My series on Bill C-11’s foundational faults has covered jurisdictional over-reach, the implications of treating all audio-visual content as a “program” subject to CRTC regulation, as well as the flaws and harms of the discoverability provisions. While the faults thus far focus on provisions contained in the bill, this post examines a critical aspect of broadcast and cultural policy that the government has failed to address. The bill purports to support “Canadian stories” but the current system often means that certified Cancon has little to do with Canada and fails to meet those objectives. Case in point: the certification of Gotta Love Trump, a film primarily comprised of pro-Trump clips that include Trump’s photographer, a former Apprentice contestant, Roger Stone, Candace Owens, and a cast of others with scarcely anything resembling Canadian content.
Recent Posts
Why Being Locked Out of Frontier AI is The Sovereignty Threat Canada Missed 
Blocked Twice: How Bill C-34’s Kids’ Social Media Ban Would Compound the Online News Act’s Harm to Young Canadians’ News Access 
The Law Bytes Podcast, Episode 275: David Loukidelis on Why Stripping Privacy Enforcement from Canada’s Privacy Commissioner in Bill C-36 is Unnecessarily Risky Policy 
The Data on Australia’s Social Media Ban: The Better the Privacy Protection, The Less Effective the Ban 
Shaky Ground Gets Shakier: What the U.S. Supreme Court’s Location Data Decision Means for Bill C-22
