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News media industry's troubles intensify during COVID-19 pandemic – iPolitics.ca

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Publishers and media experts are urging the federal government to offer enhanced financial supports for Canada’s news media sector, where a long-standing trend of declining revenue has been exacerbated by the COVID-19 pandemic. 

Canadian Heritage Minister Steven Guilbeault last week announced measures to help shore up the media sector during the COVID-19-induced economic slowdown, including putting in place some $595 million in long-promised tax measures and vowing to invest money from the government’s $33-million national pandemic awareness campaign in Canadian media outlets.

Industry representatives, however, say the tax supports are simply rehashed policy announcements from 2018, and that access to meaningful funding is desperately needed to help the sector move to a sustainable business model.

“The industry is really going to run out of cash very soon,” said John Hinds, CEO of newspaper advocacy group News Media Canada. 

READ MORE: Modernized federal fund will support the creation of Canadian content, industry groups say

As part of the government’s COVID-19 media support plan, Guilbeault also announced a simplified funding process for beneficiaries of the Canada Periodical Fund so eligible weekly newspapers will get their money in a matter of weeks, not months.

Steven Guilbeault, Canada’s heritage minister. Bruce Campion-Smith/Toronto Star

The Department of Canadian Heritage said about $16 million of the $75 million Canada Periodical Fund goes to to non-daily newspapers, while the remaining nearly $55 million goes to the magazine sector.

Hinds — whose News Media Canada members receive about $10 million of the $16 million allotted to non-daily newspapers — said Guilbeault’s announcement means his members will receive the same funding they got last year, shortening the waiting period. He said the measure is a short-term solution that will address the urgent need to get money to publishers, many of whom do not have a financial reserve to weather events like the COVID-19 pandemic. 

Bob Cox, publisher for the Winnipeg Free Press, which is not eligible for funding under the Periodical Fund as a daily newspaper, said he was “stunned” the government didn’t offer any new support for his industry. He said there’s more benefit in the federal emergency wage subsidy than in the government’s announcement for the media sector.

The emergency subsidy supports businesses that have seen a 30 per cent drop in revenue because of the COVID-19 pandemic through a wage subsidy of 75 per cent of the first $58,700 of annual salary of workers, which equals to up to $847 a week. The program will offer support for up to three months, backdated to March 15.

READ MORE: Federal wage subsidy for small businesses to increase to 75 per cent: Trudeau

Cox said the emergency fund should be enough to keep journalists working and the publications afloat during the pandemic, but warned the sector has long-term problems that must be addressed. 

Shawn McCarthy, president of the Canadian Committee of World Press Freedom, said the industry’s problem is two-pronged: advertising revenue is moving to social media and consumers are unwilling to pay for a product they’ve long accessed for free. He said many outlets began introducing paywalls or subscriptions for online content around eight years ago, but readers responded by turning to news aggregators or social media for free content.

A report from Statista found that advertising revenue for the newspaper industry stood at $3.43 billion in 2003 but more than halved to $1.63 billion by 2018.

McCarthy, the former Globe and Mail parliamentary bureau chief, said the CBC, Canada’s publicly funded broadcaster, became a huge competitor for TV, radio, and eventually print publications when it started producing online content.

“How do you persuade people to buy expensive subscriptions to the Toronto Star or the Globe and Mail when they can go and get the content for free on CBC,” he said. “[It’s] a huge challenge for the papers.”

While the industry tries to reinvent its business model into something sustainable, McCarthy said an economic downturn similar to the 2008-2009 financial crisis would level a major blow to outlets barely keeping their heads above water when the economy is stable. The response to the COVID-19 pandemic will likely lead to the loss of many journalism jobs and local publications, he said, as efforts to blunt the spread of the virus push the global economy into a recession.

Early last week, before the federal emergency fund was announced, La Presse reported that the National Cooperative of Independent Information, the cooperative that brings together six daily papers in Quebec, would temporarily lay-off 143 people because of the COVID-19 pandemic — almost half the number of people employed by the papers collectively. The cooperative attributed the lay-offs to a “brutal and unprecedented drop in advertising revenue.”

La Presse also announced a temporary 10 per cent reduction in salaries for union members, managers and senior executives.

On Friday, Cox sent a memo to Winnipeg Free Press staff proposing a 12 to 20 per cent pay cut for employees to address ad revenue losses resulting from COVID-19. Unionized staff with vote on the proposal with Unifor, Canada’s largest media union, while Cox himself will take a 50 per cent pay cut.

A spokesperson from Guilbeault’s office said the minister has been speaking to various media organizations about declining advertising revenues and other issues.

“We are currently studying all the options in this regard and are working on more measures to support the industry,” Guilbeault’s press secretary Camille Gagné-Raynauld said in an emailed statement.

Chris Waddell, a journalism professor at Carleton University, said the problem is that most Canadians simply won’t pay for online news, reverting instead to social media where they view it for free. He said many readers  don’t make a distinction between quality and quantity news reporting.

“The challenge that newspapers face is their audience is declining, but they’re afraid to offend their existing audience by saying ‘we’re not printing anymore’ because they have no guarantees they can replace existing print audience with a digital audience that’s prepared to pay,” he said. 

Waddell’s theory is supported by a  2019 study from on digital news led by Reuters Institute for the Study of Journalism at Oxford University, which found that only 9 per cent of Canadians are willing to pay for online news.

Despite consumers unwillingness to paying for news content, Cox said the new reality is an industry transitioning from a reliance on advertising to a subscription-based model. He said interim measures, like the federal government’s targeted tax credits, could help papers adjust and move online but they’re taking too long to implement.

“We don’t have that time…we’re closing down papers literally every week,” Cox said, adding that it took the government over a year to create an advisory board which is partly responsible for administering tax credit. 

The advisory board, promised in Dec. 2019, will “make recommendations” to the Canadian Revenue Agency on whether a journalism organization meets certain criteria to receive the Qualified Canadian Journalism Organization (QCJO) designation, the CRA said in an email to iPolitics. Only QCJOs will be eligible for the tax credits.

While organizations await confirmation on eligibility, Cox said a wage subsidy for journalists, one of the three incentives rolled out in the 2018 aid package, has yet to pay a dollar to anyone because the legislation is fraught with complications that make it “unworkable.”  

The credit, known officially as the Journalism Labour Tax Credit, allows QCJOs to apply for a 25 per cent refundable tax credit on salaries or wages of eligible newsroom employees for periods beginning on or after Jan. 1, 2019. The credit is subject to a cap of $55,000, for a maximum tax credit of $13,750 per employee, and is only applicable for written news content.

Cox said his corporation can’t receive funding from the media bailout because it’s a partnership — a business operation between two or more individuals who share management and profits — and it has no way of receiving the tax credit as partnerships don’t file tax returns.

“The government is looking at it from a corporate basis and not on a publication basis…now they feel they can’t pay anything out,” he said. “I think [the subsidy] would be a great benefit to us if we could get the money, but we haven’t been able to get the money.” 

Minister Guilbeault’s office said they are monitoring the program and its results closely.

However, Waddell said there’s no way to determine whether the wage subsidy is working because the government didn’t include an objective for the measure in the support package.

“From a policy point of view, if you’re going to subsidize something you need to have an objective and reason for subsidizing it,” he said. “And frankly, there’s no indication that subsidizing somebody for a while is going to change the circumstances so they’re going to get better off.”

Another new measure from the federal government, which came into effect Jan. 1, 2020, allows not-for-profit news organizations to apply for charitable status, meaning they can receive donations and issue tax receipts to donors. 

Waddell said this program may work for some companies, but said it’s a costly transition from a corporation to a non-profit and there are many rules they must to meet the CRA’s guidelines, including establishing a board of directors and keeping detailed financial records.

“It’s not that easy to do,” he said. “It is expensive.”

The former longtime CBC and Globe and Mail  journalist also said, unlike the United States, Canada doesn’t have a history of philanthropic efforts to support journalism. Waddell said donations to Canadian media companies tend to amount to people donating to specific projects, like sending a reporter to a remote region, rather than to cover operating costs.

“It’s much harder to find people who will donate just to keep the lights on,” he said.

The last tax credit encourages Canadians to pay for online news through a 15 per cent non-refundable personal income tax credit for digital news subscription costs paid by an individual to a QCJO, which applies to qualifying amounts paid after 2019 and before 2025.

Waddell said the program “may have some limited benefit”  but noted that it could have an effect similar to the former Conservative government’s Children’s Fitness Tax Credit. The program was criticized for benefitting those who already have the capacity to pay for a child’s fitness program, rather than helping others meet the financial bar.

While publications struggle to have consumers pay for content, McCarthy said the industry must be cautious in how it accepts government money as it struggles to retain public trust. He added that the price of government intervention might be a hit on the industry’s credibility, but that credibility won’t be an issue if the industry isn’t around anymore.

McCarthy also said the COVID-19 pandemic may be an opportunity for Canadians to reassess the importance of Canadians news organizations. He noted that many publications, including legacy papers like the Globe and Mail and the Toronto Star, have lowered paywalls amid the crisis so Canadians can access reliable news.

“I think there’s a hope that people will recognize coming through this crisis just how important is it to have solid information that has been vetted by journalists and editors, as opposed to relying on hearsay on social media,” McCarthy said.  “Whether that translates into individuals being willing to pay for it is another story.”

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Sutherland House Experts Book Publishing Launches To Empower Quiet Experts

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Sutherland House Experts is Empowering Quiet Experts through
Compelling Nonfiction in a Changing Ideas Landscape

TORONTO, ON — Almost one year after its launch, Sutherland House Experts is reshaping the publishing industry with its innovative co-publishing model for “quiet experts.” This approach, where expert authors share both costs and profits with the publisher, is bridging the gap between expertise and public discourse. Helping to drive this transformation is Neil Seeman, a renowned author, educator, and entrepreneur.

“The book publishing world is evolving rapidly,” publisher Neil Seeman explains. “There’s a growing hunger for expert voices in public dialogue, but traditional channels often fall short. Sutherland House Experts provides a platform for ‘quiet experts’ to share their knowledge with the broader book-reading audience.”

The company’s roster boasts respected thought leaders whose books are already gaining major traction:

• V. Kumar Murty, a world-renowned mathematician, and past Fields Institute director, just published “The Science of Human Possibilities” under the new press. The book has been declared a 2024 “must-read” by The Next Big Ideas Club and is receiving widespread media attention across North America.

• Eldon Sprickerhoff, co-founder of cybersecurity firm eSentire, is seeing strong pre-orders for his upcoming book, “Committed: Startup Survival Tips and Uncommon Sense for First-Time Tech Founders.”

• Dr. Tony Sanfilippo, a respected cardiologist and professor of medicine at Queen’s University, is generating significant media interest with his forthcoming book, “The Doctors We Need: Imagining a New Path for Physician Recruitment, Training, and Support.”

Seeman, whose recent and acclaimed book, “Accelerated Minds,” explores the entrepreneurial mindset, brings a unique perspective to publishing. His experience as a Senior Fellow at the University of Toronto’s Institute of Health Policy, Management and Evaluation, and academic affiliations with The Fields Institute and Massey College, give him deep insight into the challenges faced by people he calls “quiet experts.”

“Our goal is to empower quiet, expert authors to become entrepreneurs of actionable ideas the world needs to hear,” Seeman states. “We are blending scholarly insight with market savvy to create accessible, impactful narratives for a global readership. Quiet experts are people with decades of experience in one or more fields who seek to translate their insights into compelling non-fiction for the world,” says Seeman.

This fall, Seeman is taking his insights to the classroom. He will teach the new course, “The Writer as Entrepreneur,” at the University of Toronto, offering aspiring authors practical tools to navigate the evolving book publishing landscape. To enroll in this new weekly night course starting Tuesday, October 1st, visit:
https://learn.utoronto.ca/programs-courses/courses/4121-writer-entrepreneur

“The entrepreneurial ideas industry is changing rapidly,” Seeman notes. “Authors need new skills to thrive in this dynamic environment. My course and our publishing model provide those tools.”

About Neil Seeman:
Neil Seeman is co-founder and publisher of Sutherland House Experts, an author, educator, entrepreneur, and mental health advocate. He holds appointments at the University of Toronto, The Fields Institute, and Massey College. His work spans entrepreneurship, public health, and innovative publishing models.

Follow Neil Seeman:
https://www.neilseeman.com/
https://www.linkedin.com/in/seeman/

Follow Sutherland House Experts:

https://sutherlandhouseexperts.com/
https://www.instagram.com/sutherlandhouseexperts/

Media Inquiries:
Sasha Stoltz | Sasha@sashastoltzpublicity.com | 416.579.4804
https://www.sashastoltzpublicity.com

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What to stream this weekend: ‘Civil War,’ Snow Patrol, ‘How to Die Alone,’ ‘Tulsa King’ and ‘Uglies’

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Hallmark launching a streaming service with two new original series, and Bill Skarsgård out for revenge in “Boy Kills World” are some of the new television, films, music and games headed to a device near you.

Also among the streaming offerings worth your time as selected by The Associated Press’ entertainment journalists: Alex Garland’s “Civil War” starring Kirsten Dunst, Natasha Rothwell’s heartfelt comedy for Hulu called “How to Die Alone” and Sylvester Stallone’s second season of “Tulsa King” debuts.

NEW MOVIES TO STREAM SEPT. 9-15

Alex Garland’s “Civil War” is finally making its debut on MAX on Friday. The film stars Kirsten Dunst as a veteran photojournalist covering a violent war that’s divided America; She reluctantly allows an aspiring photographer, played by Cailee Spaeny, to tag along as she, an editor (Stephen McKinley Henderson) and a reporter (Wagner Moura) make the dangerous journey to Washington, D.C., to interview the president (Nick Offerman), a blustery, rising despot who has given himself a third term, taken to attacking his citizens and shut himself off from the press. In my review, I called it a bellowing and haunting experience; Smart and thought-provoking with great performances. It’s well worth a watch.

— Joey King stars in Netflix’s adaptation of Scott Westerfeld’s “Uglies,” about a future society in which everyone is required to have beautifying cosmetic surgery at age 16. Streaming on Friday, McG directed the film, in which King’s character inadvertently finds herself in the midst of an uprising against the status quo. “Outer Banks” star Chase Stokes plays King’s best friend.

— Bill Skarsgård is out for revenge against the woman (Famke Janssen) who killed his family in “Boy Kills World,” coming to Hulu on Friday. Moritz Mohr directed the ultra-violent film, of which Variety critic Owen Gleiberman wrote: “It’s a depraved vision, yet I got caught up in its kick-ass revenge-horror pizzazz, its disreputable commitment to what it was doing.”

AP Film Writer Lindsey Bahr

NEW MUSIC TO STREAM SEPT. 9-15

— The year was 2006. Snow Patrol, the Northern Irish-Scottish alternative rock band, released an album, “Eyes Open,” producing the biggest hit of their career: “Chasing Cars.” A lot has happened in the time since — three, soon to be four quality full-length albums, to be exact. On Friday, the band will release “The Forest Is the Path,” their first new album in seven years. Anthemic pop-rock is the name of the game across songs of love and loss, like “All,”“The Beginning” and “This Is the Sound Of Your Voice.”

— For fans of raucous guitar music, Jordan Peele’s 2022 sci-fi thriller, “NOPE,” provided a surprising, if tiny, thrill. One of the leads, Emerald “Em” Haywood portrayed by Keke Palmer, rocks a Jesus Lizard shirt. (Also featured through the film: Rage Against the Machine, Wipers, Mr Bungle, Butthole Surfers and Earth band shirts.) The Austin noise rock band are a less than obvious pick, having been signed to the legendary Touch and Go Records and having stopped releasing new albums in 1998. That changes on Friday the 13th, when “Rack” arrives. And for those curious: The Jesus Lizard’s intensity never went away.

AP Music Writer Maria Sherman

NEW SHOWS TO STREAM SEPT. 9-15

— Hallmark launched a streaming service called Hallmark+ on Tuesday with two new original series, the scripted drama “The Chicken Sisters” and unscripted series “Celebrations with Lacey Chabert.” If you’re a Hallmark holiday movies fan, you know Chabert. She’s starred in more than 30 of their films and many are holiday themed. Off camera, Chabert has a passion for throwing parties and entertaining. In “Celebrations,” deserving people are surprised with a bash in their honor — planned with Chabert’s help. “The Chicken Sisters” stars Schuyler Fisk, Wendie Malick and Lea Thompson in a show about employees at rival chicken restaurants in a small town. The eight-episode series is based on a novel of the same name.

Natasha Rothwell of “Insecure” and “The White Lotus” fame created and stars in a new heartfelt comedy for Hulu called “How to Die Alone.” She plays Mel, a broke, go-along-to-get-along, single, airport employee who, after a near-death experience, makes the conscious decision to take risks and pursue her dreams. Rothwell has been working on the series for the past eight years and described it to The AP as “the most vulnerable piece of art I’ve ever put into the world.” Like Mel, Rothwell had to learn to bet on herself to make the show she wanted to make. “In the Venn diagram of me and Mel, there’s significant overlap,” said Rothwell. It premieres Friday on Hulu.

— Shailene Woodley, DeWanda Wise and Betty Gilpin star in a new drama for Starz called “Three Women,” about entrepreneur Sloane, homemaker Lina and student Maggie who are each stepping into their power and making life-changing decisions. They’re interviewed by a writer named Gia (Woodley.) The series is based on a 2019 best-selling book of the same name by Lisa Taddeo. “Three Women” premieres Friday on Starz.

— Sylvester Stallone’s second season of “Tulsa King” debuts Sunday on Paramount+. Stallone plays Dwight Manfredi, a mafia boss who was recently released from prison after serving 25 years. He’s sent to Tulsa to set up a new crime syndicate. The series is created by Taylor Sheridan of “Yellowstone” fame.

Alicia Rancilio

NEW VIDEO GAMES TO PLAY

— One thing about the title of Focus Entertainment’s Warhammer 40,000: Space Marine 2 — you know exactly what you’re in for. You are Demetrian Titus, a genetically enhanced brute sent into battle against the Tyranids, an insectoid species with an insatiable craving for human flesh. You have a rocket-powered suit of armor and an arsenal of ridiculous weapons like the “Chainsword,” the “Thunderhammer” and the “Melta Rifle,” so what could go wrong? Besides the squishy single-player mode, there are cooperative missions and six-vs.-six free-for-alls. You can suit up now on PlayStation 5, Xbox X/S or PC.

— Likewise, Wild Bastards isn’t exactly the kind of title that’s going to attract fans of, say, Animal Crossing. It’s another sci-fi shooter, but the protagonists are a gang of 13 varmints — aliens and androids included — who are on the run from the law. Each outlaw has a distinctive set of weapons and special powers: Sarge, for example, is a robot with horse genes, while Billy the Squid is … well, you get the idea. Australian studio Blue Manchu developed the 2019 cult hit Void Bastards, and this Wild-West-in-space spinoff has the same snarky humor and vibrant, neon-drenched cartoon look. Saddle up on PlayStation 5, Xbox X/S, Nintendo Switch or PC.

Lou Kesten

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Trump could cash out his DJT stock within weeks. Here’s what happens if he sells

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Former President Donald Trump is on the brink of a significant financial decision that could have far-reaching implications for both his personal wealth and the future of his fledgling social media company, Trump Media & Technology Group (TMTG). As the lockup period on his shares in TMTG, which owns Truth Social, nears its end, Trump could soon be free to sell his substantial stake in the company. However, the potential payday, which makes up a large portion of his net worth, comes with considerable risks for Trump and his supporters.

Trump’s stake in TMTG comprises nearly 59% of the company, amounting to 114,750,000 shares. As of now, this holding is valued at approximately $2.6 billion. These shares are currently under a lockup agreement, a common feature of initial public offerings (IPOs), designed to prevent company insiders from immediately selling their shares and potentially destabilizing the stock. The lockup, which began after TMTG’s merger with a special purpose acquisition company (SPAC), is set to expire on September 25, though it could end earlier if certain conditions are met.

Should Trump decide to sell his shares after the lockup expires, the market could respond in unpredictable ways. The sale of a substantial number of shares by a major stakeholder like Trump could flood the market, potentially driving down the stock price. Daniel Bradley, a finance professor at the University of South Florida, suggests that the market might react negatively to such a large sale, particularly if there aren’t enough buyers to absorb the supply. This could lead to a sharp decline in the stock’s value, impacting both Trump’s personal wealth and the company’s market standing.

Moreover, Trump’s involvement in Truth Social has been a key driver of investor interest. The platform, marketed as a free speech alternative to mainstream social media, has attracted a loyal user base largely due to Trump’s presence. If Trump were to sell his stake, it might signal a lack of confidence in the company, potentially shaking investor confidence and further depressing the stock price.

Trump’s decision is also influenced by his ongoing legal battles, which have already cost him over $100 million in legal fees. Selling his shares could provide a significant financial boost, helping him cover these mounting expenses. However, this move could also have political ramifications, especially as he continues his bid for the Republican nomination in the 2024 presidential race.

Trump Media’s success is closely tied to Trump’s political fortunes. The company’s stock has shown volatility in response to developments in the presidential race, with Trump’s chances of winning having a direct impact on the stock’s value. If Trump sells his stake, it could be interpreted as a lack of confidence in his own political future, potentially undermining both his campaign and the company’s prospects.

Truth Social, the flagship product of TMTG, has faced challenges in generating traffic and advertising revenue, especially compared to established social media giants like X (formerly Twitter) and Facebook. Despite this, the company’s valuation has remained high, fueled by investor speculation on Trump’s political future. If Trump remains in the race and manages to secure the presidency, the value of his shares could increase. Conversely, any missteps on the campaign trail could have the opposite effect, further destabilizing the stock.

As the lockup period comes to an end, Trump faces a critical decision that could shape the future of both his personal finances and Truth Social. Whether he chooses to hold onto his shares or cash out, the outcome will likely have significant consequences for the company, its investors, and Trump’s political aspirations.

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