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CONTENT STRATEGIES: OUTtv
Channel21 International | S Spring prri pri p rin ng g2 202 20 2023 02 0 23
Having built a strong foundation in LGBTQ-focused factual content, network and streamer OUTtv is looking to expand its scripted programming roster, pro including international inc coproductions. co By Jordan J Pinto
C
anada-based linear network and streaming service OUTtv has built a reputation as a programmer of envelope-pushing unscripted content focused on the LBGTQ+ community. The company has been on a steady growth trajectory since its launch in 2001 but has gathered momentum quickly as its SVoD platform has expanded into new international markets, allowing the brand to scale new heights. In early February, OUTtv also launched its first free ad-supported streaming TV (FAST) channel OUTtv Proud on Pluto TV in Canada, in partnership with Latino multi-platform company Fuse Media. The new FAST channel carries 400-plus hours of content across a wide array of OUTtv’s original series, documentaries, films and specials. OUTtv is now looking to evolve its programming strategy to capitalise on growing demand for scripted content geared toward LGBTQ+ audiences. “I would say our forte is in the unscripted space but we’re slowly making an expansion into scripted,” says head of programming Lauren Whitelaw. The company is currently working on its first feature film, It’s All Sunshine & Rainbows, which was developed in-house and is scheduled to premiere later this year. Whitelaw, who wrote the film, says it is reminiscent of a traditional Hallmark film, but with a twist. “It hits all those nine beats of a traditional Hallmark movie, we just happen to lift out the female lead and put in a drag queen as the lead.” OUTtv has previously commissioned and acquired scripted content, including mockumentary Slo Pitch and intergenerational lesbian comedy Avocado Toast, but 2023 sees the company putting an added push behind those efforts. Another scripted title in the pipeline is Womb Envy, a 12x15’ series created by Toronto drag artist Champagna and co-commissioned with Accessible Media. It follows two friends who, despite their differing sexualities, pretend to be in a relationship to escape the societal expectations placed on pregnant women. With the wind now in its scripted sails, the hope is to do more, says Whitelaw. “[Scripted] has always been slightly out of reach because we are a small network, but that’s definitely not the case anymore. As web series have become more popular, we have found a way to work with production companies to develop scripted projects that work for our audience as well as working for producers financially,” she says. While the company is turning its eye to scripted, it is not turning away from the unscripted content that has helped put it on the global content map.
Reality series Call Me Mother
Out in force Strong performers in recent months have included the strikingly titled For the Love of DILFs, a gay dating show hosted by Stormy Daniels. The series, which was conceptualised in-house, was renewed for a second season (10x60’) last month after helping to push the number of unique views on OUTtv.com up by 140%. It follows two groups of singles as they come to an island looking for love. Both groups will live together and take part in challenges as they compete to find their perfect match, with Daniels serving as host and relationship advisor. Other popular titles include reality series Call Me Mother, which sees three drag legends adopt the next generation of artists into their new drag houses. Dating, competition and docu-reality programming
“always does well” for OUTtv, according to Whitelaw, and the hunt is on for more breakout programming in these genres. OUTtv is somewhat unusual among Canadian networks, in that it is able to greenlight shows from production companies and creators from outside the country. Finding globally focused LGBTQ+ stories is at the core of OUTtv’s programming mandate, especially in light of the expansion of OUTtv into more than 10 international territories, including the UK, US, Australia, New Zealand and, most recently, South Africa, via Openview Ultra. “As we’ve expanded globally, it’s hard for us to only tell Canadian stories and have an audience respond to it in a place like Australia, New Zealand