Tag Archives: CBC

Dueling Industry Conferences

It’s hard not to compare industry forums when they are back to back.  Thursday the Banff Media Festival held its “Content Industries Connect” conference at the Ritz Carlton.  Swanky.  It was a paid event.  In the past it had been part of the Academy’s Screen Week but this year while during Screen Week it wasn’t affiliated with the Academy (there’s a story there somewhere but I don’t know it).  Friday the official Industry Forum took place, hosted by the Academy, CMPA and DGC.  It was free for members of those three associations and took place at the TIFF Lightbox.  Not quite as swanky but the seats were more comfortable.

I don’t know if anyone went to all of both.  I was signed up for both but came late to Banff and skipped out of one of the Industry Forum panels.  It’s just too much of a time commitment to do both.  Most people seemed to pick one or the other.  The topics were quite similar but Banff was the only one with a Media Leaders panel so my impression is that the senior executives chose to pop in to the end of the Banff day to attend the Media Leaders panel and bypassed the Industry Forum.  The Industry Forum was more grassroots given the free admission for members of those organizations.  The speakers seemed to be aware of that and targeted the production community rather than the executives with their discussion.    So while the topics were the same, they ended up being quite different days (I’m not going to compare the cocktail parties though for me the food at the Industry Forum won – quinoa battered shrimp and lamb chops!).

As someone who attends a lot of conferences I didn’t think I’d miss much by skipping the Banff panel on The Future of Content in a Multiplatform World and based on the tweets and what I heard, it was the same talk we’ve been hearing for the past year from Vice, Shomi, Blue Ant and CBC. I don’t know anyone who attended the panel on brand engagement with speakers from Hyundai, Microsoft and Kraft and the tweets don’t tell me much either.  Honestly, it seemed an odd choice for the content crowd.  I finally made it to the conference in time for the “Letterkenny” panel.  Full disclosure – I haven’t seen it all (I don’t have CraveTV) but every second of “Letterkenny” that I’ve seen makes me laugh.  I enjoyed the clips, hearing about the process, learning about its success (more views on CraveTV than any other show in its catalogue including Seinfeld and South Park) and its renewal announced during the panel.

Then there was the Media Leaders panel.  Banff has it every year that they have done this event.  This year there were only two leaders after consolidation (and CBC cancelled) – Mary Ann Turcke from Bell Media and Doug Murphy from Corus.  Talking to people afterwards there was one word that seemed to sum up the panel and it’s not a polite word.  It starts with a b.  There was a very negative reaction to Doug Murphy’s discussion of the CRTC’s decision to not require Terms of Trade as part of broadcast licences – they’re now free to treat every deal like a snowflake.  Yes, a snowflake.  Which ignores the very real imbalance in bargaining power between the mega-broadcasters and most independent producers.  There was a marked contrast between this Media Leaders panel and the one last month at Prime Time – this one was channeling ‘sunny ways’.  Everything is going to be great.  Netflix isn’t a threat as they’re now starting to partner with it, get high profile casting because of its involvement and negotiate windows.  It’ll be interesting to see if they go back to ‘Netflix is heralding the end of the world as we know it if you don’t deregulate us’ mantra next time they’re in front of the CRTC.    They were also pretty positive about pick and pay.  Sure a few of their services will die but producers shouldn’t worry because the remaining ones will only be bigger and better.  Since the jury is still out on this big shift in consumer behaviour due to pick and pay that has been predicted by some, this could mean that pick and pay is going to be used as an excuse to close up some of the underperformers. Again – we’ll have to wait and see what happens in front of the CRTC.

Now off to the Industry Forum.  The first panel was on discoverability.  I’m still not sure we’re all talking about the same thing (push vs. pull) but this panel was a lot more about new techniques to find audiences and provide them with what they want than the discoverability panel at Prime Time which talked more about traditional marketing using digital platforms (and I believe that it was also programmed by the CMPA since it was branded Prime Time Any Time).  In particular, it was useful to hear about Richard Kanee (CBC) and Ramona Pringle (interactive digital media producer) experimenting in finding and engaging audiences.  I appreciated Kanee’s admission that the CBC had missed social media engagement opportunities in promoting “Strange Empire” (you can’t expect him to take responsibility for the whole marketing mess) and his admonition that producers and broadcasters shouldn’t always chase the latest new thing.  Some of the tried and true engagement methods, like email newsletters, still work and should remain part of your strategy instead of running after all the riskier new methods.  Final favourite bit of wisdom from the panel was that the studios (and broadcasters and producers) should be learning audience engagement from the YouTubers who have learned how to find, support and grow their audiences.  Casting them in a mainstream television show isn’t enough to migrate their audience, but if the YouTubers develop their own television show their audience will recognize the authenticity and watch.

The next panel was on co-production featuring three Canadian majority copros:  “Book of Negroes”, “Born to be Blue” and “Room”.  There was a good discussion of why go copro – the added money allowed them all to afford higher profile talent which generated more sales.  It also allowed them to access government funding rather than distributor advances which meant casting the best person for the part rather than for international sales.  Unfortunately, that government funding helped those stars become international hits and now it’s unlikely that anyone in Canada can afford them so for me there is a flaw in that system.

I have to admit that I stepped out and missed the “Orphan Black” panel not because I don’t love the show (I do!) but because I’ve seen a few “Orphan Black” panels over the years.  I ran into a few others doing the same thing so we did our own networking.  We went back in for the keynote speech from Colin Brown, who among other things is a professor of film and economics at NYU.  He gave a very insightful presentation on the international markets for feature films and how they differ between markets and between films and the business case for investing in a mid-size studio producing a slate of mid-range budget films.  His add-on bit about Canada was less insightful as the audience did not need to be told who are the Canadians in Hollywood or that we should be prouder of all the great talent who have left.  As someone who has spent their entire career in the domestic film and television industry I was not impressed.   But I am thinking about what Canadian stories might be naturals for the Chinese and Egyptian markets.  Hmm.

So did we need two such conferences in two days?  Nope.  They could have been merged and been one great day – as long as they kept the quinoa-battered shrimp.

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Old White Guy TV – The Senate on the CBC

I thought of this more irreverent title after I posted the following to TV, Eh! after reading the Senate Committee’s report on the CBC released yesterday (July 20, 2015):

Yesterday the Senate Standing Committee on Transport and Communications released its report on the CBC: The CBC/Radio-Canada in the Twenty-first Century. Despite its title, it seemed mired in the Nineteenth Century.

Well, maybe the mid-Twentieth.

The report described the current challenges that the CBC and all of Canadian broadcasting is facing with the advent of services like Netflix and YouTube but offered no suggestions for how the CBC could better embrace the digital age. There were some good suggestions on eliminating waste, reducing salaries and selling off real estate (which at times came very close to micromanaging) and a worthwhile discussion of governance which correctly objected to the CEO of the CBC reporting to the PMO and not the Board (though it failed to point out that under the Conservative government the CBC’s Board has become a patronage appointment so does not have the expertise to oversee a broadcaster).

However, the core message was that the CBC should be broadcasting what the private broadcasters will not – Canadian historical dramas, nature documentaries, amateur sports such as university athletics, performing arts with an emphasis on symphonies and Reach For The Top. Yes, it specifically suggested Reach For The Top, a show that the CBC broadcast from 1966 to 1989. Old White Guy TV*.

Before you get up in arms, I love Canadian historical dramas and nature documentaries but broadcasts of the Toronto Symphony Orchestra and Reach For The Top are not going to increase CBC’s market share nor will it engage younger, diverse, urban audiences. The CBC needs to be relevant to a wide range of Canadians.

There is no vision in this report. The Committee complained that the Broadcasting Act mandate for the CBC was too broad but its only recommendation for amendment was to include a specific reference to airing more historical drama and Canadian feature film. It did not explain why only those two genres needed to be singled out. It complained that the Broadcasting Act did not contemplate the 21st Century and needed to be updated but gave no guidance on what revisions needed to be made. It complained that witnesses kept saying that the CBC was underfunded, demonstrated that in inflation-adjusted dollars government funding is at its lowest in the past 25 years, but then suggested that new funding models including telethons and corporate sponsorship, should replace the shortfall.

Over the years there have been many studies of the CBC. The House of Commons Standing Committee on Canadian Heritage conducted a study in 2008 on the CBC that contained a number of very good recommendations including a memorandum of understanding between the government and the CBC that would set out specific goals and make sure that the CBC was sufficiently funded to meet those goals. The study also looked at digital media, diversity, Canadian programming, governance and accountability. The government declined to implement any of the recommendations.

Is the Senate report more in line with the Conservative government’s position on the CBC. Likely. Should we be worried? I don’t think so. For one thing, we do have an election this Fall and nothing will be done before then or, if a minority government is elected, after then. As well, there is very little in this report that Conservative MPs have not said before (except maybe Reach For The Top, that’s new). For example, they have been advocating for a PBS-style funding model for years. The reality is that many of these recommendations would not be popular with their constituents, who do not want to sit through a telethon to be able to watch Coronation Street.

Yes, it was a wasted opportunity but honestly do we need another study that the government will ignore? Or do we need political will and vision at both the government and the CBC to work together to provide Canadians with the public broadcaster that we need and deserve. Yeah, that.

*With apologies to Senator Betty Unger, the one woman on the Senate Committee.

Content is Missing from Digital Canada 150

First, let’s have a quick refresher course on our long wait for a National Digital Strategy. In the summer of 2010, then Minister of Industry Tony Clement launched a public consultation (together with the Ministers of Heritage and Human Resources) on what should be included in a National Digital Strategy though the government called it a Digital Economy Strategy and put a clear emphasis on infrastructure and economy.  [Note – I would link to the consultation but as of writing all those public documents are offline. I will update when I can.]. We were promised a strategy document in the fall, then spring of 2011 and then pretty much annually we’d be told that it would be coming ‘soon’. There were those of us who thought there would never be a National Digital Strategy.

Why do we need one? Other countries such as Australia, the UK, the European Union, and even the US, have created National Digital Strategies to set a plan and measurable goals. What are we going to do to move into the future, make sure that every citizen has the tools that they need, has the protections and can fully enjoy the benefits of the new digital world? How will Canada make sure that it is competitive internationally? How are we going to measure our progress? Where will we put our emphasis – economy, skills training, infrastructure, privacy, content?

Today the government released Digital Canada 150. It’s an odd document. It has five pillars: Connecting Canadians, Protecting Canadians, Economic Opportunities, Open Government and Canadian Content. [Note that Skills Training or anything else to do with the Department of Human Resources, one of the sponsors of the original consultation, is absent.] In each pillar it sets out a few items that are forward thinking and celebrates the government’s past achievements. I think we were hoping for a more forward thinking document. I was. As with a lot of the government’s activities these days, it seems to have been written with an eye on the next election. How else do you explain unbundling of TV channels as a Digital Canada topic? It’s a nice sound bite aimed at getting votes when the reality is that providing Canadians with more choice while still living up to the goals of the Broadcasting Act is a very complex exercise and is unlikely to result in both more choice and less cost for consumers.

There is a goal to extend broadband coverage to 98% of the population by providing $305 million to extend 5mbps to rural areas. This is a reasonable target speed (though some jurisdictions have set faster speeds as their goal) but is only about coverage. Universal broadband as a concept is about coverage and affordable access. Citizenship in today’s digital world means that every Canadian should have affordable access to broadband. This goal does nothing to achieve that. But the rural voters probably will love it.

Back to content though. What does the Digital Canada 150 promise us as tools to give Canadians ‘easy access to Canadian content that will allow us to celebrate our history, arts and culture’ (Digital Canada 150 pg. 21)? Two Heritage Minutes per year every year until 2017. The Canada Book Fund and the Canada Music Fund will become permanent funds. There will be continued support of the Virtual Museum, the Memory Project (veterans stories), digitization by Library and Archives Canada and the NFB. Nice, but we asked for a lot more fundamental changes to be able to provide Canadians with access to Canadian content in the digital age and beyond.

What is missing? Canada Media Fund, Canada Book Fund, Canada Music Fund and more have all had digital content or distribution tacked on to their existing mandates, generally with no increase to their funding. Consumers are no longer accessing or engaging with content through silos. For example, magazines and books are read on iPads with hyperlinks to video. There needs to be a comprehensive overhaul of the funding mechanisms for Canadian content to ensure that they meet the social policy goals of the Department of Canadian Heritage and are structured appropriately.

The government did make the Canada Media Fund permanent and that was a great thing. But it did not increase the CMF’s funding when it extended its mandate to digital media. As Canadians shift to digital platforms and cut or reduce their cable packages, the CMF’s revenue from the BDUs is starting to shrink. Additional revenue sources need to be found if Canadians are going to continue to have access to the excellent Canadian programming choices that they have now. This could be additional funding from the government or a contribution from the ISPs or the OTT services, both of which are benefitting from the consumer shift to digital platforms.

The Broadcasting Act and the Telecommunications Act should be merged into a Communications Act. New technologies and distribution models have frequently left the CRTC unsure as to which Act applies or whether either does, leaving it to the Courts to determine. Vertically integrated companies like Shaw, Rogers, and Bell are governed by both Acts at different times. These companies are able to shift revenues to divisions, such as the ISP divisions, with no or less regulation. A Communications Act would ensure that the Canadian broadcasting and telecommunications system was, where necessary, Canadian-owned and regardless of platform made the appropriate contribution to the production and exhibition of Canadian programming on that system.

The CBC has always had a mandate to provide information and entertainment to all Canadian across the country in both languages. Digital platforms make it easier for it to meet that mandate but at the same time repeated budget cuts have made it harder for the CBC to fulfill that mandate. There should be a review of the CBC’s mandate in light of the opportunities of digital platforms and a clear provision of sufficient funds so that the CBC can meet that mandate.

Another ask was for more support for original digital media through labour-based tax credits. Extending the film and video tax credit to web series and creating an interactive media tax credit would help develop a labour market of skilled talent in these newer digital content areas.

The government reformed the Copyright Act recently but it is up for review as of 2017. At that time, the Copyright Act should be amended to ensure that creators and owners are appropriately compensated when their works are exploited on digital platforms. The last amendment did not appropriately address that issue.

Skills training is a subject that was completely left out of Digital Canada 150, which is odd considering that it was a prominent aspect of the consultation. The content sector has called for improvements in training both at university and for mid-career training so that creators can take full advantage of innovations in digital content creation and distribution. There are gaps in the labour market that need to be filled if the sector is going to be internationally competitive.

Despite a full pillar titled Canadian Content, there isn’t much in Digital Canada 150 for the film, television and interactive digital media sectors.

 

CBC Licence Renewal – More Than Just Ads on Radio

The CRTC issued its CBC licence renewal decision today and I of course have a few thoughts about it.  But first – my context.  While at the WGC I spent a lot of time over two years (due to hearing postponements) working on a submission and presentation to the CRTC on CBC’s licence renewal.  My thoughts here are informed by that thought and analysis but not limited by it.  I’m also in no way representing the WGC.  Remember – it’s just my own somewhat informed personal opinion.

Renewal was never at issue but just the terms of that renewal.  The decision to allow limited ads on Espace Musique and Radio 2 for three years has received most of the attention and will be the headline in the news but there’s an awful lot more in the 124 page decision.   As an English TV content person I have very specific interests – nothing about French tv or radio and little about radio.  With that in mind, here are a few comments.

The whole CBC Licence Renewal process was very belaboured and it was what I think of now as the ‘old’ style of broadcaster application.  As broadcasters have done for years, the CBC submitted an application that asked for a great deal of deregulation and included lots of  ‘trust us’ language.  Stakeholders objected and provided evidence that trust was a questionable strategy.  The CBC countered at the hearing and during the reply stage with compromises – often as a result of clear messages from the CRTC during the hearing.  This is the  ‘public hearing by negotiation’ that the Chair, Jean-Pierre Blais, has objected to on more than one occasion.  [This may be the last time that we see this strategy as in the Bell-Astral2 hearing Bell certainly heard the warning and came to the CRTC with its bottom line rather than an opening bid.]

In the meantime though, when assessing the decision you really need to look at both the original proposal and the final proposal when looking at the decision.  In several instances the Commission seems to have felt that the CBC made enough of a concession in their final proposal that it didn’t need to push it further.   You may not agree.

The crux of the matter though was how to balance ensuring that the CBC met its regulated mandate with the clear reductions in its parliamentary appropriation.  While the government has said that the CBC has a record high appropriation, the CRTC crunched the numbers and started the decision by saying that the 2011-12 appropriation was comparable in adjusted dollars to the 2002 appropriation though $180 million higher in actual dollars.  By the end of the next term in 2019, the appropriation will actually be $160 million less than 2002 in adjusted dollars.  So how does the CBC manage to meet its mandate with fewer resources?  The CBC argued that it needed flexibility to figure out on its own how to meets its mandate with fewer resources but the Commission definitely didn’t buy the blanket ‘trust us’ argument.  The CRTC decided that there had to be a few ground rules but they are going to allow more trust than most of the content creators are going to be happy with.  Here are a few highlights from the English TV perspective.

In a number of places the CBC had expectations and they are now conditions of licence.  There is no negative consequence to not meeting an expectation.  It’s a suggestion that may or may not be met.  As part of the licence renewal application for the next term, CBC will have to report on whether it met its expectations but not before.  A condition of licence however is enforceable and the CRTC can bring  the CBC back before it in a ‘show cause’ hearing or with a mandatory order (See the OWN hearing for a recent example of a show cause hearing and the resulting decision as an example of a mandatory order).

CBC had asked for a condition of licence (“COL”) of 7 hours of PNI per week when they historically had been commissioning 10 hours.   By the end of the hearing they moved to 9 hours of PNI and the CRTC has accepted that.  That doesn’t sound like a big difference and the CRTC made the point that quota should be less than historical commitments because going forward the funding would be less than historically received (despite CBC’s very positive revenue projections in the application).   But the decision also accepted the proposal that only 75% of PNI (or 5.25 hours) would be independent and that a minimum of 2 hours would be drama and 2 hours would be documentary.  Content creators and especially DOC fear that CBC would only do the minimum of 2 hours of documentary (down from current levels of 3 hours per week) and increase the amount of in-house production that they are currently doing.  The CRTC’s argument is that these are minimums, they ‘expect’ the CBC to exceed those minimums and they believe that the CMF guidelines and the CBC’s need to build audience and generate revenues will be enough incentive that additional regulation is not necessary.

Respectfully to the CRTC, I see some holes in that argument.  CMF broadcaster envelopes are based in large part on audience success (way complicated).  The CBC is not and cannot be all about chasing large audiences to increase their CMF envelope or their ad revenues because then it stops being a public broadcaster.   Its mandate includes offering a variety of programming so that all Canadians can find programming on CBC, not the same program to each and every Canadian.  This is why even at 3 hours a week, the CBC offers more documentary programming than the private broadcasters.  Any push for larger audiences in order to increase CMF or ad revenue is likely to mean fewer documentaries as they just do not have the same level of audience as prime time dramas such as “Republic of Doyle” or “The Rick Mercer Report”.   Regulation was needed to ensure that the CBC did not ignore its mandate in search of revenue.

Then there is the issue of the CBC’s excessive use of minority co-productions (“Tudors”, “Pillars of the Earth” etc.) to meet its Canadian content obligations.   The WGC proposed excluding them from calculation of PNI as they use few Canadian resources.   The goal was to find a solution to an imbalance in broadcasting co-productions that meant fewer opportunities for Canadian talent on Canada’s broadcaster.  Well, the Chair of the CRTC is well-versed in co-production policy from his previous employment at Heritage and the decision refers to the biggest policy hurdle to addressing the imbalance – the policy of ‘national treatment’ means that were the CRTC to agree to that exclusion, there could possibly be international trade repercussions.  However, at the hearing the Chair had countered that a possible solution was requiring an overall balance of co-productions within PNI so it was disappointing not to see that in the decision.

The CBC’s previous expectation that it broadcast Canadian programming for 75% of its day and 80% of its prime time period has now been entrenched as an enforceable condition of licence.  While some parties, such as ACTRA, wanted the CBC to move to 100% Canadian programming in prime time, the CRTC agreed to what I think of as the ‘Coronation Street exception’.  There would be riots in the streets if the CBC had to get rid of it, riots in the streets.

Now for kids – a subject near and dear to my heart ever since my earlier time with Owl Television.  CBC has stated that they want to move away from school age and youth programming and concentrate on preschool programming.  They stated this made sense because these age groups were leaving broadcast television and going online, where their needs will be met by CBC.ca.  No evidence was presented to support the departure of kids and youth from tv and Youth Media Alliance presented stats to the contrary.  However, the CBC had also not presented any evidence about what it is doing and how much it is spending on CBC.ca.  Many stakeholders, and particularly the Youth Media Alliance, presented arguments and evidence to demonstrate a need and a want for quality school age and youth programming for Canadians on CBC.  The CBC revised its proposal to a condition of licence of 15 hours of programming for children up to 12 years of age and an expectation of 5 hours for youth 12 to 17.  The CRTC ‘expects’ a reasonable allocation between preschool and school age programming.  There is a new requirement of 1 hour of original programming per week.

The good news in this is that the children’s obligations have moved from expectation to COL but the bad news is that youth programming hasn’t and there is no protection of school age programming within the allocation of 0 – 12.  Given that in the last licence term there was an expectation of 5 hours of youth programming that was completely ignored I don’t understand why the CRTC thinks that an expectation is good enough for the coming licence term.  The CRTC’s logic is that 1 hour of original programming is more of a commitment to original programming than zero but that still will not prevent the CBC from meeting its commitment as it does now through airing a lot of very old repeats.  At the hearing there were many passionate arguments about the obligation of Canada’s public broadcasters to meet the needs of its youngest citizens and I am afraid that we will be hearing these arguments again in 5 years.

There was one little part that I did enjoy in the kids part of the decision.  This Commission isn’t buying the argument that the last Commission agreed with – that families should just pay for YTV, Treehouse and Family Channel if they want kids programming.   The Commission stated clearly that as private conventional broadcasters have moved out of kids programming, it is even more important that the CBC as Canada’s public broadcaster support the kids and youth audience.  We just don’t agree on how that will happen.

During the hearing the CBC committed to broadcast one Canadian feature film per month but would not commit to when they would air them.  They wanted the flexibility to air them on Saturday afternoon or late in the evening.  Really late.  As most audiences are still watching tv during prime time, there were calls for a commitment to air Canadian feature films in prime time and not let the CBC dump them in off hours.  As I recall the DGC was pretty insistent on this point.  The CRTC has instead ‘encouraged’ the CBC to air Canadian feature films in prime time and in a regular slot in the summer (ie when there is no hockey).  I think an encouragement is even less than an expectation.

A really wonky request was for more detailed reporting to be able to assess whether CBC is meeting its expectations and COLs and encouragements (is that a word?) while the CBC was arguing for less reporting.  One in particular that interests me is the call for reporting on the CBC’s digital expenditures and revenues.  On the one hand the CBC is saying that it can get out of kids and youth programming because it is doing a lot for that age group online while on the other hand they are not reporting any of that activity because there is no requirement.  The CRTC reiterated that as a Digital Media Broadcasting Undertaking (DMBU – successor to the much loved NMBU) is exempt from licensing, there is no requirement to report other than the vague reporting that is currently reported to the public in an industry aggregated way.  Any greater reporting could somehow harm developing business models.  I hope then that the CBC will not be allowed to make the claim again at the next licence renewal hearing that these unreported activities can take the place of regulated activities.

The final piece of interest to me is on terms of trade.  The Commission declined to wade into the competing stories about why no agreement had been concluded (this had taken up a lot of hearing time) but was very firm and clear about its jurisdiction to impose a terms of trade agreement if it wants to, regardless of the CBC’s legal opinion to the contrary.  While it won’t at this time impose Terms of Trade, the CRTC gave the parties one year to conclude an agreement or risk a show cause hearing or a mandatory order (see above).  Will that be enough to break the log jam?  We can only wait and see and hope that it happens.     Terms of Trade are important to provide stability and certainty in negotiations and create a level playing field between parties so we do all need the CBC and CMPA to conclude Terms of Trade.

Oh, that’s a lot of stuff.  I congratulate you if you made it to the end.  Just imagine if I was interested in French TV and radio!

CBC New Season

Just a quick post to offer some thoughts on the 2013-2014 season announced by CBC today. We’ve been wondering how the CBC would manage their budget cuts and keep quality Canadian programming on the air and we can now see a couple of the strategies. First, renewals are a lot cheaper than a new show so the old favourites like Rick Mercer and Heartland have been renewed but also the new (to CBC and half the country) Murdoch Mysteries and Cracked. Second, it’s cheaper to order more episodes of a series than to order a new series so Murdoch Mysteries and Republic of Doyle both have 18 episode orders.

Is any of this a bad idea? CBC is having a good year and audiences are loving the prime time line up. So give them more of what they like. Sounds good. The risk, and it’s a real one, is that shows will come to a natural end, fickle audiences will drift away, and CBC may not have new, developed shows in the wings ready to be green lit. My fingers are crossed that that’s not the case.

In the meantime, as a lover of all things to do with Canadian TV and Canadian politics, I’m really looking forward to the Best Laid Plans miniseries next year.