OUTtv petitioning CRTC to reduce CanCon requirements

Gay TV station also wants to chop original production obligations


OUTtv, which bills itself as Canada’s only national gay and lesbian television network, has joined a group of independent broadcasters that are petitioning the Canadian Radio-Television Telecommunications Commission to reduce the number of hours of Canadian programming and the amount of money spent on Canadian productions required under its current licences.

The gay channel is currently required to air Canadian content during 50 percent of prime-time hours and 65 percent of daytime hours. OUTtv is requesting that the daytime requirement be dropped to 50 percent to match the prime-time hours.

Additionally, the channel is required to spend 49 percent of its revenue on Canadian programming – either original productions or acquisitions. The channel would like to see that dropped to 35 percent, which would cut its spending on Canadian programming by almost one-third.

OUTtv chief operating officer Brad Danks says that the channel can’t afford to purchase or create enough original Canadian content to fill its daytime programming requirements without resorting to broadcasting a large amount of repeats.

“The big issue is 50-percent prime time because that’s where most people do their watching. When we’re buying our programming, we’re buying for prime time, not daytime,” he says.

Danks also says that competing stations run by Bell and Shaw are required to spend only 30 percent of their revenue on Canadian programming, after they successfully lobbied the CRTC for reductions.

“The independent [channels] have asked, Why are you granting these concessions to the largest media companies in the country but not allowing us to lower our thresholds?” Danks says.

Reducing the Canadian programming expenditure requirement would allow OUTtv to purchase cheaper foreign-produced shows and movies, which Danks says will attract more viewers. “There is very little LGBT content available for acquisition in Canada. We are happy to produce a lot of different programs and commission those programs, but we need balance,” he says.

While the Writers Guild of Canada has not formally opposed OUTtv’s application, it remains opposed to cuts in Canadian programming, says spokesman David Kinahan.

“There absolutely is concern,” Kinahan says. “We rely on those regulations for a sort of cultural sovereignty because we’re neighbours to such a media production entity. In order to have content of our own, we seem to require broadcasters to make it because they don’t or won’t do it voluntarily.”

Kinahan also says that the only way to get more queer Canadian content is to require broadcasters to pay for it.

“Typically, if there is a demand for programming and broadcasters are open to pitching, there’s plenty of talent ready and willing to make the shows,” he says.

Danks says OUTtv has a subscriber base of 1.2 million households and pulls between 25,000 and 50,000 viewers during prime time.

 

Rob Salerno is a playwright and journalist whose writing has appeared in such publications as Vice, Advocate, NOW and OutTraveler.

Read More About:
Culture, News, Canada, Media, Arts, Toronto

Keep Reading

Frank Ocean

Frank Ocean soundtracked my two earliest—and most devastating—romances

“Blonde” and “channel ORANGE” both came out during pivotal moments in my queer awakening. A decade later, how can I listen to them without breaking my heart? 
The cast of Canada's Drag Race All Stars

‘Canada’s Drag Race All Stars’ finale recap: The first Canadian ‘All Stars’ champion is …

A Lip Sync Smackdown for the Crown delivers goops and gags before crowning one queen
Annie Jacobson (Ella Rubin), Maple (Mabel Strachan), Oona (Bo Bragason) and Ramona (Amélie Hoeferle) shout in a scene in Sterling Point.

Even in the idyllic queer world of ‘Sterling Point,’ whiteness is front and centre

The Muskoka-set series glosses over the racism of Canada’s cottage country
Cover of the book "Unsafe"

‘Unsafe’ challenges us to handle anti-trans backlash differently

S. Lamble’s debut argues that punishment makes anti-trans activists double down on their hate
Advertisement