This summer marks the fifth anniversary of the official release of the CRTC’s 1999 Television Policy document. The policy came into effect Sept. 1, 2000.

There’s an old Scandinavian saying that goes, ‘There’s no such thing as bad weather, just bad coats.’

It’s been quite a ride these past 16 months for Canadian Television Fund president Sandra Macdonald. From nearly her first day on the job in September 2002, Macdonald, the former government film commissioner and chair of the National Film Board of Canada, had to deal with scores of disgruntled producers and broadcasters complaining of a funding application process too complex, time consuming and unpredictable.

As you read this, a new year has dawned, as has a new reality in the world of Canadian production. Or, so says Alliance Atlantis Communications. The day after we went to press – a month ago, now (one of the pitfalls of our publishing schedule during the holiday season) – AAC announced that it was eliminating up to 70 jobs due to a ‘permanent downturn’ in worldwide demand for drama.

Twice in the pages of Playback in about a year – in September 2002 and again last February – producer Robert Lantos threw down the gauntlet, challenging Canadian producers to step up and begin making audience-friendly feature films.

From this seat, it’s too bad our Year in Review had to come in late November. (Don’t ask why. It’s an ad sales thing.)

The most intense and compelling cliffhanger coming out of Canadian TV is neither an MOW nor a one-hour drama. Rather it has played out in a series of closed-door meetings, most recently in a Toronto meeting room Nov. 3 and 4, where the Canadian Television Fund board convened to settle on just how to finance future TV production.

Four years ago, Philip Mellows, who had found success in the 1990s by launching and growing The Players Film Company, decided the time was ripe to make his big play – to expand the reach of his commercial production house.

Last year’s On The Spot headline read ‘Downing on the upswing,’ announcing the selection of upstart Radke director Michael Downing as a runner-up in the First Cut Awards. We couldn’t have been more prescient if we’d rigged this year’s First Cut selections (which we didn’t, even if that’s what some of the losers are claiming).

The release of Foolproof Oct. 3 has for many in the film and TV business brought the practice of product placement front and center. The film is rife with strategically placed brands and it also features a tie-in with Pizza Hut.

HE knows the route to the podium about as well as he knows the route home, but seven-time Gemini winner Jerry Ciccoritti is not taking his nomination for best direction in a dramatic program or miniseries in stride.

Marking the first anniversary since Sandra Macdonald took over as its president and CEO, the Canadian Television Fund is in the midst of yet another firestorm. This even before the release of new funding guidelines later this fall.