Category Archives: Opinion

| Media, Opinion

The Supreme Court, “person with a vagina” and knee-jerk outrage culture

Did the Supreme Court of Canada ban the use of the word “woman” because it’s gotten too woke?

Reading the coverage of a recent decision, you might be justified in thinking that’s the case. It’s not, of course. A simple reading of the decision would confirm that by any reasonable analysis. But even when presented with the facts, the people who cranked the outrage machine insist they’re right.

Which is a bit concerning because they’re all people who work or have worked as journalists for mainstream media.

The decision in question is called R. v. Kruk, and dated March 8 (coincidentally, International Women’s Day). But the outrage circus started March 13 when the National Post published its daily opinion newsletter from Tristin Hopper, titled “Supreme Court decision opts for ‘person with a vagina’ over ‘woman'”. It starts as follows:

The Supreme Court of Canada ruled in a recent sexual assault case that it was “problematic” for a lower court judge to refer to the alleged victim as a “woman,” implying that the more appropriate term should have been “person with a vagina.”

In a decision published Friday, Justice Sheilah Martin wrote that a trial judge’s use of the word “a woman” may “have been unfortunate and engendered confusion.”

Martin does not specify why the word “woman” is confusing, but the next passage in her decision refers to the complainant as a “person with a vagina.” Notably, not one person in the entire case is identified as transgender, and the complainant is referred to throughout as a “she.”

Right-wing and clickbait social media accounts and websites and even news media pounced on Hopper’s interpretation of the decision, as did Journal de Montréal columnist Richard Martineau, who wrote in a column published the next day that “Il n’y a plus de femmes au Canada!” (There’s no more women in Canada!)

Martineau repeats the two key points of Hopper’s analysis, that the Supreme Court ruled a lower court’s use of the word “woman” was problematic, and that the Supreme Court says judgments should instead say “person with a vagina.”

Martineau’s column, in turn, prompted Martine Biron, Quebec’s minister responsible for the status of women, to present an emergency motion in the National Assembly condemning the Supreme Court’s words. Co-signed by Parti Québécois Leader Paul St-Pierre Plamondon, Liberal MNA André Morin and independent (formerly Liberal) MNA Marie-Claude Nichols, it passed unanimously.

There’s just one problem. That stuff about the Supreme Court finding a problem with the word “woman”, and saying courts should use “person with a vagina” instead? It’s not true.

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| Media, Opinion

10 ways the government can help the news industry without just giving them money

It’s hard times in the journalism industry, and the government wants to help.

The first part of that sentence isn’t really arguable. News outlets that haven’t shut down completely have significantly downsized, and though there are new sources of news these days, they don’t have anywhere near the kinds of resources that newspapers, magazines and television and radio stations used to have. As a result, many stories go unreported or underreported, and society is poorer for it.

Governments are aware of this and have put forward ways to help. Some make sense and are fairly uncontroversial, like tax credits for news subscriptions or allowing news outlets to receive charitable donations. Others have been spectacular failures, like Bill C-18. Most have been somewhere in between, consisting of direct or indirect funding to those organizations who qualify based on criteria set by bureaucrats at (hopefully) an arm’s length from the political machine.

Deciding who is and isn’t a journalist, and deciding how much money they should get, creates a lot of problems. It could lead to a slippery slope where some CRTC-like body starts micromanaging journalism and infringing (in fact or in practice) on our rights to free expression.

But handing out money isn’t the only thing that could help the news industry these days. Here are 10 suggestions from me on things the government can do that would make things better that don’t include direct handouts.

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| Media, Opinion, Technology

What is the basis for forcing big tech to pay for news?

Bill C-18, the Online News Act, aka “An Act respecting online communications platforms that make news content available to persons in Canada,” has been passed by the House of Commons and Senate and signed into law.

Now, finally, after desperate demands from Canada’s news media, big tech companies like Meta (Facebook) and Alphabet (Google) will be required to compensate them for use of their news content.

Except, no.

Instead, Meta has already announced that it will choose to block access to Canadian news content on its platforms (including Facebook and Instagram), as it said it would do when the bill was working its way through the legislature. Google has done the same after failed talks with the government. Both have already begun tests of how they would accomplish this, though it’s not entirely clear how they will implement such blocking when they go ahead with it.

On top of that, both have announced that they will end existing programs that help fund news media, including a Facebook deal with The Canadian Press and the Google News Showcase.

This clearly is not what the government or the news media want. Heritage Minister Pablo Rodriguez says the government needs to “stand up for Canadians against tech giants,” while just about every media outlet has issued a statement accusing Meta and Google of censorship.

But while politicians are pointing fingers at each other, perhaps it’s well past time to ask a very simple question:

Why does this law exist, exactly?

In other words, what problem is it trying to solve?

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| Opinion, TV

Your guide to the new CanCon dramas of 2023

Canadian content. Depending on your views about the broadcasting industry, it’s either an important public policy to ensure Canada has its distinct culture and its citizens consume it, it’s a nationalist protection of cultural sector jobs to prevent talent from moving to Hollywood, or it’s a waste of taxpayer money for poor-quality TV shows that no one wants to watch.

Or maybe a combination of all the above.

This winter and spring saw a bigger than usual crop of new English Canadian scripted series on TV, and with a mix of curiosity and patriotic obligation, I decided to sample each of them.

While funding has always been a challenge for homegrown Canadian TV, discoverability has been an increasingly large one as well. You’re no longer limited to a handful of channels on TV, and even most people with TVs don’t watch a lot of their shows live. Without discoverability, a fantastic Canadian series could be lost to history because no one gave it a chance.

Canadian TV networks are trying. CBC has been pushing its series during Hockey Night in Canada, while CTV has aired endless commercials for its series during more popular programs.

They could do better, though. CTV and Citytv have their series behind online paywalls, requiring TV subscribers to sign in even though CTV and Citytv themselves are available free over the air. And if your TV provider doesn’t have deals with those networks (like, say, Videotron), then you can’t sign in to get access to these series. You’ll either have to wait for reruns or hope they show up on Netflix some day.

Anyway, to help give these series a discoverability boost, I watched a few episodes of each and provide a quick review. Some probably aren’t your cup of tea, and that’s okay, but if some sound interesting to you, and you have access, maybe give them a shot.

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| Media, Opinion

Five years after La Presse, seven more French-language newspapers go online-only

Are we witnessing, finally, the death of the newspaper?

I don’t necessarily mean it in a bad way. Most of the time when you hear about a newspaper or magazine going “online-only” it’s a cost-cutting measure that signals the publication’s impending death (no matter how much they claim otherwise).

But as the business model for print media changes, the balance appears to be tipping to the point where it makes more and more sense to go online-only even if you still employ dozens or even hundreds of professionals doing daily journalism.

La Presse publisher Guy Crevier explained the math to me 10 years ago, before that publication decided to make the big leap. Publishing a print edition comes with a lot of overhead costs. The pages have to be designed, both in terms of news content and advertising. The newspaper needs to be printed, either at your own plant or by a third party. The newspaper then needs to be distributed through a network of delivery people who need to work before sunrise every day the paper publishes. And you need a subscriptions department to manage print subscriptions and deal with all the issues that come up.

What’s more, many of those costs don’t scale linearly. As print subscribers and print ad revenue dwindle, it costs more per subscriber to produce. And subscribers will tolerate price increases only so much.

In January 2016, La Presse took the first step toward weaning itself from its identity as a newspaper by cutting down to one print issue a week. Two years later, it abandoned print entirely.

Other once-daily newspapers have also taken that first step in going weekly, like Métro. Some, like Saltwire and Postmedia publications, have taken a more gradual approach, dropping Monday editions.

More newspapers dropping the paper part

On Wednesday, the Coopérative nationale de l’information indépendante (CN2i) announced its six newspapers — Le Soleil in Quebec City, Le Droit in Ottawa-Gatineau, La Tribune in Sherbrooke, Le Nouvelliste in Trois-Rivières, Le Quotidien in Saguenay and La Voix de l’Est in Granby — would cease producing print editions at the end of the year. The six newspapers had all dropped down to weekly publication at the start of the COVID-19 pandemic in March 2020, mere weeks after they had been sold to employee cooperatives out of the ashes of Groupe Capitales Médias. (This month the group announced its cooperatives would merge into one to cut down on overhead.)

The CN2i sugarcoated the announcement with news about a new website and mobile app, saying this was the plan all along. They expect to drop 100 print-centric jobs but will do what they can to encourage voluntary departures and otherwise minimize layoffs.

A week ago, Quebecor’s 24 Heures, which was born as a free commuter daily in 2001, announced it too would cease publishing in print. A note to readers was not quite as upbeat as the one from CN2i, talking about grieving but still promising to be active online and social media.

How long before more take the plunge? Maybe not that long.

Quebecor’s Journal de Montréal and Journal de Québec took pride in proclaiming that they would remain print newspapers when La Presse transitioned away from print. But even they eventually had to face the music, and announced in December that they would no longer be publishing in print on Sundays.

The Montreal Gazette, my employer, has also stuck to print editions, partly because its print readership skews older, but even then it dropped Monday print editions.

Le Devoir has also stuck to print editions, in part to separate itself from La Presse. But I would not be surprised if they too eventually decide print isn’t worth it anymore (especially because they’re printed by Quebecor and at the whims of the business decisions of Quebecor’s printing plants).

Will it work?

A decade after the launch of La Presse+, which the publication quickly dubbed its flagship product, things seem to be going well. In its latest annual report, it reported a surplus, which it is using to build a reserve fund. And while the nonprofit is accepting donations from readers, it would still have had a surplus even without those donations. It says 80% of its revenue still comes from advertising.

That’s not to say the iPad app is a runaway success. La Presse has put more effort into its website and mobile apps, understanding that it can’t push everyone toward tablets. And the Toronto Star’s StarTouch project, based on La Presse+, was a spectacular and expensive failure.

But this is proof there’s hope out there for what were once daily subscription newspapers. If they are willing to invest and innovate, and stop trying to prop up the old business model by cutting expenses until they whittle themselves into nothing, they might be able to come out of this.

Unfortunately, for a lot of publications, the focus isn’t so much on innovation as it is on finding magical solutions like getting Facebook and Google to give them a bunch of money.

| Opinion, TV

Review: Noovo Le Fil does news differently, with some familiar cost-cutting

Noémi Mercier hosts the first episode of Le Fil on March 29.

In the lead-up to its launch on March 29, Noovo (formerly V, formerly TQS) hyped that its new daily newscast called Le Fil would be, above all else, different.

Different in how it told stories (longer, more in-depth), different in what stories it would tell (younger, more diverse), and different in how it presented itself (two Black anchors, a more industrial-looking studio).

After two weeks of watching these programs, I can conclude that it’s definitely different. In some ways that are good, but in many ways the difference is a stark reminder of how few resources are being put into news-gathering at the network, even though its new owner Bell Media has extensive English-language resources across the country, francophone journalists at radio stations across Quebec, and lots of money.

Rather than being an alternative newscast to TVA and Radio-Canada, it might be more fair to say Le Fil isn’t even in the same league, and isn’t trying to be.

History

A recap of what led to this: TQS, founded in 1986, was the first television network to try to compete directly with the duopoly of Radio-Canada and TVA in Quebec. It was owned by the Pouliot family, who also owned CFCF (CTV Montreal) and CF Cable.

Its newscast, Le Grand Journal, promised to be different, but looking back seems very generic — an anchor in a studio, tight two-minute packaged news reports with reporter voiceover, and weather and sports.

TQS would eventually be bought by Quebecor, but then sold because Quebecor bought Videotron, which owned TVA. Cogeco and what was then Bell Globemedia bought TQS in 2002 (with Cogeco as the controlling owner) and injected money into its news operation, but by 2007 Cogeco gave up and pushed the network into bankruptcy.

It was bought by Maxime Rémillard, a film producer and distributor, who disbanded the entire news operation and renamed the network V. Rémillard convinced the CRTC to drastically reduce the network’s local and news programming requirements in order to keep it alive, and tried various cost-effective ways of doing the bare minimum of news programming, with forgettable newscasts like Les Infos and NVL that were outsourced to other companies.

Rémillard’s massacre of the news operation was heavily criticized, but it worked. V stopped bleeding money and managed to survive.

In 2019, Rémillard agreed to sell V’s five stations (Montreal, Quebec City, Sherbrooke, Trois-Rivières and Saguenay) to Bell Media for $20 million, and Bell promised to bring back newscasts to get the CRTC to approve the purchase. The CRTC approved the deal last year and brought in higher local programming requirements, with each station needing to broadcast five hours a week of local programming and two and half hours a week of “locally reflective” programming. Next year, the local programming requirements for Montreal and Quebec City go up to 8.5 hours a week.

Bell must also spend 5% of V’s revenues on local news. In 2019-2020, V brought in $35.7  million, which was about half of its expenses. This would mean about $1.8 million a year minimum on news.

Enter Le Fil.

Structure

Le Fil is a series of newscasts:

  • Le Fil 17h: An hour-long newscast at 5pm weekdays, hosted by Noémi Mercier, a long-time journalist who had been seen mainly on Télé-Québec before joining Noovo.
  • Le Fil 17h30: Though billed as a separate newscast, it’s more of a regional cutaway for Noovo’s owned-and-operated non-Montreal stations (Quebec City, Saguenay, Trois-Rivières and Sherbrooke). About 15 minutes total not including a commercial break, each region’s newscast is anchored out of Quebec City by Lisa-Marie Blais, who comes from LCN but was part of TQS in the last days of Le Grand Journal. For Montreal viewers, Mercier continues to anchor with more local segments during this time. After the regional cutaways, the regions come back to Mercier who does a signoff opinion/analysis monologue.
  • Le Fil 22h: The 10pm half-hour newscast is hosted by Michel Bherer, who spent 13 years at Radio-Canada but also worked at TQS back in the day. It consists mainly of a selection of stories that were presented at 5pm. Regional cutaways, also hosted by Blais, begin at 10:10pm. (They’re not posted online, so I haven’t seen their content.)
  • Le Fil Week-end: Two hour-long shows that strangely air at 9am on Saturday and Sunday, respectively, and mostly repeat stories from the week, sometimes with fresh introductions. The shows include an original feature interview near the end. They’re hosted by Meeker Guerrier, who previously worked at Radio-Canada and since last fall has been a regular columnist on Bell Media radio stations and RDS.

For all of them, the structure is pretty simple: five-minute blocks, either packaged reports, often introduced by the journalist, or perhaps an in-studio chat with a journalist or a columnist.

Contributors include big names like La Presse columnist Yves Boisvert and freelancers like fact-checker Camille Lopez and U.S. politics watcher Valérie Beaudoin.

Laid-back news

The biggest difference between this newscast and a mainstream one is how it tells stories. Rather than a standard two-minute heavily narrated package including B-roll of people walking and ending with a reporter standup, these packages are about five minutes long, adopting a slower pace, and let their subjects do a lot of the talking. Almost like a mini documentary. Many packages include music, to further accentuate that feel. The reporters are also present, but more casual and engaging in how they talk to the camera.

There are “live” chats between the anchor and the reporter, either in studio, or via double box, and I notice the reporters tend to be introduced by first name only.

The rough edges can be seen in the reports, which often show technical issues that I have difficulty just dismissing as first-week flubs or COVID-19 compromises. Subjects in interviews often don’t have a microphone on them, leading to poor-quality audio. This probably wouldn’t have been an issue if they hired both reporters and experienced camera operators who would be more concerned with those technical aspects. Many reports are done entirely by the reporters alone.

Diversity

The other big difference Noovo highlights in its approach to this newscast is diversity — not only of its staff, where two of four anchors are Black, but of the story subjects. They spend more time talking about issues facing young people, racialized communities, Indigenous communities. I don’t know if they’re necessarily covering these issues better than their well-funded competitors, but that’s where they’ve decided to put their focus.

Being a brand new operation, most of their journalists are pretty young, and so much of this focus on different types of stories may come naturally.

Look and feel

Michel Bherer next to the window in the Montreal studio.

Reporter Audrey Ruel-Manseau on the side of the anchor desk in Montreal.

Lisa-Marie Blais at the Quebec City studio.

Lisa-Marie Blais and Alexane Drolet in Quebec City.

I suppose Bell Media was trying to get away from the standard TV studio look with its design for the studios in Montreal and Quebec City. It’s very industrial, like you might expect for a tech startup or something. White-painted brick, exposed metal conduits, a light wood desk, coloured lights, vertical screens. I’ll give them the benefit of the doubt that they were going for something new and cool, but it comes out to me looking a lot like moderate-budget community TV.

The graphics are better. Bold white text on dark blue backgrounds for the most part. Overlays are squarish on the side rather than going along the bottom.

No weather or sports

Despite being built by the same company that runs CTV News, there’s very little of the usual building blocks of a newscast. There’s no weather report, no sports highlights (Bherer briefly gives out the final score at the end of the night when the Canadiens play), no market numbers, no entertainment news, no stories from foreign news services, and no ambulance-chasing fire and car crash briefs.

Bell owns RDS (in fact, the two broadcast out of the same building), so it would not have been difficult to incorporate a sports component, so it seems this was done intentionally. And honestly, it would have been odd to shoe-horn something like sports highlights into this show.

News briefs are often presented on screen with no visuals or only a faded still image to accompany them — literally the text of the brief is presented as a graphic as the anchor reads it. They’ve gotten a bit better at this as the days went on, with some briefs presenting visuals now, but it’s an odd thing to see so much text in a newscast.

One thing I have seen a lot of, though, is vox pops. For a newscast that promises to do things differently, adopting one of the news media’s laziest, most useless forms of journalism — asking random uninformed people on the street what they think of some topic — would be a head-scratcher if we didn’t already know why it’s done. It’s an easy crutch for an uninspired assignment editor.

They’re not in every newscast, but in less than three weeks I’ve seen a handful of them.

Recycling the news

The most glaring way Le Fil saves money is through reusing its content. The 10pm newscast is largely stuff that aired earlier in the day. The weekend newscast is mostly stuff that aired earlier in the week.

Even the regional cutaways involve a lot of reuse. The 15 minutes mean they have three stories. But for most of the regions, the third story is common, regardless of what region it comes from.

So for the Mauricie, Saguenay and Estrie regions, we’re talking about 10 minutes per weekday of actual original local news. Less than an hour a week.

Since Bell has not deemed those three regions worthy enough to even have their own anchors or studios, it’s probably unsurprising that even their local news isn’t that local.

Will anyone watch?

The first broadcasts of Le Fil got just over 100,000 viewers, according to Richard Therrien of Le Soleil. That’s relatively decent, but also a lot of curiosity factor. Later broadcasts got smaller ratings.

Working against Noovo is the schedule — if you want news at 5pm, you can watch TVA. If you want news at 10pm, you can watch either TVA or Radio-Canada. And if you want news at 9am on weekends … well, I guess you have that now, assuming you don’t have LCN or RDI on cable?

I would have liked them to, say, push the late newscast to 11pm and offer some counter-programming in the 10pm hour. Or try to do something more with the weekend news than an hour-long in-case-you-missed-it.

Multiplatform

I can’t say Noovo really sets itself apart by promising its news will be on a bunch of platforms, since everyone is doing that now, but it’s worth noting here. At the moment, there isn’t much along these lines. Packages and newscasts are posted to their website, a few clips are posted to YouTube, and they have Facebook, Instagram and Twitter accounts, and now TikTok too.

A new Noovo Info website is promised to launch later, which will give a better idea of the digital facet of this operation. By then, Bell will probably have found a way to integrate its journalists at Rouge and Énergie radio stations throughout Quebec into the system, and maybe even found some synergies with CTV and CTV Montreal in particular.

Bottom line

So with some aspects still marked incomplete, and taking into account the usual early-day bugs that will work themselves out as everyone gets more familiar with the daily routine, I would rate Noovo Le Fil as … OK.

Noovo doesn’t have the same news resources as Radio-Canada and TVA, which both have all-news channels and close relationships with other journalists on different platforms (Radio-Canada has digital and radio journalists, while Quebecor has the Journal de Montréal, 24 Heures and other platforms for journalism). But Bell has deep pockets, so if it wanted to, it could create a new competitor on that same level.

As a news operation, it’s definitely better than what it replaced. As a newscast on TV, it’s also better, though probably not better enough to become a real threat to the duopoly of Radio-Canada and TVA. (And we’ll see if, down the line, Noovo’s desire to be different will hold or if it will slowly morph into a similar kind of generic TV newscast that its competitors have settled into over the decades.)

Some of its longer-form documentary-style reports might have some success on digital platforms, I suppose, but it’s really unclear what target audience they’re trying to reach here. Le Fil doesn’t have the flash of TVA nor the reporting depth of Radio-Canada, and despite their promise to be more diverse and reflective, I don’t see that many people who don’t normally watch the news flocking to this show.

Which leaves us with the distinct impression that, despite all the hype, Le Fil exists not because Bell wants to shake up the marketplace when it comes to local news on TV, but simply because the CRTC required Noovo produce local news, and this is what they came up with to fill that minimum requirement.

I hope I’m wrong there.

Noovo Le Fil airs at 5pm and 10pm weekdays and 9am Saturdays and Sundays on Noovo.

| Opinion, TV

Global Montreal repays Jamie Orchard’s decades of service by laying her off

Jamie Orchard at her desk in the Global Montreal studio

In 1997, as the Global Television Network was preparing to launch a new station in Quebec, it tapped a 31-year-old entertainment reporter for market leader CFCF to be one of its anchors. Jamie Orchard told the Montreal Gazette at the time that “it was one of those offers I couldn’t resist. Being part of a new station getting off the ground is rare opportunity and an unbelievable challenge.”

At first, she hosted an entertainment show on the local station. Then the morning show, another entertainment show, the late-night newscast, and since 2004 she has been the senior anchor and the face of the station and its local news.

Or had. On Thursday, Orchard announced that she had been laid off, one of apparently dozens of people across the country that Corus Entertainment has decided are no longer needed.

While it’s usually standard procedure in broadcast media to have on-air staff escorted out the door when they’re told they’re being dumped, and certainly never put in front of a live microphone again, Orchard was allowed to stay on for another month, keeping the news secret that whole time, and give an on-air goodbye. (It doesn’t look like Global posted it online.)

It’s a testament to the trust Orchard has built with the station, and its viewers, and station manager Karen Macdonald, who has also been with it since the beginning.

Orchard’s social media announcement sparked a lot of reaction, including a message from Montreal’s mayor and its former mayor.

The union, headed by veteran reporter Anne Leclair, also issued a statement saying “Jamie is an excellent journalist who always approached every subject with great professionalism. She is a model for ethical journalism. We are also losing an important voice and key connection between our newsroom and Montreal’s English-speaking community.” The statement notes that the station has lost 10% of its newsroom permanent staff this summer, not including Orchard.

Naturally, the news angered Global Montreal’s viewers. Not that it has too many of them, falling well behind CTV Montreal in audience for its entire existence.

Its small audience may be loyal, but their threats to change the channel won’t matter. Local news is a money loser for Global in eastern Canada, and cutting costs has more of an effect on the bottom line than feeding that loyalty.

My reaction to this news isn’t so much anger as it is disappointment. Global seemed to be headed in the right direction. After years of cutting to the bone and centralizing the tasks of news production, there seemed to be an air of renewal, with new staff being hired and a new focus on online reporting as the future of journalism. But this summer, facing a budget crunch caused by the COVID-19 pandemic, Global backtracked and laid off that young, diverse workforce it had just hired.

Since I first visited Global Montreal and met Orchard more than a decade ago, I was left with the impression that the small station with limited resources had one special thing going for it: its staff was close, like a family. That’s why, I was told at the time, staff turnover was so low.

It’s why Orchard said she would stay as the station’s anchor for as long as it would have her. It’s why she was allowed to say goodbye on air, because she could be trusted with that.

It’s unfortunate that, 23 years later, Corus Entertainment couldn’t be nearly as loyal to Orchard as she was to her employer.

UPDATE (Sept. 22): Rather than hire a new anchor, Global has decided to have Montreal’s local evening newscast anchored out of Toronto.

| Media, Opinion

Torstar sold for $52 million — will entrepreneurs fix its business model?

The Toronto Star’s new prospective owners, Jordan Bitove, left, and Paul Rivett (photo: Nordstar Capital)

Since news broke late Tuesday that the Toronto Star’s parent company had agreed to a sale to a pair of investors for the equivalent of $52 million, lots of people have been looking at the political angle, convinced that either:

(a) because the new owners had made donations to Conservative parties (including Maxime Bernier’s leadership campaign), Toronto’s last left-wing paper would become a right-wing one like the rest; or

(b) because they had tipped former Ontario Liberal premier David Peterson as its vice-chair, the paper would become more entrenched as the Red Star so-liberal-its-actually-communist propaganda machine.

In reality, neither is true. In the short term, at least, the Star (and its other newspapers, the Hamilton Spectator, the Waterloo Region Record, the St. Catharines Standard, the Niagara Falls Review, the Welland Tribune, the Peterborough Examiner, Sing Tao and all of the Metroland community papers) will stay the same. The last thing a new investor wants to do is scare off a loyal customer base.

That’s not to say that political allegiances, whether real or imagined, aren’t a problem. It’s uncomfortable, not to mention demoralizing, when journalists are told they can’t participate in protests or express controversial opinions when their bosses openly donate money to political parties and/or used to work for them.

But more important than ensuring its apparent impartiality is ensuring its survival. Torstar as a whole was sold for $52 million. Its 63-cent buyout offer is a premium on its current share price, but a tiny fraction of Torstar’s value before the internet hacked away at its business model. In 2003, Torstar was worth up to $30 a share.

By comparison, Postmedia bought out the Canwest newspapers in 2010 for $1.1 billion, out of bankruptcy protection. Postmedia bought Sun Media in 2015 for $316 million. TVA bought Transcontinental’s 14 magazines for $55.5 million in 2015. Two years earlier, Quebecor sold 74 community newspapers to Transcontinental for $75 million. In 2007, Quebecor’s Sun Media bought Osprey Media (20 dailies and 34 weeklies) for $575 million.

Is Torstar really worth less than all of these? Unfortunately, yes. Because the newspaper business model has collapsed, especially over the past 15 years.

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| Media, My articles, Opinion

Quebecor’s shifting arguments against Tou.tv

It will come as no surprise to you that Quebecor and Canada’s public broadcaster are not the best of friends. Quebecor’s controlling shareholder and CEO, Pierre Karl Péladeau, has complained about it many times in the past. (He also complains about La Presse, Bell, the Quebec Liberal Party, the Quebec government and others.)

This week, Quebec’s largest telecom and media company filed a complaint with the CRTC demanding that it order CBC/Radio-Canada to shut down its Tou.tv Extra streaming service. Not all of Tou.tv, just the $7/month premium version that charges for premium content.

I examine the application in this article for Cartt.ca subscribers. In short, Quebecor is arguing that:

  • As a public broadcaster, it’s improper for CBC/Radio-Canada to charge for access to content paid for by taxpayers, and goes against its mandate.
  • Since it licenses some content from other broadcasters (Télé-Québec, V, Canal Vie, TV5 and others), it is a de facto TV provider and should be licensed as such, including obligations to spend 5% of its revenue on Canadian programming funds.
  • Its deal with Telus giving Telus’s customers free access to Tou.tv Extra is an illegal undue preference and against the rules for digital media broadcasters.
  • CBC’s last licence renewal in 2013 included a note from the CRTC that said it does not charge for access to its streaming service (Tou.tv Extra launched in 2014), which Quebecor argues is a de facto condition of acceptance.

Quebecor lays it on pretty thick in the application, saying CBC/Radio-Canada is “short-circuiting the Canadian broadcasting system with taxpayer money” and “creating two-tier public television: enriched content, exclusives and offers first to the better off, and regular content and reruns to the masses.”

In a procedural letter, the CRTC says that issues related to CBC’s mandate should be dealt with in the CBC licence renewal proceeding, which is currently under way. Other issues of fairness can be dealt with in the context of an “undue preference” proceeding, which it will examine.

I could point out some of the obvious counter-arguments to Quebecor’s argument (Tou.tv Extra does not offer live streaming of cable channels, only some of their content on demand; there is no condition of licence requiring it to be free; it’s basically the same model as Quebecor’s own Club Illico; the deal offered to Telus was offered to others as well including Videotron, who choose not to take it; even if there is undue preference, it does not mean Tou.tv Extra needs to cease its operations), but what struck me today as I was doing some Google searching is a post I wrote 10 years ago just after Tou.tv first launched, when Péladeau complained about it then. Here’s a paragraph I excerpted from an open letter he wrote:

Furthermore, the CBC has launched the Tou.tv website without consulting the industry, a move that jeopardizes Canada’s broadcasting system by providing free, heavily subsidized television content on the Internet without concern for the revenue losses that may result, not only for the CBC but also for other stakeholders, including writers and directors.

So, in 2010 Péladeau argued that Tou.tv threatened the broadcasting system by not charging a fee.

And in 2020 Péladeau argues that Tou.tv Extra threatens the broadcasting system by charging a fee.

You have to give this to Péladeau: He’s got quite the ability to argue. It must be fun working in his regulatory affairs department.

| Media, Opinion

The end of the free daily newspaper in (English) Canada

About 20 years after it first became a thing, the free daily commuter newspaper will cease to exist in English Canada.

Torstar announced on Tuesday that it will cease production of its StarMetro dailies (formerly Metro) in the five cities it currently operates — Vancouver, Calgary, Edmonton, Toronto and Halifax. The result will be more than 120 layoffs, according to Unifor, which is using the news to demand additional government help for print media.

The closure means Canada is left with only two free daily print newspapers, both of which are in Montreal: Métro and 24 Heures. Both were once part of nationwide chains but got split up from them.

Metro operated newspapers in:

  • London
  • Regina
  • Saskatoon
  • Ottawa
  • Winnipeg
  • Vancouver
  • Edmonton
  • Calgary
  • Toronto
  • Halifax

24 Hours operated in:

  • Gatineau
  • Calgary
  • Edmonton
  • Ottawa
  • Vancouver
  • Toronto

There were also independent efforts, particularly in Toronto:

  • FYI Toronto and GTA Today, free papers launched by the Toronto Sun and Toronto Star, respectively, when the craze began in 2000.
  • Dose, the Canwest free daily that lasted just over a year in five cities
  • t.o.night, which tried to make an afternoon free daily a thing

Now they’re all dead.

So what about Montreal?

Montreal’s remaining free dailies have unique circumstances, but they aren’t immune from the same economic forces — a reduction in advertising revenue, an increase in expenses, as well as less attention from readers who can now spend their morning commutes checking Facebook on their phones.

Métro, formerly a Transcontinental paper, was sold along with Montreal and Quebec City community papers to Métro Média, a company owned by Michael Raffoul, an entrepreneur who owns a print media distribution company.

24 Heures, owned by Quebecor, is a de facto sister publication to the Journal de Montréal. It no longer has its own website, and its stories live on the Journal de Montréal’s site. It saves money by using stories from the Journal and TVA.

Neither newspaper has any guarantee of surviving in the long term. Quebecor could shut down 24H at any time, and few people would notice (it disappeared for a week this summer and nobody raised an eyebrow). Metro, meanwhile, is part of a larger group of newspapers that is increasingly codependent, and a shutdown there might be devastating for what’s left of the on-island community newspapers (though many of them are little more than advertising vehicles these days).

I wouldn’t be surprised if someone tries something new in Toronto. It’s a city of millions and just seems a bit odd that it wouldn’t have at least one free news daily. But maybe it’s time to acknowledge that this method of getting news hasn’t kept up with technological progress.

Which isn’t all bad. It’ll mean fewer discarded newspapers clogging up subway systems.

| Media, Opinion

Loopholes in the written journalism bailout panel report

It’s called the Journalism and Written Media Independent Panel of Experts. Eight people proposed by organizations (two of them unions) hand-picked by the federal government, who were supposed to set the criteria for how to determine what are “Qualified Canadian Journalism Organizations” that would be eligible for a tax credit on labour and another one on news subscriptions, part of a $595-million bailout package over five years.

This week, the panel submitted its report to the government. It sets some criteria for how to judge whether an organization is doing real journalism (or real enough to deserve a tax credit), but it also leaves me with a lot of questions. The headline to the report is that the panel thinks the funding is insufficient and is calling on a lot more to be added to the budget (this is not something it was asked to look at in its mandate). It also demands the government greatly increase its ad spend on newspapers and newspapers’ websites, and change the Copyright Act to force digital giants (presumably Google) to compensate news organizations, more things it was not asked to comment on.

As someone who enjoys finding loopholes in rules, I’d like to go through the report and point out some of them.

Preamble: Journalists aren’t accredited

It might surprise a lot of non-journalists to hear this, but there is no central authority that decides who is and is not a journalist. There are organizations, like the Parliamentary Press Gallery or the Fédération professionnelle des journalistes du Québec that set criteria and will authenticate journalists in some way, but there are many professional journalists that are part of neither, whose only credentials are given by their employer and have no legal powers attached to them.

This is by design. In Canada, anyone can be a journalist. The profession is not regulated, and allowing the government to decide who can and cannot practice it would be a Very Bad Idea.

So when we talk about giving money to journalism, we have to define what that is. Hence the panel, set up for the sole purpose of laying down some criteria, which would be applied by others. It’s not an easy job, and any rules you set only lead to more problems, as we’ll see below.

Let the CRA decide, or maybe journalism professors

In the interests of moving quickly, we have recommended that the tax credits be implemented and administered directly by the Canada Revenue Agency. We have recommended that the Government appoint an advisory body, with members drawn from the faculty of post-secondary journalism schools across Canada, to assist the Minister of National Revenue with this program.

The panel proposes that rather than a new government bureaucracy, the Canada Revenue Agency itself make calls on whether an organization should qualify for a tax credit. This is a good idea. The CRA is independent of partisan interests, and staffed by accountants who can be trusted, at least more than a politically-appointed body, to apply the criteria objectively.

But then, if the CRA is unsure (and I would be pretty unsure about a lot of organizations here), it can turn to an “advisory body” made up exclusively of journalism professors. The panel makes the assumption that such professors would be similarly objective (perhaps even more so). I’m not sure why. University professors have a reputation of being more left-wing, and that might not sit well with more conservative media outlets.

“It has published at least 10 editions in the last 12 months”

This makes sense for print media, and for edition-based outlets like La Presse+. But what does “edition” mean in terms of a website? How many “editions” has this blog put out? Or CBC.ca? Or the National Observer? Or iPolitics? These organizations wouldn’t be eligible anyway for other reasons, but this line alone seems to betray the fact that this isn’t about saving journalism as a whole or written journalism, it’s about saving newspapers and former newspapers.

“…in the case of web sites that offers video and audio files, at least 60% of the content is written.”

This makes sense until you ask yourself the obvious question: How do you quantify audiovisual content in a way that can compare to written content? Is it by file size? That’s unfair because video is so much larger. Is it by time spent consuming it? Then you’d have to establish some average reading speed. Or maybe one story = one video or podcast, regardless of length of either?

Even if we could establish some proper criteria for this, it encourages a gaming of the system, by finding a cheap source of written content and/or artificially restricting the amount of multimedia content.

“Journalistic processes”

To determine what qualifies as “original written news content,” a phrase used in the legislation for both the labour tax credit and the digital subscription tax credit,  the committee provides these “processes and principles”:

Journalistic processes and principles include:

  • a commitment to researching and verifying information before publication;
  • a consistent practice of providing rebuttal opportunity for those being criticized and presenting alternate perspectives, interpretations and analyses;
  • an honest representation of sources;
  • a practice or correcting errors.

These sound great (well, except for that unfortunate typo in the sentence about correcting errors). And most serious news organizations follow these principles. Most of the time. But how do you enforce this? Leave it to the CRA to determine whether enough errors were corrected by a publication, or whether enough research and verification was done on enough stories? There is no central body regulating written media, and even if you made membership in an organization like the National Newsmedia Council a condition for getting the tax credit (and it’s not), such bodies act only on complaints and have no real power.

Content mix

Content not considered as editorial content: advertisements, listings, catalogues, directories, guides, financial reports, schedules, calendars, timetables, comic books, cartoons, puzzles, games and horoscopes. Advertisements include promotional content, sponsored content, branded content (any content where a third party, advertising client or business partner, participates in the development of the concept or directs or gives final approval to a large portion of the content) as well as stories produced primarily for industrial, corporate or institutional purposes.

This is interesting, and at first glance it would seem to mean that publications that have large amounts of listings, ads or cartoons wouldn’t qualify. But the point of this paragraph is actually to exclude all this content from the calculation of how much editorial content is original to the publication, and seems specifically designed to tilt the scale in favour of newspapers and other publications that have a lot of advertisements and other non-news content.

The original news content (or original editorial content) is the content for which research, writing, editing and formatting are conducted by and for the organization. This original content should represent more than 50% of the publication’s editorial content, over the course of the year. The rewriting, translation, reproduction or aggregation of news from external sources (including articles from news agencies or any other publication) is not considered original news content. The publication of this type of content must not represent the principal activity of the journalistic organization, in order for it to be eligible.

There’s a lot to unpack here:

  • What is “the organization”? A lot of newspapers are part of chains. Does the organization mean the individual newspaper or the chain?
  • Does “editing and formatting” mean that newspapers that outsource things like page layout would be ineligible?
  • If a publication is more than 50% wire content, it would not be eligible. But how is this counted? By number of stories? By number of words published? How do you calculate that for a website that might have automated feeds of wire stories?
  • The paragraph makes “rewriting” and “aggregation” of news not count towards the quota. But how strict are these definitions? If a newspaper matches a story from a competitor with one of its own, or a column summarizes something reported elsewhere, does this not count as original content?

Democratic institutions

To be considered as an eligible QCJO, the publication must regularly cover democratic institutions and processes.

Democratic institutions include legislatives bodies, municipal councils, courts of justice, school boards, etc.

Democratic processes has a broader scope, and includes all issues of public interest that may come before government or any other public decision body.

Another clause that nudges us toward traditional newspapers and away from specialized media, this one requires eligible organizations to “regularly cover” (another undefined term) legislatures, courts or school boards (or other unspecified “etc.”). This might seem obvious, but we live in a world where many legislatures aren’t covered by journalists full-time. There are lots of journalists at Parliament Hill or Queen’s Park or the National Assembly, but in smaller provinces like Saskatchewan, New Brunswick or PEI, you can fit their full-time press galleries in the back of a van. It’s not a given that all traditional media would meet this criterion, and the vague way it’s described would mean more work for the CRA.

General interest

Furthermore, the publication must be focused on matters of general interest. It means that:

  • it is aimed at a general audience (lay persons) rather than specialists of a specific field,
  • it offers a diversity of content, including at least 3 among the following 9 areas: local news; national news; international news; social issues (such as health, education, faith and ethics); business and economy; sports; culture; science and technology; environment.

This brings up an important question: Why is this aid only for general interest newspapers? Is it just assumed that more specialized media are bankrolled indirectly by the industries they cover? One consequence of this is that it artificially tips the scale toward general interest media, and will discourage such media from becoming more specialized, even if that might be in their economic, readers’ and even society’s best interest. (This is a problem with the legislation, mind you, not the panel’s work.)

No freelancers

The expression “regularly employs” refers to the employment of journalists at regular intervals, either fulltime or part-time, even if their position is temporarily unoccupied.

This sentence, which gives context to an element of the legislation requiring at least two journalists, makes it clear that freelancers don’t count. That would exclude many media who rely mainly on freelancers. Not necessarily a bad thing, but worth noting.

Who is a journalist?

The term “journalists” should be understood in the broad sense given to it by media companies and professional associations of journalists, which includes all newsroom employees who exercise journalistic judgement in selecting, planning, assigning and producing news content, including research and collection of facts, data analysis, writing and copy editing, fact-checking, illustration, photography and videography, graphic presentation and adaptation of news content to digital formats.

This is a broad definition of journalist, but not overly so. It includes editors, managers, assignment editors, researchers, photojournalists and illustrators. But it doesn’t include people in administrative tasks or who work in non-editorial departments. It’s not clear how people who have multiple tasks will be counted. Do journalistic activities have to represent the majority of work for them to qualify as journalists? (The labour tax credit says it should be 75%, but it’s unclear if this same quota would apply to an organization that wants a digital news subscription tax credit.)

Ineligible organizations

publications whose editorial content is primarily reproduced or repeated from current or previous issues of the same or other publications;

This clause would seem to exclude publications that primarily reproduce content from other publications. That could cause a problem for organizations like Postmedia (my employer) and Quebecor, whose newspapers share a lot of content. Postmedia broadsheets, the Sun tabloids and the Journal de Montréal and Journal de Québec share not only content, but entire pages between them for non-local news and features. Would they have to limit shared content to under 50%? It depends how this is interpreted.

publications with editorial content that is more than 50% of the following, singly or in combination: listings, catalogues, directories, guides, financial reports, schedules, calendars, timetables, comic books, cartoons, puzzles, games and horoscopes;

Wait, hold on. Above, they said “listings, catalogues, directories, guides, financial reports, schedules, calendars, timetables, comic books, cartoons, puzzles, games and horoscopes” are “not considered editorial content.” If they’re not editorial content, how can they possibly make up more than 50% of editorial content?

If we use this definition that apparently includes these things as editorial content, then this might cause trouble. A newspaper with a cartoon page, a puzzles page, a movie listings page, a TV listings page would have that all count against their editorial content (counted how exactly?) and on a slow news day might push it over the top.

Also note how the word “advertisements” is missing from this list, which is otherwise identical to the definition of “not considered editorial content” earlier in the report. That makes sense, but it also underscores the fact that nothing in this set of criteria sets any limit on the amount of advertising in a publication.

pamphlets and other publications whose editorial content consists mainly of opinion texts;

This might cause problems for publications that rely heavily on columnists.

Publication used for the diffusion of hate content;

This sounds good. It also sounds like something lots of activists will pounce on to argue publications they don’t like should have their tax credits revoked. But why are “hate content” publications allowed in the first place?

loose-leaf publications.

I don’t know why this is here. I can’t think of a publication that might otherwise be eligible that requires this clarification, or a reason why a publication that would otherwise be eligible should be disqualified because it’s distributed in loose-leaf form.

Experts must agree with us

The qualifications for panel members should include that they:

support the package of tax credits to help written news outlets covering general interest news

I mean, I guess it would be odd if a panel member opposed the thing they’re here to judge, but it feels weird to require an independent expert to support a political policy. If they express criticism of a tax credit, do they get booted off the panel?

Actually, maybe freelancers

Later, in its list of additional recommendations, the panel says:

Allowing small publications, which have served established audiences for more than 10 years but do not have two regular employees for the last 12 months, to be able to count freelancers and independent contractors among journalists who regularly contribute to the creation of original content in order to allow them to be considered Qualified Canadian Journalism Organizations. This would include individuals who work as reporters, editors, page designers, photographers and columnists on a regular basis.

It’s unclear why freelancers shouldn’t count in general but should be allowed to count for small publications with fewer than two employed journalists. Allowing this exception essentially eliminates the entire point for setting that two-employed-journalist minimum in the first place.

Make Google pay

Reform the taxation system so that media companies that benefit from the use of Canadian content contribute to its creation. This includes social media, search platforms and internet providers. This can be done by creating a dedicated fund and redirecting levies paid by these entities to support Canadian news outlets.

I won’t go into all the out-of-mandate recommendations from the panel, which mostly translate into “more $$ plz”, but this one is pretty significant, requiring search engines and even internet providers to pay taxes to support Canadian news outlets. News organizations have repeatedly said Google and Facebook need to help them financially because they’re taking their content. Meanwhile those same organizations devote lots of time and resources to get their content as prominent as possible on Google and Facebook.

Amend the Copyright Act so that originating news outlets are properly compensated for the creation of copyrighted news material that is duplicated across digital platforms.

This isn’t explained, and it’s unclear what it means. Is it referring to when Google excerpts the content of pages in search results, or is it talking about the wholesale copying and pasting of entire stories on sketchy websites?

Transparency

A list of companies that have successfully filed for status as Qualified Canadian Journalism Organizations be publicly available.

Good. Taxpayer money should be doled out transparently. Though it’s unclear if the CRA itself would publish this list or some other organization. And it’s unclear why companies that unsuccessfully apply shouldn’t also be publicly available.

Executive compensation

Given that the initiatives outlined in the budget legislation aim to support the creation of news content and coverage of democratic institutions, and that certain companies have eliminated jobs in their newsrooms at the same time as giving executive officers excessive compensation, this Panel strongly urges the Government to require qualifying organizations to recognize that they have an obligation to use publicly funded benefits for the intended purpose of investing in news operations by not awarding excessive compensation to executives at the same time as they receive assistance from the program.

Certain news organizations have been accused of spending too much on executive compensation while seeking a bailout. So some people have suggested this paragraph is aimed at a particular person or type of people.

Let Le Devoir in

The panel specifically recommends that the legislation that allows non-profit news organizations to get charitable status be amended so that organizations that support non-profit news organizations can also be charities. Le Devoir is supported by such an organization, and under the current law (which was drafted more to support La Presse) it wouldn’t be able to issue charitable tax receipts. This seems like a no-brainer, provided the assistance organization otherwise meets the definition of a charity and the news organization itself would otherwise be eligible.

Le Devoir reacted to the report with outrage, as if the report itself was the problem, rather than simply confirming what’s in the legislation and seeking changes on Le Devoir’s behalf. Quebecor, meanwhile, says the report shows the Liberals are in bed with La Presse, but doesn’t point to any specific part of the report or the law that unduly favours its competitor.

An improvised report with big consequences

This panel had only a month to come up with its recommendations, and had to work under the rules set by legislation they did not draft, so I don’t want to criticize them too much. But this report underscores the fact that defining what is and is not journalism is very hard, and not at all easy. Even though we know which kinds of media will likely get the most help (daily newspapers, news magazines plus La Presse), there’s a lot of play around the margins.

What’s more important, though, is that once the government sets some official standard for what constitutes a journalist or journalistic organization, that standard can be referenced or copied elsewhere, creating a slippery slope. Certain privileges meant for any journalist could be restricted to those who meet these criteria and are deemed eligible for the tax credit. Other privileges could be created that give officially accredited journalists more rights than the rest of us. And we need to think hard about the consequences of that.

Tax credits for journalism might be a good idea. But these tax credits support a very specific type of journalism to the detriment of others, and the criteria proposed here just add to the problems.

See also: Andrew Coyne has similar thoughts, expressed more sarcastically.

| Media, Opinion

Some context to consider about those TVA Facebook comments

You may have seen the story: TVA Nouvelles deleted a Facebook post pointing to a story about a house fire in Halifax that killed seven children (who happened to be from a Syrian family) because it received several unacceptable comments that appeared to make light of or even celebrate their deaths. Media personality Alexandre Champagne compiled some of those comments in a widely shared screenshot.

TVA Nouvelles posted another post and apologized, saying it would try to police its social media better next time.

I posted a link to the apology on Twitter and it got retweeted a bit, prompting a lot of discussion. I was interviewed for a CityNews story about it, during which I tried to say that a few comments on a Facebook page provides a skewed impression of the views of the audience — and larger population — as a whole.

Through the various discussions, I’ve seen a lot of statements that I feel are missing key context, so I’d like to try to add some of that here.

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| Opinion, TV

MusiquePlus is dead — but music on TV is far from it

There are quite a few eulogies to MusiquePlus this week in various media, after news came out that owner V will be replacing it this summer with a women’s movie channel. (Many news stories talked about it going “off the air” or being “shut down forever”, when neither is true. The only thing really changing that has any connection to its former life is the name.)

Brendan Kelly, Rafaël Ouellet and various former MP personalities shared memories of the music channel, how it influenced a generation and how much fun it was to work there.

The eulogies tend to fall along the same lines, remembering the personalities the channel built up, the live music performances, the interviews with big stars, the excitement of debuting a new song or video. Then they go on to acknowledge that most people can get their music videos on YouTube these days and have no need for a channel that runs them on an endless loop.

There’s a few problems with this logic, though. For one thing, there is demand for such a channel. As I’m writing this my TV is on Stingray’s PalmarèsADISQ music video channel, which is an automated channel that runs nothing but francophone music videos. It doesn’t have live music or video jockeys, though.

And that’s what we really miss about MusiquePlus. It’s not the music videos, it’s everything else related to music.

But live music is expensive to produce. So while it may have worked as a weekly special occasion on a cable channel 20 years ago, it doesn’t make sense any more on Quebec television.

Which would make sense if you didn’t watch Quebec television, and conveniently ignored that the most popular francophone program on Quebec TV right now, with more than 2 million viewers a week, is a singing competition show.

I looked through the TV schedule for next week, and here are shows I found that are directly music-related:

  • La Voix (TVA, Sunday 7pm)
  • Virtuose (ARTV, Monday 10:30pm)
  • The Launch (VRAK, Wednesday 8pm)
  • En direct de l’univers (Radio-Canada, Saturday 7pm)
  • Pour l’amour du country (ARTV, Saturday 7pm)
  • La vie secrète des chansons (TV5, Saturday 8:15pm)
  • Belle et Bum (Télé-Québec, Saturday 9pm)

That doesn’t include general talent competition shows, cultural current affairs shows, dance shows, community television, talk shows featuring musicians as guests or one-off documentaries.

Music is still very present on television. What’s changed is more subtle than that, and has various factors. Music videos aren’t the money-maker they once were. TV channels have to work harder to gain audiences. Automation in TV production, and the job cuts that followed, have made it easier to just run content produced elsewhere than create original live studio programming. Corporate consolidation has led to more caution and a focus more on big-money highly-promoted “event” programming and less on the daily grind that will be mostly forgettable and not reusable, even if it can occasionally create unexpected gems.

I honestly don’t know if someone really committed to bringing back the essence of MusiquePlus (or MuchMusic on the English side, for that matter) could make it financially viable. MP didn’t make money when it was sold in the Bell-Astral merger, and V paid very little for it. If anyone felt they could step in and make it work, they had ample opportunity. And nothing it stopping anyone from creating a TV or online channel that does all of what MP used to do. They might even convince V to sell them the brand, since they won’t be using it anymore.

It’s sad that we’re losing MP’s history (they’re apparently in talks to preserve archives), but from music videos to live performances to interviews and critiques, the programming we found on it still exists.

It just no longer exists all in one place. And we don’t have Véronique Cloutier, Rebecca Makonnen and Geneviève Borne tying it all together.

| Opinion, TV

CityNews Montreal review: Taking content recycling to a new level

CityNews didn’t hide the fact that its local newscasts would be repetitive. In fact, they spun it as a design feature: few people will watch a full one-hour newscast, so it makes sense to make sure the top local stories are repeated so people get them whether they tune in at 6pm or 6:30pm.

Fair enough.

But it also means the news can be done on the cheap. With only two full-time reporters to start, plus a part-time reporter, BT’s news reporter and a guest contributor, they just don’t have enough staff to fill 14 one-hour newscasts a week.

To get an idea of what that means quantitatively, I recorded the first 14 episodes of CityNews Montreal’s newscast, the week of Sept. 3-9, at 6pm and 11pm, and timed its segments (705 segments total, with 13 attributes of each marked down). Here’s what stuck out to me:

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| Opinion, TV, Uncategorized

Review: A mostly flawless election night for 2/4 English TV networks

Election nights are always fun. All hands on deck, at night on the tightest of deadlines, working together to report on the story of the year.

Each medium has its own challenges, but TV has the highest stakes. Everyone’s watching — including the politicians — and seconds count. Make an early call that turns out to be right, and you get supreme bragging rights. Get it wrong, and you’re a laughingstock. And you have to fill hours of programming, usually without even the benefit of a commercial break.

Four TV networks broadcast live election specials during primetime on Monday night on their local TV stations and all-news networks — Radio-Canada, TVA, CBC and CTV. Two others had live wrap-ups at 11pm: Citytv and Global.

I checked in with all of them on election night (though I was busy with helping put out a newspaper), and reviewed recordings of the four English networks after the fact. (I’ll leave it to my francophone colleagues to review how RadCan and TVA did.) Here’s how they did:

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