OTTAWA – CBC TV is making a bold, and some say scary, bid for bigger audiences by redefining the very foundations of its programming strategy, according to preliminary information presented last week by Richard Stursberg, EVP of English TV.
Stursberg was speaking to delegates at a national conference of film and TV producers held here Feb. 15-17.
In the past, he indicated via a slide presentation, programs, even entertainment programs, have tended to do well among viewers who like news and current affairs. This neglects the largest groups and heaviest TV viewers. While some of his predecessors worried more about programming excellence and the establishment of a distinct public broadcasting voice, Stursberg says, “Audience is very important to us.”
The information meeting took place a few days after the broadcaster announced the cancellation of three drama series, DaVinci’s City Hall, This Is Wonderland and The Tournament. He outlined guidelines for a new “relationship between CBC and the independent production community.”
Some independent producers, said they’d expected him to announce new drama programming. What they got instead was a snapshot of the Corp.’s new vision for its entertainment programming and a long list of do’s and don’ts for producer pitches.
“People say we’re not clear enough about what we’re looking for,” Stursberg continued. “They find our process complicated, expensive and difficult. We want to remedy this because (producers) are the most important partner CBC has.”
The plan is to make CBC the most important and popular video platform for Canadian news, current affairs, entertainment, documentary and kids programming in what he describes as “the most competitive TV market in the world.”
Given that the TV world is changing, platforms are multiplying, audiences are fragmenting and evolving competition makes strong content imperative, Stursberg says Canadian drama is in tough. He points out that while Canadians prefer domestic news, sports and even kids programming, along with books, music, newspapers and other media, they opt for foreign TV drama.
To better carve its niche, he says, CBC will boost primetime drama and entertainment programming by 100 hours a year by 2008-09. “These extra 100 hours have to be financed outside the CTF because we’re tapped out” at the fund.
However the new shows are financed, CBC wants to see ratings in the one million range. Stursberg’s slides offered long lists of good and bad characteristics for new programming, by genre. For dramas, it’s looking for, among other things: a strong entertainment component; positive and redemptive stories; emotional appeal, less issue-based; strong narrative. The Corp. is calling for programming that’s less elitist and highbrow, less obviously issue-driven and less like current affairs in disguise.
In comedy, CBC wants more narrative, situational comedies and shows that draw more laughs in a variety of forms. Stursberg did not say how CBC would end Canadians’ poor record of creating good sitcoms, Corner Gas notwithstanding.
Less in demand will be political satire and shows that are overtly sexual and vulgar. Stursberg explained that shows currently exemplifying these characteristics won’t necessarily be cancelled, but commissioning editors won’t program any more of them. That’s likely good news for such stalwart satires as 22 Minutes and Air Farce, plus the very salty Hatching, Matching and Dispatching.
The list of documentary do’s and don’ts is fairly predictable, emphasizing strong narratives and clear storylines over didactic, boring and preachy ones. But the pubcaster is also calling for more “active experimental journeys” and more “adventure and romance”, which raised a few eyebrows.
In current affairs, the call is for more strong narratives, formatted episodes, episodic ‘payoff’, simple constructs and accessible stories. Programs should feature fewer traditional news magazine stories and script- and fact-driven material, and less didactic and dispassionate storytelling, Some observers could be heard wondering if this vision will bring on a dumbing-down of CBC TV to rival recent changes on CBC Radio One’s schedule.
Meanwhile, Stursberg also indicated the development process will go far beyond the standard “two scripts and a bible,” and severely narrow the current 4:1 development-to-production ratio. Producer pitches will have to include a financing structure, names of partners/sponsors, and a plan for multi-platforming, merchandising and product placement, as applicable. If it’s a series pitch, a pilot and program testing will be required – before and/or during production – and the producer will have to identify the target audience and suggest schedule placement.
Stursberg says all of this information only begins the dialogue he wants to continue between now and the Banff TV festival in June. But he says CBC will require future discussions be kept confidential by all parties.
Susan Tolusso is an Ottawa-based freelance writer.
