feminists in film Archives - LiisBeth https://liisbeth.com/tag/feminists-in-film/ ¤ Field Notes for Feminist Entrepreneurs Wed, 02 Jun 2021 21:15:04 +0000 en-US hourly 1 https://wordpress.org/?v=6.6.1 Free to Choose https://liisbeth.com/free-to-choose/ https://liisbeth.com/free-to-choose/#respond Tue, 01 Jun 2021 01:24:15 +0000 https://liisbeth.com/?p=16671 A filmmaker launched her own company to explore the stories of Africa and its diaspora.

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Sonia Godding Togobo, co-founder of Sunstar Worldwide Studio. Photo from official website for the film Mr. Jane and Finch by OYA Media Group.

Sonia Godding Togobo fell in love with cinema and telling stories when she was around seven years old.

Her parents, immigrants from Guyana in South America in the ‘80s, had taken her to a Black History month event. There, she met one of the organizers who had memorabilia from throughout the Caribbean, the United States and Cuba. He was talking about the different elements of art history when he said something that has stayed with Godding Togobo ever since.

“He said, ‘Most of us want our children to be doctors, lawyers, professionals. But we need more storytellers and filmmakers,’” Godding Togobo recalls. “I didn’t know what that meant, but something about it resonated and never left me.”

Nearly three decades later, Godding Togobo and her husband, Yao “Tuggstar” Togobo, founded Sunstar Worldwide Studio in 2010, a Canadian media company with a mission to illuminate the work of Africa and its diaspora.

Godding Togobo got her start in the industry after earning a diploma in film and television from Humber College. Unlike many other students who were interested in directing or producing, however, Godding Togobo realized she had a knack for editing and focused on post production.

She landed an internship at a post-production house in Toronto then a job working on short films, music videos and documentaries at Nelvana, Canada’s premier animation company and a world-leading producer and distributor of children’s content. She worked her way up to associate editor on CBC’s A Deathly Silence, and edited a variety of programs including an hour special on the crisis in Darfur at MuchMusic, Canada’s pioneering music channel.

Wanting to engage in more serious forms of storytelling, she moved to London, U.K., and produced her first documentary, Adopted ID, about a transracially adopted Canadian who returns to Haiti in search of her biological family.

While doing the festival rounds with that doc, Godding Togobo realized she needed to start her own production company if she wanted to continue making docs – and have control over the stories she wanted to tell. “That was really what attracted me to figure out how to set up a production company.”

From left to right: Filmmakers Alison Duke, Ngardy Conteh George and Sonia Godding Togobo. Photo via the website for the film Mr. Jane and Finch.

Sunstar Worldwide is predominantly focused on post production. The team consists of two other editors, Godding Togobo, and her husband, Yao, also a spoken word poet and writer. They hire on a contract basis if a project requires more hands. Currently, most of their projects involve editing video projects for other filmmakers and storytellers and producing content for businesses, but they hope to produce their own content for broadcast down the line

When choosing projects, Godding Togobo turns to her husband and business partner to discuss the vision for the work they want to create at Sunstar Worldwide. “We have a process that we go through to figure out if it is a viable project. Is it something that we are passionate about? Is it something the market seems to want? We ask ourselves those questions on a project per project basis. I also think a lot of it is just about capacity — do we have the capacity to really push for this project?”

Godding Togobo says she looks for projects that enable her to share authentic Black experiences, especially through the stories of Black women. This is, in a way, part of navigating her own layered identities. “I have lots of different identities that I sort of touch into: I’m African, I’m Guyanese, I’m Canadian, so what does that really mean? There is a lot of history right there, so often, those are the stories that I am looking at.”

Godding Togobo believes the the time has come to explore the interconnectedness of identities given the racial reckoning the world is experiencing — and may just help address racial injustice and aid in healing. “Even when I started (the company), our stories just weren’t important. Now there seems to be a little bit more openness, and there seems to be folks who are really interested in hearing from people of colour, about their experiences … When it comes to racial injustice, I feel like my part in that is showing authentic Black representation that challenges, enlightens and brings awareness to the things that unify us, and to the Black Canadian experience.”

She was particularly proud to work on a documentary about Winston LaRose, an 80-year-old community activist in the Jane and Finch neighbourhood of Toronto who ran for political office for the first time, inspiring his racialized community with his campaign for city councilor.

Titled “Mr. Jane and Finch,” the documentary (on CBC’s Gem) was directed by Ngardy Conteh George, produced and written by Alison Duke of Oya Media Group, and edited by Godding Togobo.

Godding Togobo recently took part in Fifth Wave’s feminist accelerator program, to sharpen her focus on her work as a storyteller and business owner. “Fifth Wave was a real boost in terms of information, in terms of my network, and in terms of giving me access to best practices and how to run a production company in this particular country.”

It also gave her the space to think about the future of Sunstar Worldwide. “I am thinking a lot about what I want the next five years to look like, and the type of projects that I want to be on. I think along with COVID-19, we have had this racial reckoning that maybe would not have had the impact that it did if it was not for COVID-19.

“I am thinking a lot about the fact that now folks seem to be ready to talk about things in a new way, and I am also thinking a lot about what that means for the stories that I’m going to tell.”


Publishers Note:  Sunstar Worldwide Studio is a participant in Canada’s first feminist accelerator program for womxn in digital media, Fifth Wave Labs. The Fifth Wave is a year-round program offered by CFC Media Lab and its partners to support the growth and development of women entrepreneurs in the digital media sector in southern Ontario. All enterprise founders in the Fifth Wave community are selected for both their potential and commitment toward weaving intersectional feminist ideals of equity and fairness into sustainable and scalable business growth strategies. Fifth Wave Initiative is committed to 30% participation by members of underrepresented groups. The Fifth Wave is a LiisBeth Media partner and ally. Apply here.

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A Recipe for Justice https://liisbeth.com/a-recipe-for-justice/ https://liisbeth.com/a-recipe-for-justice/#respond Wed, 28 Apr 2021 23:30:13 +0000 https://liisbeth.com/?p=16106 How one organization radically stirred up conventional business practices to heal communities — and flourish in difficult times.

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Paul Taylor, Executive Director of FoodShare at WE.Gordon Neighbourhood House Director Paul Taylor in one of their gardens, Salad maker ?? speaking with passersby, Exterior shot of the the building.
Paul Taylor, Executive Director of FoodShare at WE.Gordon Neighbourhood House. Photo by Dan Toulgoet

Last month, I set out to find examples of advanced feminist enterprises that were doing truly radical work, showing us what a socially just, post-capitalist enterprise and economy might look like.

FoodShare, a large and innovative Toronto-based food justice charity, emerged as a provocative example.

FoodShare was founded in the 1980s in response to an alarming increase in hunger and food insecurity due to the recession, with Indigenous and Black households experiencing the highest rates of food insecurity. It was meant to be a temporary organization dealing with a short-term issue, but as the number of food bank dependent and food insecure people in Toronto grew, so did FoodShare. Today, it is the largest food security charity in North America, entering another rapid growth period due to the pandemic.

FoodShare has more than a dozen income-generating and grant-supported programs including community garden facilitation, kitchen incubator, school lunch programs and a good food box delivered to subscriber doors. The organization employs 120 people of whom 54.8 per cent are women, 1.6 per cent transgender and 2.3 per cent gender nonconforming.  While most Canadian organizations are just beginning to embrace the government supported  50-30 challenge (which calls for corporations to increase representation of women to 50 per cent and BIPOC representation to 30 per cent on boards), FoodShare’s board of directors is already 62 per cent female and 85 per cent BIPOC.

Debbie Fields founded and led FoodShare for more than 25 years. Paul Taylor, took over as Executive Director (ED) in 2017.

Here’s what he has to say about FoodShare’s latest progressive initiatives. 

LiisBeth: Do you identify as a feminist?

Paul: Of course! I was raised by a bad-ass Black woman and come from a long line of bad-ass community minded, Black women. I was taught to listen and learn from women, and in particular Black women in leadership. I saw, through my mother’s eyes and experiences, how the patriarchy drives the kind of capitalism and neo-liberalism that’s wreaking havoc across the country. The pandemic has further exposed how much we still undervalue women in society. I think it’s horrific that we are just now starting implement a national childcare policy. If this was something that men depended on, we would have had a national childcare program decades ago.

LiisBeth: What do you think is the most radical change you have initiated since you joined the organization in 2017?

Paul: I would have to say our focus on implementing a standard-of-living wages, equal wages and wage-range compression policy.

Over the last few years, we have increased the lowest paid colleague salaries by 25 per cent. And we are not stopping there: we’ve got another increase that we’re working on that will be pretty significant and really important.

We’ve also tied the compensation for the lowest wage worker to the highest wage worker. For example, the Foodshare Executive director can make no more than three times what our lowest paid worker makes. From now on, we’re all going to be moving forward together — if we’re moving at all.

Given that CEOs and Executive Directors in the nonprofit sector often make many — sometimes 100 times — what the lowest paid employee makes, I think that is pretty radical.

We are also really committed to really thinking about how we challenge low wages for any kind of work, not just within our organization, but within the entire sector and within the food system. One of the directors on our board is a food delivery carrier.  He has been helping us think about the range of opportunities that exist to support low wage workers in the food system.

LiisBeth: Was the increase and wage compression policy a tough sell internally?

Paul: No, it wasn’t because it’s all about how we do board recruitment and who is on our board.

Traditionally boards look for directors who have certain professional designations like finance, legal, HR, or look for those with a C-suite title as a proxy for credibility, capability and intelligence. When we recruit on these terms, all we are doing is recreating the barriers that exist in society, for example, access to education.

So instead we flipped the norm on its head. Instead, we say, we’re going to prioritize recruiting board members that get the philosophical underpinnings of the organization, who have a commitment to equity, food justice, have lived experience with these issues to wisely design and implement new approaches, and who are willing to roll up their sleeves and dedicate resources to challenging those inequities.

If directors lack experience or education in certain areas, say in interpreting financial statements, board governance or investments, then we say, how can we provide support? We invest dollars in building our board’s capacity instead of expecting folks to have gone through all of the hoops that society presents to qualify, hoops that we all can’t reach.

LiisBeth: When you changed your ideas about who qualifies as a board director, did that change the make up of your board?

Paul: Completely. Today, our board is headed by an Indigenous activist, Crystal Sinclair. Our board is now predominantly made up of BIWOC folks. It’s unlike any board for an organization our size that I’ve ever seen. It’s composition really affects the key decisions that we make and how we show up in these decisions. For example, when we’re having a conversation about things like defunding the police, we’re not talking as (white) allies, we’re saying stop killing our communities because we are part of those communities. It changes how we show up on these issues, where we locate ourselves in these issues, and how we advocate.

LiisBeth: What do you think prevents other organizations from doing what you’ve done?

Paul: A willingness to reframe what it means to do the work that we do and how we do it. I think if we don’t acknowledge that patriarchy, colonialism, white supremacy, anti-Black racism are actually deeply rooted organizing principles and profoundly embedded in the way we work, well, then we will never come up with the strategies, the policies and the ideas for dismantling those systems within our own enterprises.

People need to be thinking outside of the box.

They need to be committing organizational resources to tackling these things. Tackling these things is not a black post or a black square on Instagram. Working to liberate your organization from these harm perpetuating systems requires resources, time, and a leadership team willing to be vulnerable.

LiisBeth: What advice would you give to small enterprises who are looking to dismantle patriarchy, colonialism, white supremacy and capitalism in their own operating practices?

Paul: If you want to prioritize that work, which I encourage everybody to do, and if you don’t have that capacity within, then reach out and secure a consultant that is focused in that area and has the lived experience to draw upon. And compensate them accordingly.

The second thing I would say (and this may be brutal for folks to hear) is that businesses that leverage inequality to exist are not sustainable. People have only been able to make them sustainable on the backs of low-wage workers, on the backs of precarious work arrangements. That’s the hard truth. The conversation we need to have.

I think we have to say no to building enterprises on the backs of under-paid, under-cared-for workers. If we’re not paying living wages, we are unsustainable.

Food Insecurity By Household Identity in Canada

The prevalence of household food insecurity differs markedly by Indigenous status and racial/cultural group. The highest rates of food insecurity are found among households where the respondent identified as Indigenous or Black.1 (Data Source: Statistics Canada, Canadian Community Health Survey (CCHS), 2017-18). Higher rates of food insecurity in non-married households in Canada are largely attributable to women's socio-economic disadvantage

LiisBeth: Is FoodShare a postcapitalist business enterprise?

Paul: Good question. You know, we recognize, capitalism is why charities exist. It’s a system that ensures that society’s resources are disproportionately distributed, and we need to be calling attention to the way that capitalism and neo-liberalism have created the conditions that cause some people in this country to constantly worry about where their next meal is going to come from while others are dreaming up new schemes to avoid paying taxes.

The existence of billionaires to us is as much a policy failure as the fact that close to a five and a half million people are food insecure in Canada.

So, unless we’re talking about how we collectively dismantle capitalism, and acknowledge and compensate for the harm that it’s caused to communities, we are just feeding a system that’s been designed to keep us so busy we don’t have time to examine the root cause of so much of the inequities that we are now all forced to navigate.

I think all nonprofit and for-profit leaders need to be holding our government to account to make sure that equity is centred in legislation and public policy

FoodShare Staff and Volunteers Group Photo
FoodShare Staff and Volunteers Group -Photo by Sandro Pehar

LiisBeth: Who is informing, inspiring your work right now?

Paul: I am inspired by folks connected to the ongoing Idle No More movement, folks at 1492 Land Back Lane, Climate Justice Toronto. For me, these are the groups that recognize that the voices of Indigenous peoples across Turtle Island and even across the world need to be heard. I would say I am inspired by the movement around abolition that has been led again primarily by Black women is one that dares us to dream of a world that isn’t preoccupied with punishment.  Other movements that I’ve gravitated towards for inspiration, for hope, are those that are centered on justice. They’re intersectional, and they prioritize those who have had the most stolen from them as a result of settler, colonialism, capitalism, and the proliferation of neo-liberalism.

LiisBeth: Thank you so much Paul, for this interview and more importantly, for your incredible work as a badass feminist enterprise leader.

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Writers for the Real World https://liisbeth.com/writers-for-the-real-world/ https://liisbeth.com/writers-for-the-real-world/#respond Sun, 25 Apr 2021 04:13:29 +0000 https://liisbeth.com/?p=16040 TV and Film So White? Caldwell’s literary agency is changing that.

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Kulbinder Saran Caldwell, founder and CEO, REALLIFE Pictures. Photo provided.

Not satisfied with the lackluster effort the TV and film industry employs when it comes to including people of colour in writers’ rooms, Toronto-based Kulbinder Saran Caldwell took matters into her own hands. She founded REALLIFE Pictures INC, a literary agency run by agents of colour to represent film writers of colour. The company also runs a film and television production house alongside the “boutique literary agency” that gives “diverse, neurodiverse and LGBTQ screenplay and television writers a voice in the entertainment industry.”

Saran Caldwell said she recognized a “hole in the market.” Producers were telling her they wanted to hire diverse writers, but “didn’t know how to find them.” Or, at least, that was the “excuse” they gave to explain their all-white writers’ rooms.

Initially, she spoke to agencies about carving “out this niche for you under your umbrella.” But, she said, “Across the board, they pretty much said, ‘no, thanks, we’re fine just the way that we are.’ One of them actually said, ‘Diversity is a bubble.’ So, I decided then – okay, fine, if that’s the prevalent kind of thinking (in the industry), I’m just going to do it on my own and I’m going to have to find a way to do it within (my) production company.”

Saran Caldwell said the disinterested response was, in part, due to people “being comfortable in their own lane and not wanting to address some things that may not necessarily be fair, equitable, or inclusive” in their field, but they’re happy—and successful—“doing business as usual.” Not only do people not want to “rock the boat,” doing so may feel destabilizing for their white clients, some of whom feel that diversity initiatives cost them work.

“You have to realize, to a large degree, these agents have been representing white showrunners and white writers for a very long time,” Saran Caldwell said. “When you are all of a sudden advocating on behalf of another group of clients…that becomes a difficult position to be in when they’ve been your client for a long time, right?”

REALLIFE PICTURES table read session. Photo provided.

White Washing: The Stats

Currently, writers’ rooms in Hollywood and Canada are overwhelmingly dominated by white men. In 2017, a study of Hollywood writers rooms found that only 13.7 percent were people of colour – out of 234 series surveyed. An overwhelming 91 percent of show runners were white, and that shows headed by white show runners had no black people in their writers’ rooms 69.1 per cent of the time. By contrast, 100 per cent of shows headed by black showrunners hired white writers. Many of the major production and streaming services—including Netflix, Amazon and Showtime—had either none or just one person of colour in their writers’ rooms for 90 to 100 percent of their shows. The report also found that when people of colour are included in white-dominated writers’ rooms, they often “tokenized.”

Saran Caldwell said that hiring people of colour doesn’t mean pigeon-holing the writer to work only within their specific racial or cultural background; what it really achieves is expanding the repertoire of writers’ rooms by adding in experiences, styles and talents it would not have otherwise. There’s an appetite for stories that are aimed outside the white experience, Saran Caldwell noted, evidenced by the huge success of Black Panther, Crazy Rich Asians, and Kim’s Convenience (its recent abrupt cancellation tremendously disappointed viewers and producers.)

Saran Caldwell saw that appetite first hand when she ran a coaching program for BIPOC students from Ryerson University in 2019. She co-produced a couple of feature films and a web series, all with women of colour filmmakers. When she  realized there was a gap in the industry when it came to connecting BIPOC talent and filmmakers, she started building her agency with a roster of talent, spending a year “reading material, making contacts, figuring out how to present myself, as a brand… because we were new.”

Agent and COO Charanpreet Chall joined REALLIFE in 2020 and is “more hands on with the development,” according to Saran Caldwell. “We chat every morning about our day’s deliverables and divide work and conquer.”

Small-Town Start, Big-City Heart

Although she has called Toronto home for the past two decades, Saran Caldwell, who is Indo-Canadian, is originally from Terrace, a small town in British Columbia between Kitwanga and Prince Rupert. Her father immigrated from India to Kelowna, then moved north to Terrace to work in the sawmills because the wages were better. Saran Caldwell’s mother and four siblings soon came to Canada to join him in Terrace.

Saran Caldwell attended the University of British Columbia (UBC) in Vancouver for the first year of her post-secondary education then enrolled at the British Columbia Institute of Technology (BCIT) to study marketing. She was the first of a family of six to go to university, saying it “wasn’t easy to get permission to go since no one else had gone before me.”

While living in Vancouver, she started REALLIFE as a music video company then shelved the project in her late 20s when she took a job as a news writer for CP24 and moved to Toronto. The position was only supposed to be for the summer, but Saran Caldwell “fell in love” with Toronto and stayed. She resurrected REALLIFE when she was “bitten by the production bug” following work on a pair of short documentary films with South Asian women directors. “I was trying to find out — how can I utilize all of these skills, and my passion to support new and up and coming filmmakers, female filmmakers, and in particular, women of color?”

In 2020, Saran Caldwell went to the Canadian Media Producer Associations (CMPA) Prime Time event in Ottawa; her goal was to build a “rolodex” of 30 people interested in her agency; she came back with 40. Production companies were excited about the agency and to work with her; they wanted to add “diverse storytellers” with “lived experiences” to their writers’ rooms. “I started chatting with production companies… and broadcasters, and all of them loved the concept. They said, ‘This is brilliant, this is exactly what we need!’”

But Saran Caldwell realized that many writers on her roster need help to get “market ready.” Often they were non-union and, due to financial and time constraints, had never attended film school or had access to workshops. To make sure their writers would be ready when they went to pitch their ideas, REALLIFE Pictures started an inhouse professional development program, reading and providing notes on “every single script” that was sent to them.

That personal mentoring is critical, said Caldwell, because BIPOC are often left outside of industry-linked social groups – largely white, middle-to-upper-class people, who have families or friends in the industry or have gone to school together for years. “(Many of my clients) have been overlooked for a very long time, and many of these individuals don’t know how the business side of the business works – how to negotiate, how to ask for what they want (in terms of) working conditions.

Saran Caldwell said she is building an inherently feminist company with a mandate and goals in line with the values of “collective feminism” — “a fair playing field, for everyone.”

At present, the agency represents about 20 writers, with “five more on deck waiting for us to read their scripts,” said Saran Caldwell. Although it’s still early in the process for original projects, Epic Story (Luna, Chip and Inkie), Wildbrain (The Snoopy Show), Frantic Films (Baroness Von Sketch) and KGP (Narcoleap) have all either hired or signed shopping agreements with writers represented by REALLIFE Pictures.

The company is working on expanding into the U.S. and international markets but, Caldwell said, what’s important at a baseline level is the success and happiness of the people they represent.

“What long-term success looks like for me is a very satisfied roster of writers and directors that we’ve worked with for years, and they’re happy–and the industry is happy–with where they have ended up in their career,” says Caldwell.

“I want to know that we have made significant change in the industry, that it’s not putting these individuals in little boxes and then just ticking them off for the sake of funding, or diversity or access, or whatever it happens to be, that (these relationships) are authentic and … have really resulted in positive change.”


Publishers Note: Fifth Wave Labs is Canada’s first feminist accelerator program for women in digital media. It is a year-round program offered by CFC Media Lab and its partners to support the growth and development of women entrepreneurs in the digital media sector in southern Ontario. All enterprise founders in the Fifth Wave community are selected for both their potential and commitment toward weaving intersectional feminist ideals of equity and social justice into sustainable and scalable business growth strategies. Fifth Wave Initiative is committed to 30% participation by members of underrepresented groups. The Fifth Wave is a LiisBeth Media partner and ally. Interested? Apply here.

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Innovate This https://liisbeth.com/innovate-this/ https://liisbeth.com/innovate-this/#respond Thu, 25 Mar 2021 10:40:05 +0000 https://liisbeth.com/?p=14545 An entrepreneur built the company she wanted to work for.

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Deb Day (left) enjoying a rare social visit with colleagues James Woods and Julie Reis—and office dog Bubba—during the COVID-19 pandemic in November 2020 (Photo provided).

Since the pandemic hit, Deb Day’s been holding a daily virtual meeting with her team that’s been like no other marketing and digital content studio has conducted. They open with a wellness check-in and bookend with a gratitude practice. There’s no talk of clients, projects, or deadlines. Instead, they talk about priorities and everyone shares one thing they’re grateful for. It could be anything: supportive partners, the roof over their head, coffee, a good TV series to pass lockdown leisure hours.

“The team’s not worked in the office since March 13, so it was a priority for me that we adapt our connection with each other,” says Day, who founded the Toronto-based strategic marketing enterprise, Innovate By Day, in 2010. “Virtual meetings can be very  transactional — ’just get ’er done.’ It’s a bit soul destroying, so we’ve put systems in place to connect with each other more and differently.”

Indeed, Day stirs up a lot of “business as usual” approaches, which has helped the company innovate to meet the challenges of the pandemic — surviving without having to lay off a single person.

When she launched, she even resisted the term “strategic marketing” for what her company does as it’s associated more with capitalism and consumerism than the feminist and social-justice values at the heart of her studio.

Innovate By Day primarily works within the cultural industry — film, television, art, music, publishing, nonprofits and broadcasters — building online communities and creating audiovisual content such as TikTok videos, Instagram lives, company sizzle reels. Day’s thoughtful about who she works with, teaming up with clients who align with her company’s values. “We would never do something that was pornographic or overtly racist or provocative for the sake of being provocative. I have to be able to align with them at some level, as does the team.”

To accompany the CBC documentary Girls’ Night Out, based on the Ann Dowsett Johnston’s book Drink, the company created the #RethinkTheDrink campaign, a cross Canada peer-to-peer talkback tour and impact campaign at colleges and university campuses featuring custom content and marketing materials. It also created a legacy toolkit to keep the conversation going to combat binge-drinking culture after the in-person tour wrapped.

On another campaign, Day’s team was engaged to support the discoverability and online conversation of the powerful six part documentary series Enslaved: The Lost History of the Transatlantic Slave Trade for and its international release on specialty channel EpixHD in the US, BBC Two in the UK and CBC in Canada. Their role was to curate content, write messaging and moderate the conversation online on the selected social media channels. 

“Those projects are meaty and they’re really, really satisfying,” says Day. “Sure, we’re not making the same money as someone who’s selling iPhones and cigarettes, but we’re okay with that. Our goal is to not become bigger and massive. It’s to do meaningful work. We love empowering new businesses and new projects to really define who they are and to reach their audiences.”

Design mockup of the Bachelor Canada predictions game, created for The Bachelor Canada Season 3 (2017) (Image provided).
Design mockup of the Bachelor Canada predictions game, created for The Bachelor Canada Season 3 (2017) (Image provided).

Day has taken the same approach internally, empowering her employees with a human-centric, feminist approach to the way she runs her studio. They embrace anti-oppression and anti-racist values, supporting staff to be their best and truest selves.

Early on, Day developed an employee benefits package by asking her team what kind of coverage they wanted. As a result, the company developed a package that includes health and dental insurance and more sick days and time off than Ontario’s minimum employment standards — in an industry that often relies on freelance “gig” workers.

She also flattened the hierarchy. Employees aren’t pigeonholed into defined roles and responsibilities. Being a smaller team helps. So does encouraging people to stretch themselves in different ways based on their interests and abilities. For instance, a UX/UI designer became the lead coordinator on a project completely unrelated to their role. A social media specialist produced content outside their skill set. Says Day: “Due to the nature of our company, we have to be flexible and really lean into how we can evolve ourselves at the same time as we’re evolving what we’re offering to the clients.”

She adds that anyone who wants to work a regular nine to five schedule and stick to a job description wouldn’t want to work for her company. “We have to be far more agile and adaptive especially in these times.”

On the other hand, anyone who wants to be playful and innovative can thrive. Four years ago, the company secured their own IP to evolve their offerings for their clients, leading to the development of one of their most successful projects yet, the “Innovate Prediction Game Engine.” Teaming up with some of the biggest reality television franchises in Canada, the studio created an online game that lets people bet on who they think will get knocked off of The Bachelor Canada or who they think will win the Head of Household on Big Brother Canada.

Evolving is something the company has had to do a lot this past year. When the pandemic hit, 50 percent of the company’s business was either paused or cancelled. They battened down the hatches as COVID-19 cases went up while marketing spending went down. They applied for every funding program they qualified for. They checked in on their clients and contractors to see how they were doing. They teamed up with a business coach to ensure their cash flow was stable. They put a plan in place in case someone got sick. And it all paid off. The company retained all of the staff, including nine full-time and four part-time employees, as well as a handful of contractors.

Day says that none of it would’ve been possible if she hadn’t taken care of herself first. As an entrepreneur with a teenage daughter, a husband, and father living in a care home, she often finds herself pulled in many different directions. And as an extrovert cooped up indoors with little contact with people, she’s found working virtually challenging. What keeps her going are those daily gratitude practices and daily walks, which are non-negotiable. “It’s really important to take care of myself because I won’t be able to take care of others,” says Day.

She remembers the early days of having to convince clients that marketing was worth spending money on. It’s easier now convincing clients the value of connecting with people, not only because the pandemic makes that so difficult but also because it’s a value that is deeply rooted within the company itself.

“I’m building a company that I would’ve loved to have worked for,” says Day. “A company that feels supportive and is respectful and collaborative.”


Publishers Note: Fifth Wave Labs is Canada’s first feminist accelerator program for women in digital media. It is a year-round program offered by CFC Media Lab and its partners to support the growth and development of women entrepreneurs in the digital media sector in southern Ontario. All enterprise founders in the Fifth Wave community are selected for both their potential and commitment toward weaving intersectional feminist ideals of equity and social justice into sustainable and scalable business growth strategies. Fifth Wave Initiative is committed to 30% participation by members of underrepresented groups. The Fifth Wave is a LiisBeth Media partner and ally. Interested? Apply here.e

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