Tag Archives: Industry News

Link: How the CRTC is like House of Cards

From Kevin Tierney of the Montreal Gazette:

Link: How the CRTC is like House of Cards
The Canadian Radio-television and Telecommunications Commission is an unknown entity to most Canadians, and that is probably not a good thing.

In recent days it has come under increased scrutiny for a number of reasons, both policy and personal/personnel, but the discussion in the media is almost always within the Business section of newspapers.

In and of itself that says a lot. Continue reading.

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Reaction to CRTC’s Policy framework for Certified Independent Production Funds

By Anonymous 

UPDATE: If the intent is to attract “top talent” that will make all these new “American” Canadian shows more viable, the CRTC should probably know that even some of the most successful Canadians in L.A., like the showrunner/creator of Bones, isn’t impressed.

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Canadian Television is about to become slightly less full of Canadians, thanks to a major CRTC decision released quietly yesterday.

The CRTC is allowing the independent production funds (including the Shaw Rocket Fund, Rogers Fund, Cogeco Program Development Fund, Telefilm Canada, and the Harold Greenberg Fund) to reduce their “point system” for what determines Canadian-ness of a project from 8 to 6. The general effect of this will be to allow for the hiring of non-Canadians in key creation and starring roles (ie: Americans will be able to create and star in “Canadian” TV series).

This, in fact, by the CRTC’s own admission, was one of the points of the decision:

“The current criterion requiring eight out of 10 Canadian content certification points to qualify for CIPF funding is restrictive and excludes many productions that could otherwise be of high quality and qualify as Canadian. Moreover, a reduced requirement could help smaller and perhaps more innovative projects to qualify for funding. A reduced requirement of at least six points could also facilitate the hiring by production companies of non-Canadian actors or creators, who may increase a project’s attractiveness and visibility in international markets.”

Reaction from the Canadian creative community was swift, and critical.

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What’s particularly unusual about this decision is that something with far-reaching implications was done as a “paper hearing,” ie: the CRTC did not hold any public consultations.

The last time something like this was proposed, the Writers Guild of Canada brought a group of screenwriters to Hull to appear before the commission. They made a convincing case as to why this “flexibility” wouldn’t lead to better quality Canadian programming. It seems that current chairman J.P. Blais was determined to not repeat this exercise.

Of concern to fans of actual Canadian TV shows, of course, is the fact that once again in no way was the audience consulted. The CRTC didn’t bother to seek out or try to understand the feelings of fans who celebrate unique Canadian points-of-view and creative directions on display in Canadian-created shows such as Orphan Black, Flashpoint, X Company, Letterkenny, Wynonna Earp, Lost Girl, Rookie Blue, Saving Hope, Motive, or many more.

As Peter Mitchell, executive producer and showrunner of Murdoch Mysteries explained on Facebook, even the premise of the CRTC’s decision is faulty:

Mitchell

The problem with the CRTC’s decision is that it really doesn’t advance any new idea. Many Canadian producers have been doing their level best to copy “American-style” shows for years, watering down the Canadian creative role as much as possible. They never seem to do as well as the original work such as Orphan Black or Murdoch Mysteries. That’s why you’re not seeing Season 4 of the forgettable XIII, and why Houdini & Doyle, which debuted to so much fanfare, died a quiet death.

The idea that Canadian producers will be able to attract top American talent is dubious at best. Because if you’re American, and you’re working in the American industry where there’s more money, and more prestige, why would you take a massive pay cut to work in Canada? Instead of top American talent, you’re likelier to get the people who can’t get hired anymore, who might have had credits in the 1980s or 1990s. And now the CRTC has blessed the idea that these marginal players are more valuable than the top homegrown talent who are responsible for the industry’s top successes.

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There are other ways to approach the idea of creating hits, rather than this failed road. But the CRTC seems to be enamored with the fantasy that “flexibility” fixes all, rather than actually supporting talent.

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And the best part? A government that ran at least partially on a platform of promoting culture is signalling to the next generation of storytellers not to bother—that it’s time to leave:

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So there’s nothing good here if you’re a Canadian writer or actor hoping to star in or create a Canadian show. Or if you’re someone who likes the unique point of view you see from Canadian TV shows. But the producer’s association loves it. I’m sure you’ll be getting something great from that writer who did one episode of Simon & Simon any day now.

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Great news, isn’t it?

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Multicultural TV for All Canadians

From a media release:

OMNI Television announced today that it has filed an application with the CRTC to operate a new national multilingual and multicultural channel called OMNI Regional, the first of its kind in Canada. The national channel would be comprised of four feeds: Pacific, Prairies, and East, which would mirror OMNI’s local stations in those regions, and ICI Quebec, made possible due to a strategic partnership with Montreal ethnic television station International Channel/Canal International (ICI) to serve French-language ethnic communities in the province of Quebec. If approved by the CRTC, OMNI Regional would have priority access to basic TV packages (pursuant to section 9(1)(h) of the Broadcasting Act).  Today’s local OMNI stations in TorontoEdmontonCalgary, and Vancouver would continue to operate as free over-the-air channels, as would ICI’s local station in Montreal.

As part of its proposal, OMNI Television is committing to bringing back four daily newscasts in Italian, Mandarin, Cantonese and Punjabi, making it the only national ethnic programming service in Canada to provide daily newscasts, seven days a week, in multiple languages.

OMNI Television’s proposal also includes the following:

  • A commitment to devote 80% of OMNI Regional’s schedule to ethnic programming – a 20% increase over current – and maintaining the requirement to devote 50% of the schedule to third-language programming;
  • A commitment to devote a minimum of 40% of OMNI Regional’s annual revenues to the production of Canadian programming;
  • A commitment to maintain local daily current affairs shows in Mandarin, Cantonese and Punjabi languages;
  • The creation of a national cultural affairs series produced in Alberta that is designed to showcase important cultural and social contributions from Canada’s ethnocultural communities;
  • A commitment to re-establish in-house production in all of the markets served by OMNI’s OTA stations; and
  • The creation of four regional feeds that comprise the national network will be specifically tailored to ethnic Canadians living in B.C., the Prairies, Eastern Canada and Quebec by including English and French-language ethnic programming as well as third-language programming produced by local independent producers that reside in those regions.

OMNI Television expects the CRTC to post its application for public comment shortly.

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