TV, eh? | What's up in Canadian television | Page 630
TV,eh? What's up in Canadian television

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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Season 5 of The Next Step set for May 26 on Family

From a media release:

Get ready for a season filled with friendly rivalries and fierce competition with the return of Family Channel’s hit series The Next Step. Debuting Friday, May 26 at 4:30 p.m. ET/PT, season five represents a new chapter for the studio as the dancers are divided into two separate teams, led by fan-favourites Victoria Baldesarra (Michelle) and Alexandra Beaton (Emily). Fans who can’t wait for the new season to begin, can check out the new short series The Next Step: The Off Season, on The Family Channel App, to find out what A-Troupe has been up to since their Regionals loss. Following the premiere, new episodes of The Next Step will air regularly Fridays at 4:30 p.m. ET/PT with encore presentations at 7 p.m. ET/PT.

Season five of The Next Step brings about a lot of changes for the studio. Since losing at Regionals, A-Troupe is once again the underdog, but that won’t deter them from getting back to the top. As many dancers leave to pursue their goals and dreams, former dance captain Emily (Beaton) steps in to take control of the studio. But her strict regime isn’t welcomed by everyone and the studio quickly divides into two: Emily’s classically trained dancers, and the self-trained/hip-hop crew led by veteran Michelle (Baldesarra). In the end, only one team can make it to Regionals and it’s a full out battle between East vs. West.

New dancers joining the cast for season five include: Dylan Ratzlaff as Jacquie; Jessica Lord as Lola; Milaina Robinson as Zara; Julian Lombardi as Ozzy; Hanna Miller as Heather; Noah Zulfikar as Kingston; Dawson Handy as Josh; and Julian Elia as Elliot. In addition to Beaton and Baldesarra, returning familiar faces include: Myles Erlick as Noah; Briar Nolet as Richelle; Alexandra Chaves as Piper; Isaiah Peck as Henry; Shelby Bain as Amy; Brennan Clost as Daniel; Lamar Johnson as West; and Akiel Julien as LaTroy. Fan-favourites Brittany Raymond (Riley), Trevor Tordjman (James), Taveeta Szymanowicz (Thalia) and Isaac Lupien (Eldon) will make guest appearances throughout the season.

The Next Step is produced by Radical Sheep Productions, a division of Boat Rocker Studios in association with Family Channel and is executive produced by Ivan Schneeberg and David Fortier (Lost & Found Music Studios, Wingin’ It); Michelle Melanson Cuperus (The Bagel and Becky Show, Fangbone!); Rachael Schaefer (The Next Step, Wingin’ It) and Karen McClellan (The Other Kingdom, Being Erica). The Next Step was created by Frank van Keeken. The Next Step is also produced with the participation of the Shaw Rocket Fund, the Canada Media Fund (CMF) and CBBC. BBC Worldwide handles the international rights to the series.

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New original digital series takes a kaleidoscopic look at Canada’s brand

From a media release:

Big Cedar Films, founded by award-winning filmmaker Geoff Morrison, launched their original digital series, Brand Canada, on the CBC TV app and at CBC.ca/brandcanada today. Part of CBC’s 2017 programming, Brand Canada is a kaleidoscopic exploration of Canada the ‘brand’ – from the artwork and images that first symbolized Canada, through the building and appropriation of a collective identity, to how the country is viewed today. With 10 episodes varying in length from two to six minutes, this unique series covers a broad spectrum of stories relating to Canada’s brand.

Each episode is directed by a notable emerging or mid-career Canadian filmmaker, including shorts from Josh Raskin (I Met the Walrus), Aleysa Young (Baroness Von Sketch Show) and Tess Girard, whose contribution Canada the Good? premiered at Hot Docs this year. The filmmakers incorporated their own unique style, offering varied perspectives as well as creative approaches. Directors were encouraged to choose a filmmaking form that best suited their subject, rather than follow a prescribed series construct. This process fostered creative exploration and experimentation in a highly contemporary format.

Episode list:

Canada the Good?
Directed by Tess Girard
Official Selection: Hot Docs Canadian International Documentary Festival, 2017
Simon Anholt, the renowned policy analyst behind the Good Country Index, assesses the international perception of Canada — and whether or not we’re as ‘good’ as we think we are.

America’s Canada
Directed by Aleysa Young
A pop culture-fuelled audit of how American TV influences Canada’s brand — through the perspective of the denizens of Mexico City.

Rant & Rave
Directed by Daniel Roher
How a marketing guru inhaled Canadian identity and exhaled a new Canadian pride in Molson’s seminal TV ad, “The Rant.”

The Canadian Dream
Directed by Haya Waseem
A poetic exploration of Canada through the eyes of immigrants, as early impressions of their new home evolve into everyday experience.

Design is a Process
Directed by Randall Okita
An illustrated exploration of the power of Canadian design through iconic images of branding and culture.

Origin Story
Directed by Ryan J. Noth
How the Canadian Pacific Railroad Company created the first vision of Canada as a branded nation.

Meanwhile in Canada
Directed by Josh Raskin and Justin Broadbent
We meet the person responsible for the “Meanwhile in Canada” memes. All of them.

Brand Ambassadors: Drake & Shania
Directed by Geoff Morrison
Canada has a grand tradition of producing global pop superstars, but few of them rep their home country quite like Drake and Shania Twain.

Trudeaumania Redux
Directed by Ramon Perez and Mike Valiquette
As Trudeaumania returns, can a social media superhero survive the reality of 21st century leadership?

O Canada (Karaoke Video)
Directed by Josh Raskin and Justin Broadbent
A karaoke video of O Canada, featuring ketchup chips.

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Link: Hard Rock Medical great news for local actors

From Chris Dawson of Bay Today:

Link: Hard Rock Medical great news for local actors
“I’ve grown to like my son, who is played by Jamie Spilchuk (North Bay native). I guess I’m going to have to say good-bye to him now as we close out our relationship on Wednesday and it’s our last scene together so, it’s been a fun four years.” Continue reading.

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