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A new streaming bill is close to becoming law in Canada. Here’s how it works

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A bill that will update Canada’s laws around broadcasting for the first time in the internet age is one step away from becoming law and impacting popular streaming platforms.

Bill C-11, also known as the Online Streaming Act, creates a framework to regulate digital streaming platforms like Netflix, Disney+ and Spotify, and would require them to contribute to the creation and promotion of Canadian content. The bill passed its third reading in the Senate last month with 26 amendments. It will be up to the House of Commons to decide which of those changes to keep before passing the bill into law.

Canadian creative unions, including the Writers Guild of Canada and Canadian Media Producers Association, are generally supportive of the bill, but have some concerns that its language could create a two-tiered system that would mean Canadian broadcasters are being held to higher standards than foreign streamers. Meanwhile, Canadian content creators on sites like YouTube and TikTok are concerned about how the bill will impact them.

With Bill C-11 so close to the finish line, here’s how it will work.

What is the point of Bill C-11?

Since 1968, the Broadcasting Act has set a series of goals for Canada’s broadcasting system, including that it should strengthen Canada’s cultural fabric, and that it should make use of Canadian talent.

To do this, the country has rules that define what counts as Canadian programming and how much of it Canadian TV and radio broadcasters have to play. They must also contribute financially to the development and promotion of Canadian content.

Right now, those rules don’t apply to online broadcasters like Netflix, Disney+ and Spotify, which are earning money in Canada without being required to reinvest in Canadian content.

Bill C-11 wants to give new power to the country’s broadcasting regulator and extend the current broadcasting policy to the digital realm.

Vass Bednar is the executive director of the Public Policy in Digital Society program at McMaster University. (McMaster University)

According to Vass Bednar, executive director of McMaster University’s Public Policy in Digital Society program, Canada is doing its best to extend its cultural values and expectations to digital platforms.

“And instead of building a whole new vehicle to do that, we’re trying to use the one that we have already, which is the CRTC,” she said.

Who defines Canadian content?

Bill C-11 doesn’t define what counts as Canadian content on the internet, or say how much Canadian content a foreign streaming service needs to have.

That task would fall to the Canadian Radio-television and Telecommunications Commission (CRTC), an independent organization that regulates and supervises Canada’s broadcasting system.

It’s the CRTC’s job to make and enforce rules that achieve the goals of The Broadcasting Act. Bill C-11 updates what those goals are, and gives the CRTC new powers to achieve them.

For example the CRTC defines Canadian content for different types of media. There are different rules for television productions than there are for songs.

What changes is C-11 trying to make?

The Broadcasting Act was last updated in 1991, before the internet and streaming changed how we consume much of our entertainment.

Bill C-11 brings the CRTC into the internet age, giving the regulator the authority to impose conditions on how online streamers support Canadian content and contribute to production funds, as well as ensuring Canadian programs and films show up in search results.

It also includes a clause that would require foreign online streamers to make use of Canadian creative talent. It would be up to the CRTC to define exactly what that looks like.

A man leans against a brick wall.
Writers Guild of Canada president Alex Levine says foreign streaming services have upended the way the country’s screen industry produces content. (Submitted by Alex Levine)

Alex Levine, the president of the Writers Guild of Canada (WGC), says when foreign streaming platforms became available in Canada, it meant less money for traditional broadcasters here, which means less investment in creating Canadian programming.

“We have 25 per cent of the actual work for Canadian screenwriters that we had in 2014 in terms of number of episodes created,” he said.

According to Levine, the concerns are even more pronounced for writers than they may be for other Canadians working in film and television production.

“We only work on Canadian content. We don’t work when, for example, Netflix or HBO decides to shoot a show here.”

Without the bill, Levine says market forces mean Canadians “will see a world reflected back to them that is determined by studio executives in Los Angeles and not by Canadian artists.”

C-11 and foreign broadcasters

While supportive of the bill overall, the WGC is concerned about a clause that would make foreign broadcasters subject to different rules than their Canadian equivalents.

The current Broadcasting Act has language that requires Canadian broadcasters to make “in no case less than predominant use” of Canadians in making and presenting content.

Bill C-11, would keep that language, but also require foreign online broadcasters to make the “greatest practicable use” of Canadians and contribute to the production of Canadian programming.

Logos for Netflix, Amazon Prime, Disney+, and Apple TV+ are arranged in a composite.
Bill C-11 would require foreign online broadcasters to make the ‘greatest practicable use’ of Canadians and contribute to the production of Canadian programming. (The Associated Press/Getty Images)

The clause concerns Reynolds Mastin, the CEO of the Canadian Media Producers Association (CMPA), who noted in a statement that as the bill currently stands, Canadian companies are being held to a higher standard than foreign streamers.

“This stands in direct opposition to the government’s stated objective to level the playing field and support Canadian creators and companies,” he said.

“Allowing foreign companies to use fewer Canadian creators will negatively impact Canada’s cultural industry.”

Senator Paula Simons says Canada’s trade obligations may prevent the government from being able to make foreign streamers follow the same rules as Canadian broadcasters.

“What C-11 has tried to do, and what we’ve tried to do with various amendments is to strike a balance,” she said. “I think for each streamer there will be a different deal struck and there will be a different way that they can contribute.”

How does it impact online creators?

There has been a lot of discussion surrounding how Bill C-11 might impact user-generated content from creators on sites like TikTok or YouTube.

The bill would allow the CRTC to create discoverability rules to ensure Canadians are able to see Canadian content online.

Some creators are worried that if those rules extend to social media sites, it may mean that their videos are shown to people who wouldn’t be interested in them, which they argue could hamper their success, since many user generated sites reward creators based on positive engagement.

“I’m looking at it saying, ‘Well, am I going to be able to realize my dream or my vision for my content?'” says Hamilton-based TikToker Nathan Kennedy, who has more than half a million followers on the platform and visited Ottawa last year to express concerns about the bill.

Some Senate amendments were tweaks to language about user generated content.

“Some of our anxieties were realized and passed with the Senate,” Kennedy said. “And so that was validating in a sense, to say that we’re not just like making this up.”

Former CRTC Chair Ian Scott told a senate committee last November that Bill C-11 will not allow the CRTC to mandate the use of specific algorithms or source code to make Canadian programming discoverable. (Adrian Wyld/The Canadian Press)

In November then-CRTC Chair Ian Scott told a senate committee studying the bill that it wouldn’t allow the regulator to manipulate algorithms to achieve its goals, and that it wasn’t interested in doing so anyway.

“The CRTC’s objective is to ensure that Canadians are made aware of Canadian content and that they can find it,” he said.

“I wish to assure you and Canadians more broadly that the CRTC has no intention of regulating individual TikTokers, YouTubers or other digital content creators.”

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Alberta unveils new municipal election and political party rules |

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Alberta’s Municipal Affairs Minister Ric McIver has unveiled new municipal election and political party rules. The rules make sweeping changes, including regulations new municipal political parties in Edmonton and Calgary will have to follow ahead of next year’s municipal election. The government says these rules will make local elections more transparent. (Oct. 18, 2024)



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One Direction was the internet’s first boy band, and Liam Payne its grounding force

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Liam Payne’s voice is the first one heard in the culture-shifting boy band One Direction’s debut single: “What Makes You Beautiful” launches into a bouncy guitar riff, a cheeky and borderline gratuitous cowbell and then, Payne.

“You’re insecure, don’t know what for / You’re turning heads when you walk through the door,” he sings, in a few words assuring a cross-section of generations that he’s got your back, girl, and you should like yourself a little bit more.

Payne, who died Wednesday after falling from a hotel balcony in Buenos Aires, Argentina, at just 31, was also the last solo voice on the band’s final single, “History” — effectively opening and closing the monolithic run of one of the biggest boy bands of all time.

While the exact circumstances of his death remain unclear — Buenos Aires police said in a statement that Payne “had jumped from the balcony of his room,” although they didn’t offer details on how they established that or whether it was intentional — in life, Payne was a critical part of the internet’s first boy band, one that secured an indelible place in the hearts of millennial and Gen Z fans.

How One Direction became the internet’s first boy band

Before One Direction became One Direction, its members auditioned for the U.K.’s “The X Factor” separately. The judges decided to put five promising, but not yet excellent, boys into a group. They were Harry Styles, Niall Horan, Louis Tomlinson, Zayn Malik and Payne, who together finished third in the 2010 competition.

As Rolling Stone contributing editor Rob Sheffield points out, it was an “unprecedented” way for a boy band to get their start.

“They were sort of assigned to be together. And you don’t expect longevity out of that situation. Honestly, you don’t even expect one good pop record to come out of that situation,” he says. And yet, not only did it work, but One Direction essentially created “a new template for pop stardom, really.”

The show allowed Day 1 fans to follow their career before their official 2011 launch with “What Makes You Beautiful.” Nascent fans could use rising social media platforms like Twitter and Tumblr to find community, draw attention to the group and, in the earliest days, speak directly to the members.

“I honestly made a Twitter so that I could keep up with One Direction, and that’s how I made so many different friends,” says Gabrielle Kopera, 28, a fan from California who remembers the band hosting livestreams and chats. “Sometimes they would say something back and it was so much fun. I feel like that fan interaction doesn’t even happen anymore.”

That feeling of accessibility reinforced the group’s personality and relationship with fans, says Maura Johnston, a freelance music writer and Boston College adjunct instructor.

“The fact that they came up on this British TV show and they became this worldwide phenomenon, I don’t think that would have happened as acutely and as quickly and as immersive without social media, without Twitter or without people being able to mobilize around the globe,” she says.

One Direction and their fans

Millennial and Gen Z audiences practically grew up with One Direction, but the band was truly ubiquitous. That, Johnston says, is at least partially attributable to arriving in a very different media environment from today’s.

“It was a lot more focused,” she says of the early 2010s. “Algorithmic sorting of stuff hadn’t really taken hold. So, there was this broader, mass approach. … They were one of the last gasps of that mass phenomenon, that anyone of any age, even if they weren’t a fan, had to take notice to.”

But it takes more than omnipresence to cultivate a loyal fanbase. And there were myriad reasons why listeners were attracted to One Direction.

“They were five very different musical personalities, along with five very different personalities,” says Sheffield.

They broke the rules associated with traditional boy bands, too: “They co-wrote many of their songs. They didn’t do, you know, corny, choreographed steps on stage,” he said.

After the news of Payne’s death, Kopera says she “got so many messages from people I haven’t talked to in years reaching out because I think everyone kind of realized that it does feel like we just lost a family member.”

That sentiment was mirrored in the masses of fans who gathered Wednesday outside Buenos Aires’ Casa Sur Hotel, feeding a burgeoning makeshift memorial of flowers, candles and notes as police stood guard.

“I’ve always loved One Direction since I was little,” said Juana Relh, 18, outside Payne’s hotel. “To see that he died and that there will never be another reunion of the boys is unbelievable, it kills me.”

Liam Payne’s place in the band, and its legacy

Payne was a “brooding” older brother-type in One Direction, says Johnston. He also co-wrote many songs, especially in their later career — like the Fleetwood Mac-channeling “What A Feeling” and “Fireproof.”

“He was this grounding force in the band,” Johnston says.

In an Instagram tribute, Tomlinson called Payne “the most vital part of One Direction.”

“His experience from a young age, his perfect pitch, his stage presence, his gift for writing. The list goes on. Thank you for shaping us Liam,” he wrote.

“I always remember that he was the responsible and the sensible one of the group, and I feel like he wore his heart on his sleeve,” Kopera says.

Payne had recently been vocal about struggling with alcoholism, posting a YouTube video in July 2023 where he said he had been sober for six months after receiving treatment. Buenos Aires police said they found clonazepam — a central nervous system depressant — and other over-the-counter drugs in Payne’s hotel room, along with a whiskey bottle in the courtyard where he was found.

“Looking at what happened to Liam, it just makes you feel even more sad, that it just feels like he needed help,” Kopera says. “And it’s so scary to think about how the entertainment industry can just, like, eat up artists.”

After One Direction disbanded in 2016, Payne’s solo career — a single R&B-pop album in 2019, “LP1,” and a number of singles here and there — never took off the same way as some of his bandmates. He was “the least successful,” Sheffield says. “It’s safe to say that on the terms that he was going for, he didn’t really find what he wanted to do.”

“It’s hard, transitioning from being a boy bander to be a pop star,” Johnston says.

At Payne’s solo shows, Sheffield explains, “He would show a little montage of One Direction performing, which is the kind of thing you don’t do when you’re starting out as a solo artist. But fans took that in the spirit it was offered, which is a very generous statement that he’s like, ‘Yep, you’re here because of this history that we share, and I’m here because of that same history.’”

Despite Payne’s struggles and the tragedy of his death, Kopera is confident “his legacy is going to always point back to One Direction.”

For fans, the same is true.

“When I look back on One Direction, I’m like, that was my girlhood. One Direction was the soundtrack to growing up, and I’m so thankful for it,” she says. “They really were just a group of normal boys.”

____

AP journalist Brooke Lefferts contributed to this report.



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Fledgling Northern Soccer League expected to announce first player signings soon

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The Northern Super League will likely start rolling out player signing announcements next week but its full schedule isn’t expected until early next year, according to co-founder Diana Matheson.

The former Canadian international said the fledgling six-team women’s pro league, which is scheduled to kick off in April, is having to wait on others for the full schedule although an update on the start and end of the season plus transfer window information is expected soon.

“The reality is we share venues with other teams. We’re either second, third or fourth tenant in some places,” Matheson explained.

The new league has to wait for the CFL to sort out its schedule and broadcast information, so the full NSL schedule likely won’t come out until late January or early February.

“It’s a starting point. We’ll get better,” said Matheson,

In some cases, as in the PWHL, teams may also play several games outside their primary venue, which adds to the complexity.

Matheson said teams have already started signing players, with news to follow.

“Player announcements will just keep coming until February-March,” she said. “We operate, as you know, in a global market. All the players out there are under contract right now so there’ll probably be some incredible Canadian stories signed early that you’ll start to learn about.

“And then the reality is the clubs actually get more leverage over players and agents the closer we get to the season so there’ll be some patience of clubs to sign players too, to sign the strongest possible rosters across the league from Day 1, the kickoff in April. And then we’re in market and we’re competing against the rest of the world.”

Matheson said there will be no requirement in the new league to play a certain number of young players, at least in its early stages. The 20- to 25-woman team rosters will be limited to seven internationals.

Matheson is headed to Spain next to help with the Canadian women’s team.

Sixth-ranked Canada will be coached by committee for the Oct. 25 friendly with No. 3 Spain in Almendralejo, Spain. With coach Bev Priestman suspended for a year in the wake of the Olympic drone-spying scandal, the coaching will be handled by returning assistant coaches Andy Spence, Jen Herst and Neil Wood.

Katie Collar, head coach of Whitecap FC Girls Elite, will serve as interim technical assistant and Maryse Bard-Martel as interim performance analyst.

The 40-year-old Matheson, who won 206 caps for Canada in a senior career that stretched from 2003 to 2020, is serving in an interim team support role, “providing leadership and serving as a resource for both staff and players.”

Matheson said it is likely a “one-off … as someone who has lived the program on the players’ side.”

But she said it was “an honour” to be part of the Canadian setup — and also a chance to answer any questions from players about the new league.

The NSL league will kick off with teams in Vancouver, Calgary, Toronto, Montreal. Ottawa and Halifax.

Matheson hopes veteran midfielder Desiree Scott, who is returning at the end of the NWSL season, can play a role with the new Canadian women’s league — hopefully when her native Winnipeg joins the circuit.

This report by The Canadian Press was first published Oct. 18, 2024

The Canadian Press. All rights reserved.



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