Streaming Diversité: Exploring representations within French-language scripted series on Canadian SVOD services

Abstract

Canadian subscription-video-on-demand (SVOD) services have commissioned French-language ‘original’ content to attract local audiences. ICI TOU.TV, Club Illico and Crave have indeed commissioned more than a hundred French-language scripted series, mostly produced in the Quebec province. However, the current state of research only marginally documents these services. Even in Canada, most research focus on US-owned streaming giants such as Netflix and Amazon, thus providing little information on Canadian national SVOD services, and their affordances in terms of storytelling and representation. Current research also completely overlooks French-language original content. This paper therefore discusses the results of the very first research project to specifically focus on the production of original French-language series for Canadian streaming services. After reviewing all original (scripted and unscripted) French-language content available on Canadian-owned SVOD services, a textual analysis of more than 40 scripted series has been conducted, which led to intricate insights regarding prevailing narrative trends and characteristics of main and secondary characters. In so doing, the objective was also to determine the level of diversity included within this so-called original content. In a context characterized by an unprecedented proliferation of scripted series, it indeed becomes crucial to ascertain whether a greater quantity of productions necessarily leads to a greater diversity in representation, that is, the inclusion of a ‘multiplicity of forms’, and an equitable plurality of cultural expressions and identities. This research produced several findings that testify to a significant inclusion of sexual, gender, and racial diversity, as well as a noticeable trend towards intersectional representation. Yet, the analysis also led to identify persistent issues, such as the qualitative marginalization of non-normative characters (queer, BIPOC, with disability, etc.), as they mostly are relegated to supporting roles. These findings therefore call for a nuanced assessment of the ‘progress’ in representation on streaming services.