Oct. 8, 2016 "Fighting Canadian TV's clone wars": I found this article by Simon Houpt in the Globe and Mail. They write about the show Orphan Black, which I haven't seen. It's more about the TV production company Boat Rocker Media.
The producing duo behind Orphan Black have only one, possibly impossible, hope
When Tatiana Maslany won the best actress Emmy Award last month for her kaleidoscopic portrayal of a collection of clones on the cult Space channel hit Orphan Black, her acceptance speech was filled with the usual forgettable blandishments: She thanked her PR team, her partner, the show’s writers.
It didn’t take long after her win, though – an historic moment, the first time a Canadian actor had won an Emmy for a show made for a Canadian network – for a sharp argument to break out over its significance. In the pages (and digital platforms) of this newspaper, TV critic John Doyle suggested that Maslany had won for her “stellar” work in a show that wasn’t as great as she.
Orphan Black, he wrote, “began as a thrilling series and then stumbled into a near shambles of storytelling.”
Orphan Black, he wrote, “began as a thrilling series and then stumbled into a near shambles of storytelling.”
At the east-end Toronto headquarters of Boat Rocker Media, the parent company of Temple Street, which makes the show, the words fell like stink bombs. The other day, Ivan Schneeberg and David Fortier, the co-executive chairs of Boat Rocker, sat down in their office to talk about the recent rapid expansion of their company. But first they had to get something off of their chests.
“It’s naive to suggest – I would even say it’s stupid to suggest – that an actress, no matter how talented – and Tatiana is, without question, one of the most talented actresses we’ve ever encountered,” Schneeberg begins, “could win an award of that importance without being given, in this case an array of characters to portray; brilliant dialogue; a show that looks and feels world-class in terms of the way it’s written and the way it’s lit and the way it’s directed; and a host of additional leads and supporting cast that she can play off of, such that that performance shines. To suggest that she could win that award in the absence of that? It’s profoundly stupid.”
Fortier adds: “The articles that come out in the States don’t say: ‘Oh, great victory for Tatiana, too bad the show’s not up to snuff.’ ”
The men may be feeling especially defensive because, in the 12 or 13 years since they left their jobs as entertainment lawyers at the Toronto office of Goodmans LLP and started making their own shows – their first prime-time show was the three season Showcase comedy Billable Hours – they say they have watched English-language Canadian TV become respected around the world.
A confluence of factors, including the advent of streaming services such as Netflix, has brought more money into the Canadian system. And Boat Rocker has been working to position itself at the fore of the pack, because the two men are convinced the best days of Canadian TV and other content are in the future.
A confluence of factors, including the advent of streaming services such as Netflix, has brought more money into the Canadian system. And Boat Rocker has been working to position itself at the fore of the pack, because the two men are convinced the best days of Canadian TV and other content are in the future.
To that end, last year, Fortier and Schneeberg sold a majority stake in the company to Fairfax Financial Holdings Ltd., the Toronto-based insurance and investment firm headed by Prem Watsa that has recently been moving more into media.
With the Fairfax cash, Boat Rocker went on an acquisition tear of its own, buying the Ottawa-based animation studio Jam Filled Entertainment, a significant minority stake in the boutique animation house Industrial Brothers, and a couple of companies that hold the rights to small TV libraries.
In late summer, they swept in and bought a large chunk of the assets of Arc Productions, the Toronto animation house that declared bankruptcy in August. About 200 former employees of Arc are now back at their jobs, on the Boat Rocker payroll.
With the Fairfax cash, Boat Rocker went on an acquisition tear of its own, buying the Ottawa-based animation studio Jam Filled Entertainment, a significant minority stake in the boutique animation house Industrial Brothers, and a couple of companies that hold the rights to small TV libraries.
In late summer, they swept in and bought a large chunk of the assets of Arc Productions, the Toronto animation house that declared bankruptcy in August. About 200 former employees of Arc are now back at their jobs, on the Boat Rocker payroll.
In addition to Boat Rocker Studios, which produces Orphan Black, Family Channel’s tween dance hit The Next Step and its spinoffs, CBC’s X Company, and other shows, the company comprises a division that handles international sales on Boat Rocker’s programs and others, and Boat Rocker Brands, which is focused on exploiting a show’s so-called intellectual property in as many legitimate formats as possible.
“We think about brands,” says Schneeberg, standing in the cheery kitchen area of another symbol of Boat Rocker’s expansion: A gleaming, newly renovated four-storey brick-and-beam century building near Toronto’s Distillery District. (Schneeberg says it was the original headquarters of John Ross Robertson’s 19th-century newspaper The Toronto Telegram. More recently, in the manner of such things, it was a crack den.)
“A great show should be bigger than just the show, right? A show like Orphan Black is a great example – it’s great I.P. It’s worked as a TV show as the cornerstone, but we’ve done comics, some board games, all sorts of different types of merchandise.” For the past year, an in-house digital team has been working on an Orphan Black mobile game, which will be launched soon.
In the summer, the company’s venture capital arm, Boat Rocker Ventures, also made a small investment in The Outline, a New York-based digital publication from Josh Topolsky, the cocreator of The Verge and Bloomberg’s former top digital editor.
“We’re a financial partner, but we’re also the content partner. So if The Outline comes upon a great story, and it’s television worthy, or worthy of a feature, or perhaps worthy of a game, opportunity outside the scope of The Outline, we’re that partner,” Schneeberg explains.
If that sounds eerily close to the model of Talk magazine, Tina Brown’s high-profile post New Yorker venture which was supposed to spin off intellectual property for its backer Miramax Studios to develop into feature films and TV shows – and which instead racked up an estimated $50-million in losses before shutting down two and a half years after launch – Schneeberg is unfazed.
“That partnership we bring to the table is not the core reason for doing it. Josh is doing it for his reasons, and frankly we would have invested in it, if it made sense, irrespective of the relationship with Boat Rocker because we believe it’s a great idea. If we never made a single show out of it, I think we’ll still make a lot of money off of our investment.”
Still, Schneeberg and Fortier say that sales of Boat Rocker’s TV shows make up an estimated 60 to 65 per cent of the company’s revenue, so that’s what they spend most of their time and energy on.
When they started out, Schneeberg says, “there wasn’t enough money in the [Canadian] system to make great shows. Now, we’re in an era where there’s way more buyers, and Canadian broadcasters are much more inclined to support higher budget shows, because it’s actually in their own interests.”
U.S. networks, as well, are open to partnerships like the one between Space and BBC America, which airs Orphan Black in the United States. And the so-called over-the-top streaming services (Netflix, CraveTV) “will buy from anybody, as long as the content’s good.
They’re agnostic, in terms of the nationality of the producer, but very particular in terms of wanting the quality to be great. So, what we’ve realized in this era – this so-called Golden Age of TV – is, if you can make really great stuff, you will sell it. And you will make money off of it. So it’s become a creative meritocracy, more so than it’s ever been.”
They’re agnostic, in terms of the nationality of the producer, but very particular in terms of wanting the quality to be great. So, what we’ve realized in this era – this so-called Golden Age of TV – is, if you can make really great stuff, you will sell it. And you will make money off of it. So it’s become a creative meritocracy, more so than it’s ever been.”
Fortier and Schneeberg say that Canadian producers have two competitive advantages in the new ecosystem: firstly, the cultural protectionist policies and the matrix of government subsidies; secondly, their proximity to Canadian writers.
“We meet them when they’re young, coming out of the [Canadian] Film Centre, coming out of the colleges or wherever they might have gotten their training, we read their earliest scripts, we follow their careers closer than anybody else can, because we’re here, we live amongst them. They become our friends, and that is a unique pipeline to English-speaking talent.”
With that in mind, they have one hope: That, as Canadian made TV continues to gain respect in international markets, more Canadian writers will stay home, and generate the next big show here rather than Los Angeles. “Sometimes it’s heartbreaking for us, to develop a writer, develop a relationship – only to have it taken away by the gloss and the bright lights of Hollywood,” Fortier says.
Schneeberg nods. “We’re supposed to be building a worldclass cultural business here, employing people, and exporting these shows, and there are a lot of writers and actors making a lot of money as a result of that. And every single time they achieve that success, they immediately migrate to L.A. because they perceive that to be the brass ring.”
“A great show should be bigger than just the show, right? A show like Orphan
Black is a great example – it’s great [intellectual property]. It’s worked as a TV show as the cornerstone, but we’ve done comics, some board games, all sorts of different types of merchandise.” Ivan Schneeberg co-executive chair, Boat Rocker Media
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Here is another article about Orphan Black:
http://badcb.blogspot.com/2020/01/singular-sensation-orphan-black.html
Jul. 24, 2017 "Bollywood director pushes for more women in film": Today I found this article by Rina Chandran in the Globe and Mail:
MUMBAI, July 20 (Thomson Reuters Foundation) - A Bollywood director whose "lady oriented" film was blocked by censors has hit back at the movie establishment, saying it needs more women at the top to battle deep-rooted Indian prejudice.
"The censors have a problem with a female point of view; they're just not comfortable with something that questions or disturbs the status quo," said Alankrita Shrivastava, whose film has now overcome its critics and will be released in Indian cinemas on Friday.
In an interview with the Thomson Reuters Foundation, Shrivastava said popular culture was shaped by man's perspective, and it was therefore important to encourage more women directors, artists and storytellers.
Her movie - which profiles women who break free from tradition - stars a Muslim woman and a middle-aged widow among its unlikely heroines.
Shrivastava battled hard on social media for its release after India's censor board refused to certify "Lipstick Under My Burkha", calling the film "lady oriented".
Shrivastava appealed the decision with the film certification tribunal, which said the film could be released with an adult certification and after minor cuts.
Relating the story of four women who want to realise their dreams, the movie has sparked a debate in India over what is permissible in movies and how women are actually portrayed.
"Our popular culture, our cinema is largely a product of the male gaze, for the male gaze," she said.
"Art and popular culture are powerful tools we can use to have a conversation about perspective and conditioning. It can force us to think differently, see a different point of view."
Women film directors in India's Bollywood, just as in Hollywood, make up only a small fraction of the industry.
Churning out about 1,000 films a year, Bollywood is largely known for its formulaic fare of action flicks and syrupy romances with elaborate song-and-dance sequences.
Movies with female protagonists and stories that challenge gender stereotypes are still rare. This has a far-reaching effect on audiences, said Shrivastava.
"Women are 50 percent of the population; we have a particular way of seeing things, but it is the male perspective that has dominated for so long in popular culture," she said.
"This perspective has led to discrimination against women, violence against women. Our popular culture justifies this perspective, and makes stalking seem like love, makes harassment and abuse of women okay."
Campaigners in India have urged the film industry to stop glorifying stalking and harassment after several violent deaths of women.
There has also been a campaign to rewrite Bollywood songs to end gender stereotyping and misogyny in films.
My opinion: I like this article because it's about feminism and women in film.
My week:
Jan. 20, 2020 "Calif. Girl, 14, Uses Snapchat to Escape Kidnappers After She Was Sexually Assaulted: Police":
A 14-year-old girl in Northern California apparently was able to use her Snapchat app to save herself from a dangerous situation.
On Tuesday morning, the girl — whose name has not been released — met Albert Vasquez, 55, in Capitola, California, when he drugged her and she became “incapacitated,” according to a San Jose Police press release.
Police say Vasquez called his friends Antonio Salvador, 34, and Hediberto Avarenga, 31, for help to load the victim in the vehicle so that Vasquez could sexually assault the minor.
The men drove the victim to the E-Z Motel in San Jose, carried her into a second-floor room where Vasquez sexually assaulted the child for a second time, the release added.
According to CNN, the victim was able to use the Snapchat app on her phone to warn her friends about her situation. She did not know where she was, the police told the outlet, however her friends were able to quickly locate her using the Snapchat map feature.
KPIX reported that the teenager messaged her friends, “Somebody help me. I’m in a random man’s car … I am not in Santa Cruz. Where am I?”
- The girl’s friends called 911 and at approximately 11:08 a.m., San Jose police officers arrived at the motel to find the victim and Vasquez.
Vasquez was taken into custody and later booked at Santa Clara County Jail on charges of kidnapping to commit rape, digital penetration with a child under 14 years with force, false imprisonment, lewd act with a child 14 or 15 years with force and rape by intoxication or controlled substance.
The other men allegedly involved were booked the following day at the same jail on charges of kidnapping and conspiracy.
Jan. 21, 2020 Harry Hamlin played gay character "10 yrs too early":
Harry Hamlin says he took a role playing a gay character “10 years too early.”
The 68-year-old actor appeared on the It Happened in Hollywood podcast on Saturday in which he spoke about his career, which he says took a nosedive after he appeared in the 1982 film Making Love as an openly gay man who begins an affair with a married doctor (Michael OntKean).
Hamlin recalled that “everyone in town had turned” down the role because “at the time the idea of a gay world was not accepted at the time.”
“Overall, in terms of how the way that film was received, it was too early,” he said. “It was like 10 years too early and it completely ended my career. That was the last studio picture I ever did. The door shut with a resounding smash.”
Before Making Love, Hamlin was one of the hottest actors in Hollywood having starred in Clash of the Titans. After the film’s release, Hamlin said he struggled to get good roles until 1986 when he starred in television show L.A. Law in which he starred as Michael Kuzak.
Since then, Hamlin has gone on to star in television shows such as Veronica Mars, Army Wives, Shameless, Mad Men and Glee.
“I’m very proud of the movie and not a week goes by that people don’t come up to me and — I’m serious about this: in the supermarket, on the street — and they thank me for making that movie,” Hamlin said.
https://www.msn.com/en-ca/entertainment/entertainmentmovies/harry-hamlin-says-playing-a-gay-man-in-1982-film-making-love-ended-his-career-it-was-too-early/ar-BBZbGUo?ocid=spartandhp
Terra Christoff: Create your Best Biz Year Yet: Grow your Soul- Aligned and Prosperous Business the Feminine Way: I was listening to this telesummit and I really liked it. I was posting all the videos I listened to on my Facebook page.
https://mybestbizyearyet.com/expired/
Chinese New Year: It's on Jan. 25, 2020 and it's the Year of the Rat. My grandma swept, my dad mopped, and I vacuumed. You're supposed to clean your home before the new year comes.
Detox to Destiny Global Community: This is a private Facebook group and Britta Aragon and Claudia Duran is behind it.
Today we start with Day 1: Personal Alchemy. We will be defining alchemy, and then move into discovering and owning your personal alchemy in a powerful way by identifying the roles and masks that are destabilizing and blocking you.
1. Expose the mask and role
2. Identify the time your mask was in action
3. Identify how it feels in your body
4. You can dialogue with this feeling and part of you: What does it need from you?
5. Acknowledge the dialogue and the request
6. Rewire your brain. Breathe love in and exhale the mask
Day 2: New thoughts, new actions.
Perception: Bad things do happen, but what is the lesson to this?
That reminds me of my Counselor #1 who says: "If you are angry about something, what is the lesson here?"
List all the good things that come from this challenging situation.
What is your 50% part responsible for this relationship problem?
This is a private Facebook group, but you can easily join it.
https://www.facebook.com/groups/1072642239458271/?multi_permalinks=2675541482501664&notif_id=1579638761141471&notif_t=group_highlights
Terra Christoff: Create your Best Biz Year Yet: Grow your Soul- Aligned and Prosperous Business the Feminine Way: I was listening to this telesummit and I really liked it. I was posting all the videos I listened to on my Facebook page.
Money Mindset Shifts to Fuel New Biz Growth with Kendall Summerhawk
Kendall Summerhawk is a pioneering leader in the coaching industry. For nearly two decades, she’s coached thousands of women entrepreneurs on their relationship with money so that they can achieve soul-aligned success.
In this interview you will:
- Discover the 4 Money Mindset shifts that are critical to make for creating wealth
- Eliminate the most common money blocks women entrepreneurs experience
- Learn the #1 habit you can easily implement today to run a more profitable business
https://mybestbizyearyet.com/expired/
Chinese New Year: It's on Jan. 25, 2020 and it's the Year of the Rat. My grandma swept, my dad mopped, and I vacuumed. You're supposed to clean your home before the new year comes.
Detox to Destiny Global Community: This is a private Facebook group and Britta Aragon and Claudia Duran is behind it.
Today we start with Day 1: Personal Alchemy. We will be defining alchemy, and then move into discovering and owning your personal alchemy in a powerful way by identifying the roles and masks that are destabilizing and blocking you.
1. Expose the mask and role
2. Identify the time your mask was in action
3. Identify how it feels in your body
4. You can dialogue with this feeling and part of you: What does it need from you?
5. Acknowledge the dialogue and the request
6. Rewire your brain. Breathe love in and exhale the mask
Day 2: New thoughts, new actions.
Perception: Bad things do happen, but what is the lesson to this?
That reminds me of my Counselor #1 who says: "If you are angry about something, what is the lesson here?"
List all the good things that come from this challenging situation.
What is your 50% part responsible for this relationship problem?
This is a private Facebook group, but you can easily join it.
https://www.facebook.com/groups/1072642239458271/?multi_permalinks=2675541482501664&notif_id=1579638761141471&notif_t=group_highlights
I wish her well in the future.