The central message of the 2001/02 Canadian Television Fund annual report should be news to no one: documentaries are waxing, dramas are waning.

According to the report, the CTF financed 354 documentaries, accounting for 1,121 hours of programming, versus 84 drama projects at 624 hours. Meanwhile, children’s programming overtook drama with 681.5 hours. Last year, the score was 513 hours for children, 631 hours for drama and 968 hours for docs (see more details on p. 1).

The timing of the data’s release couldn’t be more significant. It arrives as the Academy of Canadian Cinema and Television announces the nominees for the 17th Gemini Awards. At the same time, Canadian producers, distributors and broadcasters are preparing to fly off to Cannes for MIPCOM.

Scanning Playback’s special report on the Gemini Awards (second section), one will find multiple references to the struggles against the decline of dramas and the critical need for foreign sales.

Yet, stark reality can’t be ignored. These Gemini-nominated producers know too well that while the American market is a non-starter, Europe no longer holds the answer either. Indeed, there may be no magic elixir for what ails this chill on the liver. German, British and French producers all carry the same hopes as their Canadian counterparts, and all face the same painful truths. The ‘crisis in drama’ is pandemic.

Still, the health of Canadian production remains strong. MIPCOM attendees this year will see the market’s strongest-ever Canadian presence, with 150 companies expected to attend and 67 taking a seat in the Canada Pavilion (see story p. 1). One should not underestimate the importance of a strongly branded Canadian presence. It can attract heat. The Canada Pavilion is the largest in surface area and the second busiest in terms of traffic, after Media – the European Union Programme.

While the lion’s share of deals will fall to docs and kids programming, producers – despite the doom and gloom forecasts – will still arrive with dramatic projects packed in their duffels. Hope, it is said, springs eternal.

And why not? Despite the fact that drama’s road is harder each year, there continues to be a handful of success stories. Da Vinci’s Inquest, nominated for 10 Gemini Awards, is sold in more than 60 countries, according to producer Chris Haddock. Not content with success, Haddock is attempting to redefine the hit show for the coming season through more character exploration and is even considering spinning it into a feature film.

Other producers are experimenting with new forms of drama. Portfolio Entertainment will attend MIPCOM with the ‘unscripted drama’ Taipei Diaries and is articulating high hopes for the project.

No one is taking the crisis in drama lying down.

While the smart producers have diversified into other genres, few will cast the dream aside completely. Drama is still king. Who in the business wouldn’t like to see a best dramatic series Gemini – maybe even an Emmy – adorning their mantelpiece?

Those who get put off by the notion that the market is too tight and their projects may never see the light of day have long since gone on to channel their creative aspirations through the practise of Feng Shui or editorial writing.

For those still in the business, the potential deals done at MIPCOM will be critical. With a strong brand and a unified front in Cannes this year, Canadians will continue to help their own cause.