Showrunners - Training Gaps Analysis - Cultural Human Resources ...

I. Executive Summary
Showrunners Training Gap Analysis
The Cultural Human Resources Council has undertaken occupational and training gap analyses
for certain key occupations in the film and television industry including this one for Showrunners.
To start, an Expert Working Group of practicing Showrunners prepared a Showrunners’ Chart of
Competencies identifying the combined competencies that make up the work of a Showrunner
(see Appendix A). The CHRC commissioned this Training Gap Analysis to determine how
prepared Showrunners are for these competencies, to determine if the education and training
system is able to provide instruction in the competencies, and if not, where the gaps may lie.
For the purpose of this Training Gap Analysis, we assumed that a “Showrunner” is a
writer/producer who has the final say on the creative realization of a series. However, the
research indicates that there are successful models for series television in Canada that do not
include a Showrunner and others which may have a different definition of Showrunner.
Training Needs
In conducting the Training Gap Analysis, the consultants adopted a qualitative methodology for
determining Training Needs based on case studies of Canadian TV series. The intent was to look
for various organizational models by which the creative vision of a show is successfully
delivered, some of which include a “Showrunner” and some of which do not.
Nine series were chosen as case studies, 6 English language and 3 French language. Multiple
interviews were conducted for each case study focusing on the senior creative team. The series
studied were:
• Flashpoint, produced by Pink Sky Entertainment and Avamar Entertainment
• Degrassi: The Next Generation, produced by Epitome Pictures
• Being Erica, produced by Temple Street Production
• Corner Gas, produced by Vérité Films
• This Hour Has 22 Minutes, produced by Halifax Film
• Da Kink in my Hair, Season 2, produced by Defiant Entertainment and Barna Alper
• Virginie, produced by Aetios Productions,
• Les hauts et les bas de Sophie Paquin, produced by Sphère Média
• Jardin d’hiver, in development
The interviews revealed that in Canada the division of responsibility between the creative and
production tasks differs widely, so much so that it is difficult to say that there is a “typical”
model. Given the complexity of the task, many series are organized so that more than just one
hand is guiding the creative.
The role of Showrunner does not exist in the television industry of Québec. The director or the
producer generally has key creative control of a television series.
The English Canadian producers, writers and Showrunners who we interviewed were unanimous
that there is a lack of experienced Showrunners in Canada, and that we need more Showrunners
with all of the requisite competencies described on the CHRC chart. Why are there not enough?
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Deborah Carver and Benoit Dubois, January 2009