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Corus Entertainment bolsters its 2017/18 programming slate with new and returning Canadian original productions

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From a media release:

Corus Entertainment announced today its vast and versatile slate of new and returning Canadian content, showcasing exceptional storytelling, an amazing roster of homegrown talent, and original, high-quality productions. New season orders of outstanding established hits underscore Corus’ commitment to investing in Canadian content across its portfolio of brands, championing original series, and fostering Canadian talent, both in front of and behind the camera.

Additionally, with strategically curated programs featuring globally appealing themes and formats, Corus Entertainment’s Corus Studios and Nelvana have grown their slates of premium original content which are now available in more than 160 countries and territories around the world, supporting Corus’ goal of becoming Canada’s leading media and content company.

Global welcomes a new season of one of the most buzzed-about series on both sides of the border, its critically-acclaimed drama Mary Kills People – officially greenlit for six episodes with production beginning this summer in and around Toronto. Produced by Entertainment One (eOne) and Cameron Pictures, and starring Caroline Dhavernas as Dr. Mary Harris, an overworked single mother and ER doctor, the series follows Mary’s exploits as she balances the needs of her family and her day job with helping terminal patients end their lives on their terms – all while eluding the police, who are determined to bring her down. In summer 2018, Canada’s favourite detective duo Matt Shade (Jason Priestley) and Angie Everett(Cindy Sampson) return to the schedule with nine new episodes of Private Eyes. The dynamic duo have found their rhythm on and off the case, and the entire Everett Investigations team tackle new challenges while also facing old ones that have come back to test them. Then, original series Home to Win moves to Global, bringing the hit multiplatform series to a bigger platform and extending its reach to even more Canadians across the country. Produced by Architect Films, the roof-raising series returns for an epic, star-studded third season, featuring the best-known builders, designers, and real estate experts who transform an average house into a dream property for one lucky Canadian.

Showcase‘s original time-travelling series and #1 new fall Specialty series* Travelers returns for a second season this fall. Produced by Peacock Alley Entertainment, the sci-fi drama features an all-Canadian cast led by Eric McCormack and created by Brad Wright. Plus, new this season, Canadian gem Enrico Colantoni joins as Vincent, a mysterious individual who may or may not be a friend of the travelers. Currently shooting in Vancouver, Season 2 picks up on the group’s haunting realization that their missions may have altered the future in ways they did not predict.

The #1 Specialty Entertainment program** and Canadian Screen Award-winner Vikings returns for Season 5 later this year on HISTORY. Produced by Take 5 Productions, this riveting season features Golden Globe® winner Jonathan Rhys Meyers as a warrior bishop. Also debuting this fall are HISTORY’s two new original series: Screen Siren Pictures’ docu-series Bud Dynasty, which follows the lucrative pot industry in British Columbia, providing an all-access look into the legalized marijuana business, its big players, and the obstacles they face; and from Saloon Media, investigative series Hunting Nazi Treasure follows a team of experts around the world in search of objects and artwork worth billions stolen by the Nazis.

On W Network this fall, a handsome gent puts it all on the line for love in the hit franchise produced by Good Human Productions, The Bachelor Canada. W Network is also the home of enchanting scripted series including: Good Witch, featuring Noah Cappe (host of The Bachelor Canada) and returning with Season 4 this spring; family drama series Chesapeake Shores, filmed in British Columbia and starring Canadian Megan Ory; and new comedic series Date My Dad, shot in B.C. and starring Canadian Zenia Marshall.

Following the successful All-Stars edition, Canada’s most notable culinary competition Top Chef Canada returns in spring 2018 for a sixth season to Food Network Canada. Produced by Insight Productions, a new batch of the country’s most talented chefs compete in cutthroat culinary challenges and receive bold critiques from the esteemed judging panel. This fall, the network also serves up sweet new original dishes sure to satisfy audiences: from Alibi Entertainment, The Baker Sisters takes viewers on a guilt-free road trip to sample mouth-watering sweets from some of the best bakeries in North America; and from eOne, the one-hour special Bake It Possible! crowns the champion of Pillsbury and Betty Crocker’s epic baking contest. CSA-nominated celebrity chef Anna Olson showcases her baking mastery in new seasons of Bake with Anna Olson this fall and Inspired by Anna Olson in 2018, both produced by Peace Point Entertainment.

HGTV Canada welcomes two brand new Canadian original series and one Canadian co-production to its schedule this fall and spring, respectively: from Alibi Entertainment, Sarah Off the Grid follows notable interior designer Sarah Richardson as she builds a dream home for her family on a remote property; produced by Great Pacific Media, Worst to First features cutting-edge contractors Mickey Fabbiano and Sebastian Sevallo who transform drab dwellings in coveted neighbourhoods into magnificent sought-after homes; and in partnership with Scripps Networks Interactive, Buyers Bootcamp features Scott McGillivray as he offers real-life opportunities for aspiring real estate investors to partner with him. Fan-favourites Drew and Jonathan Scott of the Cineflix-produced series Property Brothers debut new episodes from Season 6 this fall, followed in early 2018 by a new season of CSA-nominated Masters of Flip from Rhino Content featuring dynamic super couple Dave and Kortney Wilson, and a brand new season of Bryan Inc. from Si Entertainment starring renovation expert Bryan Baeumler.

Since 2016, Corus Studios has been producing and distributing original lifestyle content globally. With multiple content deals completed worldwide this spring, breakout hit Masters of Flip is now available in 147 territories, Buying the View(HGTV Canada) in 65 territories, Home to Win in 44 territories, and Cheer Squad(ABC Spark) in eight territories. The Baker Sisters, $ave My Reno and Backyard Builds (both HGTV Canada) were also recently introduced to the international market at MIPTV 2017.

With offices in Toronto and Paris, Nelvana Enterprises, the global licensing and merchandising arm of Nelvana (Canada’s premier animation company and world-class producer and distributor of children’s content), continues to expand and strengthen its portfolio on an international scale, securing numerous global licensing deals including Nickelodeon (U.S.) for Mysticons, Disney Channel (U.S.) for Hotel Transylvania: The Series, Discovery Kids (Latin America) and Disney Channel (U.S.) deals for The ZhuZhus, and broadcast deals in France, Germany, Finland, and Australia for Ranger Rob.

The momentum across Corus’ Kids Networks is fuelled by the longstanding success, accomplished artists, and creative vision of Nelvana. With nearly 300talented artists and animators working in its Toronto studio, Nelvana has 14 series in full production and more than 20 shows in development for 2017/18. Nelvana’s stellar original animated content joining Corus’ leading kids’ networks this year include the genre-defining action series Mysticons. Slated for YTV this fall, the contemporary series follows four girls who transform into legendary warriors and undertake a quest to find a magic tome. Produced in association with Sony Pictures Animation, and based on the blockbuster film franchise, Hotel Transylvania: The Series focuses on the teenage years of Dracula’s daughter, Mavis, and her three closest friends who put her brilliant ideas of how to run the Hotel into motion, and is set to premiere on TELETOON this fall. Produced by Nelvana in association with Kids Can Press, the charming short film The Most Magnificent Thing joins preschool network Treehouse this fall. Based on Canadian author Ashley Spires’sbestselling picture book of the same name, the short film animates the tale of an unnamed girl, her furry best friend and their quest to make the most magnificent thing – even though creating it might not be that easy. Nelvana’s preschool adventure series Ranger Rob has been greenlit for a second season, and new episodes of the dynamic duo Max & Ruby return this fall on Treehouse.

The action continues as YTV also introduces new Canadian original series to its lineup, ReBoot: The Guardian Code. Reimagining the 1994 animated cult classic show ReBoot, the live-action/CG-animated hybrid series is set to debut in spring 2018. Produced by WOW! Unlimited Media’s Mainframe Studios, the series follows four teenagers selected to become the Next-Generation Guardians of cyberspace.

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Mary Kills People, Ransom

Global reveals Mary Kills People’s midseason debut

From a media release:

Coming off of a highly successful fall season with three of the top five new fall series, Global rings in 2017 with a robust midseason primetime lineup. The network heads into the winter season with a schedule packed with Canada’s most-watched programming including this season’s most-anticipated new and returning series.

Kicking off the New Year are two new Canadian original drama series. Inspired by the professional experiences of distinguished crisis negotiator Laurent Combalbert, comes Ransom, a high stakes suspense drama premiering on Sunday, January 1 at 8:30 p.m. ET/8 p.m. PT on Global. Starring Luke Roberts (Wolf Hall, Game of Thrones), as Eric Beaumont, a crisis and hostage negotiator whose team is brought in to save lives when no one else can, the series moves to Wednesdays at 8 p.m. ET/PT starting January 4 and Saturdays at 8 p.m. ET/PT beginning January 7.

Then, Global’s compelling, new character-driven drama Mary Kills People joins the schedule Wednesday, January 25 at 9 p.m. ET/PT. Set in the morally grey world of assisted death, the special six-part event series stars Caroline Dhavernas (Hannibal) as Dr. Mary Harris, an overworked single mother and ER doctor, who also moonlights as an underground angel of death – working outside the law to help her patients slip away on their own terms.

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Featured, Industry News

The Wonk Report: Group Licence Renewal

Over the past two weeks the CRTC held hearings on first the French and then the English licence renewals for the big broadcast groups.  For the English (my focus) that means Corus (which now owns Shaw), Rogers and Bell.

A lot of the hearing went as expected.  The broadcast groups have argued that because of competition from Netflix they need more flexibility and that has as always been code for lowering their CanCon obligations.  They want lower CPEs (Canadian Programming Expenditures) for all Canadian programming and in particular, PNI (Programs of National Interest—drama, documentary and award shows).   The biggest issue for the content side of the industry is what will be the group CPE (set by policy at 30% of revenues but was it intended to be a goal or floor?) and the PNI CPE (set by policy for Bell, Rogers and Shaw at 5% but for Corus at 9% and now proposed by the CRTC as 5% for all).   The CRTC had said in the notice of hearing that spending levels would be maintained, the broadcasters all asked for breaks and the content side of the industry argued that historical levels should be maintained.

Traditionally, licence renewal hearings are about implementation of policy and are not intended to make policy.  Off the top, the Chair suggested that the TalkTV policy decision needed to be tweaked to reflect the changing circumstances so there were few challenges from the Commission about whether a discussion was really about policy and not licence.  Stakeholders brought up the question when it suited them (i.e. Corus complaining that the CMPA proposed definition of independent production was policy but still requesting a change to the policy to lower the PNI expenditure requirement). Some stakeholders reiterated policy proposals that they had taken during the TalkTV hearing.  CAFDE asked for a sub-quota of PNI for feature films, DOC for a sub-quota for documentaries and WGC for a sub-quota for development.  They were not challenged by the CRTC on the basis that these proposals were still policy proposals.

CMPA did refer to Terms of Trade in their questioning but their real goal was to block Corus’ use of Producer of Record (producer is pretty much independent in name only to get tax credits and other financing but Corus owns distribution rights and profits) agreements through a tighter definition of independent production.  There is no love lost between CMPA and Corus right now, which led to a rather surprising allegation that the CMPA had snuck in the independent production definition proposal in their presentation, which the Chair had to correct (it was in their submission as well as presentation – Corus admitted to never having read it).

Corus had asked to have all its conditions of licence specific to its children’s services removed as that would be consistent with the removal of the genre exclusivity policy under TalkTV.  That would mean that there would be no obligation to maintain YTV, Teletoon and Treehouse as children’s services but also that there would no longer be ad restrictions or a higher than average obligation to spend on Canadian programming.  Surprisingly, the CMPA appeared to be the only stakeholder concerned about this and had proposed keeping the restrictions or treating the Corus kids services as a mini-group.   As no one else expressed any concerns about the potential loss of significant players in Canadian children’s television, there is a serious risk that the CRTC will agree to Corus’ requests.

Two recurring themes in the questions in the hearing come from the TalkTV decision.  In that decision the CRTC proposed two pilot projects which would lower the required Canadian key crew point count (only screenwriter and one lead performer need to be Canadian) for certain circumstances:  literary adaptations and dramas with budgets over $2 million per hour.  The CRTC has the power to change the eligibility for CRTC certification to allow for these two exceptions but not to change all the other financing components.  In the recent new CIPF framework, it lowered the point count to 6 points in part to allow for these pilot projects.  The CRTC has not been able to convince Heritage that CAVCO and the CMF should also be amended to allow for these pilot projects.  Heritage is apparently still studying it.

It is not that surprising that Heritage might be reluctant to lower the point count for these two circumstances, particularly as there does not seem to be a need.  There are plenty of literary adaptations being produced under the current system and average budgets for one-hour dramas are over $2 million and are being financed.  What is surprising, a little, is the Chair complaining publicly about the lack of support from Heritage.

The other theme that came from TalkTV was the idea that there are too many thinly capitalized production companies.  The decision quoted the approximately 900 production companies tracked by the CMF, failing to understand that many of them were single-purpose production companies incorporated for a production but owned by the main production company.  The Chair revisited this theme several times during the hearing, asserting that there was not enough consolidation in the independent production sector and this was likely the reason that producers were not able to fully exploit their programs.  Stakeholders responded with different strategies.  On the one hand, the CMPA tried to explain the need for a diversity of production company sizes to ensure the existence of the next generation of successes while DOC took the position that its 700 members needed support so that they could stay “mom and pop” shops.

There were other themes of more interest to other participants in the broadcasting system, such as news, the application for OMNI to reduce its third language programming and have s.(9)(1)(h) status and whether there was any undue preference taking place among the vertically integrated media groups.

What happens now?  Based on past decisions there is no way to predict what the final decision will be, but the production industry is right to be worried that requirements to spend money on Canadian programming may be reduced for the next licence term.

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Vikings

Vikings returns as No. 1 specialty series of the night

From a media release:

HISTORY®’s Emmy® Award-nominated original series Vikings returned with a vengeance, slaying the competition and seizing the #1 spot of the night across specialty with 465,000 Canadians (2+)  watching its November 30th mid-season premiere. As the enigmatic Ragnar Lothbrok made his return to Kattegat, Vikings claimed top spot in multiple key demos, including 2+, A25-54 and A18-49. Since its launch in 2013, Vikings has consistently been the #1 scripted series across Canadian specialty* (2+, A25-54, A18-34 and A18-49) and following Wednesday’s strong start, the momentum continues.

HISTORY’s domination continued with the special presentation of the premiere of Showcase’s Incorporated and the documentary special Vikings: The Saga of Ragnar Lothbrok taking the #2 (127,000 A25-54) and #3 spots (116,000, A25-54) of the night, respectively.

Additional Vikings data highlights include:

  • Vikings is already on track to be the #1 original scripted series of the fall (A25-54)
  • The season 4B premiere grew its audience by 22% (2+), 24% (A25-54), 43% (A18-34) and 39% (A18-49) over last Spring’s season 4A finale
  • Vikings was the most-talked about Specialty series in Canada on both Facebook and Twitter on Wednesday night**
  • Since it premiered in 2013, Vikings continues to be the #1 series on HISTORY.ca and on the HISTORY Go app***

In the next episode of Vikings, airing Wednesday, Dec. 7 at 9 p.m. ET/PT on HISTORY, the Kattegat locals chide Ragnar (Travis Fimmel) that the gods have deserted him as he struggles to crew his voyage to Wessex. Bjorn (Alexander Ludwig) prepares to fulfill his dream of exploring the Mediterranean.

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