Systemic inequities of the past must factor into the discussions and decisions toward a modernized regulatory framework for the broadcasting system, said representatives from BIPOC TV & Film.

Shant Joshi (pictured), co-chair of the BIPOC TV & Film board of directors, executive director Kadon Douglas, and advisor Lisa Valencia-Svensson appeared at the three-week Canadian Radio-television and Telecommunications Commission (CRTC) hearings on Friday (Nov. 24).

“Addressing these inequities cannot be further delayed … our community requires equitable access to Canadian audiences urgently,” said Joshi.

BIPOC TV & Film recommended that an initial base contributions for online streamers be set at 8% of their revenues for the purposes of content, and 2% of their revenues for the purposes of news.

The organization’s proposals for the regulatory framework are centred on four priorities: dedicated funds prioritizing equity-deserving communities; enhanced regulatory commitments for the promotion of content by equity-deserving creators; a centralized data collection method to be able to adequately address inequities; and for one-third of a Certified Independent Production Funds’ (CIPF) project selection committee to represent equity-deserving communities.

“We call upon the Commission to set a target across production funds, programming expenditures, and increased access initiatives, a 35% threshold allocated towards content created by equity-deserving communities,” added Joshi. “Fifty per cent of that should be designated to Black and racialized communities, both in the traditional and online broadcasting system.”

BIPOC TV & Film cited the example of CBC’s The Porter (Inferno Pictures, Sphere Media) as a show that, despite critical acclaim and a host of awards, failed to reach larger audiences and was cancelled after one season.

“The current system has established a cycle where content produced by our communities fail to find a substantial audience and are, therefore, seen as of lesser value,” said Joshi.

When asked whether new CIPFs were needed to allocate the contributions, BIPOC TV & Film representatives said the Canada Media Fund (CMF) had its restrictions, like the 10-point system, and CIPFs and funds such as the newly-certified Black Screen Fund and Indigenous Screen Office (ISO) help close financing gaps.

The Black Screen Office (BSO), led by executive director and co-founder,Joan Jenkinson, also appeared on the fifth day of the hearings. Jenkinson was joined by BSO’s Montreal-based board member Richard Jean-Baptiste, who is also an executive at Montreal-based prodco Attraction, screenwriter and showrunner Marsha Greene (The Porter), and BSO’s regulatory consultant Kelly Lynne Ashton.

The BSO, which announced the certification of the Black Screen Fund earlier this month, recommended a mandatory allocation of the initial  contributions to the Black Screen Fund to “have a real impact on the size and strength of the Black talent pool and break down the barriers they face in their careers.”

The BSO recommended that the initial base contribution be set at 5% or more, and also recommended a revision of CIPF criteria to require 10-point Canadian content for funding.

The organization was asked whether there was a downside to moving from a 6-point to a 10-points system may “disincentivize” people from partnering through the CIPFs. Greene responded that people in the system would opt for having a job rather than more flexibility, especially within equity-deserving communities.

Also appearing were representatives from Coalition M.É.D.I.A., Racial Equity Media Collective and Racial Equity Screen Office (RESO).

RESO recommended a $20 million annual direct contribution to the Canadian Independent Screen Fund for BPOC productions, and, like the BIPOC TV & Film, called for a discovery and promotion fund for Black and racialized content. The organization said it backed support for ISO and BSO.

The Path Forward hearings are scheduled to continue until Dec. 8.