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TV,eh? What's up in Canadian television

TV Eh B Cs podcast 65 — Exploring the Frontier with Lisa Rose Snow

Image by Brent McCombs

Lisa Rose Snow is an award-winning filmmaker and performer who was raised by the ocean and now resides in Toronto. Since graduating from the Canadian Film Centre’s Writers’ Lab and participating in the Reykjavik Film Festival’s Talent Lab, she has been busy working in television writing rooms on Frontier (Netflix), Ten Days in the Valley (ABC) and Little Dog (CBC). Snow is currently co-writing an episode of The Stone Diaries which is in development with HalFire Entertainment, and working on developing two of her own series – Tongues and Over Easy.

In 2013, Snow won a Wave Award during WIFT Atlantic’s ‘Women Making Waves Conference’, the first time this award has ever been given to an emerging artist. She’s passionate about championing women and underrepresented voices on screen, and has been honoured to mentor under Sherry White, Tassie Cameron, Michelle Lovretta and Thom Fitzgerald.

Note: ABC announced Ten Days in the Valley will air Sunday nights this fall. Check out the trailer.

Listen or download below, or subscribe via iTunes or any other podcast catcher with the TV, eh? podcast feed.

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Writers Guild of Canada: CRTC decision spells potential disaster

From a media release:

Yesterday, the Canadian Radio-television and Telecommunications Commission (CRTC) dealt a major blow to Canadian screenwriters — and Canadian audiences. In its decision on licence renewals for Bell, Corus, and Rogers, the Commission rolled back the broadcasters’ minimum financial contributions to Canadian drama and other programing.

This despite the fact that the WGC’s modest proposal to the CRTC, reflecting well-researched data, asked only for the maintenance of the status quo in terms of broadcasters’ financial contributions towards “programs of national interest” (PNI). PNI includes drama, documentary, and some children’s programming, programing that is at the heart of Canadian on-screen entertainment. But the CRTC set PNI spending minimums for broadcasters at 5%, basically cutting them by up to 44% for certain groups.

“This could mean the devastation of Canadian domestic production,” says Maureen Parker, Executive Director of the WGC. “These cuts potentially amount to over a $200 million loss for PNI over a five-year licence term. Canadian screenwriters only work on domestic productions, not on American shows filming in Canada, and if there is not enough work for them they will simply leave. Once our talent pool is gone you can’t get it back.”

CRTC chair Jean-Pierre Blais, a Harper appointee who has allowed the CRTC to become greatly diminished, has also set us on a course that will make it more and more difficult for Canadians to view stories about ourselves. This, despite the fact that it is only our Canadianness that distinguishes us: Our compassion, our humour, our concern about issues such as cultural diversity, healthcare, and the environment. A Canadian culture that cannot speak to Canadianness through its own storytelling is not Canada. We should not accept it. Nor should the Liberal government.

The headline of the CRTC’s own press release announcing the decision is, “The CRTC supports the production of original content.” This can only be viewed as fake news. There is nothing meaningful about specifically original production in these decisions. The release goes on to claim that the CRTC “ensures on stable funding for Canadian production in all program categories, by focusing especially on dramas, documentaries, and musical and variety shows.” This is patently untrue, given the reduction of PNI requirements. And, since broadcaster spending on PNI also typically attracts investment from other sources like the Canada Media Fund, the potential total impact could be double or triple the $200 million drop in PNI investments themselves.

“If Canadian programming is expendable,” says Maureen Parker, “Why protect the big private broadcasters? What is the CRTC’s purpose if not to ensure that spending on the creation of Canadian drama, documentary, and children’s programming is at the very least maintained? It’s almost as though the very body intended to promote Canadian programming — the CRTC — is actively working to erode it.”

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APTN’s Hit the Ice casting for Season 6 participants

From a media release:

The youth hockey series Hit The Ice will return to APTN for its sixth season in 2018.

Therefore, the producer NISH MEDIA is currently recruiting through a Virtual Tryout, hockey players aged between 16 and 18 years old and assistant coaches who will live the experience and the rigours of a professional hockey training camp aside ex-NHL coach and player John Chabot.

The Virtual Tryout is the first step in possibly being one of the prospects of the television show, which could bring the selected players to a top junior hockey league in a near future.

To enter and to be eligible for the Virtual Tryout, the entrant must 1) be a legal resident of Canada 2) have indigenous ancestry 3) have the authorization from their parents or guardians 4) fully and accurately complete the registration form that can be found on the Virtual Tryout at www.hittheice.tv and 5) tape a short video.

Nish Media has established a judge’s panel, which will evaluate the entries and select up as many players as it deems necessary. Players selected to take part in the show will be contacted by phone approximately one month before the shooting, which will be held in Winnipeg, Manitoba this July.

All selected players will not have to pay for any of the accommodations, travel or food. The complete details with regards to registration for the sixth season of Hit The Ice TV show are available at www.hittheice.tv by clicking on the BE A PART OF SEASON 6 button.

Candidates have until MAY 22, 2017 to register and be a part of this unique hockey experience! Hit The Ice is produced by Nish Media, a multi-award-winning production company based in the Ottawa-Gatineau area. The past seasons of this series key piece have been nominated in prestigious television festivals such as the Banff World Media Festival and by the FICTS in Italy.

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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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