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.
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.
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.
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.
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.
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.
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.
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.
Contestant Logan Staats with mentor Shania Twain (photo: Bell Media)
If you haven’t heard about this new music competition series on CTV called The Launch, then there are some heartbroken people at Bell Media, because they’ve been pulling out all the stops promoting it.
The six-episode series (with a special seventh episode added to revisit the artists) tries something new with the singing competition format that has been tried and toyed with a dozen times. Rather than just having singers compete against each other for a record contract at the end of the series, each episode ends with a contestant’s career being launched with a new single (that’s available for download or streaming, and gets generous airtime on Bell-owned radio stations).
Based on the first episode, which aired on Wednesday, the show is divided into three roughly equal parts: the auditions, in which five artists compete to be among the two selected to record a song; the recording, in which the two finalists record a sure-to-be-a-hit pop song provided to them by a guest writer/producer; and the performance, in which both finalists perform the song live in front of an audience, and one is selected to launch with that song.
Julia Tomlinson’s audition was cut from the first episode of The Launch. (photo: Bell Media)
Those who paid attention during the first episode might be asking themselves why I said “five” above, since they only saw three auditions. Two artists, Julia Tomlinson and Alex Zaichkowski (aka Havelin), had their entire auditions cut from the episode (presumably for time), which really really sucks for them. They’re on the website, listed among the artists, and the post-episode press release even says they were in the episode, but all you saw of them was a 10-second voiceover during which it’s explained that they didn’t make it through. Their auditions are posted online at the links above if you want to see them.
In these kinds of shows, at least you can say the artists that don’t make it got some national television exposure. These two didn’t even get that.
UPDATE: I asked Bell Media about the cuts, and whether we should expect the same for future episodes. The answer, unfortunately, is yes:
THE LAUNCH is an entirely new format that has been evolving since it was greenlit. During the editing process which began after the show was shot in August, September, and October, it became obvious to our original production team that there was so much amazing footage we knew it would not fit into a conventional hour-long TV show. But we still wanted to showcase and promote all of the talent who were chosen for the series. So we made the decision to make the show a full 360 experience with audition footage of each episode’s five artists featured on ctv.ca and on YouTube and in the extended cut on CraveTV.
Alex Zaichkowski, who performs under the name Havelin (Photo: Bell Media)
Laura Heath Potter, Director of Communications for CTV, said the affected artists were advised prior to broadcast. She also noted that all the artists got to promote themselves as they promoted the series:
Bell Media has supported all 30 artists that participated in the series through interviews on national, local and radio outlets, as well as in our on air promotion campaign and digital extras on ctv.ca and paid digital promo over the past few months. We are building a new format and are grateful to have 30 Canadian artists act as ambassadors to the series and what it is attempting to accomplish — creating new original singles by Canadian artists that resonate with music fans and viewers.
Episodes are still being edited and finalized, but for all the upcoming episodes that have been through a final cut, each of the artists that have auditions being offered exclusively as part of the extended directors’ cut and separately on ctv.ca and YouTube have been informed already.
One of the strengths of this series is that you see how the sausage is made. Not all pop stars write and compose their own songs. Many of them have the music and lyrics handed to them and just add their voice for a producer to mix together. That’s the case here — the song is written and ready before the panel even meets the contestant at the audition. The discussion afterward is about whether the producer can make the song work with that artist. And they have 48 hours to do so.
The song for the first episode is called The Lucky Ones, and you hear it throughout the episode so it gets stuck in your head by the end. It’s a pop song, with uninspiring lyrics like “close your eyes and hold me close tonight” (to say nothing about the misogynistic objectifying parts like “I never want to see your heart happy with another”), and a melody that doesn’t really set it apart from anything else you’ll hear on Virgin Radio. It has six writers and four producers listed for it, and … well, it sounds like a song created by committee.
As much as I’m critical of the song, it might have been good if the episode spent some more time actually introducing us to it. All we got was 15 seconds of producer busbee saying it’s about how much he loves his wife as we listened to a production demo performed by an unnamed artist.
The series has lined up a long list of music industry professionals to help the artists through the process, and each episode has its own mentor (Fergie, Alessia Cara and Boy George are among the others) and producer (most of which are Grammy … nominated). The constant presence is Scott Borchetta, one of the executive producers of the show, whose claim to fame is having discovered Taylor Swift. Having real experts gives the series some authenticity. Unfortunately Borchetta is a bit stiff on camera.
Though there’s no Simon-Cowell-type bad guy, the feedback from the panel is interesting and productive. Particularly in the middle segment in the studio, you get to see a real producer working with real artists, making sure they have the tempo right, that they’re on the right note, that they make sure to pronounce the lyrics well. It’s played up a bit for drama, but it’s interesting to watch.
Hopefully it’s just a first-episode-introduction thing, but the hour was overly narrated by a voice we’re not introduced to. (If she sounds familiar, that’s because it’s former Virgin Radio 96 announcer Andrea Collins.) There’s a lot of stating-the-obvious and repetition here that could be considerably cut down, and the narration is done in an announcer’s tone that works for a 10-second TV promo but less so for a full hour.
The Launch doesn’t have gimmicks. There are no swivelling chairs, no coloured lights to indicate success or failure, there isn’t even an audience vote component. The experts choose who gets to record the song, and they choose which artist to launch at the end of the episode. (The live performance is in front of an audience, which looks odd because not one of them is holding a cellphone.) This is good for people who want to see a show about music and artists, and works to The Launch’s advantage. It’s not as glitzy and expensive as The Voice, America’s Got Talent or American Idol, but it owns that.
The editing (less oh-gosh-who-do-we-pick and more studio time and performance) and narration could use a bit of work, and the songs could be a bit more original, though these things don’t prevent us from enjoying the show.
But for goodness sake, if you’re a show about respecting artists, don’t cut entire artists out of it and make them feel stupid for promoting the episode that has so unceremoniously cut them out of it.
The Launch is an original format, and one of the big ways Bell Media head Randy Lennox has made his musical mark on CTV. I think it has some potential as a format that could be exportable elsewhere, despite its flaws. And I’ll be tuning in for the rest of the season.
For the past two weeks, CTV Montreal has had an additional hour of local news on weekdays. First announced in June, the new newscasts precede the usual 6pm news on most CTV stations, including Montreal’s.
Two weeks after they launched on Aug. 28, I’ve watched several of them and can start to piece together a picture of what they generally look like, and the strengths and weaknesses of the format.
Your Morning cast, from left: Kelsey McEwen, Melissa Grelo, Ben Mulroney, Anne-Marie Mediwake, Lindsey Deluce. (photo: Bell Media)
YOUR MORNING is a new approach to morning television. The series will deliver an original perspective and unique insight into the stories of the day, while showcasing lifestyle topics of interests to Canadians from coast-to-coast-to-coast.
On Monday, the show finally debuted. I watched the first three episodes of this new show, curious how it would take this “new approach” and offer “original perspective and unique insight”, but mostly how it would make morning television relevant to a generation of people who turn to Twitter and Facebook before turning on the TV.
I was disappointed.
Despite the long preparation time, the show is still in its infancy, so I won’t judge it for the kind of opening-day jitters that affect any new show. A few awkward handovers as the hosts figure out their timing, some confusion over what videos to show during discussions, or not knowing what camera to look into. Though technically it has actually been very smooth.
I’ll also preface my review by noting that I’m not the target audience for a morning TV show. I wake up well after 9am, and I don’t have the TV on in the background while I’m making lunch for my kids.
But I’m trying to keep that audience in mind. People who won’t tune in for the full three hours, but maybe some half-hour block. People who aren’t paying full attention, and mainly want the basics: knowing what’s in the news, what the weather is going to be like, and maybe a little bit of entertainment in between.
Tuesday night was the first time most people in the Montreal area got to see the new TV series Mohawk Girls, a “dramedy” produced by Tracey Deer that is set and produced in Kahnawake and airs on OMNI and APTN.
The series has been a long time in the making, and the first season was actually shot two years ago. It got a good deal of attention when it was being produced then, and even more so now that it’s actually on the air.
I watched the first two episodes as they aired on APTN tonight, both as an amateur TV critic and as a regular TV viewer interested in good storytelling. I’m not an expert on Mohawk culture, nor am I an expert on television production, but I’ll offer some thoughts of how I personally see the series so far.
But when I asked the CBC what this new programming would entail, I was told they didn’t know yet. Which seemed odd to me, since it was the CBC that proposed this hour a week of programming. Surely they had something in mind.
Finally, on Oct. 12, 2013, a year ago this week, Our Montreal debuted on CBC Television. Hosted by Sonali Karnick, who is also host of CBC Radio’s All in a Weekend, Our Montreal was vaguely described, and I didn’t really know what to expect even after talking with its host and other people at CBC. Nor really why its first airing was Saturdays at 6am.
And then I watched it. And I was disappointed.
Not only is this weekly show a lazy repackaging of content previously aired on CBC, most of it is so obviously either not local or not non-news that I think a compelling argument could be made to the CRTC that the public broadcaster is violating a condition of its license in all its major markets.
Breakfast Television cast, from left: Joanne Vrakas, Alexandre Despatie, Catherine Verdon-Diamond, Elias Makos, Wilder Weir and Laura Casella
Tuesday, Jan. 28, marks the first anniversary of Global Montreal’s Morning News, the first of two local English-language TV morning shows that launched in Montreal in 2013. The second, City Montreal’s Breakfast Television, launched on Aug. 26. And though we could just be happy that there are two morning shows serving this community now instead of zero, it’s hard not to think of a battle between the two, even if they both have a long hill to climb to reach the level of Canada AM.
Comparing Morning News and BT comes with two main caveats: Morning News launched seven months before BT, and benefits from being on an established station in this market, while Breakfast Television has a much larger staff and far more resources. Neither of these factors are beyond the control of those stations’ owners (Shaw Media and Rogers Media), so neither I nor viewers should mitigate our reviews based on those facts, but they should be kept in mind if you’re evaluating anyone’s individual performance.
That said, here’s how the shows stack up on key elements:
Only in Montreal’s cast: Matt Silver, Dimitrios Koussioulas and Tamy Emma Pepin
We’re seven episodes into the 30-episode first season of Only in Montreal, the weekly local lifestyle series that airs on City TV. That’s about a quarter of the way through, so it’s time for a review.
When it was first announced in April, I was surprised. This show wasn’t part of Rogers’s promise to the CRTC when it purchased CJNT from Channel Zero. Unlike its daily morning show and weekly sports show, this wasn’t part of the licence obligations, and it wasn’t necessary to meet a local programming quota.
As it turns out, the CRTC is a big part of the reason why this series was ordered, because of two recent decisions that set quotas on Rogers Media.
If you haven’t seen it yet, segments from the show are posted on Citytv.com. Each show, hosted by Wilder Weir and Alyson Lozoff from a different location each week, is composed of a handful of segments (usually five, sometimes more), mostly profiles and other feature stories that don’t lose their value within 24 hours. The parts between the segments are little more than quick intros from the hosts, perhaps with a cheesy joke thrown in.
Neither Weir nor Lozoff are new to television. They speak well and come across as warm and friendly. But there’s an artificial, forced nature to the way they introduce their segments and even the way they do their voiceovers. Their pitch goes up and down like a ninth-grader’s oral book report. Their smiles seem forced half the time, and their attempts to play off each other even more so. Maybe it’s just because they’re doing something that’s so new and they need to get comfortable with their new jobs and each other. Or maybe they’ve been taught to do television this way.
I don’t want to exaggerate the situation. They’re not cringe-worthy bad. But they need to loosen up a bit. The fact that this show is edited rather than live-to-tape, meaning every segment is recorded separately and usually with multiple takes, works against them here.
But during those genuine moments when the real Weir and Lozoff shine through, they’ve very likeable. Once they get comfortable in their new roles they should feel more like old friends than door-to-door salespeople.
One thing Montreal Connected should also get credit for is using the talent available to them. Associate producer Kelly Greig, senior producer George Athans and new media producer Elias Makos have all had at least one segment in front of the camera (Greig already looks like she’s a regular) despite their primary roles being behind the scenes. Athans is making good use of the flexibility of his staffing.
That’s what Leah Lipkowitz, a columnist with Global Montreal’s Morning News, commented on the review I gave the show earlier this month. I’d heard the same thing from people involved with the show before its launch and even on the air.
It’s a common refrain from people behind new projects, particularly when budgets are tight. I’m never quite sure how to handle it.
It’s not that I want to be mean, or that I don’t understand that new shows improve over time. Rather, it’s that my reviews of these things are about the viewer, and viewers aren’t going to stick around for weeks to see if a new TV series is good or not. They’ll tune in the first day, maybe stick around an hour or two if they really want to evaluate it, and then they’ll make their decision whether it’s worth their time.
Broadcasters know this, which is why they do rehearsals before they go to air. Why even bother with the rehearsals if you’re going to build a show on the fly?
So as much as I would have been happy to wait a week, a month or six months before evaluating Global Montreal Morning News, I know that you only get one chance to make a first impression, and I have to evaluate it based on that.
Global’s new national Morning Show: Four people at a desk talking
On Monday, Global television debuted its new national morning show. It was kind of a surprise announcement before Christmas (unlike the local morning shows in Montreal and Halifax, which we’ve been waiting for since 2010), and didn’t get a lot of hype.
Having watched the first episode, it’s easy to see why. Though the idea of something to compete with Canada AM sounds pretty exciting, Global’s national morning show feels like exactly what it is: A half-hour extension to the Global Toronto morning show that doesn’t offer much that would take people away from their laptop screens, recordings of the previous night’s shows, or reruns on cable.
Now, I’ll admit that a lot of what I don’t like about this show is the kind of stuff I don’t like about most morning shows: a lack of actual information and depth, and this idea that we care about the most boring aspects of the hosts’ personal lives or their impromptu, uninformed thoughts about the news. It’s one thing when banter fills the 20 seconds at the end of an hour-long newscast, but to base an entire show off of this sounds like a waste of everyone’s time.
But I’m obviously not the target audience for this show. I might feel differently if I was a stay-at-home mom who apparently wants to watch this stuff.
This parody of Céline Dion and Julie Snyder: Funniest segment of the night, or mean-spirited attack on Quebecor? In this case, funny is in the eye of your employer
It’s tradition in Quebec media to review each year’s end-of-year special from Radio-Canada, the Bye-Bye. It went a bit crazy two years ago when Véronique Cloutier and Louis Morissette decided to take their first crack at it. So much so that there wasn’t one to end 2009.
So you can imagine how much everyone was anxious to see what would happen when Cloutier and Morissette decided they would throw themselves into the gauntlet again and host the Bye-Bye 2010.
I watched it, along with my family, on New Year’s Eve, and followed the reaction live on Twitter. My first thoughts were that it was pretty impressive, that they weren’t overcompensating by pulling their punches compared to 2008, and that it wasn’t likely to offend anyone … or at least, no one not working for Quebecor.
The consensus was that the production values were good (particularly makeup and prosthetics, which in some cases made the actors barely recognizable as themselves and instantly recognizable as their targets), the parodies were well done, and the music videos were great, but the jokes fell flat, which is kind of the most important part.
The first professional reviews came quickly afterward (Richard Therrien’s was up in less than an hour). But many others waited because they were to go in newspapers, and many of them published neither on New Year’s Day nor on Sundays. It would be more than 48 hours before some people would read anything about it.
It’s being called a “Canadian Hulu”, which is like saying CTV’s video portal is a Canadian Hulu, except that CTV doesn’t charge to watch its content.
I can’t imagine why Rogers would want me participating in this. I guess they cast a wide net and don’t read this blog, because otherwise they’d know I don’t think very highly of Canada’s telecom companies, and most of my reviews are negative ones.