Lightning struck not once, not twice, but three times this month when Flashpoint, The Listener and Sophie were sold to U.S. networks – raising hopes that the most insular market in the world might, finally, be opening to its closest neighbor. Either that, or they’re just desperate to buy anything with a script. And so, as Playback went to press with U.S. writers poised to go back to work, we asked:

U.S. networks buying Canadian – dumb luck or the new normal?

The culture at the major U.S. nets has been evolving – but has very much been accelerated by the writers strike. We encourage the WGA to hold out as long as possible.
Michael Shepard
President, Thunderbird Films

There may be another few sales, and I’m sure that the producers are happy that there is a stockpile of shows and talent north of the border that they can draw on and not run afoul of U.S. guild agreements. But I think if the strike ends soon, the Canadian sales to the U.S. will have just been a blip on the scene.

However, studios and networks will be more determined than ever to keep costs down, so productions will still head to Canada and TV shows and movies will continue to be made there – possibly more than ever.
Maureen Ryan
TV critic, Chicago Tribune

American broadcasters are becoming more and more aware of the quality of Canadian programs…The writers strike has provided an opportunity by creating sudden demand, but we believe the quality and value of our shows will keep them coming back.
Brian Hamilton,
VP/executive producer, Omni Film Productions

Canadian program developers would be wise to not get their hopes up too high over the recent U.S. network sales. It is a foot in the door, though – a foot in the door that didn’t exist two years ago.
Alex Strachan
TV critic, Canwest News Service

[The Listener] is another example of us reaching out to the international community to find innovative and interesting programming.
Teri Weinberg
Executive VP, NBC Entertainment