Is your favourite show CanCon enough? Here’s why the definition of Canadian content may get a reboot

Canadian content, or CanCon, has long been an essential part of the Canadian film and television landscape. From iconic shows like Schitt’s Creek to classic films like Dead Ringers, CanCon productions showcase Canadian stories and talent on screens both big and small. However, as the industry evolves with the rise of streaming services like Netflix and Disney+, the definition of CanCon is facing new challenges and opportunities.

One show that has sparked discussions around CanCon is CBS’s Tracker, which airs on Global TV in Canada. While it is filmed in British Columbia and employs Canadians, it is not technically considered CanCon. This distinction is crucial because Canadian broadcasters have obligations to ensure that a minimum percentage of the content they distribute meets government CanCon requirements, ensuring that Canadian stories are available to Canadian audiences.

The Canadian Radio-television and Telecommunications Commission (CRTC) is currently at a crossroads when it comes to CanCon. With the introduction of the Online Streaming Act in 2023, foreign streaming companies are now required to promote Canadian programming on their platforms and contribute five per cent of their domestic revenue to support the production of Canadian media content. This move aims to boost local and Indigenous broadcasting in Canada.

However, the CRTC is also looking into updating the definition of CanCon to reflect the changing landscape of the industry. Public consultations held last month discussed potentially increasing the number of points needed to qualify as CanCon, as well as introducing a requirement to reflect Canadian cultural elements in productions. These changes aim to ensure that Canadian stories and voices continue to be represented in the media landscape.

Canadian filmmakers and industry professionals have voiced their support for updating the CanCon regulations, emphasizing the importance of protecting Canadian artists and storytelling. They argue that streaming companies profiting off Canadian audiences should contribute to the production of Canadian content. However, the streaming companies, represented by the Motion Picture Association of Canada, have pushed back against these requirements, advocating for more flexibility in the definition of Canadian programs.

As the CRTC continues to navigate the evolving landscape of CanCon, further consultations and potential legal battles with streaming companies are on the horizon. The outcome of these discussions will shape the future of Canadian content and the role of streaming services in supporting local productions. CanCon remains a vital part of the Canadian media industry, and finding a balance between creative freedom and supporting Canadian voices will be key to ensuring its continued success.