Corus Entertainment is restructuring its original programming team, impacting “a handful of roles.”

A Corus spokesperson told Playback Daily on Friday (June 23) that the move is part of “an enterprise-wide cost review” amid economic uncertainty. The spokesperson was unable to specify exactly how many roles are affected or which ones, citing confidentiality reasons, but said the positions are impacted effective immediately.

“As part of managing the post-pandemic climate and unexpected current economic uncertainty, we are conducting an enterprise-wide cost review, looking at all expenses and operations with a view to streamline our operating model,” said a statement from the spokesperson.

“This has led us to create a new original programming team structure, impacting a handful of roles as we collapse verticals and move to a one-team model. We believe this new structure will give the team more experience across more genres, to make great shows and drive success for our channels as we remain focused on the execution of our strategic plan and investments that support our long-term resiliency.”

The cuts come on the heels of Global News layoffs announced in March amid a “cost review” at the Toronto-based media and content company.

Last week, BCE announced 1,300 layoffs, many of which were in radio and news divisions, amid “organizational changes” in response to economic challenges.

The future of news in Canada was among the concerns expressed at the recent Banff World Media Festival (BANFF) on a panel of media leaders including Troy Reeb, VP, broadcast networks, Corus Entertainment. News offered at local television stations is “the most vulnerable part of the entire broadcasting system,” he said.

Reeb also spoke of challenges including a declining traditional broadcasting system and regulatory change that broadcasters worry will create an uneven playing field between them and foreign streaming giants.

“I worry in a truly on-demand space where it’s up to the consumer to choose the titles, those big-budget titles with all the buzz around them in the trade press and in the popular press are going to continue to be the ones that draw audiences,” said Reeb on the BANFF panel. “So how do we carve out that space to ensure that we’re getting Canadian audiences in a world where Canadian linear viewing is going down?”

IP ownership has been a big part of Corus’ strategy to ensure profitability and potential for global sales, Reeb noted.

“Even the U.S. studios with their commissioning shows … they need the global marketplace to make those things profitable. They cannot just live on their domestic audience alone,” said Reeb. “So if they can’t do it in [a population of] 300 million people, how can you do it in 40 [million]? And you can’t, you just can’t.”

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