We’re now on or about day forty-seven of Russia’s invasion of Ukraine, and Ukrainian forces are digging in and preparing for a renewed Russian offensive on the eastern and south-eastern portions of the country. UK prime minister Boris Johnson visited with president Volodymyr Zelenskyy in Kyiv over the weekend, to show his support and solidarity in person. Elsewhere over the weekend, Ukraine was trying to ensure humanitarian corridors out of the Donbas region for Ukrainians to evacuate in advance of the coming Russian onslaught in the region.
https://twitter.com/ZelenskyyUa/status/1512858863728570369
Had a phone conversation with @JustinTrudeau. Thanked for supporting the #StandUpForUkraine initiative, for CAD 1 billion of financial assistance and USD 500 million of additional defensive support. Stronger together!
— Volodymyr Zelenskyy / Володимир Зеленський (@ZelenskyyUa) April 9, 2022
https://twitter.com/NikaMelkozerova/status/1513190467743236103
The now-famous figurine of a rooster was made by the "Vasylkivska majolica" plant. The author of the figurine is sculptor Prokop Bidasyuk. pic.twitter.com/MW5YMryLPN
— zaborona_media (@zaborona_media) April 9, 2022
Closer to home, we are being subjected to a bunch of nonsense around Canadian content regulations in the context of Bill C-11, which updates the Broadcasting Act to now include streaming platforms like Netflix or Disney+. The particular nonsense? The notion that the CRTC will define what qualifies as Canadian. Erm, except they have been doing this already. They’ve had a well-defined point system for what counts as CanCon since 1984. Nineteen gods-damned eighty-four. This is not new. Extending broadcast regulations to streaming platforms changes absolutely nothing about what counts as Canadian content, because the rules are platform neutral. For decades, production companies needed a 6/10 on the CanCon scale to qualify for tax credits. None of this is new.
The problem, however, is that in the debates over C-11 (and its predecessor in the previous parliament, Bill C-10) you had Conservative MPs trying to make this an issue (and Rachael Thomas, who was then Rachael Harder, was particularly vocal about this). She kept trying to propagate this insane notion that somehow these rules should be in the legislation, which is bonkers because that shouldn’t be the job of Parliament, nor is legislation responsive in the way that regulation is. We have arm’s-length regulators like the CRTC for a reason, which is to de-politicise these kinds of decisions. Sure, everyone comes up with supposedly scandalous examples of why certain things which may sound Canadian on the surface isn’t considered Canadian under the CanCon rules (such as The Handmaid’s Tale series), and it’s only until you look at the points system and think through the rules that you realise that these examples really aren’t that scandalous. The whole point is to ensure that our industry isn’t just a branch plant for American productions who can do it cheaper and get tax credits up here. It’s to ensure that there are incentives for things that are actually Canadian-led and produced, and under Canadian creative control, to get made. You can argue that the rules need to be updated, but let’s not pretend that there is anything new here (and really, The Canadian Press deserves a rap on the knuckles for this kind of framing of the issue).