rigorously, pointing out all the good things that it brings to the system – advertising dollars to the tune of about $40 million for CTV, the ability for small Canadian businesses to reach local audiences, and American programming as a platform to launch and promote Canadian shows.

It’s impossible to know what will happen over the next few months and years, but it’s clear that Bell has established what they are willing to fight for, and protecting Canadian territory rights for their programming seems to be at the top of the list.

* * * * *

Although it may not seem like it, I have left off a lot of what happened at Prime Time this year. I heard from many people that this was one of the most interesting and engaging Prime Times ever, so kudos to Marguerite Pigott and programming consultant Kelly Lynne Ashton for putting together a great couple of days. And I encourage people to look up any and all of the sessions – I’m definitely going to give Michael Gubbins another listen.

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CRTC announces measures to support the creation of content made by Canadians for Canadian and global audiences

From a press release:

The Canadian Radio-television and Telecommunications Commission (CRTC) today announced significant changes to ensure Canada’s television system adapts to an audiovisual environment that is in profound evolution. This is the third in a series of announcements related to Let’s Talk TV: A Conversation with Canadians, and the changes focus on the creation of content made by Canadians for both Canadian and global audiences.

Canadian television supports a thriving industry that employs nearly 60,000 people and invests over $4 billion each year in the creation of content made by Canadians. The television system, however, is undergoing a fundamental shift brought on by broadband Internet and wireless networks. Increasingly, Canadians are bypassing the traditional curators of content, the broadcasters, and watching programs in new ways: on their mobile devices, by binge-viewing multiple episodes of a TV series in one sitting and by accessing vast online libraries of content from around the world. In this age of abundance, the viewer is in control.

To foster the continued success of Canada’s creative talent, the CRTC is removing barriers that stand in the way of innovation and reinventing its approach to content made by Canadians. These measures will ensure the creation and promotion of compelling and high-quality content that audiences in Canada and abroad want to watch.

Promoting and discovering content

For Canadian-made productions to succeed in a sea of digital content, they must be well-promoted and easily discovered by viewers, both within Canada and abroad.

As such, the CRTC will host a Discoverability Summit in the fall of 2015. This Summit will bring together innovators and thought-leaders from the public and private sectors to explore how technology can be used to help viewers find programs made by Canadians. Further details on this summit will be released at a later date.

The CRTC is also providing more flexibility to broadcasters, so that they can better promote original Canadian television programs.

Creating Canadian-made content for global audiences

The CRTC is also launching two pilot projects that provide a more flexible and forward-looking approach to the production and financing of Canadian programs. Under these pilot projects, live-action drama and comedy series that either have a budget of at least $2 million per hour or are based on best-selling novels written by Canadian authors will be considered as being Canadian productions, provided certain additional criteria are met.

These changes are intended to support a production sector that has the financial capacity to develop scripts and concepts, as well as to create and market big-budget productions that can attract global audiences.

The CRTC is calling on other policy makers and funding agencies to follow suit for the benefit of the television system and Canadians. For instance, existing funding models could be updated to provide incentives for international co-productions and co-ventures, promotion and international distribution opportunities, and the creation of online content.

Removing barriers to innovation

The CRTC is confident that content made by Canadians can compete with the best in the world. Certain protections are no longer needed in a world of abundance and choice, and where many Canadians no longer watch shows according to a broadcaster’s schedules. The future of television lies in Canadians’ proven ability to create compelling, high-quality content.

As such, the CRTC is reducing the quotas setting out the amount of Canadian programs that local television stations and specialty channels must broadcast. At the same time, the CRTC is ensuring that the majority of these stations and channels reinvest a portion of their revenues into the creation of content made by Canadians. For certain types of programs, such as drama and documentaries, broadcasters will continue to invest at least 75% of these funds on content created by independent producers.

To foster a more open and competitive market, the CRTC is also eliminating rules under which specialty channels, such as HGTV Canada and MusiquePlus, can only broadcast certain types of programs. As a result, existing channels will be able to acquire or produce shows that better respond to their audiences’ interests and needs. Moreover, new specialty services will be able to enter the Canadian marketplace and compete with existing channels. Both existing and new channels will need to be innovative and creative to succeed.

Finally, the CRTC is allowing video-on-demand services to offer exclusive content to cable and satellite subscribers, as long as they are available to all Canadians over the Internet without a television subscription. This will enable Canadian services to compete on a more equal footing with online video services.

About Let’s Talk TV

In 2013, the CRTC launched Let’s Talk TV: A Conversation with Canadians on the future of their television system and how it can adapt to evolving technologies and viewing habits. The CRTC received more than 13,000 comments from Canadians during the conversation’s various phases.

Today’s announcement is the third in a series of decisions that will set out a new forward-looking framework that will guide the television system in the coming years. The CRTC previously announced decisions relating to cable and satellite companies’ 30-day cancellation policies, local television and simultaneous substitution.

Quick Facts

  • The CRTC is taking steps to ensure Canada’s television system adapts to an audiovisual environment that is in profound evolution.
  • The CRTC will host a Discoverability Summit in the fall of 2015 to explore how technology can be used to help viewers find content made by Canadians in the digital environment.
  • The CRTC is experimenting with two pilot projects that will allow greater flexibility in the funding of Canadian programs.
  • The CRTC is confident that content made by Canadians can successfully compete with the best in the world and that certain regulatory protections are no longer needed.
  • The CRTC is allowing video-on-demand services to offer exclusive content to cable and satellite subscribers, as long as they are available to all Canadians over the Internet.

To foster a more open and competitive market, the CRTC is also eliminating rules under which specialty channels, such as HGTV Canada and MusiquePlus, can only broadcast certain types of programs. As a result, existing channels will be able to acquire or produce shows that better respond to their audiences’ interests and needs. Moreover, new specialty services will be able to enter the Canadian marketplace and compete with existing channels. Both existing and new channels will need to be innovative and creative to succeed.

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Tonight: The Nature of Things, Doc Zone, Storage Wars Canada, The Liquidator

The Nature of Things, CBC – “Safe Haven for Chimps”
It’s a well-known fact that chimpanzees are our closest living relatives. But what does that really mean? For many decades, it meant that chimpanzees were used as substitutes for humans. We are so like them that scientists believed that their bodies could be used to gain a deeper understanding of everything from brain function, to the efficacy of certain drugs. As Jane Goodall says in Safe Haven for Chimps, “chimps show there’s no sharp line dividing us from the rest of the animal kingdom.” Biomedical research on chimps has persisted, despite everything we’ve learned. The U.S. is one of the last countries to allow it. But now that’s changing, signaling an evolution in our thinking. Safe Haven for Chimps travels to the American Deep South to Chimp Haven sanctuary to meet a special group of chimps and their sanctuary staff, following a landmark decision in the U.S. to retire 300 federally-owned chimpanzees. It could mean the beginning of the end for all chimpanzees in research in the U.S.

Doc Zone, CBC – “Deluged by Data”
Deluged by Data begins with a familiar refrain: our ever-expanding digital age has swamped us under incoming emails, tweets, texts, alerts, photos, Facebook posts – and now, new bio-feedback data that peeks deep inside our bodies. But are these the tools for a happy new cyber era, or are they “weapons of mass distraction”? This eye-opening and entertaining new documentary by Montreal filmmaker Josh Freed reveals there are equal numbers of data lovers and data haters – with opposing visions.

Storage Wars Canada, OLN – “Roy Marks His Territory”
Tensions are still running high between Roy and Ursula at an auction in Thornhill, ON. Roy brings his dog for support, while Ursula does her best to ignore the S.O.B. (and B). Meanwhile, Paul and Bogart hope their life coach will give them a leg up, and Cindy can’t hear a word Rick or anyone else is saying.

The Liquidator, OLN – “Schwarz Team”
Direct Liquidation is expanding to a second location halfway across the country, forcing Jeff to do what he has never done before: put his business in someone else’s hands. But Jeff can’t stay at arm’s reach for long and ends up flying in to save the day – whether it wants to be saved or not. Meanwhile, trusting the wrong guy leaves Ian singing a sad song on a freezer deal. Will Jeff hear his tune and bail him out?

Vikings, History – “Scarred”
The victorious Wessex/Viking forces return to Wessex but there is rancour in the Viking camp – Floki is angry over the alliance with Ecbert and is resentful the influence that he feels Athelstan has over Ragnar. Princess Kwenthrith makes some calculating political moves following the battle at the Hill of the Ash in Mercia. Visitors from the past arrive in Hederby, at Kalf’s invitation.

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Win passes to the Toronto Screenwriting Conference

tsc-logo

Want access to veterans of the screenwriting industry who can give you the education and skills development to further your career in writing, producing and directing? The Toronto Screenwriting Conference is for you.

The two-day event weekend event—on April 11 and 12—brings together expert creative talent, authors and speakers specializing in the craft of writing.

Among the highlights is a Writing Room Intensive with 19-2 showrunner Bruce M. Smith, where participants create a tent-pole episode of Bravo’s cop series. Also on tap: master classes with writer/director/producer David S. Goyer (Da Vinci’s Demons), and writers Salim & Mara Brock Akil (Girlfriends) and sessions titled Running the Show: Moving From Writer to Showrunner with Jeff Melvoin (Army Wives); You Have a Great Script, Now What? with Carole Kirschner; Creating the Successful TV Series Engine with screenwriter Corey Mandell; and What’s Up at NSI? with the National Screen Institute’s Shelly Tyler and Chris Vajcner. More speakers and sessions will be announced soon.

TV, eh? is proud to be the exclusive media sponsors for this year’s Toronto Screenwriting Conference, but we’re even more excited to offer our readers the chance to win two complimentary passes (valued at $838) to the weekend!

Simply comment below telling us why you’d like to attend and we’ll select two winners at random to attend next month’s event. The contest closes Friday, March 20, at noon PT/3 p.m. ET.

More information can be found at the TSC website.

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DHX Media orders tween series Make it Pop for YTV

From a media release:

DHX Media Ltd. (“DHX” or the “Company”) (TSX: DHX.A, DHX.B), a key player internationally in the creation of content for families and children, has been commissioned by Nickelodeon in the US and YTV in Canada to produce a new, live-action musical-comedy series, entitled Make It Pop. The half-hour sitcom, which is targeted at the tween audience, is currently filming 20 episodes at DHX’s Epitome Studio, in Toronto, Canada. DHX Media will also handle global distribution and brand management for Make It Pop, as well as merchandising and licensing through appointed agency, Copyright Promotions Licensing Group Ltd. (CPLG).

Make It Pop is a comedic, music-infused sitcom about three unique girls who come together to start their own K pop-inspired band. Randomly selected to room together at boarding school, three freshman girls meet and bond over music. With the help of fellow boarding school classmate and DJ hopeful, Caleb, the girls grow from roommates to bandmates as their band, XO-IQ, becomes a school-wide sensation and they compete for a place in the upcoming school musical. The series, which will feature original songs and performances in every episode, is co-created by Thomas W. Lynch and Nick Cannon and produced by DHX Media.

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